(•fornell lnttieraU}j Sltbrarg 
 
 HUfata. ^tm ^ock 
 
 LIBRARY OF 
 
 LEWIS BINGLEY WYNNE 
 
 A. B.. A.M. .COLUMBIAN COLLEGE. '71. 73 
 WASHINGTON. D. C. 
 
 THE GIFT OF 
 
 MRS. MARY A. WYNNE 
 
 AND 
 
 JOHN H. WYNNE 
 
 CORNELL '98 
 1922 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tile Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031276656 
 
HAND-BOOK 
 
 OR NEW 
 
 AND 
 
 THE ENVIRONS 
 
 ACCORDING TO 
 
 Containing a description of the monuments, galleries., 
 
 churches and cpriosities. a map of Rome, of the 
 
 environs and ■ twenty . pve views newly 
 
 engraved, of the principal monuments^' 
 
 and every Information about Rome. 
 
 CAREFULLY REVISED, 
 
 AND ENLARGED WITH AN ACCOUNT 
 
 OF THE LATEST ANTIQUARIAN RESEARCHES. 
 
 ROME 
 PUBLISHED BY L MALE 
 
 ENGLISH AND AMERICAn'lIBRARY 
 
 AND READING ROOMS 
 
 18S7 
 
TO 
 
 DON MARINO TORLONIA 
 
 DUKE OF BBACCIAINO 
 POLI AND GDADAGNOLO. 
 
 ETC, ETC. ETC. 
 

 MY LORD DUKE, 
 
 In publishing a new Guide of Rome 
 and of the environs , / have not omitted 
 to point out or to illustrate the impro- 
 vements that have taken place of late 
 years in a city called hy some the city 
 of remembrances and which , after the 
 lapse of ages, continues to he the seat 
 of the fine arts. 
 
 No-r is there, at the present day , 
 any want &f those noble minds who find 
 a delight in seconding the efforts of 
 genius, or of distinguished artists whose 
 works form no disparagement to those of 
 the period of roman greatness. 
 
 Among the former the name of your 
 Lordship stands preeminent: To you and 
 
to your illustrious relatives , our city 
 pays a just tribute of admiration and 
 gratitude for the liberal encouragement 
 constantly shown to architects , sculp- 
 tors, and painters of the past and present 
 generations, in the improvements made for 
 the public utility, and in your own 
 princely possessions. 
 
 In presenting to that portion of my 
 readers , by whom the name of your 
 family is so highly appreciated, a work 
 treating in detail of the curiosities of 
 ancient and of modem Rome , I cannot 
 hut indulge a hope that under your enlight- 
 ened patronage it will meet with a fa- 
 vorable reception. 
 
With sentiments of the most profound 
 respect , I have the honour to be 
 
 My Lord Duke 
 
 Your Lordship's 
 
 Most obliged 
 and obed. servant 
 
 I.. PIALE 
 
 Rome Oct/ i5. 1345. 
 
VIII 
 
 PREFACE. 
 
 .Ac 
 
 . ccording to the opinion most generally admit- 
 -ted Rome was founded by Romulus, a descendant 
 of JEneas and of the Alban kings,in the 763 year 
 hefore the Christian era. The city was originally 
 limited to the Palatine hill, the Capitolinc was ad- 
 ded after the rape of the Sabine women and then 
 Uie valley , separating those l-wo hills, became the 
 forum. 
 
 Numa , the successor of Romulus, enclosed a 
 part of the Quirinal within the city. After the des- 
 truction of Alba by Tullius Mostilius, ofTellene, 
 Ficana and Politorium by Ancus Martins , the 
 Ccelian and Aventine hills formed part of the city, 
 and were peopled by the inhabitants of those towns. 
 A wooden bridge, called the Sublician, celebrated 
 for the valour of Codes, was thrown over the ri- 
 ver, and a citadel was built on the Janiculum by 
 Ancus Martius. Servius Tullius enlarged the city 
 by enclosing the remainder of the Quirinal as well 
 as the Viminal and the Esquiline hills', he surroun- 
 ded it with walls composed of square blocks of vol- 
 canic tufo , fortified it with an agger ,or rampart,, 
 extending front the Quirinal to the arch of Gallie- 
 nus on the Esquiline^ the seven hills and a small 
 part of the Janiculum were thus enclosed -within a 
 circuit of about eight miles. 
 
 Though the city had greatly encreased in the 
 period that elapsed from Servius to Aurelian, the 
 circuit of the walls remained the samc;but this Em- 
 peror, with the view of repelling foreign invasions j. 
 
raised a new line of -waits which Was completed 
 under Probus m276. Vopiseus , a contemporary 
 writer , asserts that these walls were 50 miles in 
 circuit, an extent which would appear exaggera- 
 ted if we did not take into consideration the size 
 of the city, and the dense population which natural- 
 ly occupied the capital of the world;and in facl,the 
 ruins of the public buildings alone cover so large 
 a space of ground that within the present enclosure 
 it would be impossible to find room for private 
 houses to receive the large population of the an~ 
 cient city. Of the walls of Aurelian no traces re- 
 main ; those of the present day embracing 1 6 1/2 
 miles in circumference are of a period posterior to 
 that Emperor;their most ancient part does not go 
 beyond the time of Honorius in 402. 
 
 On the right bank of the Tiber the walls are 
 altogether modern , the Vatican not having been 
 enclosed until 852 by Leo IV, to defend the church 
 of S. Peter^s against the Saracens . The space 
 occupied by the modern city is about one third of 
 that enclosed within the walls; the other two thirds 
 consist of kitchen gardens, vineyards and villas. 
 
 Of the twelve gates of the modern city eight 
 are on the left bank of the river viz;the Flaminian 
 or del Popolo , Salara , Pia , S. Loremo, Mag- 
 giore , S. Giovanni, S. Sebastiano, and S. Paolo. 
 On the right bank are the Portese and S. Pancra- 
 sio, Cavalleggieri and Angelica. Eight of the most 
 ancient gates are closed, viz: the Pinciana, P^imi- 
 nalis , Metronis , Latina, Ardeatina, Pertusa and 
 Castello. 
 
 The Tiber passes through Rome in a direc- 
 tion from north to south. There are four bridges, 
 the Mlian or S.Angelo, Janiculense or Sisto, Fa- 
 brician or Quattro Capi, and that of Gratian or 
 
X 
 
 S. Bartolomeo. Three are in ruins; the Vatican^ 
 Palatine and Sub lie ian. 
 
 Servius Tullius divided Rome into four quar' 
 ters or regiones: the Palatina, Su&urrana, Esqui-' 
 Una and Cdllina. Augustus into 1 4 vis: I. Capena 
 IL Coelimontana, III, Isis and Serapis , IV. Via 
 Sacra , V. Esquilina , VI. Alta Semitai VII Via 
 Lata, VIII, Forum Romanum, IX. Circus Flami- 
 nius, X, Palatinum:, XL Circus Maximus, VJI, Pi- 
 scina publica,XIIL uiventine and XIV. Trans- 
 tiberina. 
 
 The present city also is divided into 1 4 Rioni, 
 viz: Monti, Trevi, Colonna, Campo Marzo, Ponfe, 
 Pdrione, Regola, S.Eustachio, Pigna, Campitelli, 
 S. Angelo, Ripa, Trastevere and Sorgo. 
 
 The population of the city and its suburbs 
 amounted, according to the census of ) 838 , to 
 1 56, 903 souls. 
 
 Though plundered and burnt at different pe- 
 riods Rome has always risen like the phcenix out 
 of her ruins. The obelisks , columns , statues and 
 other master pieces of art, the remains of ancient 
 temples , triumphal arches , theatres , amphithea- 
 tres , thermos , tombs and aqueducts are the unri- 
 valled ornaments of this metropolis. 
 
 Many of the modern edifices are not inferior 
 in magnificence to those of antiquity; at every step 
 are sumptuous churches , extensive palaces! , con- 
 taining valuable collections of painting andsculp- 
 ture , fountains, villas filled -wih ancient and mo- 
 dern works of art. In two public museums are 
 united masterpieces of Egyptian,Etruscan, Greek 
 and Roman sculpture. Br amante, Raphael, Michel- 
 angelo and other eminent artists have embellished 
 the city with their works. 
 
 Monuments of all ages collected here have 
 
XI 
 
 rendered Rome the seat of the fine arts. In the 
 number of her literary establishmenti are the 
 University or Sapienza, founded in the XIII. cen- 
 tury ^ the Roman college and Seminary;the Naza- 
 reno, Doria, Clementina , Propaganda , English, 
 Irish and Scotch colleges. Among the academies 
 are those of S.Luca for the fine arts^of the Catholic 
 religion for theological subjects; the Linceian for 
 the mathematical and physical sciences; the Ar- 
 cheological for antiquities: the Tiberina and Arca- 
 dian for the Italian language and literature 
 
 Camei, mosaics, sculptures, paintings, engra- 
 vings , silks , cloth , artificial pearls , strings for 
 musical instruments, beads etc. constitute theprin- 
 cipal objects of trade. 
 
 Charitable establishments abound in Rom« 
 independently of those supported by foreigners for 
 the use of their countrymen. The sick are recei- 
 ved, according to the nature of their camplaints^ 
 in the hospitals ofS. Spirito, S. Giacomo, the Con- 
 solasione , S. Giovanni Laterano , S. Gallicano 
 and S. Roch. Of the numerous asylums for ths 
 poor the principal are S. Michele, the Pio Instituto 
 di Caritd, the Conservatorio of the Mendicanti for 
 females and the house of the orphan boys.{i) 
 
 At Rome the catholic religion displays all 
 her splendour and majesty. In no city can the ce- 
 remonies of the holy week, of Easter, of the Cor- 
 pus Domini, of S.Peter and of Christmas, vie with 
 those of the Vatican, 
 
 (i) On the charitable institutions of this city 
 the i-eader may consult the writings of monsignoi- 
 Moi'ichini, or the Reminiscences of Rome, and on 
 the Papal ceremonies their origin and meaning, the 
 publications of the very Rev. Monsignor Baggs en- 
 titled the papal chapel , the ceremonies of the holy 
 week and the pontifical mass sung at S. Peter's. 
 
XII 
 
 CHRONOLOGY 
 
 OF THE ROUAIV EMPERORS. 
 
 Octavian Augustus founds the empire after the 
 victories of Philippi and Actium 3o years before the 
 Christian era , and at his death , after a roign of 44 
 years , leaves Tiberius as his successor A. D. XIV. 
 
 A. D. 
 
 i4 Tiberinft. 
 3 7 Caligula. 
 4 1 Claadius. 
 S4 Nero. 
 
 68 Galba. 
 
 69 Otho. 
 Vitellius. 
 Vespasian. 
 
 79 Titus. 
 81 Domitian. 
 96 Nerva. 
 98 Trajan. 
 1 17 Adrian. 
 1 38 Antoninus Pius. 
 16 1 Marcus Aureiius , Lucius Verus. 
 1 81 Commodus. 
 193 Pertinax. 
 
 Didius Julianus. 
 
 Septimius Severus. 
 198 Antonius Caracalla , Geta. 
 217 Macrinns, 
 a 18 Heliogabalus. 
 a»2 Alexander Severus. 
 235 Maximinius I. 
 237 Gordianus I and Gordianus II. 
 
 Maximus , Balbinus. 
 a38 Gordianus III. 
 a44 Philip , father and son. 
 249 Decius. 
 aSi Gallus and Volusianus. 
 
Chronology of the roman emperors, xiii 
 
 s53 Hmilianus. 
 
 Valerianus. 
 
 Gallieniis. 
 268 Claudius II. 
 270 Aurelian. 
 373 Tacitus and Florian, 
 276 Probus, 
 
 282 Cams. 
 
 283 Carious and Numerian. 
 
 284 Diocletian. 
 286 Maximian. 
 
 305 Constantius Chlorus and Maximian. 
 
 306 Constanline llie greati 
 Maxentius. 
 
 3o8 Maxiniinius II. 
 
 Licinius. 
 337 Conslantine II , Constance and Constantius. 
 36i Julian. 
 
 363 Jovian. 
 
 364 Valentinian I and Valens. 
 367 Gralian. 
 
 375 Valentinian II, 
 379 Theodosius I. 
 38i A-rcadius. 
 SgB llonorius. 
 4o2 Theodosius I[. 
 421 Constance II. 
 4a5 Valentinian III. 
 45o Marcian. 
 455 Avitus. 
 457 Majoran and Leo. 
 461 Lucius Sevcrus. 
 467 Anthemus. 
 470 Olybrius. 
 
 473 Glycerins. 
 
 474 Nepos and Zeno. 
 
 475 Romulus or A-ugustulus, dethroaed llie Pollowiag 
 year by Odoacer king of the Heruli. With Angus- 
 tulns endsd the Western empire. 2 
 
XIV 
 
 CHRONOLOGY 
 
 OF THE POPES 
 
 FROM S. PETER TO THE PRESENT DAY. 
 
 A. D. 
 
 54 S. Peter ofBelhsais in Galilea established llie 
 see at Rome. 
 
 65 Lin. Tuscan. 
 
 78 Anaclel. Athenian. 
 
 qi Clement. I. Roman. 
 
 96 Evariste. Greek. 
 108 Alexander I. Roman, 
 1 19 Sixtus I. Roman. 
 128 Thelesphore. Greek. 
 iSg Hygin. Athenian. 
 i42 Pius I. Aquiieia. 
 1 58 Anicel. Syrian. 
 168 Sdter. Campania. 
 177 Eleuthere. Greek. 
 198 Victor 1. African. 
 202 Zephyrin. Roman, 
 218 Callixlus 1. Roman. 
 S23 Urban I, Roman. 
 23o Pontianus. Roman. 
 
 235 Antheres. Greek. 
 
 236 Fabian. Roman. 
 
 2 5o Cornelius, Roman. 
 
 252 Luce L Lucca. 
 
 253 Stephen L Roman. 
 25t Sixtus IL Athenian. 
 aSg Denis, Greek. 
 
 269 Felix I. Roman. 
 275 Eutychian. Tuscan. 
 283 Caius. Daimatia. 
 3o6 Rlarcellinus. Roman: 
 3o8 Marcel I. Roman. 
 
Chronology of the popes. 
 
 3 10 Eusebius. Greek. 
 
 Melchiade. African. 
 3i4 Silvester. T Roman. 
 
 336 Marcus I. Roman, 
 
 337 Julius I. Roman. 
 352 Liberius. Roman. 
 355 Felix II. Roman. 
 366 Dnmasus I. Spaniard. 
 385 Sirice, Roman. 
 
 398 Anastasius I. Roman, 
 4oi Innocent 1. Albano. 
 
 417 Zosimus I. Greek 
 
 4 18 Boniface I. Roman, 
 422 Gelestinus I. Campania. 
 432 Sixtus III. Roman. 
 
 44o Leo I. the great. Tuscan. 
 461 Ilario. Sardinia. 
 468 Simplex. Tivoli. 
 483 Felii III. Roman. 
 492 Gelasius I. African. 
 496 Anastasius II. Roman. 
 498 Symachus. Sardinia. 
 5i4Hormisdas Frosinone. 
 523 John I. Tuscan. 
 526 Felix IV. Samnite. 
 53o Boniface II. Roman. 
 532 John II. Roman. 
 
 535 Agapit I. Roman. 
 
 536 Silverius. Campania. 
 538 Vigil. Roman. 
 
 555 Pelagus I. Roman. 
 
 56o John III. Roman. 
 
 574 Benedict I. Roman. 
 
 578 Pelagus II. Roman. 
 
 590 Gregory I. or the great. Roman. 
 
 6o4 Sabinian. Blere. 
 
 607 Boniface III. Rome. 
 
 608 Boniface IV. Marse- 
 
 x-V 
 
XVI Chronology of the popes 4 
 
 61 5 Deuidedit. Rome. 
 619 Boniface V. Naples. 
 62& Honorius I. Campania. 
 64o Severinus. Roman. 
 
 John IV. Dalmalia.' 
 €4 1 Theodore. Greek. 
 (49 Martin I. Todi. 
 655 Kugcnius I. Roman^ 
 G57 Vitalian. Segni. 
 672 Adeodalus. Romrin. 
 676 Domnus I. Roman. 
 fiyS Agalhon, Sicily. 
 fiSa Leo II. Sicily. 
 ()84 Benedict II. Romjn. 
 <)85 John V. Syria, 
 
 686 Conon. Sicily. 
 
 687 Sergius I- Syria. 
 701 John VI. Greek. 
 7o5 John VII. Greek 
 708 Sisiaus. Syria. 
 
 Constantine. Syria'. 
 71 5' Gregorjf II. Roman. 
 73 1 Gregory III. Syria. 
 74i Zacchariah. Greek. 
 7&2 Stephen II. Roman. 
 757 Paul I. Roman. 
 768 Stephen III. Sicily. 
 772 Adrian I, Roman. 
 795 Leo III. Roman. 
 816 Stephen IV. Roman. 
 8r7 Pascal I. Roman. 
 8a4 Eugenius II. Roman. 
 827 Valentine , Gregory IV^. Roman. 
 844 Sergius II. Roman. 
 847 Leo IV. Roman. 
 85S Benedict III. Roman. 
 858 Nicholas I. Roman. 
 867 Adnan II. Roman. 
 
Chronology of the popes. xvit 
 
 872 John VIII. Roman. 
 
 882 Maria I or Martin II. Tuscan. 
 
 884 Adrian III. Roman. 
 
 885 Stephen V, Roman. 
 891 Formose. Roman. 
 
 896 Boniface VI, Stephen VI. Roman. 
 
 897 Roman I. Tuscan. 
 
 898 Theodore 1 1. Roman. John IX. Tivoli- 
 900 Benedict IV. Roman. 
 
 903 Leo V. Ardea. 
 
 Christopher. Roman. 
 
 904 Sergius III. Roman. 
 
 gi I Anastasiiis III. Roman. 
 grS Laudon. Sahine. 
 9i4 John X. Ravenna. 
 
 928 Leo VI. Roman. 
 
 929 Stephen VII. Roman. 
 93 1 John XI. Roman. 
 986 Leo VII. Roman. 
 
 939 Stephen VIII. German. 
 942 Marin II or Mirlin III. Roman. 
 9.46 Agapit II. Roman. 
 956 John XII. Roman. 
 
 964 Leo VIII. Roman. 
 
 965 John XIII. Roman. 
 972 Benedict VI. Roman. 
 
 974 Domnus II. Roman 
 
 975 Benedict VII. Roman. 
 983 John XIV. Italian. 
 
 985 John XV, John XVI. Roman. 
 
 996 Gregory V. Roman. 
 
 999 Silvester II. Auvergne. 
 ioo3 John XVII. Roman. 
 John XVIII. Roman. 
 1009 Sergius IV. Roman. 
 1012 Benedict VIII. Roman, 
 1024 John XIX. Roman. 
 io33 Benedict IX. Romoji. 
 
xyiii Ckranoloffij of the popes. 
 
 o\& Gregory VI. Roman. 
 
 047 Clement II. Saxon. 
 
 048 Damasiis II. Bavaria. 
 
 049 Leo IX. German. 
 o55 Victor II. German. 
 0^7 Sleplien X. Lorraine. 
 o58 Nicholas II. Burgundy. 
 o6i Alexander II. Milan. 
 073 Gregory VII. Tuscan. 
 086 Victor III. Benevenlo. 
 088 Urban II. Lagcry. 
 099 P.iscal. II. Tuscan. 
 
 18 Gelasius II. Gaeta. 
 
 19 Callistus II. Burgundy. 
 24 Honorins II. Bologna. 
 3o Innocent II. Roman, 
 
 43 Ceieslin II. Tuscan. 
 
 44 liuce II. Bologm. 
 
 45 liugeuius III. Pisan. 
 5o Anastasius IV, Roman. 
 
 '4 Adrian IV , Breakspeare. England. 
 
 59 Alexander III. Siena. 
 
 81 Luce III. Lucca. 
 
 85 Urban III. Crivelli. Milan. 
 
 87 Gregorius VIII. Bensvento. 
 Clement III. Roman. 
 
 91 Celesli.i III. Roman. 
 
 98 Innocent III , Conti. Anagni. 
 ai6 Honorius III, Savelli. Rome. 
 227 Gregory IX , Conti. Anagni. 
 24 1 Celestin IV, Milan. 
 243 Innocent IV , Ficschi. Genoa. 
 2-54 Alexander IV , Conti. Anagni. 
 261 Urban IV. Troyes. 
 a64 Clement IV , Foucauld: Lan^usdoc. 
 271 Gregory X. Piacenza. 
 276 Innocent. V. Savoy. 
 
 Adrian V > Fieschi. Genoa. 
 
Chronology of the popiSf. six 
 
 Jolin XX or XXI. Portug^sL 
 
 277 Nicholas III , Orsini. Roinatf. 
 
 281 Martin IV , Monlpellier. 
 
 a85 Honorius IV , Savelli. Roman. 
 
 287 Nicholas IV. Ascoli. 
 
 2ga Celeslin V. Neapolitan. 
 
 agS Boniface VIII , Gaetani. Anagni. 
 
 3o3 Benedict XI , Boccasini. Treviso. 
 
 3o5 Clement V , De Gouih Gasconjr. 
 
 3i6 John XXII , D' Euse. Quercj. 
 
 534 Benedict XII. Foix. 
 
 342 tJlement VI. Limous:n. 
 
 352 Innocent IV. Limousin. 
 
 362 Urban V , De Gnssac. Gevaudan. 
 
 370 Gregory XI, Ijimousin. 
 
 378 Urbano VI , Prignani. Naples. 
 
 389 Boniface IX , TomacelU. Naples. 
 
 4o4 Innocent VII , Meliuiali. Abbruzai. 
 
 4o6 Gregory XII , Corario. Venilian. 
 
 409 Alexander V , Philarga. Crete. 
 
 4io John XXIII , Cossa. Naples. 
 
 417 Martin V. Colonna. Rome. 
 
 43 1 Hugcnius IV, Coiidohnero. Venilian. 
 
 4/17 Nicholas V. Sarzann. 
 
 455 GiiUixtus III, Borgia. Spain. 
 
 458 Pius 11, Piccolomini, Siena. 
 
 464 Paul 11, Barho. Venilian. 
 
 471 Sixlus IV, Dk la Rovere. Savona. 
 
 484 Innocent VIII, Cibo di Melfi. Genoa. 
 
 492 Alexander VI, Z,enio/t5or^ia Spain. 
 
 5o3 Pius III, Piccolomini. Siena. 
 
 Julius II, De la Rovere. Savona. 
 5i3 Leo X, Medici. Florence. 
 523 Adrian VI, Holland. 
 523 Clement VII, Medici. Florene. 
 534 Paul 111, Farnc.te Rome. 
 55o Julius III, Del Monte. Ronve. 
 555 Maicel II, Cervin. Fan*. 
 
XX Chronology of the fopes. 
 
 Paul IV, Caraffa. Naples. 
 1 559 Pius IV, Medichini. Milan. 
 1 566 Pius V, GftuZieri. Liguria. 
 1572 Gregory ^lll. Buoncompagni, Bologn.i. 
 i585 Sixlus V, Peretti. Mirca of Ancona. 
 1690 Urban VII, Carfagna. Genoi. 
 
 Gregory XIV, Sfrondati. Cremona. 
 iSgi Innocent. IX, Faccfeme/ti. Bologna. 
 1592 Clement VIII, Aldohrandini. Florence. 
 i6o5 Leo XI, Medici D'Otloiano. Florence. 
 
 Paul V, Borghese. Siena. 
 1 621 Gregory XV, Ludovisi. Bologna. 
 1623 Urban VIII, Barberini. Florence. 
 1 644 Innocent X, Pamphili. Rome. 
 
 i655 Alexander VII, CMgi. Siena. 
 
 1667 Clement IX, Rospigliosi. Tuscany. 
 
 1670 Clement X, Altieri. Rome. 
 
 1676 Innocent XI, Odescalchi. Milan. 
 
 1689 Alexander VIII, Ottohoni. Venice. 
 
 1691 Innocent XII, Pignatlelli. Naples. 
 
 I joo Clement XI, Alhani. Urbino 
 
 1 72 1 Innocent XIII, Conti. Rome. 
 
 1 724 Benedict XIII , Ordni. Rome. 
 
 1730 Clement XII, Corsini. Florence. 
 
 1 740 Benedict XIV, Lamheitini. Bologna. 
 
 1753 Clement XIII, Bezzonico. Venilian. 
 
 1760 Clement XIV, Ganganelli. S. Angelo in Vado^ 
 
 1775 Pius VI, Braschi, Cesena. 
 
 1800 Pius VII, Chiaramonti. Cesena. 
 
 i8a3 Leo XII, Delia Genga. Spoleto. 
 
 1829 Pius VIII, Castiglioni. Cingoli, 
 
 1 83 1 Gregory XIV, Cappellari. Belluno. Born the iS 
 September 1765, raised lotbe P;ipal see the a 
 February i83i, crowned the 6 February. 
 
XXI 
 
 CHRONOLOGICAL CATALOGUE 
 
 OF THE MOST CELEBRATED ARTISTS 
 
 NAMED IN THIS WORK. 
 
 PAINTERS. 
 
 Birth Death 
 
 laSo Cimabue. Florence. i3oo 
 
 1276 Giotto. Florence. »336 
 
 i4oi Masaccio. Florence. '442 
 
 j42I Bellini. Venice. iSdo 
 
 1424 Giovanni Bellini. Venice. i5t4 
 
 i43o Mantcgna. Padua. 'S^^ 
 1446 Pietro Vanucci , il Perugino- Citl4 della 
 
 Pievc. j5s4 
 
 i452 Leonardo da Vinci. Tuscany. 1 5 19 
 
 1454 PinUiricchio. Perngia. i^ti 
 
 1469 Fra Bartolomeo di S. Marco. Florence. i5i7 
 
 r47i Albert Durer. Nnremberg. J Sao 
 
 1474 Michael Angelo Buonarolti. Florence. i564 
 
 1477 Lilian Vecelli. Venice. 1576 
 
 1478 George Barbarelli, il GiorgionB.Caslelfranco.i5ir 
 
 1479 Giovanni Razzi , il Sodoma. Vercelli^ i 554 
 i48i Ballhasar Periizzi. Sienn 1536 
 
 Benvenulo Tifi , il Garofolo. FerrdM. iSSg 
 
 i483 Raphael Sinzio , Urbino. «5t»o 
 
 i484 Gio. Licinius , il Pordenone. Venice. i54o 
 
 i485 Sebasliano del Piombo. Venice '^^Z 
 
 i488 Gio. Franc. Pcnni , il Fattore. Florence. i5»8 
 
 Andrea del Sarto. » 53o 
 
 5^490 Francesco Primaticcio. Bologna. iSTo 
 
 1/192 Giulio Pippi , il Romano. 1 53<6 
 
 1494 Antonio Allegri , Correggio. i534 
 
 Mathurin. Florence. i5a8 
 
 Gio. Nauni. Udine. t'j6i 
 
XXII Catalogue of the artists. 
 
 1495 Polydoro Caldari. Caravaggio. i542 
 
 i5oo Pietro Buonacorsi,Pierin del Vaga. Tuscany. 1 547 
 
 Daniel Ricciarelli. Volterra. i557 
 
 Giacomo Palma , il Vecchio. Venice. i568 
 
 i5oi Angelo Bronzino. Tuscany, '370 
 
 1 5 10 Giacomo Bassano. '^Q^ 
 
 Francesco Salviati. Florence. iSji 
 
 i5i2 Giacomo Robusli , il Tintoretto. Venice. iSg/j 
 
 Giorgio Vasari. Arczzo. i574 
 
 1 528 Frederic Baroccic Urbino. 1612. 
 Jerome Mulian. Acquafredda. i58o 
 
 1529 Taddeo Zuccari. Urbino. i566 
 1 532 Paolo Cagliari , il Veronese. i588: 
 
 1 543 Frederic Zuccari. Urbino. 1609- 
 
 1 544 Giacomo Palma , il Giovane. Venice. 1626 
 i55q Scipio Pulsoni. Gaeta. i588 
 
 Domenico Passignani. Florence. - i63.8' 
 
 Francesco Bassano. iSgS 
 
 1 555 Laigi Caracci. Bologna. '6 '9 
 
 1 5 56 Paul Brill. Antwerp. 1626 
 
 x557 Fra Cosimo Piazza. Castelfranco. 1621 
 
 Ventura Salimbeni. Siena. i6i3. 
 
 I 558 Agostino Caracci. Bologna. 1601 
 
 1 566 Michael Angelo. Caravaggio. '^09 
 
 Annibale Caracci. Bologna. 160& 
 
 . Giuseppe Cesari , il Gavaliere d' Arpino, i65o 
 
 Gio. De Vecchis. Florence. i6io 
 
 1 563 Rapbael. Reggio di Modena. 1620 
 
 1 565 Francis Vanni. Siena. i609 
 
 1570 Bartolomeo Schedoni. Modena. 16 15 
 
 1575 Guido Reni. Bologna. i642 
 
 1577 Pierre Paul Rubens. Cologne. i64o 
 
 i58i Domenico ZampierijilDomenichino. Bologna. i64i 
 
 Gio. Lanfranc. Parma. i647 
 
 1 585 Massimo Stanzioni. Naples. i656 
 
 Carlo Saraceni. Venice. i625 
 
 ib88 Giuseppe Rlbera, lo Spagnolello. Xatlva. jSSq 
 
 i5go Gio. Franc. Barbieri , il Guercino.. Cento. 1666 
 
Catalogue of the artists. xxiU 
 
 1 592 Gerard Hontorst , Gherardo delle Notli. 
 
 Utrecht. 1662 
 
 1594 Nicholas Poussin. Des Andelys. i665 
 1596 Pietro Berretlini. C.ortona. 1669 
 
 1 599 Anloine Vandyck. Aulwerp. i64i 
 
 1600 Andrea Sacchi. Nettuno. 1661 
 Claude Gellee. Loraine. 1680 
 Pierre Valentin. France. i632 
 
 1602 Michel Angelo Cerquozzi. Rome. 1660 
 
 1606 Rembrandt. Leyden. 1674 
 
 1610 Jean Both. France. i65o 
 
 1612 Pietro Franc. Moia. Lugano. 1660 
 Luca Giordano. Naples. 1 705 
 
 1 61 3 Gaspar Duquet, Gaspar Poussiu. Rome. 1673 
 Matthias Preti , il Galabrese. 1699 
 
 i6i5 Salvator Rosa. Naples. 1673 
 
 16 16 Benedetto Castiglione. Genoa. 1670 
 
 1617 Pietro Testa. Lucca. i652 
 Gio. Franc. Romanelli. Viterbo. 1662 
 
 1618 Barloloraeo Murillo. Siviglia. 1682 
 i6ai Jacques Courtois. Burgundy. 1676 
 .i6i3 Giacinto Brandi. Poli. 1701 
 x625 Carlo Maratta. Gamerano. 1713 
 .1628 Carlo Cignani, Bologna. i7'9 
 1634 CiroFerri. Rome. '689 
 i638 Luigi Giirzi. Pistoia. 1721 
 i643 Pierre Molyn , il Tempesla. Haarlem. 1701 
 J 656 Franc. Trevisani. .Rome. 1746 
 i557 Franc. Solimena. Naples. '747 
 i658 Gio. Gaulli , il Baciccio. Genoa. i 709 
 1-684 Marco Benefiale. Rome. 176$ 
 1695 Pierre Subleyras. Uzes. '747 
 1708 Pompeo Battoni. Lucca. 1787 
 1728 Raphael Mengs. Saxony. 1779 
 1762 Antonio Cavallucci. Sermoncta. '79^ 
 1776 Giuseppe Bossi. Arsizio. i8i4 
 
XXiV Catalogue of the artists. 
 
 SCULPTORS. 
 
 Donatello. Florence. '466 
 Siinone , his biolher. Florence. 
 
 i474 MichL'l Angelo Bonarotti. Florence. i564 
 
 «'477 Giaeomo Talli. Sansovino. >57tJ 
 
 1487 Baccio Bandinelli. Florence. > aag 
 
 i5oo Benvenuto Cellini. Florence. ^^jo 
 
 Gnglielmo della Porta. Milan. 
 
 1 524 Gio° Bologna. Douai. «6o8 
 
 i55i Pielro Paolo Olivieri. Rome' '^^9 
 
 «55a AmhrogioBonvicino. Milan. iSaa 
 
 «56a Pietro Berr.ini. Sesto. 1629 
 
 1667 Nicholas CorcUer. Lorraine. 1612 
 
 i!)69 l'aol° Guidoito. Lucca. 1629 
 
 iSyS Stefano MaJerno. Lombardy. i636 
 
 »58o Franc. Mocchi. Monlevarchi. i646 
 
 I ago Jacqu<;-s Sarazin. Noyon. 1660 
 
 1594 Francis de Quesnoy. Brussels. i646 
 
 1 598 Gio. Lorenzo Bernini. Naples. 1680 
 1602 Giuliano Finelli, Carrara. 
 
 Alessandro Algardi. Bologna. i6b4 
 
 Jean Theudon. France. 16^ 
 
 i6o5 Andrea Bolgi. Carrara. i656 
 
 1608 Lazzaro Morelli. Asccli. >6ao 
 
 1610 Ercole Ferrala. Pelsoito. 1606' 
 
 i6i4 Paolo Naldini. Rome. i684 
 
 16 rg Giaeomo Fancelli. Rome. 1671 
 
 1624 Autonio Raggi. Milan- 1686 
 
 i6a8 Domenico Ouidi. Masaa. 1701 
 
 1644 Giuseppe Mazzuoli. Vollerra. iJiS 
 
 1 656 Pierre Lenros. Paris. '7 '9 
 1 658 CamilioRusconi. Milan. l7aS 
 
 Pierre Nonol. Orcham. 1733 
 1 67 1 Angelo Rossi. Genoa. 1 7 J 5 
 
 1705 Michel Ange Siodlz. Paris. 1764 
 1740 Houdon. Paris. i8a«» 
 
 1757 Antonia Ganova. Pogsagno. 1822 
 
Catalogue of the artists. xxr 
 
 ARCHITECTS. 
 
 lagi SlefanoMasuccio II. i388 
 
 i3oo Taddeo Gaddi. Florence. i35o 
 
 J 37:7 Filippo Brunelleschi. FJorence. '444 
 iSgS Gio. Battista Albert!. Florence. 
 
 1407 Giuliano De Majano. Florence. '477 
 
 Bernardo Roseellini. Florence. 
 
 Baccio Pinlelli. Florence. 
 1435 Fra Giocondo. Verona. 
 
 1443 Giuliano Giamberli. Sangallo. I'ji'j 
 
 i444 Bramante Lazzeii. Urbino. i5i4 
 
 Anlonio Picconi. Sangallo. i546 
 
 1454 Simone Pallaiuolo. Florence, 1 609 
 
 i46o Andrea Contucci. Monte Sansovino. i529 
 
 1474 Michel Angelo Buonarotti. Florence. JS64 
 
 1476 Girolamo Genga. Urbino. iSai 
 1479 Giacomo Talli , or Sansovino. Tuscany. 1570 
 
 i48i BaldassarPeruzzi. Siena. i536 
 
 Sebasfiano Serlio. Bologna. iBSa 
 
 i483 Raphael Sanzio. Urbino. i520 
 
 i4B4 Michele Sammicheli. Verona. 'SSg 
 
 1492 Giulio Pippi , or Romano. Rome. i54fi 
 
 PyrrhoLigorio. Naples. i58o 
 
 1607 Ciacorao Barozzi. Vignola. 1^73 
 
 i5ii Barlolomeo Ammanati. Florence. i586 
 
 i5i8 Barlolomeo Genga. Urbino. i558 
 
 Andrea Palladio. Vicenza- 1 58o 
 
 Francesco di Vollerra. i588 
 
 1 522 Pellegro Pellegrici. Bologna. iSga 
 
 i54o Gio. Fontana. CoiDO. i6ii 
 
 1543 DomenicoFontana. Como. 1607 
 
 Giacomo della Porta. Rome. 
 
 1 55 1 Pieiro Paolo Olivieri. Rome. i Sgg 
 
 i55a Vincenzo Scamozzi. Vicenza. 1616 
 
 1556 Carlo Maderno. Bisso near Como. 1669 
 
 Martino Longhi. Milanese, 
 
 i55q Carlo Lombard!. Arezzo. 1620 
 ^ 3 
 
XXTi Catalogue of ike artislsi 
 
 i559 Luigi Cardi. Cingoli. '6»3 
 
 Flaminio Pon/.io. Lombardy. 
 
 iBGg Onorio Lnoghi. Milanese. loiq 
 
 1570 GirolamoRainaldi. Rome. '65& 
 
 Martino LungM. Milanese. 1657 
 
 i53i Gio. Battista Soria. Rome. i65i 
 
 1596 Pieti-o Berrellini. Cortona. 1669 
 
 iSgS Gio. Lorenzo Bernini. Naples. 1 680 
 1699 Francesco Borronijni. Bisso near Como. 1667 
 
 1602 Akssandro Algardi. Bologna. 1 654 
 
 161 1 Carlo Rainaldi. Rome. i64» 
 
 l6i3 Claude Perranlt. Paris. 1688 
 
 i6i6 Gio. Ant. De Rossi. Rome. 'SgS 
 
 i634 Carlo Fontana. Como. 1714 
 
 1637 Matthias De Rossi. Rome- 1696 
 
 1642 Andrea Pozzi. Trento. 1709 
 
 1 653 Antoine Desgodetz. Paris. 1728 
 
 1659 Francesco Gaddi Bibiena. Bologna. '739 
 
 1677 GirolamoTeodoli. Rome. 1766 
 i68i Antonio Ganevari. Rome. 
 
 1691 Alessandro Gallilei. Florence. '7^7 
 
 1699 Perdinando Fuga. Florence. 
 
 1689 Nicholas Salvi. Rome. i75i 
 
 1700 Luiffi Vanvitelli. Rome. '77^ 
 1708 Paolo Posi. Siena. '77^ 
 1757 Antonio Canova. Possagno. 182a 
 
XXVII 
 
 OF WEIGHTS MEASURES AND MONIES 
 USED Il\ KOMB 
 
 MEASURES 
 
 Palmo architectural viz = 1 2 ounces = 60 miuu- 
 
 tes = 0, 6877 of the Paris foot. 
 The foot = 0, 9170. 
 Braccio = 2, 63. 
 Staiolo = 3, 954. 
 Passo = 4, 585. 
 Canna = 6, 877. 
 Catena = 39, 54. 
 The mile =feet 4584. 
 The ancient roman mile was divided into 1 000 steps 
 
 or 5000 feet, and was the 75lh part of a 
 
 degree. 
 Since 1 820 the french system has been in practice ; 
 
 the metre is called the canna architettonica. 
 
 LAND MEASUREMliNT. 
 
 8 of the french aero. 
 
 Quartuccio 
 
 = 0, 
 
 1130, 
 
 Scorzo 
 
 = 0, 
 
 2262. 
 
 Pezza 
 
 = 0, 
 
 5170. 
 
 Quarta 
 
 = 0, 
 
 9047. 
 
 Buhbio 
 
 = 3, 
 
 619. 
 
 Palmo 
 
 = 0, 
 
 2090. 
 
 Braccio 
 
 = 0, 
 
 7141. 
 
 Canna 
 
 = 1, 
 
 674. 
 
 of the Paris ell. 
 
xxviii Weights, measures and monies, 
 
 LIQUID MEASUREMENT. 
 
 Barrel^32 bocaIi,=l 28 fogliette,=1 ,i3/i8 romam 
 cubic foot. 
 = 47, 80 pints of Paris. 
 Hogsbead = 16 barrels, = 764, 9 pints. 
 
 OIL. 
 
 Bocale = 4 fogliette, = 16 quartucce , = 1, 992 
 
 pints. 
 Barrel = 28 bocali, = 2 i/i i8 cubic feet, = 55,71 
 
 pints. 
 
 CORN. 
 
 Quartarella =1,5/6 scorzo, = 2, 631 bushel*. 
 Quarta = 5, 262 bushels. 
 Rubbio = 640 roman pounds, = 10, 2/18 cu- 
 bic feet, 
 
 = 21 ^05 bushels. 
 
 WEIGHTS, 
 
 The pound = 12 ounces , = 24 deniers , *= 576 
 grains, 
 
 = 0, 6929 Paris pound. 
 Decina = 1 pounds, = 7, 077 french pounds. 
 
 MONIES. 
 
 According to a government regulation of 1 
 January 1835 the following proportion has been es- 
 tablished between gold and silver. 
 
 A pound of gold is worth 21 6 piastres, 22 bsi- 
 joccbi and 9 denari. 
 
Weights, measures and monies, xxix 
 
 A potlnd of siker 13 piasters, 73 bajocchi, 9 
 denari and ^lo. The monies of the country are ba- 
 sed on the decimal system. 
 
 Quattrini 5 = 1 bajocco, 
 Bajocchi 5 = 1 grosso. 
 » 10 = 1 paul. 
 1 00 = 1 dollar. 
 
 
 
 The copper monies are. 
 Quattrino= 0,0109 a franc. 
 Bajocchi == 0,0546 
 
 or 5 quattrini. 
 
 
 
 SILVER. 
 
 
 
 Grosso 5 bajocchi = 0, 
 Paul 10 » = 0, 
 Papetto 20 » = 1, 
 Testone 30 » = 1, 
 1/2 Piastre 50 » =2, 
 Piastre 100 » — 5, 
 
 2783. 
 5566. 
 930 
 6396 
 7330 
 4660 
 
 francs. 
 
 GOLD COINS 
 
 
 
 Gold monies are divided into two classes, those 
 decreed by Governement in 1836 called the new 
 coins are divided into pieces of 10, 5 and 2 i/a dol- 
 lars. The old coins were also originally decimal but 
 their value has been successively changed; the sequin 
 is now worth 2 dollars and 2 paajg,, the doppia dol- 
 lars 3, 21. Gompare4 with french' money their va- 
 iuc is * 'z'^' ' 
 
 1/2 Sequin coined since 1 7 58 = 6, 01 2. fr. 
 Sequin d. =12, 024. 
 
 1/2 Doppia >- "55 = 8, 7452, 
 
 Doppia " * = Ifi' '9**- 
 
XXX Weights, measures and monies. 
 
 The foreingn coins eurrent ia the state are. 
 
 SILTEK. 
 
 
 
 Germany Dollars = 0, 95 
 
 bajocchi. 
 
 Austria » =1', 04. 
 
 
 
 Grown of Milan = 0, 83. 
 
 
 
 New d. = 0, 95^ 
 
 
 
 Spain. Colonnato ? 
 
 i/j Cblonnafo- f ®*™^ 
 
 value as roman coin. 
 
 France^ Ecu de 6 livres = 
 
 1, 
 
 06. 
 
 5 francs piece = 
 
 0, 
 
 92. 
 
 Parma. 5 livres = 
 
 0, 
 
 92. 
 
 Piemont 5 » = 
 
 0, 
 
 92. 
 
 Naples. Piece of 1 20 grana = 
 
 0, 
 
 93. 
 
 Tuscany.. Francescone == 
 
 1', 
 
 02 i/i 
 
 GOLD. 
 
 
 
 Germany. Ducat of different states=2, 1 6.. ''■ 
 
 Austria. Hungary 
 
 
 =2, 18. 
 
 Sovereign 
 
 
 —6, 48. 
 
 Sequin of Milan 
 
 
 =2, 18.. 
 
 Spain. Pezzetla before 1786 
 
 
 =1. 
 
 » after 
 
 
 =0, 96. 
 
 Doubloon before do. 
 
 
 =3, 88. 
 
 y> after 
 
 
 =3, 75. 
 
 France. Louis d' or bef6re 1 785 
 
 =4, 60: 
 
 after 
 
 
 =4, 35. 
 
 Napoleon 
 
 
 =3, 71. 
 
 Parma. Piece of livres 20 
 
 
 =3, 71.. 
 
 Portugal. Lisbonina. 
 
 
 =r=8, 36. 
 
 Piemont. Pistole of Genoa. 
 
 
 =7, 30. 
 
 Savoy 
 
 
 =5, 25. 
 
 Piece of livres 1 
 
 
 =3, 71. 
 
 Naples. Ounce from 1 81 8 
 
 
 r-,?., 40. 
 
 Tuscany. Sequin. 
 
 
 =1, 2:1.. 
 
XXXI 
 
 OF THE ECCLESIASTICAL CEREMONIES 
 
 WHICH TAKE PLACE IN THE PAPAL CHAPEL 
 AND IN THE PRINCIPAL CHURCHES. 
 
 JANUARY. 
 
 I. At 10. high mass in the Sixline chapel in presence of 
 the pope, the cardinals, and the pontifical court. 
 
 5. Vespers in the same cbape-1 at 3 PM. 
 
 6. Epiphany. At lo hieh mass as aboye; at 4 p'ocessioa 
 
 in the church of Aracoeli 
 17. Festival of S. Anlonio at his church near S. Maria 
 
 Maggiare. Blessing of horses and other animals. 
 i8.. Chair ofS. Peter-,,at lopontificalchapel at S. Peter's. 
 
 FEBRUARY. 
 
 3. Purification of the Madonna. At 10 pontifical chapel 
 in the Apostolic paLice in which the candles are 
 blessed and distribuled.. - During lent pontifical 
 chapel at the Vatican every Sunday; on ash Wed- 
 nesday the blessing, and di'atnbulion o£' ashes. 
 
 MARCH. 
 
 7. Festival of S. Thomas Aquinas at the Minerva; the- 
 
 holy college of cardinals is present at high mass. 
 a. Festival of S. Francesca Romana at her chiuxh neair 
 the archof Tilus.- 
 
xxxii Ecclesiastical ceremonies. 
 
 25. Annunciation of the B Virgin. The pope and car- 
 dinals are present at high mass at the Minerva, pro- 
 cession of young- girls who have received a do-wry 
 from the fraternity of the Ahniinciatibii. 
 
 HOLY wei:k. 
 
 Palm Suttdaj. The j)ope blesses and distributes palms 
 in the Sixtine chapel ; high mass. The ceremony 
 commences at i/a past 9 
 IVednesclay . About 5 Miserere in the Sixtine chapel. 
 Thursday. High mass in the same chapet ; the pope de- 
 poses the holy Sacrament in the PaoUna chapel ;. 
 JVom the balcony of the Vatican he reads the bull 
 in Coena Domini, gives his blessing to the people j 
 washes the feet and serves at table twelve poor 
 priests of different nations. At 5 o' clock Miserere 
 in the Sixtine ehspel. After sun set the pontifical 
 altar in S. Peter's is washed. 
 Friday. At 1/2 past g the ceremony takes place in the 
 Sixtine chapel in presence of the pope and cardi- 
 nals. In the afternoon the ofSce and Miserere as on 
 the preceding days. In many churches and oratories 
 is celebrated the three hours agony in commemo- 
 vaiion of the three hours that Christ passed on the 
 cross. 
 Saturday. At the church of S. John Laleran baptism of 
 Jews and Turks newly converted; holy orders- 
 granted to those who are destined totlje ecslesias^ 
 tical profession. Houses blessed. 
 Easter. The pope himself celebrates mass at S. Pe- 
 ter's at 10 o'clock; at la he gives his blessing fromi 
 the balcony of the facade. 
 MoiiJay, tuesday and Sunday folio-wing, pontifical cha- 
 pel in the apostolic palace. 
 
Eecclesiastical ceremonies. xxxiii 
 
 A.PRIL. 
 
 a5. Festival of S. Mark the evangelist , at his church 
 palazzo cli Venezia. At 8 o'clock a procession of all 
 the clergy repairs from this church to S- Peter's to 
 implore the pardom of sins , for this reason it is 
 called Litaniae maiores. 
 
 MAY. 
 
 3. Festival of S. Athanasius, bishop of Alexandria and 
 doctor of the church. High mass according to the 
 service of the greek church at S. Athanasius via 
 Babnino. 
 
 a6. Festival of S. Filippo Nert the apostle of Rome 
 Pontifical chapel at the Ghiesa Nuova; the pope 
 and sacred college are present. 
 
 On Ascension day the pope repairs to S. John Lateran. 
 and after mass gives his blessing to the people. 
 
 At Pentecost papal chapel at lo at the apostolic palace 
 or at S. Maria Maggiore. In the afternoon females 
 are permitted to visit the subterranean chiircb of 
 S. Peter's at the Vatican. 
 
 Corpus Domini, at 8 o' clock commences the proces- 
 sion of the holy Sacrament allendod by the pope, 
 the cardinals and all the clergy at Rome. During 
 this and the following days pi-ocessions lake plac* 
 in different parts of the tovyn; those of S. John 
 Lateran the following Sunday and thursday, or of 
 octave, are attended by the pope and cardinals. 
 
 JUNE. 
 
 a4- Festival of S. John Baptist. High mass at lO' 
 o'clock at S. John Lateran in presence of the pope- 
 and oiU'dinala. 
 
xxxiy Eecelesiastical ceremontes, 
 
 28. Eve of Ihe festival of SS. Peter and Paul. At 6 
 pontifical vespers at S. Peter's. The subterraneous 
 church is opened to the piety of the faithful. 
 
 JULY. 
 
 1 4. Chapel of cardinals at the Santi Apostoli, in honour 
 
 of S. Bonaventure. 
 3 1. Grand festival at the Gesu in honour of S. Igniitius. 
 
 AUGUST. 
 
 I . Festival at S. Pietro in Vincoli. At the church on the 
 Esquiline the chains of S. Peter are exposed du- 
 ring eight days to public veneration. 
 
 I 5. Assumption bf the B. Yirgin.. High pontifical miss 
 at S. M. Major followed by the blessing from iha 
 balcony. 
 
 SEPTEMBER. 
 
 8. Nativity of the B. Virgin. High mass in presence of 
 the pope and cardinals at S. Maria del Popolo. 
 
 NOVEMBER. 
 
 1 . Pontifical mass at the V atican at i o o' clock. At 3 
 
 vespers for the deceased. 
 
 2. This day, sacied in the catholic churc-h to the memory 
 
 of the deceased, the pope and cardinals are present 
 at high mass in the Sixtine chapel. On the 3d and 
 .^ih functions are celebrated at the palace for the 
 deceased popes and cardinals. Passages from scri- 
 pture or fro.Ti ecck'siastical history analogous to 
 the subject, are represented in wax in difTerent 
 churches, particularly at S. Maria ir. Trastevere, 
 at the hospital of Santo Spirito, the Gonsolazionej 
 
Ecckmtstical ceremonies. xxxv 
 
 at the chur-ch <£ la Morte in via Gitdia a^d S. JoEn 
 - Lateral). 
 4.. Festival of S. Carlo Bon;omeo; the pope and cai'di- 
 iials repair to the- church of S. Carlo in the Gbrso, 
 where high mass, is cebbcated at 10 o'cloclc 
 
 DECEMBER. 
 
 The first Sunday of Advent,, papal johapel at the Vati- 
 can at 10 o'clock. Aftsr the service- the pope car- 
 ries the holy aaorament in processiou and exposes^ 
 it' in the rtuline chapel wiiidi^ia illutainated yi'ith. 
 wax candles. 
 
 Eaicb .suo<i»y of Advent papal chapel at the apostolic 
 paitaee;. 
 
 8. Coaei^ioo of the B. Virgin-. lEgh mass in the papat 
 ehapeL At 4 o'clock procession fpom the churc1» of 
 Aracoeli which crosses a, part of the fornm. 
 
 24. Cbristtnas eve. Vespers in the papal chapel. About 
 8 iu the evening- mtdnig^ mags'' is «elebiated m. 
 presence of the pope- and cardinals.. 
 
 25. At 3 in the morning high mass commences a± S. Ma- 
 
 ria Maggiore and the holy cracUe- is- exposed all day 
 on the high altar. At lO Mgji' Bi^s by die sove- 
 reign pontiff tsthef at this (^mKsll or at Sk Peter's. 
 Frma this day till the 1st January the birth of 
 our Sttviour is represented in figures in difierent 
 churches; that of Aracoeli is the most interesting. 
 
 26. Papal chapd at 10 in honour of S. Stephen. 
 27; The same in hoiwH^ of S, John the evangelist. 
 29. Festival of S. Thomas bishop c£ Canterbury at his- 
 
 church near the- pajsziso Famesei^ 
 SI, Grand vespers at the Vatican in the Sixtine chapel. 
 At the church of the Cesu ^ solemn TeDenm is- 
 snng in presence of the holy oolJegjG and SWgl- 
 strates of -Rome., - 
 
XXXYI 
 
 PRELIMINARY INFORMATION, 
 HOTELS 
 
 The principal hotels in. Bflm/e are- 
 
 "Jlie Hotel de -Lpudlues. Fiazza dJ Spagna 
 
 P' Europe, '_»»»_, 
 
 i)e Russie Via del Babbuino- 
 
 P,es Isles Britannicpea Piazza del PopcJb. , 
 
 (^'•^llemagBe ' Via dei Condotti 
 
 De la Mimerve- Piazza della Mnervoi 
 
 Cesari. YJa di Pietrat 
 
 Hotel d'-Angleterre. Yia Borgognona, ■■-■ 
 
 Hofiel d'Amirique "Via del Babuinp 
 
 In the Piazzt^ del Popploj the. Corsoj the yia BabbuinO). 
 in the streets, branehjiig. oft towards the Piazza di Spagn^ 
 and in the Via Gi<e^oi-ian9j fatuilies can be apcoramed$i,tedi 
 ■lyith private apartments. 
 
 RELSTAPR4TEUES4. 
 
 Lepri, Via- Condotti^ 
 
 Bertini, in the Corso, near- Sie Hazza Col'onna. 
 Falcone, Piazza St. Eostacbio near the Pantheon,. 
 There are several others of minor note ip different 
 parts of the: town. 
 
 FBOVISICNS. 
 
 _A.H' artifefes of" consvimptibn are abund'ant andof excelr. 
 lent quality, at Roine; families residing in private- aparK- 
 ments may be provided with dinners by- 
 
 Bufour, 36. Yi* dell» Mercedea 
 
 Pellissier, 29 Via della.. Croce. ■ '_ 
 
 IJazzarri 82, 83, Piazza, di Spagna 
 ■?Rho sends, out refreshments for b^lls. and evening parties 
 
xxxvii: 
 
 fufnishes the requisite Knen, plate, glass, china, aud has 
 well ftkrnished rooms for private dinner parties* ' 
 
 MEASURE OP TIME. 
 
 The Italian nlode of ealeiiktion which prevails, in Rome 
 (aod southern Italy is regulated by sun set^ or at the 23^ 
 hour, at all seasons. On the 1st. January the 24th hour 
 corresponds to our 5^, 17^ to noOn and 7^ to our 
 ittidnight. 
 
 The Aiie Maria is always at the 24th. hour oi^ half 
 ^n hour after sunset> 
 
 KfiADING ROOMS. 
 
 The first establishriient of this kirtd in Rome, that 
 of Mr. Piale, ^situated No. 79 Piazasa di Spagna,. is 
 supplied with the London, Paris, Dublin, New Yofk 
 German and Italian papers, the Edinburgh aud Quarterly 
 reviews &c. 
 
 Annexed to the establishment there is a circulating 
 library ef English, French and Italian works, Mr. Piale 
 has on sale a large assortment of books in various lan- 
 guages, maps of Rome, engravings, guide books for Rome, 
 Naples and Sicily, the most -recent publications of London 
 and Paris. 
 
 Lists pf large and small apartments to be let; a diary 
 of the, cereijaqnies and sights of the week. , ' . 
 
 M. Piale is ready to give all general information, as vrell. 
 as to supply the subscribers to the reading rooms with 
 tickets for visiting the Papal palaces and gardens, the 
 cupola of S. Peter's, ,the Villas Adriana, Albani, and 
 other estabUshments. 
 
 M. Pisjle arranges parties for visiting the Vatican and 
 Capitol by torchlight, ap,d furnishes strang^r^ yith the ad- 
 dresses of drawing, music, ^and language masters. 
 
 Messrs. Piale and Cecchetfi have at -N. 106 Via del 
 Babbuino a warehouse fpr the sale of all sorts of en- 
 gravings, coloured views and costumes of Rome, inaps 
 
ijfXnii 
 
 of modern and ancient Rdtne, guide books, stationerj', vi- 
 siting cards printed and engraved, pictures ec. 
 
 PHYSICIANS. 
 
 The names and address of the prilieipal Physicians 
 ate found in the library. 
 
 WINK MERCHANT. 
 
 Mr. W. Jjpwe76 Piazza di Spagna, the. first establish- 
 ment in Rome for the prime' qualities of french or other 
 foreign wines, for teas, English sauces and various dther 
 articles. 
 
 CAUEIAGE REPOSITORY. 
 
 Mr. G. Barfoot 151-153 Via Babuino. 
 Carriages scvld, repaired, 'and exchanged. 
 English S^dlery deposit. 
 
 TAILORS. 
 
 Mr. Hamilton, 74 Via Babiiitio. 
 InnoCenti, 14 Via Condotti. 
 TranzS, 433 Corso. 
 
 MOSAIC MANUFACTORY. 
 
 Amdfigst the best mosaic manufactories in Rome is 
 tjiat of L. . Gallandt , N. 7 Piazza di Spagna, where 
 foreigners will find a large assortment of tables, brooches, 
 and other works admirdblj executed at moderate prices. 
 Orders of every kind are punctually attended to and 
 carefully executed. 
 
 BANKEBS. 
 
 Mess." ToTlonia and C." Piazza di Venezia. 
 
 Freeborn and C.° 7 Via Condotti. 
 
 Plowden Cholmely and C." 232 Corso. 
 
 Macbean ^nd C.° 378 Corso. 
 
 Packenham Hooker and C.° 20 Piazza di Spagna. 
 
XXX IX 
 
 SfilfflNG AGENT. 
 
 Tj. Piale 79 I*iazza di Spagna. Works of art are 
 packed and forwarded to aiiy part of Great Britain or 
 of the United States at fixed rsLtos. Correspoudeiit in 
 Loudon Mr. Mac Cracken 7, old Jewry. 
 
 , • STEAMERS. 
 
 For Naples, Sicily, and the Levant, the frenoh steamers 
 touch at Civitavecchia on the 2, 12 and 22 Of each nionth. 
 
 For Leghorn , Genoa and^Marseilles on the 5 , 10 , 
 15, 20 , 25 and last day ^ ,eaeh month. Letters by 
 these conveyances must be posted on the preceding days 
 at Rome. 
 
 Thqse of the private Unes are Begnlarlj? advertised 
 as opportunities occur. 
 
 GALLEBIES OF PAINTINGS. 
 
 Borghese, Palazzo BprgheSe. 
 
 Doria, 304 Corso; 
 
 bciaiTa, 239 Corso. 
 
 Colonna, Piazza Ss. Apostoll. 
 
 Rospigliosi, on the Quirinal hill, 
 ■ Corsini, Via Longara. 
 
 Spada, near the Fare^se/ palace. 
 
 .These galleries are dpen to tlie public daily from 10 
 
 till 4 ffolcids. - . 
 
 The Campana gallery of ~ Etruscan vases and monu- 
 ments, the Villa Ludovisi, the cupola of St. Peter's, the 
 government manufactory of mosaic works, require tickets 
 which are delivered by Mr. Piale, the proprietor of the 
 Library "and Reading Rooms. 
 
 THE- VATICAN AND CAPITOL GALLERIISS. 
 
 Open to the public on mondays only, from 12 to 3. 
 Entrance may be obtained on other days by giving two 
 paul^ to the Custode. 
 
■THft tATEKAN MlJaECM. 
 Open evWy day after II. Apply to the keepdy. 
 
 post' office! 
 
 •• PIAZZA MADAMA. 
 
 f The mails arrive and depart daily except oil Sundays; 
 letters are posted until 3 o'cloek for Tuscany , and 
 countries via Tuscany, and until S o'clock for all other 
 directions. ■ " 
 
 Franking obligatory for foreign coilntries. 
 
 Theatres open daily exfiept on fndays; the price 'of 
 admittance varies according to the reputation of the 
 performers. ■ ,, ' - 
 
 HacknHy. Coaches. TChe Stapds afe on the Piazze.di 
 Spaglfta, (Bolonna, S. Lorenzo and Monte Citorio. The 
 charge is 4 pauls for the first and 3 for every successive 
 hour; that of the Course from 2 to 4 pauls. 
 
 Omnibus, Piazza di Venezia to St. Paul's church 
 Avithout the walls, fare 6 baiocchi to go and 6 to retifrn. 
 
 Public carriages for CivitaVecch'a at the Piazza Nicosia. 
 
 Albaho price 5 pauls, near the Argentina theatre. 
 
 Frascati 5 pauls, piazza di Venezia. 
 
 Tivoli 6 pauls, piazza degli Orfanelli, 
 
 ROME 
 
 DIMG-BNCES IN THE ROMAN STATES. 
 
 Llborio MarignoU Proprietor — From Rome to Naples, 
 Florence, Ancona, Bologpa, and Ferrara. 
 
 The Bureau is situated at the Post-Office. . n, 
 Departdkes — From Rome to Naples daily (-Sundsfc-s 
 excepted), at the following hours: — 
 
.Mqjnifey, Wednesday, and. Friday, at 7 in the tnorning 
 sleeping at Terraqina; the journey performed in 34 hours. 
 
 Tuesday, Thursday, and Saturday at 1 1 a> m. with- 
 out stoppage: the journey performed in 28 hours. 
 ..— Pkiobs; Coupe', Interior, and Cabriolet, 11 scudi. 
 
 Payment ip cash comprising fees to the Postilions. 
 
 Flx»m I^ome to Florence ■ — Monday, Wednesday, and 
 Friday at 5 in the morning} the journey performed 
 in 32 hows, -without stoppage." 
 
 Prices — Coupe 14 scudi, 45; Interior and Ca- 
 briolet, 13 scudJ, 43 bajpcchi. 
 
 Payment in cash comprising the railroad and pos- 
 tilions. 
 
 From Eome to Bologna Fia Ancona — Wednesday 
 and Saturday, at Y in the evening. 
 
 Prices ^:r- From Rome to Ancona — 8 seudi, 50, 
 in 43 hours. 
 Fi'om, Rome to. Bologpa — 14 scudi. 
 in 78 homs.. 
 
 JVom Bologna to Ferraua dailyj ■>— PmcE 1 scttdo 25. 
 
 From Bologna to Florence, twice daily — Via Filigare, 
 st 5 in the evening — Via Porretta at 4 in the mdrn- 
 Tjag. — ■- Prices: Cou^ 4 sQudi> SIX Interior 4 scudi; 
 Gutwde. 3 scudi Sft,. 
 
 N. B> FVom, Bologmfl. the Kligences correspond daily 
 idth those of Milan, Mantua.,, and the other cities of 
 Xipmhacdy. ' 
 
 From Fferrara daily with the Austrian Diligence from 
 Padua and Yenice. 
 
 The Custom-house visit takes place, in the Diligence 
 
 This establishment provides. Post horses for private 
 carriages, and carriages with 2, 4, and 6 places, for 
 Naples, Florenee, Ancona, and Bologna at the tariff 
 prices, fcee of otheiJ charges. 
 
 The offices are situated at Ancona, Bologna, Ferrara, 
 and Naples, near the Post Office; at Florence, in the 
 Pia??a Santd Trinit.^, 
 
XUI 
 
 ARTICLES OF GONFEGTIONERY 
 
 AND 
 
 FOREIGN WINES 
 
 At the old Establishment of Fra.n<jois Spilbnan ajue, 
 12 Hue GoudottL 
 
 Orders executed for. , bcenkfasts , dinners , deserts-. 
 |M^nios, suppers, refresbnjents , bufiEets and balls. The- 
 proprietor provides rich services in plate, gilt bronzes,, 
 iinen and glass wares.' All sorts oi en^ish pzoviskxi^ 
 
GUIDE OF ROME 
 
 FROM PONTE MOLLl TO THE CAPITOL 
 
 jCJLpproaching Rome from Viterbo on the 
 ancient Cassiaa way, or from Civita Castellana 
 on the Flaminian , the Tiber is crossed on a 
 bridge called « Ponte Molle » about two miles 
 distant from the city . In ancient times it 
 was called Molvius , or Milvius . The modern 
 name is evidently a corruption of the word Mol- 
 vius , the name of an adjacent hill. By some 
 writers it is said to have been built by Mmi- 
 lius Scaurns and that the word Milvius is de- 
 rived from ^milius , but it is known that the 
 bridge esisted a century before Scaurus and that, 
 according to Pliny , the population flocked to 
 it in the middle of the VI century of Rome , 
 to meet the messengers who brought tidings of 
 the victory gained by the Consuls over Asdro- 
 bal at the Metaurus, which may be consider- 
 ed as having put an end to the second Punic 
 
 1 
 
2 First day 
 
 war. It is not, however, improbable that the 
 bridgti was subsequently restored by Scaurus. 
 
 The arrest of the Allobrogi Envoys implica- 
 ted in Catiline's conspiracy , and the battle 
 fought in its vicinity , between Constantine and 
 Maxentius, have given to it a certain celebrity. 
 
 A part of the bridge is ancient. In the mid- 
 dle of the XV century it was restored by Pope 
 Nicholas V, and in 1 805 by Pius VII, when the 
 statues of S. John and of the Conception were 
 erected on the side towards Rome. Those re- 
 presenting our Saviour and S. John Baptist were 
 raised subsequently. The old tower was redu- 
 ced to the form of a Roman arch , by Valadier. 
 
 On the left of the road leading to Rome is 
 a small round temple decorated with a statue 
 of S. Andrew, aad built by Pius II on the spot 
 where he received that apostle's head when 
 it was brought to Rome from the Peloponesus. 
 
 A mile further on is the church built by 
 Julius in in memory of S. Andrew, and of the 
 Pope's liberation from the Imperialists in 1 527. 
 It is by Vignola , and its architecture is con- 
 sidered as one of the best of modern Rome. 
 The Casino called Papa Giulio , was also built 
 by Vignola. 
 
 In the larger palace to the left are some 
 fine fresco paintings by Zuccari. Under Leo XII 
 it was used as a veterinary school; the vicis- 
 situdes of the times, the state of neglect in which 
 the building was left during several years, have 
 caused great injury to its various ornaments. 
 
 Adjoining it is the "Arco Scuro"; a mile 
 and a half distant is a spring of mineral wa- 
 ter called « Acetosa » from its acid flavour; a 
 
First day 3 
 
 liailding was raised on the spot by Alexander Yil 
 on the designs of Bernini, 
 
 Further on to the left is the villa for- 
 merly of Prince Poniatosty with a casino built 
 by Valadier. 
 
 Approaching the gale is the Villa Borghese, 
 the entraiice to which is through an elegant 
 structure by '> Canina , ■» imitated from the 
 Temple of Minerva, at Priene. 
 
 PORTA DEL POFOIO 
 
 "When the Eniperor Honorius rebuilt thp 
 walls in 402, a gate was opened in this direct- 
 ion and called the Flaminian gate. It was on 
 tbe top of the hill in a strong but inconvenient 
 position. Between the VI and VIII century , it 
 was transferred to its present spot and in the XV 
 century it assumed the name of Porta del Popolo 
 from the adjoining church of St.Maria del Popolo, 
 Under Pius IV in 1561 the external facade was 
 decorated by Vignola on the designs of Michael 
 Angelo Buonaroti - This decoration consists of 
 four doric columns two pf granite , and two 
 of veined marble ; between the columns are the 
 statues of S. Peter and S, Paul of inferior sculp- 
 ture by « Moch,i » Tbe internal facade was 
 reduced to the present form in 1655 under 
 Alexander VII by Bernini , when q^ueen Christi- 
 na of Sweden entered Rome - It leads to the 
 
 PIAZZA DEL POPOLO 
 
 This large and splendid Piazza announces 
 to the traveller his entrance i>ilo the metropo- 
 
 1 * 
 
4 First day 
 
 lis of religion, of arts, and of the ancient Ro- 
 man world. 
 
 Between two large semicircles stands a su- 
 perb Egyptian Obelisk; on the sides are four 
 buildings of the same style of architecture; on 
 the right the Custom house, the exposition room 
 of the fine arts, the barracks behind which is the 
 public slaughter house. On the left the August- 
 inian convent ; the other two are private hou- 
 ses , all built by Valadier. The semicircles are 
 embellished with fountains furnished by the 
 aqueduct of the acqua Vergine , and adorned 
 with groups by Ceccarini, one representing 
 Rome between the Tiber and the Anio; the other 
 Neptune between two Tritons; on the four pe- 
 destals which terminate the semicircles, are the 
 seasons: Spring by Gnaccarini; Summer by La- 
 boureur; Autumn by Stocchi; Winter by Baini. 
 
 In front of the gate, between two churches 
 of a similar design , and adorned with a tetra 
 style pronaus, three spacious streets lead to the 
 city. 
 
 The obelisk is placed on a quadrangular 
 base with four lions of modern work in 
 the Egyptian style at the angles, which pour 
 water into four cups. It is of red granite co- 
 yered with hieroglyphics, and with the pedestal 
 is 143 palms high, without it 108. It was ori- 
 ginally raised by Rhamses , the Sesostris of the 
 Greeks , at Heliopolis in Lower Egypt, to serve 
 as a decoration to the temple of the Sun to 
 which the obelisk itself was dedicated. After the 
 battle of Actium and the conquest of Egypt Au- 
 gustus ordered it to be carried to Rome' and 
 placed on the spina of the Qrcus Maiimus r»- 
 
First day 5 
 
 newing ifs dedication to the Sun as we read on 
 the pedestal. In 1 587 Sixtus V excavated it from 
 the ruins of the Circus where it was found bro- 
 ken in to three parts, and after its restoration 
 raised it in its present place under the direction 
 of the architect Domenico Fontana. As Rome 
 is the richest city in these kinds of monumients, it 
 is not unnecessary to observe that obelisks were 
 erected by the ancient kings of Egypt prior to the 
 conq^uest of that country by the Persians under 
 Cambyses ; the example of the Pharaohs was 
 followed by the Ptolemies and the Romans^ these 
 monuments may thus be ascribed to three 
 different periods. Of those existing at Rome three 
 only are of the first period : those of the Piaz- 
 za del Popolo , of Moutecitorio and of the La- 
 teran; these are easily recognized by the deli- 
 cate work of the hieroglyphics, by the names 
 which are inscribed on them and which , after 
 the late discoveries, are no longer an enigma; the 
 obelisks without hieroglyphics never belonged 
 to the period of the Pharaohs, they are gener- 
 ally the work of the Romans. 
 
 CBVRCH OP S. UARIA DEL POPOLO 
 
 According to the generally received tradi- 
 tion this church was built about 1 099 by Pope 
 Pascal II to liberate the people from the 
 phantoms and nocturnal visions attributed in 
 those times of ignorance to the dead body of 
 Nero which , according to Svetonius , was 
 buried on the coUis hortulorum now the Pin- 
 eio , in the tomb of the Domitii. In 1227 it 
 is said to have been rebuilt by the Roman peo- 
 
6 Pirst day 
 
 pie from whom it derived the appellation subse- 
 quently extended to the adjoining gate and piaz- 
 za. The facade was raised under Sixtus IV by 
 Baccio Pintelli. Agostino Chigi and others deco« 
 rated this church which may be considered as one 
 of the most important in Rome particularly for the 
 sculptures and carvings of the XV and XVI Cen- 
 turies. 
 
 The interior is divided into three naves. In 
 the first chapel from the right entrance, dedi- 
 cated to the Virgin and to S. Jerome by Cardi- 
 nal Domenico delta Rovere, the paintings by Pin- 
 turicchio are remarkable by the lightness and 
 delicacy of the contours. The second , the Cibo 
 chapel, was built in the shape of a greek cross, 
 the vestibule in front has rendered it a latin 
 cross. It contains sixteen corinthian columns of 
 Sicilian Jasper, and is lined with Phrygian and 
 Thessalic marble and with alabaster. It is one 
 of the richest chapels of Rome, and was built 
 by Cardinal Alderano Cibo who died in 170Q,- 
 his tomb is on the left side , the architecture is 
 by Fontana.The painting on the left represents the 
 martyrdom of S.Lorenzo by Morandi,on the right 
 that of S. Catherine by Daniel; over the altar 
 Carlo Maratta has represented the conception of 
 the Virgin with S. John, S. Gregory, S. August- 
 ine and S. Ambrogio. The cupola , of a fine 
 proportion, was painted by Gozzo. 
 
 The third chapel built by Sixtus IV and 
 dedicated to the Virgin and to other Saints 
 was painted by Pinturicchio ; it has an elegant 
 balustrade. On the altar of the fourth chapel 
 is a basso rilievo of S. Catherine with S. An- 
 tonio of Padua ^d S, Vincent, a well execu-. 
 
I'^irst day 7 
 
 ted work of the XV century. The ancient pic- 
 ture of the Virgin placed over the high altar is 
 one of those that are said to have been painted 
 hj S. Luke. 
 
 The painting under the cross of the choir 
 is by Pinturicchio ; the two fine marble tombs 
 ornamented with statues and fine carvings by 
 Sansoyino , are considered to be the best spe- 
 cimens of modern ornaments in Rome , both in 
 their design and execution. The assumption in the 
 following chapel is a fine work of Annibal Ca- 
 racci ; the side paintings representing the cru- 
 cifixion of S. Peter and the conversion of S. Paul, 
 are by Caravaggi; those of the roof designed by 
 the same artist, are by Tacconi and Novarra. 
 
 The chapel of the crucifixion, belonging to 
 the Soderini family, suffered so much from damp 
 and neglect that the fine frescoes on the walls 
 had nearly disappeared. They have been resto- 
 red in 1825 when the chapel came into pos- 
 session of the Soderini, and represent the dis- 
 covery and exaltation of the cross. 
 
 The Chigi chapel was designed by Raphael 
 who made the cartoons for the mosaic of the cu- 
 pola, the paintings of the freize,and the picture 
 over the altar which was begun by Sebastian del 
 Piombo and finished by Francesco Salviati who 
 painted the remainder of the chapel, excepting 
 the David arjd Aaron in the lunettes, which were 
 coloured by Vanni. These paintings have been 
 greatly injured by damp. In the angles of this 
 splendid chapel are four statues : Daniel in the 
 lion's den, Abacuc and the angel; the tombs of 
 Agostino and Sigismondb Chigi are by Bernini. 
 The statue of Elias, that of Jonas seated on the 
 
8 First day 
 
 whale, by Lorenzetto; the Jonas is highly esteem- 
 ed from having been modelled by Raphael 
 and executed under his direction. On the right 
 pilaster of the adjoining arch is the tomb of 
 the Princess Odescalchi Chigi, designed by Paolo 
 Posi. 
 
 This church contains many curious sepulch- 
 ral monuments of various epochs. Near the 
 right door one with two portraits in oil 
 by Rosa; Opposite the Cibo chapel that of the 
 painter Gaspard Celio, with a portrait of Gar- 
 dinstl Albani, the sculpture by Yalsado ; in the 
 third chapel that of Alberloni; in the left nave 
 that of Monsignor Rondanini designed and exe- 
 cuted by Domenico Guidi; that of Ermola Rar- 
 baro a distinguished scholar of the XV century. 
 Near to the left door that of Gislemi a painter and 
 architect by Quaranta; within the transept those 
 of Cardinals Lonato and Podocatario. 
 
 Near the entrance door of the convent are 
 various monuments of the XV and XVI ccntu> 
 ries; one of Rernardino Anglona Helvino minister 
 of Paul III said to be by Guglielmo della 
 Porta. In the sacristy is a painting on wood of 
 the school of Giotto, found in 1810 in excavat- 
 ing the Pincio , and several other moaumeuts 
 of a fine style of sculpture. 
 
 yijt DEL CORSO 
 
 This street derives its name from the horse- 
 races introduced under Paul 11; it is the prin- 
 cipal street of Rome and forms a straightline 
 a mile in length to the foot of the Capitol. It has 
 been embellished under Leo XII, Pius VIII, and 
 lie present Pope Gregory XVI. 
 
First day 9 
 
 The entrance to it is between two charches 
 of the same style of architecture by Rainaldi. 
 
 IIONTE SANTO 
 
 This church and the one opposite were be- 
 gnnin 1 662 by order of Alexander VII and finished 
 by Cardinal Gastaldi under the direction of Ber- 
 nini , ou the designs of Rainaldi. 
 
 lu the first chapel there formerly existed 
 four fine paintings by Salvator Rosa ; the two 
 largest represented Christ in his agony and Ha- 
 bacucco with the angel, which had been placed 
 here by Rossi, the intimate friend of that distin- 
 guished painter. They hare disappeared and four 
 modern very inferior pictures have been substi- 
 tuted in their place. The stucco works are by 
 Papaleo, a Sicilian. In the third chapel is a holy 
 family by Nicholas Berettoni a pupil of Maratte. 
 
 The stuccoes are by Naldini. On the sides 
 of the high altar are the busts of Popes Alex- 
 ander VII, Clement IX, Innocent XI, placed by 
 Cardinal Gastaldi as a mark of his gratitude to 
 those pontiOs ; they are by Lucenti. 
 
 In the third chapel to the left is a picture 
 representing S. Francis and S. James before the 
 Virgin , the work of Carlo Maratte ; the side 
 paintings are by Gazzi and Daniel; the following 
 chapel is adorned with paintings relative to the 
 history of S. Maddalena de' Pazzi, by Gemignani; 
 the stuccoes were modelled by Carcani , the 
 picture over the altar Is by Puccini. 
 
10 First day 
 
 S, MARIA DB UIRACOLI 
 
 This church, designed by Rainaldi, was built 
 ttnder the direction of Carlo Fontana. 
 
 The picture representing S. Anthony on the 
 left entrance is by Guascard. The four aiigels 
 supporting the picture of the Madonna are by 
 Rarggi. The bronze busts on the Gastaldi tombs 
 are by Lucenti, the two virtues, hope and pru- 
 dence, and the genii supporting the Gastaldi 
 arms, are by Razzi. 
 
 The statues of faith and charity by Lucenti. 
 The ceiling was painted by Michel Angelo of 
 Malta; that in the adjoining chapel represent'- 
 ing S. Sosalia, by Sottino of Palermo. 
 
 Following the Gorso,to the right is the Ron- 
 daniai palace which once contained a fine col- 
 lection of ancient monuments some of which are 
 still ia its yard and on the stair case. On the 
 left is 
 
 THE istURCa OF OESJf £ MARtA 
 
 Built in 1 640 b_f the refoi-med Angustinians 
 on the designs of Can'o Milanesi and finished by 
 Monsignor Bolognetti , Jjishop of Rieti , under 
 the direction of Rainaldi who raised the fagade, 
 and filled the interior with fine marbles and 
 gilt stuccos which render it one of the richest 
 churches of Rome. It contains several tombs of 
 the Bolognetti family. The paintiKg over the high 
 altar and those on the ceiling, are by Brandir 
 In the sacristy the altar piece audi frescoes are 
 by Lanfranc. 
 
First day 1 1 
 
 J. eiJCOiao DEGh llfCURABILI 
 
 So called from the adjoining hospital. It was 
 foanded, together with the hospital, in 1338 by 
 Cardinal Colonna when the name « in Augusta» 
 was added from the neighbouHng Mausoleum of 
 Augustus, 
 
 It was rebuilt in 1 600 by Cardinal Salviati 
 on the designs of Francesco da Volterra and fin- 
 ished by Carlo Maderno. In the second chapel 
 on the right is a bas relief by Legros represent- 
 ing S. Francis de Paule praying to the Virgin 
 for the cure of some sick person; this work is 
 well executed though of indifferent composition. 
 The paintings near it represent subjects rela- 
 ting to the same saint by Passeri. 
 
 In the adjoining Vicolo S. Giacomo, is the 
 studio once occupied by Canova who contri- 
 buted so much to the restoration of sculpture. 
 The studio now belongs to his pupil Rinaldi , 
 a distinguished artist. Following the Corso, on 
 the left is the via Vittoria in which is the Ur- 
 suline church and convent built in \ 684 by Laura 
 Duchess of Modena , and enlarged about the 
 middle of last century by Benedict XIV. Female 
 children are educated by the ladies of this 
 convent. 
 
 Returning into the Corso ', on the right 
 is the 
 
 CHURCH OF S. CARLO 
 
 Commenced in 1612 by the Lombards on 
 the des.ign$ of Lungbi. At his death it was con- 
 
12 First day 
 
 tinued bj Bis son, and the interior finished 
 by Pietro da Cortona. The front was built by 
 Menicucci and Canepina a capuchin, to the ex- 
 clusion of several architects one of whom was 
 Rainaldi. 
 
 The interior is composed of three naves di- 
 vided by Corinthian pilasters and ornamented 
 with paintings and gilt stuccoes. 
 
 The chapel to the right under the cross 
 built by Poli is the finest, being decorated with 
 marble , gilt bronze works , and sculptures. 
 The picture over the altar , representing in 
 mosaic the conception of the. Madonna, is a 
 copy from theCarloMaratta in the church of S.Ma- 
 ria del popolo. The statue of David on the right 
 is by Pacilli, the Judith on the left by Lebrun. 
 These works have all the defects of the period 
 and when placed in comparison with those of 
 Ganova, the merit of this great artist cannot be 
 too highly appreciated in having brought the art 
 back to its true principles in the midst of such 
 aberrations. 
 
 The high altar piece representing S. Char- 
 les presented by the Madonna to our Saviour is 
 also by Maratte and is considered as one of his 
 best works. 
 
 The paintings of the large nave , of the 
 tribune and chapel, are by Brandi.. 
 
 The celebrated Italian writer Alessandro 
 Verri the author of the « Notti Romane » is bu- 
 ried in this church on the left of the middle 
 nave. 
 
 In the small nave behind the tribune is an 
 altar containing the heart of S. Charles. 
 
 The paintings on the ceiling are by Ascensi 
 and Bonocore. 
 
First day 13 
 
 Oyer tbe altar of the oratory is a depo- 
 sition with two Sjbils standing beneath , the 
 work of Giacomo della Porta. 
 
 PALAZZO RVSPOU 
 
 This palace was built for the Ruccellai 
 family on the designs of Ammanati. It shortly 
 afterwards came into the possession of Cardi- 
 nal Caetani who made the balcony, the cornice, 
 and the grand stair case which forms the 
 
 firincipal ornament of the palace. It now bel- 
 ongs to the Ruspoli family. 
 
 The stair case consists of < 1 5 steps, each 
 of a single slab of white marble. 
 
 The gallery is 80 feet in length , 26 in 
 height and 1 1 l/2 in breadth. 
 
 The ground floor now forms the largest 
 cofiee house in Rome . These rooms were 
 painted by two french artists Leonardo and, 
 Francesco. ;'irA:.&/'% "fc^ M^;' 4-^***^ 
 
 Opposite this palace is the via Condotti ,^ 
 so called from the acqueducts that pass under 
 it.Near the entrance from the Corso is the church 
 dedicated to the most holy Trinity built in 1741 
 by Rodriguez a Portuguese , and finished by 
 Hermosilla a Spaniard. It is of the elliptic form 
 and contains seven chapels wi(h paintings by 
 good artists. 
 
 On the right in this street is the Nunez 
 palace , now the property and residence of Doa 
 Marino Torlonia , Duke of Bracciano. 
 
 On the left that of the order of Malta. 
 
1 4 Firtt fay 
 
 Returning into the Cjrso , and near the 
 Buspoli palace is the 
 
 CUUBCB OF S. LOREKZO IIT LUCIKA 
 
 Which probably derives its appellation from 
 its proximity to the ancient Terentium in which, 
 according to Zosimus , sacrifices were offered 
 to the Lucine gods. 
 
 This church is said to have been built in 
 435 under Sixtus III but though no proofs 
 are given of such antiquity it is certain that it 
 existed in the VI century. It was restored by 
 Benedict II in 685 , hy Adrian I in 780, and re- 
 built in 1196. 
 
 Paul V gave it to the minori regolari by 
 whom it was restored under the direction of 
 Cosimo of Bergamo. 
 
 The paintings on the ceiling are by Greuter 
 a Neapolitan ; others in the church are by Spa- 
 darino and Piccione. The S. Lorenzo in the first 
 chapel , dedicated to S. Anthony of Padua, was 
 designed by Rainaldi. The principal figure of 
 the saint is by Stanzioni a Neapolitan.The church 
 contains some very fine marbles and four columns 
 of nero antico. 
 
 Over the high altar is Guide's celebrated 
 picture representing the crucifixion, left to this 
 church by the Marquis Angelelli. 
 
 The following chapel, dedicated to S. Mar- 
 gherita di Cortona and to S. Francis, was paint- 
 ed, according to general opinion, by Marco Be- 
 nafiel. 
 
 Amongst the artists who were buried in this 
 church the celebrated Poussin claims a panicu- 
 
Fir$t day f> 
 
 lar notice ; the monument erected to bis mem-- 
 ory at the expense of Monsieur de Chateau- 
 briand, placed near the second chapel to the 
 right, was designed by Lemoyne, a living artist 
 who made the bust. The bas relief represents the 
 discovery of Sappho's tomb in Arcadia, a subject 
 treated also by Poussin, 
 
 The palace adjoining this church belongs to 
 the Ottoboni, dukes of Fiano. Between this pal- 
 ace and the corner of the via delia Vite for- 
 merly existed the triumphal arch of the Empe- 
 ror Marcus Aurelius , ornamented with bas re- 
 liefs and verde antico columns. As it embar- 
 rassed the Corso , Alexander VII ordered its 
 demolition. The bas reliefs belonging to it were 
 placed in the Capitol , on the second flight of 
 steps in the palace of the Gonservatori. The col- 
 umns were transferred to the Gorsini chapel 
 at S. John Lateran . An inscription in the 
 street commemorates this alteration made by 
 Alexander VII. 
 
 -«T6llowing the Corso, to the left is the via 
 delie Gonvertite and 
 
 CHURCH OF S. SIWESTgR 
 
 Galled « in Capite » to distinguish it from 
 others dedicated to the same saint, on account 
 of the venerable relic it contains of the head 
 of S^ John Baptist. It is said to have been built 
 in ^51 , but it existed in the VII century and 
 was restored about the middle of the following 
 century by Pope Paul I. It was restored anew 
 in 1236 , and assumed its present form in 1690 
 
16 Pirit day 
 
 under the direction of the architect De Rossi; 
 The paintings on the ceiling which represent 
 the assumption of the Virgin , S. John Baptist, 
 S. Silvester and other saints, are by Braudi ; 
 those under the arches by Roncalli, those of the 
 tribune by Gemignani; the paintings of the other 
 chapels are very inferior excepting that ofths 
 crucifixion. On the right hand returning into 
 the Gorso is the 
 
 PALAZZO TORLONIA , FORMERLY VEROSPl 
 
 This palace was built by Lunghi. It once 
 contained a fine collection of ancient sculptures 
 some of which are now in the Vatican , but 
 it still preserves the celebrated fresco paintings 
 of Albano representing the planets and hours 
 finely composed and executed and which have 
 been frequently engraved. 
 
 PALAZZO caiGI 
 
 This magnificent palace was begun V^'^ts he 
 designs of Giacomo della Porta , continued 
 by Carlo Maderno, and finished by Della Greca 
 for the residence of the nephews of Alexan- 
 der VII. The vestibule is grand, the yard large 
 and handsome. 
 
 A magnificent stair case leads to the first 
 apartment in which are four rooms filled with 
 paintings by celebrated artists. 
 
 At the entrance of the second story js a 
 dog in marble, similar in size and style to those 
 
First day 17 
 
 of the hall of animals at the Vatican. In the 
 room to the right are two marble works of 
 Bernini representing life and death in the form 
 of a skull and sleeping child .placed on two 
 marble cushions. This room contains the follow- 
 ing pictures: one of the X century represent- 
 ing the graces; S. Francis by Bacciccio. S. Peter 
 curing the lame man , Carlo Yeneziano ; A 
 sketch by Titian; Joseph in prison explaining 
 the dream, Joseph sold by his brothers, Cer- 
 quozzi. A perspective with nymphs at the bath, 
 of the flemish school; A small landscape by 
 Agostino Tassi; Two small Flemish pieces; Two 
 battle pieces , school of Borgognone; Two dogs 
 and a negro by Baglioni, 
 
 In the adjoining room are three fine antique 
 statues: a Venus with an ancient greek inscript- 
 ion stating that it is the work of Menophan- 
 tes taken from the original which existed at 
 Troy. It was found on the Coelian hill facing 
 the Palatine in the Gornovaglia gardens. It is of 
 Parian marble and of the finest execution. The 
 second is a Mercury with the wand. 
 
 The head , which is modern, is in plaster 
 and instead of legs it terminates in a square 
 block. It appears to be one of those hermes 
 called « Attic » by Pausanias. The drapery is 
 Tery beautiful and the work in all its details 
 belongs to the most flourishing period of art. 
 The third statue , also of Parian marble, repre- 
 sents Apollo with the laurel and the serpent; 
 It is well designed and executed but cold in 
 expression , and may be attributed to the time 
 of Hadrian. 
 
 In the same room are some fine paintings. 
 S. Authony , S. Paschal and S. Cecilia by Ben- 
 
1 8 first day 
 
 vGBUto Garofolo. S. Francis , Guercino. S. John 
 Baptist drinking at a spring-, Caravaggio. Ihe 
 Ascension, Garofalo. S. Bruno, Mola. A Magda- 
 ien , Guercino. S. Barthlemy and b. John , 
 Dossi Dosso. S. Cecilia in the manner oi Guido. 
 A Nativity and bambocciata by an unknowa 
 
 author. <• i 
 
 Third room : A fresco painting of the Vir- 
 gin , Fiiippo Lippi. The portrait of- Mantegna j 
 by himself. The infant Jesus in fresco , Lippi. 
 A copy of the portrait of Raphael by one of his 
 school. A guardian angel, Pietro da Cortona.> 
 A Madonna and infant said to be by Giro Ferri. 
 S. Peter and Christ , Anaibal Garacci. The adul- 
 tress, Carlo Veneziano. Samson killing the lion 
 a sketch by Gennari , or according to others bj 
 Andrea Sacchi. A battle between the Romans 
 and Veientes, another between the Horatii and 
 Curiatii , d' Arpino. A sacrifice to Bacchus, Ro- 
 manelli. A battle , Salrator Rosa. The Virgin 
 with saints by Proccacini. An infant Jesus , 
 with angels holding the emblems of his passion 
 by Albani. A Madonna and two angels Paris of Pe- 
 rugia. A holy family , Beccafumo. The blessed 
 Bernardo Tolomei , Andrea Sacchi. A standard 
 with S. Francis on both sides by Annibal Ga- 
 racci. The adoration of the Magi , an excellent 
 painting by Mazzolino of Ferrara. Jesus at the 
 column , Luini. A portrait supposed to be that 
 of Laura , Paul Veronese. A small picture with 
 Venus and Cupid of the Parma school. On the 
 front of the windows Joseph and Puliphar by 
 an unknown author. A pieta , Elisabeth Sirani. 
 A cupid , Baglioni. a portrait of Barocci by 
 hiaiieif. A magdalen by Spagnoletto, The genius 
 
first day 1S> 
 
 of paiuting, Baglioni, and Snsan, unknown. Be" 
 yond the room containing the portraits of the 
 Chigi fanlily and in the large gallery over the 
 door is a Basiccio. On the right our saviour 
 showing a piece of money to the Pharisee by 
 Titian, badly restored; A madonna of Carlo 
 Maratte ; On the opposite side the procession 
 of the ark by Palma the younger. An Archi- 
 medes , ' Calabrese ; Joseph explaining dreams 
 Garavaggio ; A roman charity, the Cavalier 
 d' , Arpino ; Oar Saviour and S. Thomas', 
 Antonio Caracci; A madonna and child , Albani. 
 A magdalen of the lombard school; the portrait 
 of Pietro Aretino by Titian. 
 
 A satyr disputing with a philosopher , by 
 Salvator Bosa.Melchesedeck receiving loaves from 
 the priests, Ercole of Ferrara; A holy family, 
 Potissin; Three infants , by the same ; the con- 
 version of S. Paul, Domenichino; A female por- 
 trait , Tintoretto. Joseph 's dream of the flight 
 into Eygpt , Luca Giordaflo; A deposition, Pa- 
 dovanino; A glory with several saints, Giacomo 
 Palma; repose in Egypt , Luca Giordano ; de- 
 position , Poussin ; S. John Baptist preaching, 
 by Luca d' Olanda; The toilette of Venus by 
 Albano; a flagellation in the manner of Guer- 
 cino; An assumption by the same; A small por- 
 trait Tintoretto; another by Tilian. The fagade 
 finishes with a sketch by Andrea Sacchi repre- 
 senting divine wisdom: on the sides of the win- 
 dows, Venus and Endymion of the french school. 
 A bishop distributing alms by Carlo Veneziano; 
 A Madonna of Ghirlandaio; S. John the baptist 
 by Barocfci; The marriage of S.Catharine,Sodoma. 
 S, Peter by Lanfraqc. The infant Jesus, school 
 
20 First day 
 
 of Guercino ; a S. Jerome , by Ascaldas. The 
 repose of the infant Jesus, Guido. The last sup- 
 per , Romianelli. A holy family by Pierin del 
 Vaga. An assumption by Zenian, a Madonna of 
 the florentine school. 
 
 On the second floor is a cabinet containing 
 original drawings by Giulio Romano, Bernini, 
 Sacchi and an ancient mosaic representing va- 
 rious birds. The library contains several greek, 
 latin , and italian manuscripts. A permission is 
 requisite to visit the gallery and the library. 
 
 PIAZZA COLONS A 
 
 On this piazza , which is supposed to oe- 
 cnpy a part of the ancient Antonine forum, still 
 e-iists the column raised by the senate and ro- 
 man people in honour of Marcus Aurelius An- 
 toninus. 
 
 The has reliefs represent the victories of 
 Marcus Aurelius over the Marcomanni and other 
 German nations , and the image of Jupiter Plu- 
 vius to whom the Pagans attributed the 
 marvellous rain obtained from the true God 
 by the Christian soldiers of the fulminating 
 legion. The has reliefs are inferior in merit 
 to those of the Trajan column of which 
 they are an imitation ; the statue of Marcus 
 Aurelius in gill bronze was placed on the top 
 of the column ; the modern inscription on the 
 pedestal that « Marcus dedicated this column to 
 his adoptive father Antoninus Pius» is altogether 
 erroneous , since it was raised after the death 
 of that philosophic Emperor, and the inscription 
 of Pius was found in the last century near the 
 
„ r\ 
 
 e 
 
 i 
 
 a 
 ^ 
 
 ^' 
 
 ^^^ 
 
 f9 
 
First day 21 
 
 house of tlie Missions, and its pedestal with the 
 dedication of Marcus Aurelius and Lucius Varus 
 is now in the Vatican garden. An inscripton 
 found near the column and now existing in the 
 Vatican museum records a rescript of Septimius 
 Severus in favour of Adrastus , a freedman and 
 keeper of this column; it gives it the name of 
 column of Divus Marcus and thus removes all 
 doubt on the subject. 
 
 The column of the doric order is compo- 
 sed of 28 blocks of white marble ; a winding 
 stair case in the interior leads to the top. It 
 consists of 190 steps lighted by 41 apertures. Its 
 diameter is 17 1/2 palms its height 217 as fol- 
 lows : the base of the pedestal under ground 
 at the ancient door 16, the pedestal 33 ^/2 
 the base of the column 3, the column with base 
 and capital 129 , the pedestal and base of the 
 statue 17 , the statue 19. Having suffered from 
 fire and lightning it was restored by Sixtus V 
 and the pedestal lined anew under the direct- 
 ion of Domenico Fontana when it was de- 
 dicated to S. Paul and the statue of the apostle 
 in gilt bronze was placed on the top. The in- 
 scriptions on the pedestal are modern. 
 
 In front of the column near the Corso is 
 a fountain of the acqua vergine placed there 
 under Gregory XIII on the designs of Giacomo 
 della Porta. The cup is of the antique marble 
 called porta santa. 
 
 The sides of the Piazza are formed by the 
 Chigi , Piombino and Brancadoro palaces and 
 that of the Administration of posts restored in 
 1 839 ; the columns forming the portico weru 
 found at ancient Veii. 
 
22 First day 
 
 Adjoining the Chigi palace is 
 
 THE PIAZZA DI UOKTECITORIO 
 
 The hillock by which this piazza is for- 
 m«d is not natural ; it arises principally from 
 the ruins of the amphitheatre built by Statil- 
 ius Taurus and from earth dug up in building 
 the neighbouring houses. The word « Citorio » 
 may be considered as a corruption from Tau- 
 rus or Toro , the name of Statilius. 
 
 In the XIII century it was called « accept- 
 orius » the etymology of which it is dii&cuh to 
 trace. 
 
 A great ornament to this piazza is the solar 
 obelisk of Augustus raised on the spot where 
 the pedestal of the Antonine column existed and 
 which was placed there by Benedict XIV. It 
 was transferred in 1 789 to the Vatican garden 
 by order of Pius VI who, under the direction 
 of Giovanni Antinori, erected this obelisk of red 
 granite with hieroglyphics ; it is 98 palms high 
 without the pedestal which forms 1 9 , and on 
 it is an inscription copied from the obelisk at the 
 Popolo that it was deicated by Augustus to 
 the sun. The pedestal is on a double base of 
 white marble 1 3 l/2 palms high, giving an ele- 
 vation from the earth of 1 30 1/2 palms, without 
 the bronze globe at the top. 
 
 This obelisk was in the origin erected at 
 Heliopolis by Psammeticus as appears by the 
 hieroglyphic cartouches and not by Sesostris, 
 king of Egypt as stated by Pliny. It was brought 
 to Rome by Augustus who placed it in the 
 Campus Martius where it served as a gnomon ta 
 
First day 23 
 
 the meridian marked in a bronze quadrant en- 
 closed in marble , and thus it was called the 
 solar obelisk. Some pieces of marble were dis- 
 covered in renewing the foundations of the 
 sacristy of S.Lorenzo in Lucina , the quadrant 
 having formerly been placed there. The obelisk 
 was found near the Impresa where an inscription 
 records the discovery , and was dug up under 
 Benedict XIY in 1 784, but being broken into 
 five pieces it was neglected until the pontificate 
 of Pius YI. 
 
 PALAZZO DI MONTE CITORIO 
 
 On the remains of the amphitheatre of 
 Statilius Taurus this large building was begun 
 hy Innocent X on the designs of Bernini, but 
 not having been finished it was purchased by 
 Innocent XII who completed it under the di- 
 rection of Carlo Fontana and having established 
 here the courts of law called it the Curia Inoo- 
 centiana. 
 
 On the facade is a belfry with a clock 
 destined to regulate all those of the city. The 
 yard is of a semicircular form ; at the bottom 
 is a fountain with a cup of red granite found 
 in the ruins of Porto. On the left towards Ibe 
 «Missione» lies a large column of cipollino found 
 under ground in 1778 in the piazza di Cam- 
 po Marzo. 
 
 On the ground floor are the offices of the 
 Notaries of the Uditore della Camera and of 
 their substitutes; on the first story their apart- 
 tments and those of the Uditore della Segnatura. 
 on the second those of the Tesoriere or Finaacft 
 Minister. 
 
24 Fitit day 
 
 CJSJ DELIA MflSSlOlfE 
 
 This house, belonging to the congregation 
 of the missionary priests founded by S.Vincent 
 de Paule, was built in 1642 by the Duchess 
 d' Aiguillon. The priests by their institution are 
 sent into the different parts of the Papal states 
 to instruct the secular students who aspire to 
 holy orders in the lithurgy and church pract- 
 ices. 
 
 The church is dedicated to the most holy 
 Trinity.lt was rebuilt in 1741 by Cardinal Lan- 
 fredini on the designs of the superior of tha 
 establishement named Torre. The paintings in 
 the chapel are by Vien, Bottani, Conca, Miiani, 
 Monosilio and Perotti. 
 
 In the garden annexed to the house was 
 found in 1795 the column raised by Marcus 
 Aurelius and Lucius Verus to Antoninus Pius their 
 adoptiye father. It was of red granite with a 
 white marble pedestal and high reliefs repre.!- 
 senting military deeds and the apotheosis of 
 Antoninus and Faustina with the following epi- 
 graph. 
 
 DIVO . ANTONINO . AUGUSTO . PIO. 
 
 ANTONINUS . AUGUSTUS . ET 
 
 VERUS . AUGUSTUS . FILIL 
 
 The column was 68 palms in length and 
 25 in circumference. As it was used to repair 
 the obelisks erected by Pius VI, the pedestal 
 that had been placed on the Piazza Monteci- 
 torio by Benedict XIV was , as already stated 
 carried by order of Pius VI to the Vatican garden. 
 
First day 25 
 
 A street opposite the obelisk leads to the 
 piazza di Pietra on which stand the remains 
 of the 
 
 TEMPLE OF ANTONINUS PIUS, 
 
 The plan of this magnificent structure clear- 
 ly indicates that it was a temple , while its 
 proximity to the other buildings of the Anto- 
 nines , its style and a part of the original in- 
 "scription found in the XV century, were strong 
 arguments to prove that it was dedicated to the 
 Emperor Antoninus Pius by the Roman senate 
 and people , when other discoveries confirmed 
 this opinion. 
 
 On the north side of the temple there still 
 remain eleven large columns which support their 
 white marble architrave. Both this and rest of 
 the entablature being greatly damaged , were 
 restored with stucco by Borromini in the XVII 
 century , and the joints being no longer visi- 
 ble it was said to be formed of a single block 
 of marble. A fragment of the original cornice 
 is enclosed in the portico leading from the piaz- 
 za del Gampidoglio to the Tarpeian rock. The 
 columns are corinthian but greatly damaged by 
 fire. They are 6 palms 2 inches in diameter, 
 58 palms in height. The base is attic, and the ca- 
 pital adorned with acanthus intermixed with 
 olive leaves. In the yard are several large blocks 
 of the cella which was divided into squares. 
 
 These columns now form the facade of the 
 Custom house. 
 
25 _ FirH dan 
 
 lAlAZZO SCIARRJ. 
 
 This palace was built on the designs qC 
 Flaminio Ponzio , except the gate in travertine 
 said to be by Antonio Labacco, and which cer- 
 tainly does not deserve the praises bestowed 
 on it. 
 
 On. the first story is a collection of pict-. 
 ures considered as one of the finest in Rome. 
 
 First room : a fine copy of the Transfi- 
 guration of Raphael, attributed by some to Va- 
 lentin , by others to Carlo Veneziano. The sa- 
 crifice of Abraham, Gherardo delle Notti; S. Au- 
 gustin distributing alms by Carlo Maratte. The 
 holy family, Innocenza da Immola , a Madonna 
 and child , Giovanni Bellini ; Cleopatra, Lau-^ 
 franco. S. Peter healing a sick person , Ro- 
 manelli. Madonna , florentine school ; a por- 
 trait , Venitian school ; decollation of S. John 
 Baptist , Valentin. Virgin with two saints school 
 of Pietro Perngino; S. Barbara , Pietro di Cor- 
 tona, Ecce homo , Cav. d' Arpino ; portrait of 
 Cardinal Barberini, Carlo Maratte. S. Francesca, 
 Carlo Veneziano, S. Fabian , Vovet ; descent 
 from the Cross , Bassano. 
 
 Leading to the second room, Rome trium.r 
 phant with the Tiber and the Tigris, Valentin, 
 the Samaritan , Garofolo ; a Madonna , Tinor- 
 ni; a picture painted on both sides, attributed 
 to Carlo Dolci, on one side Christ on the cross; 
 on the otlier the prayer in the garden. The 
 murder of the Innocents , Bassano. A holy fa- 
 mily , Siena sehool. 
 
First day 27 
 
 In the next room is a collection of land- 
 scapes. In the middle a small Salvator Rosa; 
 the rising and setting sun , Claude Lorraine. 
 Vesuvius, Venetian school; water fall, Both, 
 the one below, Paul Brill, the others by Oriz- 
 zonte and Lucatelli ; three by the brother of 
 Both ; facing the window the interior of the 
 Gesu church, by Galiano , the figures by An- 
 drea Sacchii 
 
 Of the six on the side walls the two above 
 by Orizzonle; two by Lucatelli; two fine Boths; 
 Opposite the adjoining front a S. Matthew by 
 Nicholas Poussin; beneath S. John baptizing our 
 Saviour in the Jordan, Breughel ; the other two, 
 Claude; the others flemish. 
 
 On the right of the above named Poussin 
 (he Castle of Naples, Canaletto; over it a small 
 Salvator Rosa ; the others by Lucatelli, Oriz- 
 zonte , and school of Claude ; on the sides of 
 the window the two above of the flemish school, 
 those beneath by Paul Brill. 
 
 In the adjoining room the first picture on 
 the left is of the flemish school ; a Calvary , 
 school of Buonarotti ; the nuptials of Cana, Po- 
 marancia ; over the door the profaners of the 
 Temple ; attributed to Bassano ; to this artist 
 are also attributed the prayer ia the garden, 
 the departure from Egypt, and the three pict- 
 ures over the doors ; a deposition by Barocci; 
 A Virgin and child Francesco Francia ; Circe 
 transforming the companions of Ulysses into beasts, 
 Benvenuto Garofalo ; two small pictures repre- 
 senting a chase , and a battle piece , Tempes- 
 ta ; a charity, Elisabeth Sirani; Christ in agony, 
 flemish school ; a Madonna , child and saints, 
 
28 First day 
 
 Andrea del Sarto ; a flagellation, Scarselllno; 
 a holy family , school of Michael Angelo ; a 
 Tision , Gaadenzio Ferrari; a holy family, Scar- 
 sellino. A S. Peter , preaching, Carlo Maratta. 
 
 On the opposite facade a landscape attri- 
 buted to Breughel ; a « Noli me tangere « , 
 Benvenuto Garofalo; Samson, Coriselli; Moses, 
 Guido; a Madonna by Albano ; a Garofolo re- 
 presenting the vestal Claudia dragging the vessel 
 containing the image of Selinuntes; a Teniers; 
 a madonna , school of Coreggio ; a copy of 
 Baphael's Fornarina attributed to Giulio Bomano. 
 a holy family. Carlo Maratte; a painting , author 
 unknown. On the window sides , the adoration 
 of the angels , Luca Kranath ; two landscapes , 
 unkwown; the three ages, Vovet; adoration of 
 the Magi , Garofalo ; two small flemings and 
 two Teniers. 
 
 In the last room to the left the evangelical 
 parable of the wheat and chaff, a fine painting 
 by Schidone; a Virgin, fra Bartolomeo del Piom- 
 bo; Dido, Scarsellino ; two evangelists, Guercino. 
 Arcadia by Schidone ; the violin player, portrait 
 unknown , but supposed to be the celebrated 
 Tcbaldeo, by Baphael, painted in 1518, as seen 
 by the original inscription; Herodias receiving 
 the head of S. John , Giorgione. 
 
 The departure of Aeneas, Scarsellino ; two 
 small flemish pictures , one the prodigal child : 
 the other , the Apocalypse of S. John; conjugal 
 love, Agostino Caracci. Venus ordering arms for 
 Aeneas , Breughel ; the Samaritan, Albano ; the 
 temptation of S. Anthony, Breughel. The Game- 
 sters, a celebrated work of Caravaggio. Modesty 
 and Vanity , Leonardo da Vinci. Orpheus in 
 
First day 29 
 
 the palace of Pluto , Breughel. A Magdalen , 
 Guido. 
 
 On the adjoining wall a small landscape hy 
 Breughel ; a small Giotto, well preserved ; a por- 
 trait , Bronzino ; the family of Titian painted by 
 himself; S. Sebastian by Pietro Perugino ; the 
 martyrdom of S. Erasmus, in reduced proportions 
 of the painting by Nicholas Poussin existing in 
 the Vatican gallery; the celebrated picture of the 
 « Bella '' of Titian, by Titian ; S. James, Guer- 
 cino ; the death of the Virgin, attributed to Al- 
 bert Durer; S. Jerome by Guercino ; between 
 the windows the other Magdalen of Guido, finer 
 perhaps than the one already described, of which 
 it appears to be a repetition with little change. 
 
 In an excavation made in this piazza in 1641- 
 to the depth of 23 palms ^ the ancient pavement 
 was discovered. Opposite the arco di Carbognano 
 sundry fragments of columns were found , with 
 an inscription relative to the Emperor Claudius 
 now in the Barberini palace , and a gold medal 
 having his effigy on one side , and an arch with 
 an equestrian statue on the reverse. This disco- 
 very, united with others made in the preceding 
 century in the time of Pius IV and some re- 
 mains still existing , have confirmed the opinion 
 that the triumphal arch erected by the senate 
 and people to Claudius for the conquest of Britain 
 and of the Or cades was situated at the arco di 
 Carbognano. The inscription of Nardini, as filled 
 up by Ganges di Goze , is as follows. 
 
30 First day 
 
 Ti . CLUvdio drusi f. caisari 
 XVGVsto germanico pio 
 PONTiFJCt max. trib. Pol. IX. 
 COS. V. imperatori XVI. patri patriai 
 SENATUS. vo^vlusque romanus quod 
 REGES. BRitonnw perduelles sine 
 VILLA lACTvra celeriter caiperit 
 GENTESQ. extremarum orchadum 
 PRiMVS. iNDicio facto impeHo adjecerit 
 s. p. q. r. 
 
 On the corner of the piazza Sciarra is the 
 chapel instituted by padre Caravita, a Jesuit, in 
 1611 , in Tvhich devout spiritual exercises are 
 practised every evening. Adjoining it is 
 
 CHURCH OF S. IGSATWS 
 
 This churchjdedicated to S.Ignatius ofLoyola, 
 was begun in 1626 by Cardinal Ludoviso Ludo- 
 visi , the nephew of Gregory XV ; two designs 
 were made by Domenichino from each of which 
 padre Grassi , a Jesuit , selected the one that 
 was adopted. The facade is by Algardi :, it is of 
 travertine stone with two orders of columns, Co- 
 rinthian and composite. 
 
 The interior is divided into three naves by 
 large coriathian pilasters. The paintings of the 
 ceiling, that on the first altar to the right 
 which is adorned with two fine giallo antico 
 columns , are by padre Pozzi a Jesuit. The finest 
 altars those of the cross are by the same padre 
 Pozzi. They are decorated with fine marbles, 
 gilt bronzes , and four superb twisted columns 
 covered with verde antico. In the right the one 
 
First day 31 
 
 belonging to Ihe Lancellotti family , is a bas 
 Telief by Legros representing S.Lewis Gonzaga, 
 of great merit in the execution. Within the urn 
 covered with lapis laz/uli the body of the Saint is 
 preserved. On the altar opposite is the annun- 
 ciation of the Madonna in bas relief by Valle. 
 
 Near the entrance door is the splendid 
 tomb of Gregory XV also by Legros. 
 
 The ashes of the Pope are in a vcrde antico 
 urn, the two fames are by Monnot , the four 
 statues in the niches by Rusconi ; under the 
 Pope's tomb is that of his nephew and a fine 
 porphyry urn. 
 
 COllEGIO HOHJ!fO 
 
 This extensive building was raised in 1 582 
 fay Gregory XIII on the designs of Ammanato. 
 Round a spacious court , with two ranges of 
 porticoes , are the halls in which the latin, greek 
 and bebrew languages, humanity, rhetoric, phi- 
 losophy and theology are taught by the Jesuits. 
 In the large building annexed , is an observa- 
 tory, a library and the museum formed by padre 
 Kircher, which contains many marble, bronze and 
 terra cotta antiquities ; a collection of the 
 roman assi formed by Cardinal Zelada and many 
 objects of natural history. 
 
 Returning to the corso to the right is the 
 palajzzo Simonetti,tiow Piombino, built by Spechi 
 and opposite is 
 
 St MAHCELLO 
 
 According to the ancient tradition Ibis church 
 was built originally on the house of S. Lncina 
 
32 First day 
 
 a roman ma Iron , about the commencement of 
 the IV century , and dedicated to S. Marcellu? 
 who died here. It was restored by Adrian I and 
 in 1 369 was given by Gregory XI to the Ser- 
 vites who still officiate in it; it was finally built 
 ia 1579 on the designs of Sansovino , except the 
 facade by Carlo Fontana, in the beginning of the 
 XVIII Century. 
 
 The most esteemed paintings in this church 
 are those on the roof of the fourth chapel to 
 the right , representing the creation of Eve , a 
 beautiful work of Pierin del Vaga. The S. Mark 
 and S. John, except the head and naked arms, 
 the two angels holding a candlestick are also 
 by the same artist ; the remainder by Daniel di 
 Volterra who , wiih the aid of Pellegrino ofMo- 
 dena , terminated the work on the designs of 
 Pierin del Vaga. The doors of the crucifixion 
 are by Garzi ; the tomb of Cardinal Consalvi by 
 Rinaldi ; the celebrated traveller Pierre Gilles, 
 who died in 1 555, is buried in this church. 
 
 In the left lane which corresponds to the 
 ancient « Vicus Isidis 5> was a temple of Isis, 
 surnamed « Exorata ». 
 
 S, MARIA IN VIA LATA 
 
 So called from the ancient Via Lata region 
 near the limit of which it is situated; this church 
 is said to be built on the spot where S.Paul resided 
 with the centurion who , according to the acts of 
 the Apostles, conducted him to Rome by order 
 of Feslus. It is supposed that the spring still visi- 
 ble in the subterranean church arose for the 
 
First ddij 33 
 
 baptism of those whom S. Paul had converted 
 to Christianity. 
 
 Over the altar are the portraits of S. Peter 
 and Paul, by Fancelli; under ground the spring 
 already mentioned. The church was first built by 
 Pope , Sergius I in the year 700 ; it was re- 
 built by Innocent VIII in 1483, when a trium- 
 phal arch near it , supposed to be that of 
 Gordianlll, was demolished. In /662 the church 
 was renewed on the designs of Cosino of Ber- 
 gamo and Pictro di Gortona. The latter buiit 
 the portico and the facade, Cosmo the interior 
 with three naves , divided by cipollino columns 
 and lined with Sicilian jasper. In the first chapel 
 on the right is a S. Andrew kissing the cross, 
 by Brandi , in the style of Guercino. Annexed 
 to this church is 
 
 THE DOniA PALACE^ 
 
 This palace formerly belonging to the Pam- 
 phili , was built at different periods; the part 
 on the Gorso by Valvasori , that opposite the 
 CoUegio Bomano by Pietro da Gortona , except 
 the vestibule which is by Borromino ; the wing 
 on the piazza di Venezia by the last Prince 
 Pamphili on the designs of Araali. It now be- 
 longs to the Doria family one of the most an- 
 cient and most celebrated in Italy who have 
 inherited the property of the Pamphili house. 
 
 Entering by the gate opposite the Roman 
 . college the vestibule leading to the great stair- 
 case is remarkable for the construction of the 
 roof which is flat, and is supported by columns 
 of oriental granite ; th« marble staircase is so- 
 lid and spacious . The apartments to which il 
 
34 First day 
 
 leads are well distributed, and filled with a rich 
 and splendid collection of paintings by the great 
 masters. 
 
 In the first room is a collection of oil paintings 
 by Poussin ; four over the windows by Rosa , 
 three between the windows of the Neapolitan 
 school^ the others by Poussin . S. Eustachius , and 
 the Samaritan; Christ going to Emaus . Oppo- 
 site the windows and over the doors are two sea 
 pieces by Monpair; a Turkish woman on horse- 
 back , Castiglione ; the others by Poussin ; 
 the Lucano bridge on the road to Tivoli; S. John 
 in the desert surrounded by animals of various 
 kinds , probably Orpheus playing on the lyre. 
 S. Augustin ; S. Maria Egyziaca , Cain kil- 
 ling Abel , Eve offering the apple to Adam . 
 The triumph of David , Moses saved from the 
 waters by the daughter of Pharaoh are 
 unknown ; the birth and rape of Adonis by 
 Poussin. 
 
 In a room to the left is a collection of land- 
 scapes in water colours by Gaspar Poussin, three 
 by Francesco Napoletano , three by Rosa , (he 
 one opposite the windows by Nicholas Poussin. 
 Second room. The marriage of S.Gatherine 
 by Scipio Gaetaui ; S. Dorothea , Lanfranc . 
 holy family, school of Andrea del Sarfo ; the 
 deluge , venitian school; landscape by Roth ; As- 
 sumption of the virgin , Garacci school; two 
 landscapes over the windows, Poussin , sea piece 
 Tempesta; landscape, flemish school. 
 
 On the adjoining wall a snow piece by Bar- 
 tolomeo; a flemish piece between two landsca- 
 pes of Roth ; a large picture by Castiglione re- 
 presenting a Turkish horseman , an imitation of 
 
First day 35 
 
 the one in the first room; S. Eustache , Albert 
 Durer; a child seated on a lion by Titian; a Trans- 
 figuration , school of Lanfranc; two landscapes , 
 Poussin ; three pictures by Bsissano representing 
 Christ driving the dealers ont of the temple ; 
 the flight of Jacob ; the temptation on the 
 rock ; the conffersion of S. Paul , Zuccari ; 
 the sacrifice of Noah after the deluge , Bas- 
 sano ; the virgin , school of Perugino . Venus 
 surrounded by the seasons, Filippo Lauri; a game 
 piece , Castiglione ; over the door , a landscape 
 by Poussin ; the madonna , child and S. John, 
 Bellini; the apparition of Christ to the disciples ia 
 Emaus , Bassano. Galatea , Lanfranco. Above a 
 ilower piece , unknown. An ecce homo, Noah's 
 ark and the prodigal son , Bassano ; A sea 
 storm , Molini ; a small Giorgione representing 
 two half sized figures ; a S. Sebastian , Agos- 
 tino Caracci ; over the door a landscape by- 
 Poussin. 
 
 Third Room. Beginning at the left from the 
 entrance a holy family , Benvenuto Garofolo; 
 a portrait , Giorgione ; a Virgin , Mola; a por- 
 trait , Titian. Deposition from the cross , Paul 
 Veronese ; a portrait of Macchiavelli, Bronzino; 
 S. Joseph half size Guercino ; a female por- 
 trait, Van Dyk; another, Gaetani. Over (he win- 
 dows , Jesus worshipped by angels , author un 
 known ; two parts of the world, Solimene ; the 
 four game pieces over the windows , Galli sur- 
 iiamed the Spadarino . Between them a land- 
 scape by Monpair; the portrait of a nun of 
 the flemish school ; the sermon of Jesus , also 
 flemish . The upper portrait , by Paul Verone- 
 se; the lower one that of Donna Olympia the 
 
36 First dmj 
 
 niece of Innocent X unknown v the death of 
 Abel , Salvator Rosa ; portrait of ayoungnian, 
 unknown. Christ bearing the cross , Frangipa- 
 ne; a portrait by Titian. The portraits of Bar"- 
 tolo aud Baldo , wrongly attributed to Raphael. 
 Jansenius , by Titian. Icarus aud Dedalus", 
 school of Andrea Sacchi; a deposition from 
 the cross , Giorgio Vasari ; a graceful figure 
 by Pierin del Vaga; landscape with the appa- 
 rition of Emaus , by Both ; a female head by 
 Titian ; a Pieta , an excellent work by Annibal 
 Garaccj ; over this a landscape by Monpair ; a 
 picture by Simon of Pesaro. Agar sent away , 
 Neapolitan school ; a holy family Pietro Pc- 
 rugino. landscape by Both , a head with a tur 
 ban , copy from Rubens. 
 
 In the gallery and opposite the windows is 
 a very fine Rubens , representing Diana and 
 Endymion; beneath two portraits: one , school 
 of Vandyk , the other of himself; at the angle 
 two others , the one above by Titian, ihe other 
 by Vandyk representing his widow. Narcissus at 
 the fountain, Guido Gagnacci. Agar and Ismael, 
 attributed to Caravaggio; Christ at the sepulchre, 
 , Mazzolino. A fine flemish landscape ; a Bron- 
 zino , Christ and Simon Cinerean ; portrait of 
 his wife by Rubens; Noah's ark , Bassano ; the 
 landscape above , unknown ; the sacrifice of 
 Abraham , Castiglione. Repose in Egypt , Luca 
 d' Olanda; landscape , school of Claude. S. Je- 
 rome , Annibal Garacci. 
 
 Fourth room, portrait of a woman on the 
 left , Rubens ; another by Gonca. The following 
 picture represents the celebrated Admiral 
 Andrea Doria , by Dosso Dossi , of Ferrara . 
 
First day 37 
 
 Another the same subject, by Sebastian del Piom- 
 bo ; the two sea pieces above , unknown ; two 
 portraits , one by Rubens, the other , by Conca^ 
 the landscape near the window , Eremili. the 
 murder of the Innocents , Gemignani ; the wife 
 of Holbein , by Holbein ; two half figures by 
 the Genoese priest; our Saviour paying the tri- 
 bute , Calabrese ; Proserpine and Orpheus at- 
 tracting animals to the sound of the lyre, Bas- 
 sano. Holbein painted by himself with a purse 
 . and flower in his hand ,■ a half figure of an 
 old man by the Genoese priest; a prophet by 
 Andrea Sacchi. Having passed the door there is 
 a very fine portrait of the flemish schoolj; the 
 two following portraits are not deserving of 
 observation. Of the two pictures between the 
 windows the lower one is a fine landscape by 
 Swanevel ; the other representing Semiramidis 
 seems to be of the Caracci school ; finally an 
 Archimedes by an unknown author , and two 
 portraits of the flemish school. 
 
 Fifth room, the flight of Jacob, Bassano. 
 S Jerome , Spagnoletto. Icarus and Dedalus , 
 Albano; Bersabea in the bath , Bronchurst ; a 
 presepio , Bassano. Magdalen , school of the 
 Caracci. Lazzarus and the rich Epulon . Luca 
 Giordani.^ Jupiter and Juno , Guido Cagnacci. 
 S. Antonio Abbatc , Brandi ; above a holy fa- 
 mily , a fine work by Luigi Caracci ; on the 
 sides a fishmonger and. fruiterer , Car avaggi ,• a 
 small picture beneath in the style of Salvator 
 Rosa; the one above of an ancient style of 
 painting; the Christ and rape of the Sabine women, 
 unknown; two of the side pictures below Gas- 
 para a degU occhiali » ; two , style of Salvator 
 
3S Firtt day 
 
 Rosa; a roman charity, Valentin; a holy fami- 
 ly , Garofolo ; four small round pictures , Mi- 
 chael Angelo, S. Jerome, Spagnoletto ; on the 
 right S. Jerome by Palma and two by Cara- 
 Yaggio. 
 
 This room leads to the gallery, the most 
 splendid in Rome. On the left the first small 
 picture represents Christ disputing with the doct- 
 ors of the law , by Dossi of Ferrara ; the fe- 
 male by Holbein. S. Philip , Barocci; two small 
 pictures , unknown ; a small picture by Maz- 
 :!oliuo. two battle pieces, Borgognone ; the Mag- 
 dalen , Calabrese; Autumn , Romanelli; the Vi- 
 sitation , Garofolo ; twa small oval landscapes 
 by Domenichino; two landscapes , Breughel ; a 
 Madonna , Sassoferrato ; landscape by Domeni- 
 chino ; Spring by Romanelli. 
 
 Beyond the arch a franciscan friar , by 
 Rubens, said to have been his confessor; a Scar- 
 sellino; a magdalen , Titian; sis fine semicircu- 
 lar landscapes by Annibal Caracci representing the 
 flight into Egypt , the visitation , assumption , 
 Christ taken to the sepulchre , the birth of Christ, 
 and the adoration of the Magi. 
 
 Over the flight into Egypt is a celebrated 
 picture by Claude Lorraine called the windmill; 
 a S. John Baptist, Valentin; a repose in Egypt, 
 Caravaggi ; a country feast , Brandeberg. Christ 
 going to the calvary , Brill; S. Anthony tempted 
 by devils , Mantegna; a landscape , Both ; vir- 
 gin and child, Albert Durer. S. Francis dying, 
 supported by two angels , Annibal Caracci; the 
 supper at Emaus , Lanfranc. Christ at dinner in 
 the house of the Pharisee, Tintoretto. Loth with 
 his daughters , Gherardo delle Notti; an Albert 
 
First day 39 
 
 Durer ; a S. Francis , Annibal Caracci; the flight 
 of Jacob , a copy from Bassano;two landscapes , 
 Both. S. Louis distributing alms , Mantegna ; a 
 straggle between cupids and the genii of Bacchus, 
 Gessi ; the death of Tancred , Guercino. S.Roch, 
 Schidone ,- a magnificent landscape by Claude Lor- 
 raine representing a sacrifice to Apollo at the 
 temple of Delphi ; a youth, Guercino; a sketch, 
 Correggio. 
 
 The second wing is splendidly adorned with 
 gilt stuccos, and fine looking glasses. The roof is 
 painted in fresco by Milani. It leads to the apart- 
 ment consisting of four rooms containing lands- 
 capes by Poussin , Orizzontc , Rosa , and Tor- 
 regiani ; sea pieces by Manglard ; views' by 
 Gasparo degli occhiali ; paintings by Breughel, 
 Guido , Guercino etc. 
 
 Returning to the gallery at the beginning of 
 the third wing is a splendid landscape of Claude 
 representing the repose in Egypt the figures 
 of which were painted by Lauri. Christ praying 
 in the garden , school of Michael Angelo ; a half 
 figure of a female , Murilio ; holy family , Ga- 
 rofolo; a head by Rubens ; a Magdalen , Feti , 
 the murder of the Innocents , Luca Giordano, 
 two small landscapes and S. John writing 
 the Apocalypse, the other a Luca d' Olanda ; a 
 landscape by Brill ; two other landscapes , one 
 a Breughel , the other flemish. Juno putting the 
 eyes of Argus in her peacock feathers, Saraceni, 
 the prodigal son , Guercino ; a landscape, Tor- 
 reggiani ; two landscapes by Claude Lorraine a 
 Magdalen by Annibal Caracci ; a S.Agnes, Guer- 
 cino ; a Pharaoh painted on stone by Tempesta 
 is placed between a Breughel and a Ma- 
 
40 Pfrst day 
 
 donna of Garofolo; a Virgin by Guido ; a por- 
 trait of Innocent X, Velasquez; a Virgin,^ Par- 
 meggiano ; Marsyas and Olympus , Annibal Oa- 
 racci; a Parmeggiano; a S. John Baptist drawing 
 water , Gaercino ; tbe birtb of the Redeemer , 
 Passignani; a landscape , Torreggiani ; the mar- 
 riage of S. Catherine , Garofolo . four flemish 
 landscapes; a Judith supposed to be by Guido, 
 the Virgin , child , and S. Joseph , Sassoferrata; 
 a small S. Eustache, Albert Durer ; the Virgin 
 and saints , Luigi Garaeci. 
 
 Abov^ this picture, Belisarius, Salvator Rosa. 
 Christ in the desert attended by angels , 
 Bo lb. S. John , Schidone; two by Luca d'Olanda; 
 the portraits of Luther , Calvin , and Catherine 
 copied from the original of Giorgione in the Pitti 
 palace at Florence; a Madonna by Sassoferrata, 
 another with several saints , Luigi Caracci , a 
 Garofolo representing the birth of Christ, S. John 
 the Baptist, S.Francis and the Magdalen; a Ma- 
 donna and two saints , Francia : an old Faun 
 in the style of Rembrandt; a picture represent- 
 ing, an assembly of Muses , by the Antwerp 
 farrier; a Madonna , school of Guido; a figure 
 holding a skull , Luca Giordano., 
 
 Fourth wing. An Ecce homo , Luigi Carac- 
 ci; a holy family, copied from Raphael. Erminia 
 and the shepherd Pietro di Gortona ; a Ma- 
 donna , Carlo Maratte; another by Bronzino; a 
 holy family and two angels fra Barlolomeo;Mars 
 and Venus , Paris Bordone ; a landscape , Do- 
 meuichino ; a picture on slate by Luigi Caracci, 
 representing the virgin , child , S. Joseph and 
 two saints ; the Madonna , child and S. John , 
 Schidone. Susan , Annibal Caracci ; the four ele~ 
 
First day 41 
 
 meats , Breughel , a landscape , Domenichino.: 
 Samson, Guercino ; Noah's ark Bassano; two lands^ 
 capes by Both: S. Peter visited by the angel , 
 Lanfranc ; repose in Egypt , Simon di Pesaro . 
 S. Peter weeping , Lanfranc; a Magdalen, Luca 
 Cambiagi; S. Paul, Guercino; Christ on the cross, 
 Michael Angelo Buonaroti. S. Catherine , Garo- 
 folo; the sacrifice of Abraham, Titian; a bamboc- 
 ciata , Reichert ; the holy face by Barocci. S. 
 Joseph, school ef Guercino: two small pictures , 
 Monpair. S. John Baptist , Garavaggio; a spleui- 
 did Teniers representing a country festival at a 
 marriage ; two small Gherardo delle Notti; two 
 landscapes , Both; a Sybil , Massimi; a female , 
 Gherardo delle Notti; a poet , by Titian. S.Peter 
 disputing with Simon Magus , by Tearino ; a 
 Magdalen ^ Garavaggio; Queen Jane the younger, 
 Leonardo da Vinci ; a copy of the celebra- 
 ted antique painting known as the « Nozze 
 Aldobrandine » , Poussin; a duke of Fcrrara , 
 Tintoretto ; a portrait by Titian ; a deposition 
 from the Cross, Padovano; a Virgin, child , S. 
 Joseph and Catherine , Titian ; two small pict- 
 ures by Gherardo delle Notti ; S. Jerome by 
 Spagnoletto. 
 
 Opposite the Doria palace is one which for- 
 merly belonged to the French Academy , now 
 to the order of Malta ; the architecture is by 
 Rainaldi. 
 
 Along the Corso is the Piazza di Venezia. 
 on the right hand the palazzo Buonaparte, built 
 by Rossi , on the left 
 
42 First day 
 
 THE PALAZZO TORLOHIA 
 
 this palace was built on the designs of Carlo 
 Fontana for the Bolognetti family ; it was pur- 
 chased at the beginning of the present century by 
 the late Duke Torlonia and has been greatly 
 embellished by the present Prince Alexander. It 
 contains a choice collection of paintings by 
 celebrated artists and some fine works of >ncient 
 and modern sculpture ; amongst the latter the 
 eBlebrated colossal group of Hercules Lycas , 
 by Ganova. Opposite is the 
 
 PALAZZO DI VFlfEZIA 
 
 This magnificent building once belonged to 
 the Venitian Republic and has given its name 
 to the piazza at the end. of the Corso. It was 
 built in 1468 by Gaetano da Majano, who em- 
 ployed in its construction blocks of stone that 
 had fallen from the Colosseum. It has been the 
 residence of several Popes , and was inhabited 
 by Charles VIII king of France in 1 494 when 
 on his way to the conquest of the kingdom of 
 Naples. It was ceded by Clement VIII to the 
 Tenetian Republic who made it the residence 
 of their Ambassador to the Holy See , and is 
 now occupied by the Austrian Embassy. Within 
 the palace is the 
 
 CHURCH OF S. UARK 
 
 Built in 336 by Pope S. Mark and after 
 tarious repairs renewed from its foundations in 
 
First day 43 
 
 883 by Gregory IV. In 1468 Paul II, a Vene- 
 tian, leaving intact the ancient mosaic tribune, 
 rebuilt it under the direction of Majano. It 
 was afterwards restored and embellished with 
 paintings and stuccos at the expence of Cardinal 
 Quirini. 
 
 The body of S. Mark is in an urn of grey 
 antique granite under the altar. The balustrade 
 and steps are of the finest marble. 
 
 Over the portico gate of the piazza is an an- 
 cient piece of sculpture of the XIII century 
 representing the Evangelist S. Mark. The church 
 is divided into three naves; the centre support- 
 ed by twenty Jonic columns of Sicilian jasper , 
 the stuccos, representing the history of the apos- 
 tles, were modelled on the designs of Orlandi. 
 At the tribune are four porphyry columns, and 
 a fine candlestick for the Paschal candle formed 
 of a column of rare breccia corallina The mosaic 
 represents the Saviour and the emblems of the 
 Evangelists. On the right S. Felician , S. Mark, 
 Pope Gregory IV holding the church in his hand 
 without a glory denoting that it was built in 
 his time. On the left , Pope S. Mark, S. Agapit 
 and S. Agnes. On one side Bethlem , on the 
 other Jerusalem. 
 
 The paintings representing battles are by 
 padre Casino a Jesuit ; the frescoes round the 
 portraits of Popes, the sybils in the lunettes, 
 are by Bernardino Gagliardi, 
 
 The paintings in the first chapel by Gentili,in 
 the third, Carlo Maratte; the other by Gagliardi. 
 
 The S. Mark in the chapel at the end of 
 the nave by Pietro Perugino. On the sides, Bor- 
 gognone. In the tribune of the high altar are 
 
44 First day 
 
 three pictures, the middle one Romanelli, the two 
 others , Borgognoni. The altar piece near the 
 sacristy, Giro Ferri. On the following altar, Mola. 
 The has relief of the Barbarigo chapel by d'Este. 
 Near Macel de' Corvi , and on the left of 
 the via di Marforio , are the ruins of 
 
 THE TOMB OF C. PUBLICIUS BIBULUS 
 
 By the inscription on this very ancient se- 
 pulchral monument it appears that the spot on 
 which it is raised was granted to Cajus Publi- 
 cius Bibulus , edile of the people , in conside- 
 ration of his services. 
 
 C . POBLIGIO . L . F . BIBVLO . ^D . PL. 
 
 HONORIS . VIRTVtlSQVE . CAVSSA 
 
 SENAIVS . GONSVLTO . POPVLIQVE . IVSSV 
 
 LOGVS . MONVMENTO . QVO . IPSE 
 
 POSTEREIQVE . EIVS . INFERRENTVR 
 
 PVBLIGE . DATVS . EST. 
 
 It was originally out of the walls of Servius 
 TuUius on a cross road leading to the Porta 
 Ratumena since the inscription , which is en- 
 tire on the west front, was repeated on the south 
 front , and some remains of it are still to be 
 traced. When the circuit was extended, with 
 several monuments of the kind it was inclosed 
 within the walls particularly with that suppo-r 
 sed to be of the Glaudian family , from which 
 it is little distant. 
 
 The tombs of Bibulus , of the Scipios of 
 Cajus Cestius, Cecilia Metella, and of Servilius 
 Quarlus having all preserved their inscriptions 
 
First day- 45 
 
 may be considered as the five sepulchral monu- 
 ments the most remarkable in Rome or in the 
 vicinitj. 
 
 That of Bibulus is in travertine; It has four 
 pilasters which support a fine cornice and these 
 are curious as Ihey decrease from the middle 
 upwards. The tomb consisted of two orders, the 
 first of which is now underground. 
 
 Returning to the piazza di Venezia is the 
 palazzo Ercolani built by Arcucci, now belonging 
 to the Grazioli family. 
 
 Adjoining it is the palazzo Altieri , one of 
 the finest and largest of Rome. It was built by 
 De Rossi at the time of Clement X of the Al- 
 tieri family. It is on the piazza del Gesu, and 
 opposite is the Pelroni , now Bolognetti palace. 
 
 THE gesu' 
 
 This church , one of the richest and most 
 splendid in Rome , belongs to the Jesuit order. 
 It was begun in 1575 by Cardinal Alexander 
 Farnese on the designs of the celebrated Vignola, 
 and continued by Giacomo della Porta who added 
 the cupola and front,ornamented with two orders 
 of Corinthian and composite pilasters. The in- 
 terior is decorated with composite pilasters, gilt 
 stuccos, marble sculpture and fine paintings. 
 
 The chapel of the cross to the right was 
 built on the designs of Pietro di Cortona. It 
 contains some fine marbles , four columns and 
 a picture by Carlo Maratte representing the death 
 of S. Francis Xavier. The high altar by Giaco- 
 mo della Porta has been renewed, and is ador- 
 ned with fine marbles and four giallo anlico 
 columns. 
 
46 First day 
 
 On Ihe side of the altar is the monument 
 of Gardiaal Bellarmino with various marble fi- 
 gures by Bernini. The fresco paintings over the 
 tribune of the great cupola and of the ceiling 
 representing the ascent of S. Francis Xavier into- 
 heaven, byBacicci. In the transept is the sum- 
 ptuous ehapel of S. Ignatius, by padre Pozzi , 
 a Jesuit , one of the richest and most magniii»- 
 cent of Rome. It is decorated with four superb 
 eolumns lined with lapis lazzuli , and threaded 
 with gilt bronze, the base and capitals being of 
 the same metal. The pedestals of the columns, 
 the cornice , the front supported by these co- 
 lumns are of verde antico. In the centre is a 
 marble group representing the most holy Trinity 
 by Bernardino Ludovisi , excepting the figure 
 of our Lord which is by Ottone. The globe in 
 the hand of the Eternal is lined with lapis laz- 
 zuli. The portrait of S. Ignatius over the altar 
 is also by padre Pozzi. Behind it is placed the 
 statue of the saint in stucco lined with silver 
 the mantle of silver and covered with precious 
 stones. The body is preserved under the altar 
 in a splendid urn of gilt bronze , adorned with 
 precious stones , and has relief of gilt bronze, 
 and marble representing several facts connected 
 with S. Ignatius. On the sides of the altar are 
 two marble groups, one faith adored by the 
 most barbarous nations byTeudon, the other, Re- 
 ligion with the cross overcoming and destroying 
 heresy , expressed under the emblem of a man 
 holding a serpent , and that of a decrepit old 
 woman. These works are by Legros. 
 
 The paintings in the chapels are worthy of 
 observatioa ; the S. Andrew apostle by Ciampelli 
 
First day. 47 
 
 the S. Francesco Boi'gia, by padre Ppzzi, In that 
 of the Virgin , S. Charles bj Romanelli , who 
 painted the side walls. The paintings at the top^ 
 Pomaraneia. In the little round chapel near the, 
 high altar, is the image of the Madonna « della 
 Strada », ; the angels by, Pozzi, a Milanese, the , 
 oil paintings under the cornice by padre Vale- 
 riano , a Jesuit. 
 
 The accompaniyng chapel opposite near the 
 high altar is dedicated to S. Francis of Assisi, 
 designed by Giacomo della Porta. The side pain- 
 tings by various flemish artists. 
 
 Annexed to the Church is the residence of 
 the Jesuits and of their General. This extensive 
 building vras raised by Cardinal Odoardo Far- 
 nese on the designs of Rainaldi. 
 
 The church possesses on organ answering in- 
 ternally, a complicated work of a new mecha- 
 nism , invented and made by the Serrazzi bro- 
 thers , of Bergamo. It is considered to be the 
 linest at Borne. 
 
 The sacristy is full of valuable objects: the 
 painting is by Ciampelli ; the picture over the 
 altar possesses merit. In it are the rooms once 
 inhabited by S. Ignatius the founder of the Jesuit 
 order , now reduced to sacred purposes , and 
 before them are several perspective views pain- 
 ted by padre Pozzi. Here are instituted various 
 congregations ; that of the Conception is on 
 the designs of Nicoletti 5 the altar piece by Cac- 
 ciniga. 
 
 The street on the left of the church pre- 
 sents a prospect of the Capitol which will shor- 
 tly be described. At its base is a spacious stair- 
 case consisting of 124 steps, formed of pieces 
 
48 First day 
 
 of various kinds of white marble taken from 
 ancient edifices, and not solely from the temple 
 of Quirinus , on tlie Quirinal , as erroneously 
 asserted. These stairs were built under the di- 
 rection of Lorenzo , a Roman artist , in 1 348 
 as appears by a contemporary inscription on the 
 left of the principal door of the Aracoeli church. 
 
49 
 
 GUIDE OF ROME 
 
 FROM THE CAPITOL TO THE LATERAL 
 
 CAPJTOIINE HILL 
 
 JL his hill, one of the most celebrated of 
 .-iDcient Rome , has had different appellations at 
 diOferenl epochs. In the most remote times it was 
 called Saturnius , from Saturn who built a city 
 on it called Saturnia. In the times of Romulus, 
 Tarpeius , from Tarpeia , a Roman girl , the 
 daughter of Spurius Tarpeius who was killed by 
 the Sabines. Under Tarquinius Superbus, Capi- 
 tolium, or Mons Capitolinus from a man's head 
 found in digging the fotindations of the temple 
 of Jupiter, considered as an omen of the future 
 greatness of Rome. From the ancient wordCa>- 
 pitolium is derived, by corruption, the present 
 word Campidoglio. 
 
 This hill is of an oval form; at the extre- 
 mities are two elevations separated by a valley. 
 
 3 
 
50 Second day 
 
 That to the north was denomiualed CapitoUum 
 from the temple of the Capitoliae Jove. That 
 to the south Arx or fortress being the citadel 
 of Rome. The intermediate valley, Intermontium. 
 The circumference Tvas 4400 ancient feet; the 
 height above the level of the sea , 46 metres. 
 
 In describing these different parts , accor- 
 ding to the notices that have come down to us 
 through the writers of antiquity , I shall con- 
 fine myself to the most essential, so great is the 
 number of buildings and monuments that once 
 existed on this hill. 
 
 On the northern summit, where the church 
 of Aracceli now stands, little space remains be- 
 yond what was occupied by the temple of Jupiter 
 which was begun by Tarquinius Priscus, finished 
 by Tarquinius Superbus, and dedicated by Mar- 
 cus Horatius. This primitive temple was proba- 
 bly of Etruscan architecture, surrounded by por- 
 ticoes with pilasters. Having been destroyed by 
 fire , it was rebuilt by Sylla , who added to it 
 the columns of the temple of Jupiter Olympus,, 
 at Athens. This second temple was dedicated by 
 Gatulus , whose name appears in the inscription. 
 It is ascertained , from Dionysius Halicarnassus 
 who saw it complete , that it formed nearly a 
 perfect square , there being a difference of only 
 1 5 feet between its length and breadth , the 
 length being about 200 feet and the breadth 
 185. In front there were three orders of columns, 
 on the sides , two , the facade turned towards 
 the south, that is towards theForum and Aven- 
 tine. The back part had no portico , but was 
 Joined to the Capitoline walls. The interior was 
 divided by three naves with three « edicoli » 
 
Second day 5f 
 
 at the end; the central one was consecrated to Ju- 
 piter , the right to Minerva , and the left to 
 Juno. It was burnt anew during the war between 
 Vespasian and Vitellius , and rebuilt by Vespa- 
 sian. It was again destroyed by fire, under Titus 
 but rebuilt with still greater splendour by Do- 
 milian, who, by Plutarch's acouunt, brought from 
 Athens the columns of Pentelic marble, lis ma- 
 gnificence and riches it would be no easy task 
 to describe ; it is sufficient to say that the tem- 
 ple of Jupiter Gapitolinus was the principal tem- 
 ple of the City, then the queen of nations. 
 
 In the Intermontium , besides the Asylum 
 established by Romulus, which occupied a part 
 of the present piazza del Gampidoglio, was tha 
 Tabularium or the archivium of the State where 
 the Sena'tus consuUi , the plebisciti and other 
 public acts were preserved on bronze tables.Whea 
 Vespasian decided on reestablishing those which 
 had perished in the Vitelliaa conflagration the 
 number , according to Svetonius , amounted to 
 three thousand. The Tabularium and its wall 
 were built by Q. Lutatius Gatulus ; the latter 
 still exists under the Senatorial palace , with a 
 part of the inferior portico on the side of the 
 Forum. It was arched with half columns, and 
 made with Gabine stone , the entablature and 
 capitals in travertine , of the doric order which 
 are still -visible being enclosed in the raoderu 
 walls and those of the middle ages. The upper 
 portico was composed of fluted travertine Corin- 
 thian columns, behind which was the Archivium. 
 The pedestals of these columns found some years 
 since were covered with stucco, which was pro- 
 bably added in the successive repairs. 
 
 3 * 
 
,52 Second day 
 
 On the citadel stood tlie houses of Roinu;<- 
 lus, Tatius, Manilas Capitolinus the latter changed 
 into the temple of Juno Moneta. The Curia Ga- 
 labra , from which the pontifex announced the 
 new moon to the people, and the temple of Ju- 
 piter Feretrius dedicated by Romulus to the pre- 
 servation of the Spoliae opimoe. To obtain the- 
 se it was necessary that the Roman General should 
 have killed with, his own hand, the leader of the 
 enemy's troops . Of this three instances only 
 occur in Roman history. Romulus who killed Aero 
 king of Cenina. Cornelius Cassus, Polumnius chief 
 of the Veiientes, M. Claudius Marcellus, Virio- 
 damar , the Gallic chief. Augustus restored and 
 enlarged this temple which however was always 
 of limited dimensions. 
 
 The citadel was separated from the othei' 
 parts of the Capitol by walls and towers which 
 were rebuilt after the defeat of the Gauls by 
 Camillus. Of these some remains arc visible under 
 the palazzo Caflarelli ; they consist of quadri- 
 lateral blocks of a peperino » or alban stone.Wilh- 
 in the palace and in the garden are remains 
 of the citadel in large square blocks of the Alban 
 stonci 
 
 On the Tarpeian rock from which were 
 thrown Manliua and all those convicted of con- 
 spiracy, is also seen a fine remnant at the piazza 
 della Consolazione about 50 feet high. Conside- 
 ring the encrease of the valley below, the di- 
 minution the rock has nndergone in the course 
 of ages , it may , without exaggeration, be cal- 
 culated as having been upwards of a 100 feet 
 high. 
 
Second day 53 
 
 At present several roads lead to the Capitol. 
 Three only existed in ancient times , all three 
 by theForum. The first by the hundred stepsof the 
 Tarpeian rock which began near the Mammer- 
 tine prison, behind which it passed, and reached 
 the Citadel on the side of the rock nearly in the 
 direction of the street to the west of the Ta- 
 . bularium which continues to Monte Tarpeio or 
 Caprino. 
 
 The second road was by the hill called 
 Clivus CapitoUnus : from the Forum where it 
 commenced, it divided into two branches , one 
 under the arch of Tiberius near the hospital of 
 -<he Consolazione , and the other near the Arch 
 of Septimius Severus passing between the Tem- 
 ples of Fortune and Jupiter Tonans. These two 
 branches united at the Temple of Fortune near 
 the Tabularium whence the Clivus Capitolinns 
 led to the temple of Jupiter in crossing the 
 Intermontiuin. 
 
 The third ascent was under the Arch of 
 Septimius Severus and called Clivus Sacer, Cli- 
 vus Asylt which, following the direction of the 
 present flight of steps, led to the Intermontium 
 though not in a straight line but between these 
 steps and the prison,, where it reached the base 
 of the temple. By this road passed the Ge^ 
 nerals honoured with the triumph. The other 
 parts of the Capitol were all rocks and crowned 
 with walls. 
 
 THE MODERN CAPITOL 
 
 Differs altogether from the ancient ; in 
 stead of a severe and formidable grandeur it 
 
54 Second day 
 
 presenis liglu and pleasing objects whict render 
 il one oE ihe finest spots in Rome. The modern 
 decoration is by Paul 111 wbo raised Ibe two 
 lateral buildings on ibe designs of Buonaroti , 
 tbc new facade of the senatorial palace, opened 
 the street towards the west, and the steps which 
 l&ad to the ascent. 
 
 The two Egyptian lions of black granite 
 placed at the base by Pius IV. wore found be- 
 fore the church of « S. Slefano in Cacco » and 
 probably served as an ornament to the temple 
 of Serapis -which existed on that spot. 
 
 On the top of the steps are two colossal 
 statues of Castor and Pollux , of pentelic mar- 
 ble , standing beside their horses ; they wore 
 found under Pius IV near the Synagogue of the 
 Jews and placed here under Gregory XIII. The 
 two trophies , called the trophies of Marius , 
 are supposed by some to have been raised in 
 honour of the Dacian victories of Trajan; their 
 sculpture is not of the same style as the Tra- 
 jan column , but seems to belong to the early 
 times of Septimius Severus. They served origi- 
 nally to decorate the large fountain of the acqua 
 Julia, on the Esquiline, built by the same Em-r 
 peror , and remained there till transferred to 
 this spot by Sixtus V who also placed here the 
 statues of Constantine and Constantine Augustus, 
 which were found on the Quiriual in the thermae 
 of Constantine. On the balustrade are two co- 
 lumns ; the one near the « palazzo dei Con- 
 servatori » is the military column which by num- 
 ber I indicated the first mile of the Appian way; 
 the ball on the top , though antique, does not 
 belong to it. It hag been asserted that this hronza 
 
Second day 53 
 
 ball is the same that was placed in the hand 
 of Trajan and contained his ashes on the statue 
 of the column, but this assertion has been con- 
 tradicted by Victor and Eutropius who affirm 
 that the Emperor's ashes were placed under the 
 column , that is in the room now closed which 
 is under the large pedestal. The column on the 
 opposite side is modern. 
 
 The principal ornament of the piazza del 
 Campidoglio which forms a perfect square, is 
 the equestrian statue of Marcus Aurelins. It was 
 found on the piazza S. John Lateran and erect- 
 ed there by Sistus IV. Under Paul III it was 
 brought to this piazza and placed on a large 
 pedestal of a single marble block taken from the 
 Forum of Nerva. This is the only equestrian 
 bronze statue that remains of all those of an- 
 cient Rome. It was greatly praised by Michael 
 Angelo tinder whose direction it was erected. 
 
 Of Ihe three edifices on the Capitol the 
 one facing the steps is 
 
 THE SENATORS PALACE 
 
 Built in the form of a rock, by Boniface IX 
 on the rufns of the Tabularium. The facade of 
 the Corinthian order with pilasters was begun un- 
 der Paul III by Buonaroli, and finished on the de- 
 signs of Giacomo della Porta. The large double 
 stair case leading to the palace is decorated with 
 a fountain in which are three statues , the 
 centre statue of white marble and draped with 
 porphyry representing Minerva , was found at 
 Cora, where still exists a beautiful marble altar 
 sacred also to Minerva , ornamented with Me— 
 
56 Second day 
 
 dusas and ram's heads. Though the character 
 of the head, and the large shield leave no room 
 to doubt that the statue represents the daughter 
 of Jove , the moderns have thought proper to 
 call it Rome. The recumbent colossal statues 
 represent the Nile and the Tiber ; they were 
 found on theQuirinal in theColonna garden where 
 they belonged to the Serapeum. 
 
 The hall on the first story is the Senatorial 
 Tribunal. It contains the statues of Paul III, Gre- 
 gory XIII , and of Charles of Anjou king of Na- 
 ples , who was Senator of Rome in the XIII 
 century. The top of the palace commands a fine 
 view of the city, and environs; on it stands the 
 statue of Christian Rome holding the cross; the 
 height is 290 feet and a half above the level 
 of the sea. 
 
 The other two palaces were built by Buo- 
 naroti. The one on the right of the Senator's 
 palace contains. 
 
 THE CAPITMINE MUSEUia 
 
 This Museum, containing splendid monu- 
 ments of antiquity , was begun by Clement XII, 
 continued by his successors Benedict XJV, Cle- 
 ment XIII, and completed by Pius VII. In gi- 
 •vmg a description of it I shall confine myself to 
 the most remarkable objects. 
 
 THE CiyURT YARD 
 
 In the centre is the celebrated statue of 
 the Ocean , known under the name oiMarforio 
 from the forum of Mars and Augustus near 
 
Second day 57 
 
 which it was situated. On the sides of the statue 
 are two Satyrs , in the form of cariatides , for- 
 merly in the palazzo Valle, found on the piazza 
 of the Satyrs near the theatre of Pompey. On 
 the vralis are several busts of little value and 
 sundry inscriptions of the Pretorian Guards found 
 near the Villa Albani in the vineyard of the 
 del Cinque family which seems to have been 
 their cemetery. The two sarcophagi on the right 
 and left were found in the catacombs; they are 
 both of coarse work but the cover of the one 
 to the left is interesting from the dress used in 
 the Chase with arms and nets. 
 
 THE ATRIUM 
 
 On the left entrance are worthy of obser- 
 vation a semi colossal trunk found at Beva- 
 gna. A Minerva , found in the present walls of 
 Rome , near S. John Lateran , where it was 
 placed either as a material or as a protecting 
 Goddess. A Cippus supporting a statue of Apollo; 
 on the Cippus is an inscription relative to Caius 
 Gestius found near his pyramid on which are 
 the names of his heirs ; it proves that Gestius 
 lived at the time of Augustus; four Consular fa- 
 sces within a gate a large pedestal representing 
 in has relief a Roman province ; it was found 
 with many others in the piazza di Pietra, where 
 they probably belonged to the forum of Anto- 
 ninus Pius. The word « Ungaria » written on it, 
 is probably modern. On the pedestal is a Go- 
 -lossal head of Cybele found at Hadrian's Villa 
 at iTivoli. Opposite the gate is the fragment of 
 the lower part of the statue of a Captive King , 
 
58 Second day 
 
 of pavonazzetto marble, formerly belonging to- 
 the arch of Constantine. Anolber inscription re- 
 lative to Caius Cestius , found near his tom'b. 
 
 On the right side of the atrium is a fine 
 statue of Diana, remarkable for its drapery. Ano- 
 ther of Diana , of colossal size. On the oppo- 
 site side the Cyclop Polyphemus ; and a statue 
 of Adrian offering a sacrifice found near S. Ste- 
 fano Rotondo. 
 
 Opposite the stairs a colossal statue found 
 on the Aventine , supposed to be Mars , whose 
 cuirass is of the purest style. At the end of the 
 atrium , Hercules killing the Hydra, found near 
 S. Agnese on the Nomentana way. Adjoining it, 
 a valuable fragment in porphyry of a female 
 draped statue. 
 
 On the right is the Chamber of urns 
 
 In this room there were formerly several 
 works of the Egyptian style found in the ruins 
 of the Canapus, at the Villa Adriana, and which 
 are now in the Vatican. It still contains a square 
 ara representing the labours of Hercules of the 
 finest Greek style and was brought from Al- 
 bano to Rome about the middle of last century. 
 
 II ROOM 
 
 The walls of this room are covered with 
 122 Inscriptions , in marble or terra cotta, de- 
 posed in chronological order relative to the Em- 
 perors , Empresses, Caesars and Consuls, from 
 Tiberius to Theodosiiis. There are few raonuments. 
 
Second day S9 
 
 of sculpture in this room. The most remarka- 
 ble is the large marble urn found in the vigna 
 Ammendola, on the Appian way on which is 
 represented Ihe battle between the Romans and 
 Gauls, in year 355 before the , Christian era , 
 which we know from history to have taken place 
 near Telamone , in Tuscany , celebrated by 
 the death of Attilius Regulus, the Roman Con- 
 sul, and the Gallic chief Ancoreslus who died by 
 his own hand. The barbarian warriors are re- 
 markable for their resemblance to the celebra- 
 ted statue called the dying gladiator not only 
 in the roughness of the hair but in the nudi- 
 ty of the limbs and form of the arms. Towards 
 the left window is the sepulchral Cippus of A- 
 tilius Aprus, near which arc various architec- 
 tonic instruments and the measure of the ancient 
 Roman foot divided into sixteen inches. 
 
 ///, ROOlIf 
 
 The large sarcophagus, called that of Alexao- 
 der Severus , forms the principal ornament of 
 this room. It was found about three miles from 
 Rome on the modern Tusculan way. ,The names 
 of Alexander ; Severus and of Mammaea were 
 given, to the two recumbent figures on the co- 
 ver which; are unknown portraits. AVithin the 
 sarcophagus a glass vase was found containing 
 . ashes. It J was formerly in the Barberini palace 
 and is now in the British Museum to which it 
 was presented by the Duke of Portland; this is the 
 celebrated Portland vase., The front and sides 
 of the sarcophagus are of a very fine execution, 
 the back part, having been turned towards the 
 
60 Second day 
 
 wall , is in a rough state. The first side repre- 
 sents the anger of Achilles when Agamennon 
 threatens to carry away Briseis ; the subjeot of 
 the first book of the Iliad. It contains the figures 
 of Agamemnon, Nestor, Ulysses, Diomed, and 
 Calcas ; Achilles is represented at the moment 
 when he is stopped by Minerva. 
 
 On the side towards the window are re- 
 cognized Licomedes, Deidamia , and the depar- 
 ture of Achilles from Sciros. On the opposite 
 side the Grecian chiefs supplicating Achilles to 
 return to the war. On the hack part Priam on 
 his knees offering a ransom for the body of 
 Hector. 
 
 On the wall to the right of this monument 
 is a marble with mosaic ornaments and a pi- 
 cture of porphyry in the centre, around which 
 in a semi barbarous style of sculpture are seen 
 the deeds of Achilles from his birth till the 
 moment of his revenge on the dead body of 
 Hector. This monument was found in the Ara- 
 coeli church. Near it is a small mosaic repre- 
 senting Hercules conquered by Cupid and dres- 
 sed as a female. It was found in the woods of 
 Antium. It is followed by a Greek Palmyrene 
 inscription on bas-relief of the Sun and Moon 
 revered in Palmyra under the names of Agli- 
 bolus and Malachbelus , and by another bas 
 relief of a square form representing an archi- 
 gallas or priest of Cybeles, with symbols of the 
 goddess, found at Civita Lavinia; near the door 
 is a small statue of Jove , and one of Pluto , 
 found under the Thermae of Titus. 
 
 Along the walls of the stairs are fragments 
 of the ancient plan of Rome found in the tern- 
 
Second day 61 
 
 pie of Remus on the Via Sacra. Amongst these 
 fragments particular attention is due to those 
 wbidh have preserved entire or in part the plan 
 of the Sura baths mentioned by Dio , of the 
 portico of Octavia , the jEmilian Basilic , the 
 Grsecoslasis , the Julian , and Ulpian Basilica , 
 the theatres of Marcellus , and of Pompey. 
 
 This room leads to the long gallery filled 
 with statues. The first to the right is the 
 
 BAIL OF BRONZES 
 
 So called from the various bronze works 
 it contains. The bronze vase at the entrance was 
 found in the sea , at Antium , and^ Was a gift 
 of the celebrated Mitridates , king of Pontus 
 to ^he gymnasium of the Eupatoristi, as appears 
 by its Greek inscription. The greater part of the 
 busts are unknown. Those particulary worthy of 
 observation are a Hecate, or triple formed Dia- 
 na in bronze , which still preserves the trace* 
 of its ancient gilding. On its left is the Iliac 
 table representing the events of the Trojan war. 
 On the other sid« a bronze table with an in- 
 scription relative to Septimius Severus , Julia 
 his wife , and Garacalla , with their portraits . 
 An ancient balance found beyond the Salara gate. 
 A fine sarcophagus representing Diana and En- 
 dymion on which is placed a mosaic with masks 
 found in 1 824 on the Aventine. A fine bronze 
 statue of one of the twelve Camilli , ministers 
 of the sacrifices. 
 
 The sarcophagus opposite the other window 
 is badly carved but is interesting for the subject 
 as it shows the doctrines of the latter Platoai- 
 
62 Second day 
 
 cians on the formation and destruction of man. 
 Above it is the mosaic of the doves^ found in 
 Villa Adriana, the finest monument of the kind 
 that has come down to us. It is a copy or imi- 
 tation of the mosaic made by Sosus of Pergamus 
 and recorded by Pliny. 
 
 THE GALLERY 
 
 Opposite the stair case are the busts of 
 Marcus Aurelius and Septimius Severus well pre- 
 served. On the walls, several inscriptions of the 
 freedmen of Livia , found in 1726 on the Ap- 
 pian way. On the left a statue of drunkenness 
 found on Via Nomentana; opposite the first win- 
 dow a sarcophagus! representing the rape of Pro- 
 serpine , as described in the poem of Claudian, 
 The statue of a wrestler falling in the fight ; a 
 colossal head of Juno; the statue of one Niobe's 
 sons ; the bust of Jove ; the ; Nile placed on a 
 sarcophagus on which is represented the infant 
 Bacchus delivered into the hands, of Ino. After 
 various other objects is the bust of Scipio Africa- 
 nus , and a fine Hermes with the head of Am- 
 mon. On the opposite side after the group of 
 . a Muse with a Genius is a head of Tiberius. On 
 the left side the bust of Adrian in different kinds 
 of alabaster. A Marcus Aurelius in his youth, 
 and a statue of Pallas from the original now 
 in Paris. On the left Domitius Enobarbus , the 
 .father of Nero. A splendid vase of Pentelic mar- 
 ble found near the tomb of Cecilia Metella. It 
 stands on an antique ara of white marble , of 
 .the early jGreek style, and reptesents the twelve 
 great Gods, Jupiter, Juno Minerva, Venus, Ve- 
 
t 
 
 Second day &S 
 
 sta , Hercules , Apollo , Diana, Mars, Mercurj, 
 Neptune and Vulcan. It is said to have been 
 found atNettuno, though doubted by Winke'lman, 
 
 HAIL OF THE EMPERORS 
 
 So called from the collection of portraits 
 of the Emperors and of their families. The most 
 interesting bas reliefs are the hunt of the Ca- 
 lydonean boar by Meleager. Perseus liberating 
 Andromeda. Endymion sleeping. The first was 
 found in the foundations of theMuli palace;theEn- 
 dymion on the Aventine. Over the door leading 
 to the hall of the philosophers is a very rare 
 bas relief of Ida carried away by the Nymphs, 
 In the middle of the room is the so called statue 
 of the elder Agrippina , the wife of Germani- 
 cus, and mother of Caligula. 
 
 Of the imperial statues, disposed iu chro- 
 nological order, those well acertained and most 
 remarkable for merit will alone be mentioned.. 
 The series commences from above on the right 
 of the door. The most remarkable, are Tiberius, 
 in alabaster ; his brother Brusas , the father of 
 the Emperor Claudius. Antonia , the wife of 
 Drusus. Caligula , in basalt. Messalina, Agrippi- 
 na the younger , wife of Claudius, two busts of 
 Nero , one in his youth , the other in maturor 
 years; his wife Poppea, found at S. Lorenzo out 
 of the walls. Galba, Otho , and Vitellius, rare. 
 Julia , the daughter of Titus. Plotina , the wife 
 of Trajan , Marciana , his sister , and Matidia, 
 his daughter,lwo busts of Adrian. His wife Julia 
 Sabina , in alabaster, and Elius Caesar his adop- 
 ted son who died before coming to the Empire; 
 at Ciyita Lavinia. 
 
64 Secdnd day 
 
 Under the busts forming the beginning of 
 the series ; Commodus , his wife Crispina, Per- 
 tinax, Didius Julianus , Pescenius Niger'; two 
 fine busts of Septimius Severus. Macrinus, Dia- 
 dumenianus. Maximian and his son Decius. Ju- 
 lian surnamed the apostate.Flavius Valens.Outside 
 the window is an antique Solar clock. 
 
 . HAIL OF FHtLOSOPHERS 
 
 This room derives its appellation from the 
 philosophers , historians , poets and other lite- 
 rary persons whose portraits it contains. Of the 
 has reliefs on the walls the most remarkable are 
 those representing the body of Hector carried 
 to the funeral pile accompanied by Hecuba and 
 Andromache in tears. A sacrifice to Igia in rosso 
 antico. The fragment of a Bacchanalian festival 
 with the name of Callimachus a celebrated scul- 
 ptor mentioned by Pliny and Pausanias. In the 
 middle of the room is the statue of Marcellus, 
 the conqueror of Syracusae. 
 
 The series of portraits begins on the left 
 near the entrance with three heads of Socrates, 
 one of Alcibiades; those bearing the name, of 
 Plato down to no 18 are so many heads of Bac- 
 chus , not having the slighest resemblance with 
 the celebrated philosopher in the Florence gal- 
 lery , but being identic with the terminal Her- 
 mes of Bacchus; a head of Theopbrastus; Marcus 
 Aurelius; Diogenes, the Cynic; Archimedes; the 
 celebrated physician Theo , a Platonician; Apu- 
 Jeius; Demosthenes ; two busts of Sophocles, one 
 improperly called Pindar. Aratus, Three heads 
 of Euripides. 
 
Second day 65 
 
 The busts opposite the wiadoware anknown^ 
 In the series below are four busts of Homer, Thu- 
 cydides, Epicurus and Metrodorus , a double 
 headed hermes found in building the portico of 
 S. Maria Maggiore. Pithodorus , a victorious 
 athlet. Antisthenes the founder of the sect of 
 Cynics ; two heads of Julian. A fine bust, called 
 a Cicero but resembling the portraits of Mecae- 
 nas. The last , a bust of Gabriel Faerno a di- 
 stinguished writer of Cremona of the XVI cen- 
 tury , by Buonaroti. 
 
 THE SjlLOOlf 
 
 Two fine porta Santa columns i 7 palms high 
 haye been substituted to the two in giallo anti- 
 co about 22 palms in height which have been 
 placed in the nuovo braccio of the Chiaramonti 
 Museum. The two winged victories supporting 
 the arms of Clement XII belonged to the arch 
 of Marcus Aurelius on the Flaminian way near 
 the Piano palace. In the middle of the room are 
 five fine statues: a Jupiter, an Esculapins, both 
 of yellow black marble found at Antium. Two 
 fine Centaurs, of the same marble found in the 
 Villa Adriana , at Tivoli with the names of the 
 sculptors Aristeas and Papias of Aphrodisium. 
 A young Hercules found on the Avenline. This 
 statue is placed on a square ara with a fine bas 
 relief of the birtli , life, and apotheosis of Ju- 
 piter. On the part facing the niche is a recumbent 
 Rea , in the pains of childbirth. Rea saving the 
 life of Jupiter by offering a stone wrapped in 
 linen to Saturn. Jupiter sucking the goat Amal- 
 (hea. The Corybantes dancing to drown his crie& 
 
66 Second day 
 
 Jupiter in the assembly of the Gods. This ara was 
 found at Albano. The other statues most deser- 
 Ting of notice in this room are: Marcus Aure- 
 Hus , a wounded Amazon ; a group commonly 
 called , Coriolanus and Veturia, both unknown 
 portraits under the forms of Venus and Mars 
 found in the ?< Isola Sacra «; Minerva; Apollo; 
 a colossal bust of Trajan with an oaken crown; 
 Adrian ; a female draped statue of Julia Pia , 
 the wife of Septimius Severus. A bronze gilt 
 Hercules nearly colossal found in the XV century 
 near the church of Bocca della Vcrita. A Gymna- 
 siarch from Adrian's Villa , at Tivoli. Hecuba 
 weeping for the death of Polydorus aud Poli- 
 xenes; a colossal bust of Antoninus Pius; a hunter, 
 by Politimus Libertus. Harpocrates, the god of 
 silence , found in the Villa Adriana. 
 
 HJH OF THE FAVlt 
 
 So called from the rosso antico Faun, found 
 in the Villa Adriana , and placed in the middle 
 of this hall. Of the inscriptions it contains, the 
 most remarkable is the one in bronze , com- 
 monly called the u lex regia » being a part of 
 the law decreed by the Senate which confers 
 on Vespasian the Imperial authority such as it 
 was granted to his predecessors Augustus, Ti- 
 berius, and Claudius. This interesting monument 
 had been placed at S. John Lateran by the ce- 
 lebrated Nicola di Rienzi. 
 
 On a sarcophagus to the left are represen- 
 ted Diana and Endymion. Over it , a head of 
 Tideus , in high relief. An ara consecrated to 
 Isis on which are the mystic Cista, Anubls and 
 
Second day 67 
 
 Arpocrates. A child playing with a masque ; ano- 
 ther with a swan , a copy of the one in bronze 
 by Boetus a Carthaginian , recorded by Pliny. 
 An ara consecrated lo the Sun with a latin 
 and Palmyrene inscription and a magnificent 
 sarcophagus representing the war between the 
 Amazons and Athenians,- the has reliefs arc fine- 
 ly executed and in high preservation. The grief 
 of the captive Amazons carved on the lid of the 
 sarcophagus , is admirably expressed.This monu- 
 ment was found near the springs of the « Acqua 
 Vergine. 
 
 BAIL OF THE GLADIATOR 
 
 In the centre is the celebrated statue of 
 the so called dying Gladiator , a monument of 
 ancient art which, for the beauty of the work, 
 and its preservation , may be ranked with the 
 most splendid statues ; it represents a subject 
 far more noble than that of a gladiator, a class 
 of men not known in Rome before Commodus, to 
 which period it would then be necessary to assign 
 this statue 5 but the work is pure Greek and 
 far anterior to that epoch. 
 
 By an attentive observation of the head, the 
 mustachios , the collar, the torques of the an- 
 cients , the rough flowing of the hair , and all 
 the other accessories, no doubt can remain that 
 it represents a Gaul and in all probability it 
 formed part of a group alluding to the inva- 
 sion and defeat of the Gauls in Greece. 
 
 On the left side are a semi-colossal statue 
 of Juno , but which represents a Muse , of a 
 majestic pose and elegant drapery. A fine head 
 of Alexander the great. An Amazon drawing iW 
 
68 Second day 
 
 bow ; a fine head of Ariadne; a Scefora , hol- 
 ding the vase with ofTerings to the ManeSjperhaps 
 Eleclra carrying libations to the tomb of Aga- 
 menon; a statue of the Lycian Apollo found near 
 the Solfalara, on the Tiburtine way. Zeno, the 
 Grecian pbilosopher found at Civita Lavinia. A 
 young girl playing with a dove. A copy of the 
 Faun of Praxiteles from the Villa Adriana; the 
 celebrated Antinous. Flora , a beautifully dra- 
 ped statue from the Villa Adrians. A statue of 
 Isis ; a rare bust of Marcus Brutus who killed 
 Caesar. The columns of oriental alabaster, nero 
 antico , and breccia traccagnina are worthy of 
 observation. 
 
 TUB CJBllfET 
 
 Contains three celebrated works of art . 
 The Capitoline Venus , in Parian marble , of 
 excellent work and well preserved found near 
 San Vitale. The beautiful group of Cupid and 
 Psiche found on the Aventiue in the last cen- 
 tury , and another statue of Venus. 
 
 The building opposite the Museum called 
 the palace of the Conservator! will be described 
 hereafter. Under the portico to the right is 
 
 rjlE PROTOMOTECA 
 
 For upwards of two centuries it was 
 customary to place in the Pantheon the mo- 
 numents and portraits of the illustrions men 
 of Italy, but the number having greatly en- 
 creased Pius VIl dedicated to this object sundry 
 rooms in the Capitol to which were transferred 
 
Second day 69 
 
 the busts existing in the Pantheon, and those 
 that may be judged worthy of this honour will 
 bo placed here in future. 
 
 In the first room is a long latin inscrip- 
 tion with the statutes of the establishment 
 divided into six sections . No. 1. this place 
 is destined to perpetuate the memory of the 
 Italians. No: 2. it is to contain not ouly the 
 busts in the Pantheon , but others that may be 
 deemed proper. No 3. none can be received but 
 of men of the highest order of talents , and 
 never before their death. No. 4. The ihrea 
 y Conservatpri « of Rome will receive propo- 
 sals of adatission , aud take the opinion of the 
 sundry academies ; the decision to be reserved 
 to the sovereign who in case of difference of 
 opinion will select judges. No. 5. The portraits 
 can be no other than busts and hermes ; the 
 former on the dimensions of that of Leonardo 
 da Vinci;the latter on that of Galileo^ and to be ex- 
 clusively of statuary marble ; No 6 ; the v Gon- 
 servatori « are charged with the keeping of 
 the place and with the execution of the sta- 
 tutes from which they cannot in any manner 
 deviate. 
 
 In the first room are the portraits which 
 existed in the Pantheon of some celebrated 
 foreigners who passed the greatest part of their 
 lives in Italy. Joseph Swee , Nicholas Poussin , 
 french painters, Mengs , Winckelman and An- 
 gelica Kauflman. 
 
 II. Room. Men distinguished in Music and 
 in arms of the XVII and XIX Centuries. Em- 
 manuel Philibert Duke of Savoy. Sacchini, Co- 
 relli , Marcello, Zingarelli, PaisicHo , celebrated 
 musical composers. 
 
7t) Second day 
 
 III. Room. Besides llie portrait of Leo XII 
 
 this room contains several of other distinguished 
 
 personages. Cimarosa , by Canova. De Marclii , 
 
 a Bolognese Engineer by Biglioscbi ; Mantegna 
 
 by Rinaldi. Morgagni , the anatomist, by Ta- 
 
 dolini , presented by Alessandro Manzoni. Do- 
 
 naletto the fiorentine sculptor , by Ceccarini , 
 
 presented hy Canova , wilh the hermes of the 
 
 Blessed Angelico ofFiesole. The following were 
 
 also executed at the expense of Canova. Tira- 
 
 boschi the historian , by d' Este. Masaccio, by 
 
 Finelli. Correggio, by Albacini ; Torquato Tasso, 
 
 by d' Este. Palladio , the Architect, by Biglioschi. 
 
 Titian by d' Este. Dante Alighieri , and Giotto. 
 
 Graiileo Galilei is by Manera. Buonaroti by d'Este. 
 
 Ariosto by Finelli . Christopher Columbus by 
 
 Trentanove. Muratori by Tadolini . Pietro Pe- 
 
 rugino, by Trentanove; Petrarch by Finelli. 
 
 Raphael is by Naldini , at the expense of 
 Carlo Maratta. The last bust is that of Canova. 
 
 IV. Room. Artists who flourished in the 
 XIII, XIV, XV, and XVI Centuries. Brunelleschi, 
 by d' Este. Paul Veronese and Manera at the 
 expense of Canova who executed himself the 
 bust of Pius YII. Leonardo da Vinci. Nicola di 
 Pisa sculptor and architect , Andrea Orgagna , 
 Ghiberti and the other portraits down to the 
 architect Sammichele were made at the expen- 
 se of Canova. Bramante. Fra Bartolomeo di San 
 Marco. Luca Signorelli. Andrea del Sarto. Giu- 
 lio Romano. Sammichele 
 
 The following series represents Flaminio Vac- 
 ca ; Pierin del Vaga ; Garofolo ; Ghirlandaio ; 
 Nanni , of Udine , the three last at the expense 
 of Canova ,- Taddeo Zuccari ; Baronino, the ar- 
 
Second day^ 1\ 
 
 chitect; Marc' Antonio iLe engraver; Polidor Ca- 
 ravaggio, and Fra Sebastiano, lliese three pre- 
 sented by Canova. 
 
 F Room Artists from the XVI to the XIX 
 century. Rusconi , a Milanese Sculptor ; Pietro 
 Bracci ; Annibal Caracci , the head of the Bo- 
 logna school , at the expense of Carlo Maralie; 
 Domenico Zampieri, called Domeaichino, at the 
 expense of Canova ; Pietro Berettini , of Cor- 
 tona ; Marco Benafiel a Roman painter ; Pira- 
 nesi , the sculptor and engraver, at the expense 
 of Canova ; Raphael Stern, a Roman architect, 
 who made the nuovo braccio of the Museo Chia- 
 ramonti at the Vatican ; Pickler , an engraver 
 in pietra dura; Rapini, an Engineer. 
 
 In the YI room are the bust of Trjssino , 
 a poet of Vicenza ; Vittorio Alfieri, at the ex- 
 pence of Canova ; the chemist Saluzzo; Ridol- 
 fino Venuti , an antiquarian of Cortona; Anni- 
 bal Caro by D' Este , at the expense of the Da- 
 chess of Devonshire ; the Jesuit Bartoli of Fer- 
 rara ; Bodoni, the celebrated typographer; Bec- 
 caria. Verri , the author of the Notti Romaqe; 
 Padre Cesari , of Verona ; Goldoni , at the ex- 
 pense of Canova ; Metastasio by Ceracchi. 
 
 The VII room contains the monument de- 
 creed to Canova by Leo XII , and executed by 
 Fabris. 
 
 PALAZZO DE CONSERFATORI 
 
 So named from the Conservator! of Rome 
 who hold in it their sittings. On the right en- 
 trance of the portico is the statue of Julius Cae- 
 sar , the only one known of that great man in 
 Rome. On the left, one of Augustus with a ro- 
 
72 Second day 
 
 strum » > at his feet , ia allusion to the battle 
 of Actium, and near it the figure of a Bacchante. 
 Around the yard are various fragments and other 
 antique monuments. 
 
 On the left a colossal head of Domitian 
 placed on a pedestal representing a province , 
 found towards the close of the XVII century 
 near the Antonine temple. A sepulchral Cippus 
 of Agrippina , the wife of Germanicus , with a 
 fragment of a statue. A bronze colossal hand 
 and head , ascribed to. Commodus though diffe- 
 ring essentially from his head on medals; fra- 
 gments of two porphyry columns joined in one 
 supporting this hand found on the south side of 
 the so called temple of Peace. 
 
 At the bottom of the yard are Barbarian 
 chiefe in grey marble and a sitting statue of Ro*- 
 me placed on a marble pedestal in which is in- 
 serted the remnant of a triumphal arch proba- 
 bly of Trajan's as may be argued by the style 
 on which is represented a conquered province, 
 perhaps Dacia. 
 
 On one of the sides is a fine group dama- 
 ged by water of a lion ripping open a horse ; 
 found in the Almone, a stream out of the Porta, 
 San Paolo. The restoration is attributed to Mi- 
 chael Angelo. The colossal feet and hands, and 
 other fragments formed part of a seated statue, 
 altogether different from the one to which the 
 head of Domitian belonged. The large pedestal, 
 with an inscription in honour of Adrian, pro- 
 bably supported his statue. 
 
 On the stair case is a modern copy of the 
 rostral column of the Consul Duilius who gained 
 the first naval victory over the Carthagimans 
 
Second day 73 
 
 in the year of Eonie 492. The origiaal was co- 
 vered with metal rostra taken from the enemy's 
 shipsw Beneatii is a part of the ancient marble 
 inscription to Duilius , a curious monument of 
 the old latin language. It was found in the Fo- 
 rum , near the arch of Septimius SeYeTus. 
 
 STAIR CASE 
 
 On the first flight of steps between two ni- 
 ches are statues of Urania and Thalia. Qn the 
 walls four, line has reliefs relative to Marcus 
 Aurelius: A sacrifice before the temple of Jupi- 
 ter Capitolinus; the :Triumph; in the third the 
 Emperor on horseback with the prsetor on his 
 left asking peace for the Germans who are in 
 the act of kneeling; in the fourth Rome offe- 
 ring him a globe, the symbol of Imperial power. 
 These has reliefs were foi-merly in S. Luke's 
 church. 
 
 A small has relief on the wall represents 
 Melius Curtius, the Sabine , passing the marsh 
 in the forum during the combat between Talius 
 and Romulus. This work of ancient style was 
 found near S. Maria Liberatrice. Opposite is an 
 interesting inscription recording the taking of 
 Milan by Frederick II.. 
 
 On the wall of the following flight of steps 
 are the has reliefs of the arch near the Fiano 
 palace in the Corso, already mentioned. In one 
 Marcus Aurelius is in the act of haranguing the 
 people; the other represents him seated and the 
 younger Faustina carried up to heaven, in al- 
 lusion to her apotheosis. 
 
74 Second day 
 
 HALLS OF THE COSSERVATORt 
 
 In the first room the cavalier d' Arpino has 
 painted several sabjecls of Roman historyL Ro- 
 mulus and Remus found bj Faustulus, the shep- 
 herd , at the foot of the Palatine , under the 
 Ruminal fig tree;Romulus, tracing with the plough 
 the circuit of Rome ; the rape of the Sabine 
 women ; the sacrifice of Numa and the Vestals; 
 the engagement between theVeienles and Romans; 
 the combat of the Horatii and Curiatii. 
 
 This room contains statues of Leo X, of 
 Urban VIlI by Rernini ; Innocent XI in bronze 
 by Algardi ; the portraits of Christina of Sweden; 
 of Maria Gasimir ; two unknown busts and a 
 sturgeon in bas-relief; of the sturgeons caught 
 in the Tiber exceeding this measure the upper 
 part indicated by the cut over the neck was 
 given by right to the Roman Coiiservatori. i 
 
 In the first antechamber are fresco painT* 
 tings by Laureti of other Roman historical sub- 
 jects. Mutius Sceevola burning his right hand in 
 presence of Porsena. Rrntus condemning his sons. 
 Horatias Gocles repulsing alone the Etruscan 
 army on the Sublician bridge. The battle at the 
 Lake Regillus gained by the Dictator AulusPo- 
 sthumius , which destroyed all hopes in the Tar- 
 qains of returning to Rome. 
 
 This rBOm also contains several statues ofGe^ 
 neral of the Papal troops. Marc' Antonio Colonna 
 who defeated the Turks at the battle of Lepanto: 
 Tommaso Rospigliosi , Francesco Aldobrandini , 
 Alexander Farnese, distinguished in the Flemish 
 wars and Carlo Rarberini the brother of Urban 
 VIII. On a column of verd' antico is a head of 
 
Second day 75 
 
 Trajan. A lumachella bas-relief of the wolf with 
 Romulus and Remus. On another verd' antico 
 column a head of Septimius Severus. 
 
 The third room contains a fine bas-relief 
 by Daniel da Volterra, representing the triumph 
 of Marius after the defeat of the Cimbri. Romu<- 
 lus and Remus suckled by the wolf, an antique 
 bronze , found under the Palatine, between the 
 churches S. Maria Liberalrice and S. Theodora, 
 near the Ruminal fig tree where this work was 
 placed ip the year 458 of Rome by Cneius and 
 Quiutius Ogulni Gurule ediles, which Livy and 
 Dionisius mention as haying existed in their time; 
 it cannot therefore be the same monument which 
 existed in the Capitol at the time of Cicero prior 
 to the conspiracy of Catiline, which was strucTc 
 and rent by lightning. The present monument is 
 worthy of notice from its state of preservation, 
 the two children are modern. The apparent marks 
 o£ lightning are no proof that it was the mo- 
 nument mentioned by Cicero , as besides other 
 proofs alledged, Cicero speaks of the Capitoline 
 wolf as no longer existing in his time « fuisse 
 meministi, » 
 
 In this room is a graceful bronze statue of 
 a young man appearing to take a thorn from his 
 foot commonly called the shepherd Martins ; 
 probably the puerum distrigentem «e praised by 
 PUny which was in the baths of Agrippa; a half 
 sized figure of Adonis; a Diana; a bust of Poppea; 
 one in bronze of Lucius Junius Brutus, the first 
 Consul ; two unknown female busts in niches; a 
 pretend^ bust of Caesar ; that of Adrian : On 
 the wall a has relief of an ancient sarcophagus 
 in which between the genii is the door of Ados 
 
76 Second day 
 
 or Orcus half open. Two fine pictures , one tTi« 
 Saviour , by Piazza ; the other , Santa France- 
 sca Romana by Bomanelli. ; 
 
 The fourth room contains the Capitoline 
 fasti, found in the XVI century near: S. Maria 
 Liberatrice , and some of them in ibe beginning 
 of the present century. These fasti were pro- 
 bably placed in the Comitium or in the Curia 
 Hoslilia; the modern inscriptions relate to the yic- 
 lories of Marc' Antonio Cobnna and to those of 
 Alexander Farnese ; the paintings are supposed 
 tobfrof the school of Picftro Perugino; over the 
 door is a fine head in basso rilievo, supposed to 
 represent Mitridates Kifig of Pontus ; busts of 
 a Bacchante , of Pallas , and two boys holding 
 birds' nests. 
 
 In the audience room a frieze representing 
 Olympic games ; busts of Scipio Africanus and 
 of Philip King of Macedon; Tiberius; Socrates; 
 AppJus. Claudius in rosso antico ; Buonaroti by 
 himself, ibe head in bronze, the bust iu black 
 marble ; a head of Medusa , by Bernini ; two 
 bronze ducks ; a picture of the holy family by 
 Julio Romano. 
 
 In the following room , called that of the 
 arras works , Annibal Caracci has represented the 
 exploits of Scipio Africanus. The « arazzi » were 
 made at S. Michele , an establishment of cha- 
 rity at Rome and represent Rome triumphant. 
 The Vestal Tutia ; the wolf sucking Romulus 
 and Remus ; the chastisement of the Faliscian 
 schoolmaster; the portraits of Ceesar, Pompey, 
 Emilius, Scipio Africanus, and Camillus; inilhe 
 angles are two unknown busts and those of Aria- 
 dne and of ri<}ra. 
 
Second day 77 
 
 In the last room are various works of scul- 
 pture , statues of Consuls, those pretended to be 
 of Virgil and Cicero; those of Polymnia, Ceres, 
 and Cybele. The fresco paintings by Pietro Pe- 
 rugino relate to sundry deeds of Roman history 
 at the lime of the Punic wars. 
 
 In the adjoining chapel are several good 
 pictures. The altar piece representing the Vir- 
 gin , on slate , is by Nucci ; the Evangelists in 
 the four angles are by Caravaggio. The Eternal 
 father and others , school of the Caracci. S. En- 
 stache , S. Cecilia , S. Alessio , and the Blessed 
 Louisa Albertoni are by Romanelli. The Madon- 
 na to the left is by Pinturicchio. 
 
 The adjoining rooms contain the fasti of 
 the modern Conservatori and an ancient inscri- 
 ption of the time of Commodus to whose name 
 has been substituted that of Pertinax. There is 
 also on a large pedestal an inscription in honour 
 of Adrian by the heads of the « Vici » of the 
 fourteen regions of Rome ; the names of five of 
 these « Vici » exist; it is a valuable monument 
 of ancient topography. In the angles are the nor- 
 mal measures of wine , corn and oil used in the 
 XIV century. 
 
 THE GJLIERY OF PAINTINGS: 
 
 These rooms were built by Benedict XIV 
 who formed the collection , and some changes 
 were introduced under Pius VII. The works are 
 numbered and begin by the side on the left en- 
 trance. The first picture is a female portrait by 
 Giorgione. :A Madonna and saints, a copy from 
 Paul Veronese » by Bonatti; angels appearing to 
 
 4 * 
 
78 Second day 
 
 the shepherds , Bassano ; the ssstet^ce of IplJ' 
 genia , Pietro da Cortona; portraif of a female^ 
 Bronzino ; S Lucia , Beuvenuto Garofato , one 
 of the painter's best 'Works; portrait of a man 
 of the Venetian school; a Madonna, Garofalo; 
 the adoration of the Magi , Scarsellino; a por* 
 trait of Guido , by himself; the baptism of our 
 Saviour, school of the Caracci ; S. Jerome, Gui- 
 do ; the espousals of S. Catherine, Garofolo; a 
 Yirgin in repose , a copy of Titian , by Pietro 
 da Cortona ; a holy family , Agostino Caracci ; 
 another holy family with S. Jerome, Garofalo ; 
 a portrait , Velasquez; The coronation of S. Ca- 
 therine , Garofalo; a Virgin and Saints, Botti- 
 celli ; the adoration of the Magi , Scarsellino ; 
 a holy family , school of Baphael ; S. Francis , 
 Ludovico Caracci; a landscape with the martyr- 
 dom of S. Sebastian, by Pomenichino; the ado' 
 ration of the Magi, Bassano; Urban VIII, Pietro 
 da Cortona; Orpheus playing on the lyre, Pous- 
 sin ; a Madonna , Gaudcnzio of Ferrara; a man 
 caressing a dog , Ludovico Caracci ; the Sama- 
 ritan , Palma Vecchio ; the triumph of the cross, 
 Domenico Palembourg. 
 
 On the second wall a copy of the Judith 
 of Guido , by Carlo Maratte ; Agar and Ismael 
 quitting Abraham's house , Mola ; Christ dispu- 
 ting , of the Ferrara school ; another by Dosi 
 of Ferrara ; a charity , Annibal Caracci ; Bac- 
 chus and Ariadne by Guido or by one of his 
 best imitators ; the celebrated Sibiila Persica of 
 Guercino; the Virgin, S. Cecilia and a Carme- 
 lite, by Annibal Caracci; a Virgin and S. Fran- 
 cis , by the same ; a holy family by Garofalo 
 behind which is a sketch of the circumcision, by 
 
Second daf T9 
 
 the same artist;: a miniature representing the 
 repast ef our Saviour with the Pharisee , by 
 Subieiras ; the marriage of Sr Cafherine , a Ma- 
 donna by Albano, a work highly esteemed; a Ma- 
 gdalen , Tintoretto ; David with the head of Go* 
 liath at his feet , Romanelli ; Esther by Mola ; 
 a sketch by Annibal Caracci of the Commuuion 
 ef S. Jerome , at Bologna ; a holy family, Schia- 
 tose ; the espousals of the Madonna , in the old 
 manner of the Ferrara school. 
 
 On the third wall are S. John Baptist, by 
 Daniel de Volterra ; Christ disputing with the 
 doctors , Valentin } The Cumean Sybil , Dome- 
 nichino, inferior to the same Sybil by the same 
 artist in the Borghese collection ; Hcrminia and 
 the shepherd , Lanfranc ; Jacob and Esau Baf- 
 fael del Garbo ; a view of Nettuno near An- 
 tium, Vaitvitelli; the Magdalen, Guide > The ado<- 
 ration of the golden calf, Luca Giordano ; Flo- 
 ra on a triumphal ear , Poussin ; view of Grotta 
 Ferrata , Vanvitelli ; S. John Baptist, Guercino; 
 Joseph sold by bis brothers ^ Pietro Testa ; a 
 landscape with the Magdalen , Caracci; a Mag- 
 dalen , Albano ; the triumph of Bacchus , Pie- 
 tro di Cortona ; an horizon, Vanblaemen ; S.Ce- 
 cilia, Romanelli ; Moses striking water from the 
 rock, Luca Giordano; Madonna and Saints, school 
 of Correggio ; the beatification of the soul , by 
 Guido. 
 
 Fourth wall. A portrait by Dosi of Fer- 
 rara ; one by Domenicbino ; an architecture in 
 chiar'oscuro , Polidore Caravaggio ; a sketch of 
 the soul's beatification , Guido ; the Virgin , S. 
 Anne and angels , Paul Veronese ; Romulus and 
 Remus sucking the wolf and found by Faustu- 
 
80 Second day 
 
 lus, Rubens; a portrait Giorgione ; Rachel, Lia 
 and Laban, by Giro Ferri; a bishop , Giovan- 
 ni Bellini; the Vine dressers , Feti ; Circe offe- 
 ring a beverage to Ulysses , Sirani; portrait of 
 a mont, Giorgione; a Madonna^ Venetian school; 
 S. Sebastian, Bellini; the dispute of S. Catherine, 
 Giorgio Vasari ; The Virgin, in adoration before 
 her divine son, Pietro di Cortona ; another Ma- 
 donna , Franeia; a portrait, Bronzino; a picture 
 with two portraits, Titian; a Meleager in chia- 
 roscuro, Polidor Caravaggio; The coronation of 
 the Virgin with S. John , unknown. 
 
 SECOND ROOM 
 
 Beginning on the left and following the num- 
 bers are the Holy Ghost, by Paul Veronese; the 
 Madonna, child and S. Joseph, Giorgione; a copy 
 of the Galata;a of Raphael, Pietro da Cortona; 
 the Ascension , Paul Veronese ; the Virgin with 
 S. Jerome and a saint , Campi of Cremona; an 
 allegorical picture of the Caracci school; the ado- 
 ration of the Magi, Garofalo; a stable Gauden- 
 zio ; the banquet of the rich Epulon , Cairo ; 
 Christ disputing in the temple, Lippi; the Ma- 
 donna in gloria , Garofalo ; two landscapes of 
 Claude ; the nativity of the Madogna , Albano; 
 views of monte Cavallo and Ponte Sisto, Van- 
 vitelli ; a flemish kermesse , Breughel; (he tem- 
 ple of Vesta , the two bridges of the Isola Ti- 
 berina , the Tiber at Ripetta , S. Giovanni de; 
 Fioreutini , the Castle S. Angelo, the meadows 
 behind the castle , and the broken bridge^ are 
 all by Vanvitelli; a landscape , Crescenzo ; a 
 young man , Caravaggio ; a Cupid, Guidoj the 
 
Second day 81 
 
 crown of Iborns , Tintoretto. Christ bearing the 
 cross and meeting Veronica, Cardpna; S. John 
 the Evangelist, Caravaggio; two sketches by Gui- 
 do , one a half sized femlale fignre , the other 
 the Virgin ; a holy family Girolamo da Carpi ; 
 a battle piece , Borgognone ; an Ecce homo , 
 BaroGcio ; portrait of Pope Julius II, unknown; 
 a young man, in the Caravag,gi;o style; a battle 
 piece , Borgognone ; Christ and the adulteress , 
 Titian; Bambocciata, Cerquozzi; a portrait An- 
 nibal Caracci ; Europa , Guide ; tbe defeat of 
 Darius at Arbelse , one of the best works of 
 Pietro da Cortona ; a view of the alum mines, 
 Cortona; a portrait by Titian; Polyphemus, Gui- 
 do ; a landscape , Crescenzo ; a female figure , 
 half size, school of Raphael; Judith , Giulio Bo- 
 mano ; the presentation of Christ, a fine pain- 
 ting attributed to fra Bartolomeo di S. Marco*; 
 a holy family, Andrea .Sacchi ; the journey to 
 Egypt , Scarsellino ; the Madonna with two 
 franciscan saints , Garofalo; a manger, Gauden- 
 zio ; the Annunciation , Garofalo ; S. John Ba- 
 ptist , Parmigiano ; S. Francis , Annibal Carac- 
 ci; two small flemish pieces, representing an old 
 woman and a peasant ; the following piepe is 
 by some attributed to Domenichino , by others 
 to Caracci; a landscape, by Claude; a Madonna, 
 Cignani ; the manger , Garofalo ; Chri&t bearing 
 the cross , Florentine school ; The Virgin, child 
 and S. John , Garofalo j the judgment of ,Solo-» 
 mon , Bassano. 
 
 The second front is almost entirely filled 
 by the large picture of Guercino , which was 
 formerly in the Vatican ; the style is grand, the 
 pencil masterly; it represents the death pf 8- 
 
82 Second day 
 
 Petronilla. On the left of this classic picture is 
 an allegory , by Profeta; the transit of the Ma^ 
 donna, the assumption, by Cola; a Magdalen, 
 school of Guercino ; the birth of the Madonna, 
 Albano. 
 
 The third wall contains the baptism of 
 Christ by Titian , his own portrait is introdu- 
 ced in profile ; S. Francis , Ludovico Caracci ; 
 Christ and the adulteress , Gaudenzio ; Simeott 
 the elder , Passignani •, a holy family, Ludovico 
 Caracci; a gypsy and a young man, Caravaggio; 
 a Madonna , child and two angels , Perugino ; 
 S. Matthew , Guercino -, S. Bernard , Giovanni 
 Bellini -, a soldier seated , Salvator Rosa; S, Je- 
 rome , Faccini ; a portrait^ Giovanni Bellini 5 
 a landscape , Domenichino -, a fine portrait of 
 Michael Angelo , hy himself ; a Madonna, Ab- 
 nibal Caracci; Giovanni Bellini, painted by him- 
 self ; the Virgin and S. Francis , Annibal Ca- 
 racci ; Christ and S. John, a sketch by Guido; 
 a Spanish priest, Giovanni Bellini ; a magician 
 Salvator Rosa ; a flower piece, unknown ; The 
 flagellation, Tintoretto; Christ in glory, Bassano; 
 a S. Sebastian, Ludovico Caracci; Innocence hol- 
 ding a dove, Romanelli ; a Madonna, manner 
 of Correggio ; a portrait , Bassano ; Cleopatra 
 in presence of Augustus , Guercino ; Endymion, 
 Mola ; S. John Baptist , Guercino; a head, style 
 of Titian; Diana in a hunting dress, Cav, d'Ar* 
 pino ; the baptism of Christ , Tintoretto; Christ 
 driving the dealers, out of the temple, Bassano; 
 S. Sebastian , by Guido ; flower plecp , a boy 
 geated , Sirani ; the marriage of S. Catherine', 
 Calvasi ; two portraits , flemish school ; Lucre- 
 tia ^ a sketch by Guido ; a manger MazzoMnQ 
 
Second day 83 
 
 of Ferrara ; the fall of S. Paul, Scarsellino; the 
 workshop of Vulcan or rather a linker's shop , 
 Bassano ; a holy family , Mantegna; S. Barbara, 
 a beautiful half sized figure attributed by some 
 to Annibal Caracci , by others to Domenichiao; 
 S. Sebastian , Qarofalo ; a holy family, Parmi- 
 giano -, flemish portraits ; a female head, Vene- 
 tiaui school ; S. Cecilia , Ludovico Caracci -, a 
 sketch of Guide's Cleopatra. 
 
 The last side contains two philosophers, by 
 Calabrese , a work of the Venetian school , a 
 Madonna by Liberi -, The Magdalen kneeling , 
 Paul Veronese ; S. Sebastian , Caracci school ; 
 Nathan and Saul , Mola ; Christ with the Pha- 
 risee , Bassano ; The rape of Europa , a fine 
 work by Paul Veronese; a S. Francis, by Gior- 
 dans. 
 
 Behind this edifice was the Arx or ancient 
 citadel mentioned when treating of the Capitol; 
 here the Archaeological institute holds its sittings. 
 
 CHURCH OF AHACOELI 
 
 This church was built in the early ages on 
 the spot where the celebrated temple of Jupi- 
 ter Gapitolinus once stood , and was called S. 
 Maria de Capitolio ; when and for what reason 
 it was called Aracoeli is unknown; Till 1252 
 it was a Benedictine abbey when Innocent IV gave 
 it to the Franciscan friars.In1464 itwas restored 
 by Cardinal Oliviero Caraffa , and having suffe- 
 red much in 1798, itwas repalifed in the be- 
 ginning of the present century. 
 
 On the ground before the principal entrance 
 is the tomb of Flavio Biondo of Forli, the first 
 
84 Second day 
 
 who wrote on Roman antiquities iii the XV cea- 
 
 The church is divided into three naves by 
 22 columns of various diameters and of different 
 work all of Egyptian granite except three which 
 are of marble. It is therefore not correct to say 
 tliat they were taken from the ancient temple 
 of Jupiter since these, according to Plutarch i, 
 were of pentelic marble. It appears that the pre- 
 sent columns were taken from different places; 
 on the third, near the entrance by the great door, 
 is the following doubtful inscription. 
 
 A . CVBIGVLO . AVGVSTORVM 
 
 The first chapel on the right of the large 
 entrance dedicated to S. Bernardino of Siena , 
 fermerly belonged to the Buffalini family ;The fres- 
 coes relative to the life of S.Bernarditio are consi- 
 dered as the best works of Pinturicchio. They 
 have been restored under the direction ofCa- 
 muccini. In the adjoining chapel the oil pain- 
 ting is by Marco di Siena, the others by Poma- 
 rancio. In the following 'chapel is a S. Jerome 
 by Giovanni deVecchis. After the fourth, which 
 contains nothing worthy of observation , is the 
 one dedicated to the apostle S. Matthew whose 
 actions were painted by Muziano. The S. Pietro 
 Alcantara in marble, and the other works in the 
 following chapel are by Maille; the stuccoes by 
 Cavallini , and the paintings on the walls by 
 Marc' Antonio , a Neapolitan. The paintings of 
 the following chapel dedicated to S. Diego and 
 the altar piece by Nucci, and Strada, are spoi- 
 led. The altar piece in the chapel of S. Pascal 
 
Second day - 85 
 
 Baylon is by Vittoria of Valencia; the walls were 
 painted by Soites , the stuccoes are by Cavallini 
 and. the AecoraUve pafis by Stanghellini. The 
 chapel in honour of S. Francis was rebuilt in 
 1727 under Benedict XIII. It belonged to the 
 Savelli family and contains several of their mo- 
 numents ; the altar piece is by Trevisani. The 
 painting in the adjoining chapel dedicated to S. 
 Rosa di.Viterbo is by an unknown author. The 
 adjoining chapel of S. Francesco Solano was built 
 on the designs of Antonio Gherardi , who pain- 
 ted the altar pieces ; the Madonna and four half 
 figures are by Ghezzi. On the right of this cha- 
 peLis that of S. Carlo Borromei, with two verde 
 antico columns. Over the high altar is an an- 
 cient picture representing the Madonna , which, 
 in^ the limes of S. Gregory, was carried in pro- 
 cession during the plague , a circumstance re- 
 corded in a small painting by Giovanni de Vecchi 
 on the pilaster opposite the altar of S. Charles. 
 In Ahe choir is a fine painting of the school of 
 Raphael , probablyby Giulio Romano, which has 
 often been taken for that of the Madonna of 
 FoUgno. It represents the Virgin with S. John 
 Baptist and S. Elisabeth. On the left is the tomb of 
 Giovanni Battista Savelli , by a scholar of San- 
 savino. Oa the left of the high altar the picture 
 representing the espousals of the Virgin is in the 
 Bassano style. In the following chapel, that of 
 the. knights, the Madonna , with S. Gregory and 
 S. Francis, by Semenza. The holy chapel near 
 the sacristy is supported by eight broccatello 
 columns; it was demolished in 1798, and re- 
 built by the Archicoafraternity of the Gonfalon e 
 in ,1832. 
 
 5 
 
86 Second day 
 
 On the other nave is the chapel of the Ma- 
 donna di Loreto ; the frescoes by Marzio are 
 nearly destroyed , the altar piece is by Ganas- 
 sini. The following chapel is dedicated to S. Mar- 
 gherita di Cortona -, the principal painting by 
 Barbieri , those on the walls by Evangelist! re- 
 late to the conversion and death of the saint. In 
 the chapel dedicated to S. Michael the tomb of 
 Cardinal Mancini is by Francesco of Bologna. 
 The Ascension in the next chapel by Muziano 
 the others by Kiccola da Pesaro. In the chapel 
 dedicated to S. Paul is another painting by Mu- 
 ziano and in that of S. Antonio of Padua the 
 lunette is by the same artist, and the others are 
 by his school. The transQguration in the adjoining 
 chapel is by Girolamo of Scrmoneta. The last 
 chapel was painted by Niccola di Pesaro. 
 
 A miraculous image of the infant Jesus ador- 
 ned with many valuable jewels is preserved in 
 this church , and is exposed to public venera- 
 tion in a scenic representation of the stable, from 
 the 25 December till the 6 January. At the sa- 
 me time the images of Augustus and the Sybil 
 are shown in memory of the prophecy; this ima- 
 ge of the infant is kept in a little chapel con- 
 tiguous to the sacristy , which contains the sta- 
 tue of S. Francis , the first statue raised to this 
 saint in Kome. 
 
 Annexed to the church is the Franciscan 
 Convent in which is one of the principal libra- 
 ries of Rome. In the refectory is a painting of 
 the marriage of Cana in Galilee and others by 
 fra Umiie of Foligno. 
 
 From the Capitol to the Forum the steps 
 are in the direction of the Clivus Asyli already 
 
Second day 87 
 
 mentioned; under the Senatorial palace are re- 
 mains of the Tabularium consisting of large blocks 
 of Gabine stone. On the left is the 
 
 UAUERTINE AND TULLIAN PRISON. 
 
 This building , which was not ia the Forum 
 but near it, as related by Pliny , was erected 
 by Adcus Martius , and from him called the 
 Mamertine prison «Mamers » and « Mamertius » 
 in the ancient language of Latium , having 
 the same signification as Mars and Martius. 
 According to Varro , it was encreased by a 
 stronger prison under Servius Tullius , and 
 called the Tullian prison. This dark building i$ 
 composed of large tufTo blocks linked together 
 without cement , nine Roman feet in length and 
 two and a half in depth. The front towards the 
 Forum though not in a direct line is 45 feet 
 long and 1 8 deep , the remainder being un- 
 der ground. 
 
 According to the the inscription on the front 
 travertine block the prison was restored by a 
 decree of the Senate in the 22. year of Tiberius, 
 by the Consuls C. Vibius,, G. F. Rufinus.,M. Coc- 
 ceius Nerva. The building , as seen by its pre- 
 sent form, was divided into the upper and 
 lower prison. The descent in the upper prison 
 is by two modern flights of steps , as in ancient 
 times no steps existed ,: the prisoners being l^t 
 down by the opening in the middle. The first 
 prison was of a quadrilateral form 27 feet long, 
 20 wide and 1 6 in height. Towards the north are 
 remains of the loop holes through which the 
 tight peoetratedr 
 
88 Second day 
 
 The lower prison is of a semi elliptic form 
 21 feet long, the steps are also modern, formerly 
 the prisoners were let down through the round 
 opening above. This is the TuUian prison, men- 
 tioned by Salliist, in which, according to Plutarch, 
 Jugurtha died of hunger, and according to Sal- 
 lust, Lentulus and Cethegus , the accomplices of 
 Catiline , were strangled by order of Cicero . 
 These prisons are so very narrow that it may 
 be conjectured that the upper one extended to 
 the site where the altar now stands. The ascent 
 was by steps which finished at the Tarpeian rock 
 and these were called the Scalce Gembnice frofli 
 the lamentations of the prisoners whose bodies 
 were' dragged through the Forum to the Tibier. 
 
 This building is now dedicated to the 
 Apostle Peter , from the tradition that he was 
 coniined in it , and that he caused a spring td 
 rise for the baptism of Processus and Martinian 
 Ihg keepers of the prison. This spring is still 
 visible in the under prison , together with the 
 column to which it is said the apostle was 
 bound. 
 
 Over this building is the church called San 
 Giuseppe d6 Falegnami from its belonging to the 
 confraternity of carpenters. It contains a painting 
 by Carlo Maratla , representing the nativity of 
 Christ. 
 
 Towards the west of this church and near 
 the arch of SeverUs , is the 
 
 TEMPLE OF FORTUNE. 
 
 Till latter times Ihis edifice was supposed 
 to be a remnant of the temple of Concord , built 
 
Second day 8ff 
 
 by Canirillus, and restored by Tiberius , allhougb 
 the position, style, and inscription were opposed 
 to this opinion ; the Temple of Concord was 
 turned towards the Forum and the Comitia , 
 according to Dio , circumstances that are not 
 applicable to the temple in question ; in addi- 
 tion to which the style of the columns , all of 
 different diameters , that of the capitals which 
 are of a bad taste, clearly show that this edifice 
 belonged to the period of the decline ; finally 
 it is attested by the inscription on the frontis- 
 piece 
 
 SENATUS . POPULUSQUE . ROMANUS . 
 INGENDIO . CONSUMPTUM . RESTITCIT . 
 
 that it was restored after a fire , while another 
 inscription found in the XVI century assert* that 
 the real temple of Concord was restored , Ve-r 
 tustatm eollapsum so that it cannot be the the tem- 
 ple destroyed by fire. 
 
 The real temple of Concord having been 
 discovered in 1817 , it has been supposed that 
 the one now mentioned was that of Juno Moneta, 
 but this was situated on the citadel on the site 
 of ihe house of Manlius . Others have made it a 
 temple of Vespasian ; others a second tenaple of 
 Concord without reflecting that the passage in 
 Plutarch relating to the temple of Concord biiilt 
 by Camillus , declares that the front was turned 
 towards the Forum , which does not accord 
 with the position of the present temple , and 
 there exist no traces of two temples of Concovi 
 under the Capitol. 
 
90 Second day 
 
 Of late years an opinion has arisen thai it 
 was the temple of Saturn but this is contradicted 
 by passages of Tacitus , Svetonius, and Plutarch 
 relative to the death of Galba , which prove 
 that this temple was near the church of the 
 Consolazione towards the western angle of the 
 Forum. 
 
 The most probable opinion respecting this 
 temple is that of Nardini , who judged it to be 
 that of Fortune , since it is known that a tem- 
 ple to that goddess existed on the slope of the 
 Capiloline hill, near the temple of Jupiter Tonans, 
 according to the Prenestine verses , which tem- 
 ple was burnt , as stated by Zosimus , in the 
 time of Masentius, and was rebuilt either then, 
 or under Constantino by the Senate , and the 
 style belongs precisely to that period. 
 
 This temple had six front columns, all of gra- 
 nite , of different base and diameter some 5 1/2 
 feet ancient measure in diameter and 45 high.The 
 base, capitals and cornice are of white marble ^ 
 the capitals Jonic, of bad taste ; of the internal 
 ornaments around the frieze some which are 
 remains of the primitive temple may be ascri- 
 bed to the first century of the Empire ; others 
 are coarse and of the period of. the restoration ; 
 the whole building stands on a fine travertine 
 basis which was lined with marble , opposite 
 were the steps leading to the temple. 
 
 The three beautiful fluted columns adjoi- 
 ning it arc remains of 
 
 THE TEMPLE OF JUPITER TONANS. 
 
 That the temple of Jupiter Tonans was situa- 
 

 TEMlPXilE OF lUFITER, TOHAJNS 
 
Second day 91 
 
 ted on theClivus CapitoHnus,is asserted by Victor; 
 SYetonius relates the motive for which it was built. 
 Augustus was travelling in ths night during the 
 war in Spain when his lettiga was struck by 
 lightning and one of his servants was killed . 
 On his return to Rome the Emperor raised this 
 temple to the thundering Jove and it was subse- 
 
 2uently restored by Septiiniu* Severus and by 
 aracalla , as appears by the fragment of the 
 inscription. . . ESTITVER existing on the frieze 
 which is of a very different style Irom the cor- 
 nice , architrave , capitals and columns , since 
 the cornice , loaded with ornaments , and of 
 a harsher style betrays the Septimian era , while 
 the remainder is known at first sight as belonging 
 to the times of Augustus. The front towards the 
 Forum consisted of six columns , of which two 
 alone remain with one of the lateral columns. 
 These are of white Luni marble , fluted Corin- 
 thian of about four and a half ancient feet in dia- 
 meter ; they were excavated of late years whea 
 it was discovered that the steps were placed 
 between the columns. In the subsequent excava- 
 tions of the Clivo Gapitolino it was found that 
 this building , on account of the irregulari- 
 ty of the ground and the narrow spot on 
 which it was built, was raised on a substruction 
 covered with marble and supported by small 
 pilasters two of which still remain. The edifice 
 is highly ornamented , the cornice finely wrought. 
 On the side frieze are carved several instruments 
 of sacrifice , amongst which the galerus , struck 
 Jjy lightning a species of helmet or cap worn 
 by the Flamen Dialis , one of the chief priests 
 of the pagan Religion, 
 
92 Second day 
 
 A brancli of the Clivo Capitolino passed 
 between this temple and that of Fortune , the 
 pavements of which was formed of large poly- 
 genes of basaltic lava found in 1817. 
 
 Between these temples and under the ta- 
 bularium is a half broken « Edicola » in whicli 
 a votive ara dedicated to Faustina , the wife of 
 Marcus Aurelius , was found in 1 824. 
 
 PORTICO OF THE « DIJ COSSENTI » 
 
 Between the facade of this templ« and the 
 slope leading to the Tarpeian rock several 
 rooms were found in 1834 with a portico of 
 cipollino columns of the corintbian order and 
 capitals ornamented with trophies and victories. 
 The capitals and work of the columns evidently 
 belong to the comencement of the III century 
 the time of Septimius Severus ; the side cons- 
 tructions and several marks on the bricks bear 
 the date of the reign of Hadrian from which 
 circumstance it may be concluded that the ori- 
 ginal building was raised under Hadrian and 
 restored under Septimius Severus. It is known 
 from history , and particularly from Orosius, 
 that this part of Rome suflfered by fire under 
 Gommodus, a catastrophe that induced Septimins 
 Severus to repair this building and the temple 
 of Jupiter Tonans. An inscription over the por- 
 tico indicates that these rooms contained stataes 
 of the «Dii Consenti»which were replaced by Pre-i 
 testatus , the Prefect of Rome in the year 368 
 of the Christian era. The « Dii Consenti » were 
 the twelve great Gods placed by Ennius in the 
 following order. 
 
Second day 93 
 
 Juno , Vesta, Minerva, Ceres j Diana, Venus, 
 Mars , Mercury , Jupiter , Neptune , Vulcan , 
 Apollo. It is probable that some other restora- 
 tion was made by Pretestatus , particularly in 
 the pavement. 
 
 On the left of the temple of Jupiter Tonans 
 are the remains of the 
 
 TEMPLE OP CONtORD. 
 
 These ruins so interesting for the history and 
 topography of ancient Rome were discovered in 
 1817, with four inscriptions allusive to Concord. 
 The temple was built by Camillus to commemo- 
 rate the concord established between the pa- 
 tricians and the plebeians, was rebuilt by Tiberius, 
 biirnt under Vifellius,restored and ornamented by 
 Vespasian. It was preserved till the middle of 
 the XII century though from the VIII it ap- 
 
 Eiears to have been ruined , since a part of the 
 uilding was occupied by the church ofS.Sergius 
 and Bacchus which was demolished by Patil III 
 when Charles V came to Rome. It was in the 
 temple of Concord that Cicero assembled the 
 Senate during the conspiracy of Catiline. 
 
 In the last excavations four votive inscri- 
 ptions to Fortune were found , all of the times 
 of Augustus and Tiberius; of these the most re- 
 markable is that of Marcus Antouius Geminus, 
 the legate of Augustus , and prefect of the mi- 
 litary treasury. The real situation of this tem- 
 ple is proved not only by inscriptions but by 
 the authority of ancient writers; these ruins are 
 near the prison , as stated by Dio , are turned 
 towards the Forum and the Comitium , accor- 
 
q4 Second day 
 
 ding to Plutarch, and finally are between the 
 Capitol and the Forum , according to Festus. 
 
 Besides the inscriptions are the remains of 
 the cella which extended on one side to the 
 temple of Jupiter Tonans and on the other to 
 the steps. It is lined wilh giallo antico or Nu- 
 midian , by pavonazzetto or Phrygian marble ; 
 the pavement with these and with African maf- 
 hle. Ov«r the threshold composed of a single block 
 «f|>orta santais the sign of a wand which must 
 hare been of bronze, the symbol of the deity to 
 vhom it was consecrated. Several columns "were 
 also found of numidian and phrygian marble which 
 belonged to the interior,and numerous fragmentsSof 
 architecture of an admirable execution and of the 
 finest style of sculpture, together with fragments 
 of colossal statues , but these and others were 
 consumed or calcined by fire which prove that 
 ihe temple of Concord was burnt in the middle 
 ages. Among the fragments of the plan of ancient 
 Borne is one of a part of the temple of Concord 
 showing that owing to the narrowness of the 
 site, the front of the porticoes was smaller than 
 the cella of the temple-, the best preserved fra- 
 gments of the interior of this temple and of that 
 of Jupiter Tonans are placed in the Tabularium. 
 On comparing those of the temple of Concord 
 with the cornices of the temple of Jupiter Tonans 
 the difference is easily perceived. 
 
 TJJE nOMJN FORUM 
 
 The most celebrated spot of ancient Rome 
 was the Forum , called Romanum , either from 
 its antiquity, the period of the alliance between 
 
5^ 
 
Second day ?5 
 
 theRomans and Sabines under Romulus andTatius, 
 or from the splendour of its buildings. The ety- 
 mology of the word Forum is derived by the 
 ancients, *^ a ferendo, » bringing things for sale, 
 the Forum having been in the origin a market 
 place. 
 
 The celebrity of this spot, the most classic 
 of ancient Rome , induced the antiquarians du- 
 ring the last four centuries to trace the limits 
 and fix. the situation of the buildings by which 
 it was surrounded. Till later times Nardini seems 
 more than any other to have come near the truth, 
 and if he has extended his limit two far to 
 the east , it must be borne in mind that in his 
 time , the middle of the XYII century , it was 
 extremely difficult to form any idea , the soil 
 being choked up and disfigured with towers and 
 small houses, both modern and of the middle ages. 
 Without any assistance he was guided solely 
 by the authority of ancient writers; his sy- 
 stem was consequently the most probable , but 
 the excavations undertaken by Government since 
 1 827 have established facts which limit the axe 
 of the Forum towards the east; these howerer, 
 do not affect Nardini's plan respecting the dispo- 
 sition and situation of the edifices , which has 
 been confirmed by the late discoveries. 
 
 That the existence of the Forum dates from 
 the alliance between the Romans and Sabines , 
 all antiquarians agree ; when each people occu- 
 pied the Palatine and Capitoline hilk, exclusi- 
 vely , it was necessary that a point of contact 
 should exist , and this naturally presented itself 
 in the species of isthmus which , coinmcncing on 
 the sides of the Tarpeian rock , joined the Pa- 
 
96 Second day 
 
 laline near the north angle of the hill. This isthmus 
 bathed in the right and left by marshes was, ac-. 
 cording (oHalicarnas8us,an unequal wooded valley 
 partly covered with water. It is seen by the re- 
 cent excavations that, . notwithstanding the ame- 
 liorations made in the height of the Roman power, 
 the soil has a sensible slope to the west in the 
 direction of the Veilabrum and of S. Martina , 
 and consequently that at the remote period of 
 Romulus and Tatius, when the two people amoun- 
 ted together to about 3000 souls, they naturally 
 profited of the valley that presented the least 
 difficulties to be reduced to a regular form; the 
 trees were then felled which encumbered the 
 isthmus ; the springs filled up , and a more re- 
 gular form given to the ridges which , to the 
 right and left , were covered with woods, and 
 terminated in the extensive marshes of the'Ve- 
 lahrum and of the « Acquee Lautole » which 
 stretched towards the Quirinal. 
 
 In turning back to the primitive times of 
 Rome , it must be acknowledged that the soil 
 descended greatly from the granary near the 
 column of Phocas, towards the Forum of Nerva, 
 since it appears by the late excavations that , 
 even under the Emperors , it was not levelled 
 but descended into by steps. At this epoch, be- 
 fore the construction of the Trajan Fotum it is 
 known , by the testimony of Dio , and by the 
 inscription on the pedestal of the Trajan column 
 that the Quirinal and Capitol approached so nearly 
 that it hecame necessary to cut the side of the 
 Quirinal; it is thus evident that a hollow was 
 created between these two hills and the Pala- 
 tine , which received the springs and rains un- 
 til they could be carried into the Velabrum. 
 
Second day 97 
 
 Uniting these facts to the authority of Dio- 
 nysius who openly declares that the Forum was 
 situated between the Capitol and the Palatine it 
 may be asserted that the primitive eastern limit 
 of the Forum is determined by the steps lately 
 discovered to the west of the Phocas column the 
 area of which is out of the limits of the Roman 
 Forum , but whithin those of the addition made 
 to the Forum by Julius Cfesar , called -the Fo- 
 rum of Caesar. A passage in Varro which seems 
 to have escaped the notice of anterior topogra- 
 phers declares that in hb time, before the addi- 
 tion made by Csesar , the extent of the Roman 
 Forum was seven jugera , each according to 
 Columella being equivalent to a quidrilater 120 
 feet by 240, consequently the area of the Forum 
 was 201 600 square feet. The Forum was nothowe- 
 ver square but quadrilateral, since Yitruvius 
 ex.pre9sly says that the « Fori » of the Italian 
 cities were of an oblong form, generally in the 
 proportion of 2 to 3 , when the ground offered 
 no obstacle. We may then assert that the Ro- 
 man forum was 550 feet long and 366 broad, 
 a small extent , but it is to be borne in mind 
 ttiat the city was small, and when it began to 
 encrease , the forum was at first reserved solely 
 to public affairs , to legal matters , excluding 
 dealers , and not being sufficiently large it was 
 extended in after times towards the east and 
 north by Caesar, by Augustus, by Domitian, Nerva 
 and Trajan, by whose names the new Fori were 
 called. The limits of Caesar's Forum , and that 
 of Augustus , were situated to the west of the 
 Phocas column and of the church of S. Mar- 
 tina near the arch of Septimius. 
 
 6 
 
98 Second day 
 
 From the excavations made at different 
 epochs , and in various spots, it has been ascer- 
 tained that the Forum , including the additions 
 of Csesar , of Augustus etc : existed in the be- 
 ginning of the VII century of the Christian era, 
 and that it was ruined principally by Guiscard 
 in 1 080 , who destroyed and burnt all this part 
 of Rome while supporting the interests of S. Gre- 
 gory VII ; from that period it was deserted and 
 served as a deposit for filth and rubbish which 
 in the course of agesencreased to a depth of 24 
 feet. Many excavations were made under Paul III 
 in 1 547 , with the sole view of pillage , which 
 caused new devastations even in the material 
 parts and no designs were taken. It afterwards 
 became a cattle market particularly for oxen 
 and in past times its name was degraded into 
 that of « Gampo Vaccino » but the ancient de- 
 nomination has of late years been resumed. 
 
 The limits of the Roman Forum properly 
 called are thus determined by the church of the 
 <t Consolazione, » by that of S. Theodore formerly 
 the temple of Vesta , by the three columns near 
 S. Maria Liberatrice, and by the temple of For- 
 tune. The Phocas column , the arch of Severus 
 were comprized in the forum of Caesar. The church 
 of S. Martina , probably built on the ruins of 
 the temple of Mars the avenger , was in the Fo- 
 rum of Augustus and three large remnants of 
 it are still visible in a yard at the beginning of 
 the « Salita di Marforio. » 
 
 Although the Forum has been stript of its 
 ancient splendour , the remains still existing of 
 its primitive magnificence , the remembrance of 
 the events of which it has been the scene , its 
 
Second day 99 
 
 splendid fragments of art, render it the most 
 interesting spot of Rome. 
 
 Before describing what it still contains we 
 think it necessary to premise the general indica- 
 tion of 
 
 EDIFICES OF THE FORUSf 
 
 In the centre facing the Capitol were the 
 « rostra » or tribune from which ihe people 
 were harangued , they were so called from the 
 bronze rostra taken by the Romans from the 
 ships of the « Antiati » ; Caesar transferred the ro- 
 stra , according to Dio , to the angle towards 
 the Velahrum. Near the rostra were exposed the 
 heads of the proscribed as happened to Cicero. 
 
 Behind the rostra stood the curia Hosiilia; 
 on the right the Comitium and the Grsecostasis. 
 Between this edifice and the temple of Antoninus 
 and Faustina and opposite the arch of Severus 
 was the Fabian arch situated on the via Sacra 
 which passed by the eastern side of the Forum. 
 This arch derived its name from Fabius the cen- 
 sor , the conqueror of the Allobrogi. Near this 
 arch and the Comitium , without the Forum, 
 were the temple of Concord and the Basilica of 
 Opimius. The basilic was of a form similar to 
 the Christian basilic and served for commercial 
 and judicial affairs. They consisted of three and 
 five naves , three times longer than broad with 
 a tribune at the end. In the Roman Forum and 
 its vicinity besides that of Opimius were the Por- 
 tia , Sempronia , Julia and Emilia basilics. 
 
 Beyond the curia towards the Velabrum were 
 the Jalurna spring , and the temple of Castor 
 
100 Second day 
 
 and Pollux of which Galigala made the yesti- 
 bule of his palace. This temple was erected on 
 this spot in memory of the two youths who , 
 covered with perspiration, gave drink to their 
 horses at the fountain. They brought news of 
 the victory gained by the dictator Aulus Posthu- 
 mius over the Latins and other allies of the 
 Tarquins at the lake Begillus; they disappeared 
 and were supposed to be the twin gods. The 
 same occurence happened during the war with 
 Perseus when two similar youths announced the 
 victory of Paulus Emilius over the Macedonians. 
 This temple of Castor and Pollux was rebuilt 
 by Tiberius. 
 
 Near it and under the Palatine were the 
 temple and sacred wood of Vesta, not far from the 
 Juturna fountain. In the temple were preserved 
 the sacred fire of Vesta, the Palladium, a sta- 
 tue of Pallas brought from Troy by jflneas 
 placed by Ascanius in Albalunga, and transfer- 
 red to Rome by Tulius Hostilius. This image 
 was never shown to profane eyes. The Vestal 
 Virgins were attached to the service of the tem- 
 ple and to the preservation of the sacred fire; 
 their residence was annexed ; they enjoyed the 
 privilege of burial within the sacred precincts 
 of the wood, as proved by the twelve mortuary 
 inscriptions found near S. Maria Liberatrice. The 
 palace of Numa was near the temple of Vestaj 
 these edifices closed the southern side of the 
 Forum towards the Velabrum; the west side was 
 occupied by the temple of Julius Gsesar , the 
 Julia basilic , the area of Saturn. 
 
 On the side under the Capitol were : the 
 temple of Saturn and the Erarium ; the arch 
 
Second day "tOt 
 
 of Tiberius at the « Consolazione » ; the tem- 
 ple of Vespasian ; the « Schola Xanlha , » a 
 notarial office and residence of the heralds of 
 the curule cdiles , found in the XVI century 
 and so called from its founder Aulus Fabius 
 Xanthus ; finally the arch of Septimius Severus. 
 
 On the last side were the « Secretarium 
 Senatus » where the senate gave their decisions, 
 the basilic of Paulus Emilius , a still more an- 
 cient basilica Emilia , and the « Tabernse » 
 where Virginius seized the, knife with which he 
 killed his daughter. 
 
 The centre of the Forum formed a piazza 
 decorated with statues and other monuments ; 
 the rostral column of the Consul C. Duilius ^ 
 raised in memory of his naval victory over the 
 Carthaginians ; the miliary column on which we- 
 re marked the distances of the principal towns 
 of the empire; the pila Horatia, a pilaster sup- 
 porting the spoils of the Curatii ; the column 
 of C. Menius, the cont^ueror of the Latins j that 
 of Julius Casai' , of Claudius the Goth , and 
 that of Phocas, 
 
 The Curlian marsh was also in the Forum, 
 and though filled up it still preserved its name 
 from Melius Curtius the general of the 'Sabine 
 cavalry who was envelopped in it. It is said by 
 others to have been so called from Curtius a 
 Roman knight, who threw himself into it with 
 his horse. On this spot stood the equestrian bronze 
 statue of Doraitian described by Statius. 
 
 After this general indication of the buil- 
 dings in the Forum we will proceed to descri- 
 be the present state of the monuments that 
 still exist. 
 
 6 * 
 
t02 Second daij 
 
 ARCH OF SEPTIMIUS SEFERVS 
 
 About the year 205 of the christian era 
 this triamphal arch was raised by the Roman 
 senate, and people in honour of the Emperor 
 Septimius Severus and of his sons Caracalla and 
 Getafor the victoties. gained over the Parlhians, 
 Arabians , Adiabeni and other eastern nations , 
 as stated in the inscription : at the end of the 
 third line, and in all the fourth, was the phrase 
 ET P. SEPTIMIO L, F. GETiE. NOB. CiESARI 
 which was effaced after the dfiathofGeta bj Ca- 
 racalla who substituted the following P. P, 
 OPTIMIS.FORTISSIMISQVE PRINCIPIBVS. The 
 arch is of pentelic marble with three arcades , 
 eight composite and fluted columns, bassi rilievi of 
 middling style, consumed by time, in these the bat- 
 tering ram is seen in two places. Under each arch 
 are roses divided into square compartments. The 
 bas-reliefs represent eastern wars, and although 
 the sculpture and architecture show a decay 
 of art yet being an imitation of more ancient 
 monuments this arch conveys a graad idea of 
 Roman magnificence. 
 
 A marble stair case in the interior leads 
 to the- upper plan on which was a car with 
 Septimius seated between Caracalla and Geta , 
 with six horses, in fronts two foot and two horse 
 soldiers on the sides , as seen in the medals of 
 Severus and Caracalla. This monument was half 
 underground and was opened in 1 803 by Pius VII;- 
 the excavations having been renewed since 1830 
 the form and disposition of the monument haye 
 been better ascertained.. On the left is 
 

 
 
 "1 
 
 '4 5 
 
 K 
 
 M 
 
 K2 
 
 
 
 ICi 
 
 
Second day 103 
 
 f. lUKE 'j 
 
 This church , one of the most ancient in Ro- 
 ipe, was restored by Alexander IV in 1256, 
 and dedicated to S. Martina. In 1 588 it was gi- 
 ven by Sixtus V to the academy of painters , 
 and was rebuilt under Urban VIII on the de- 
 signs of Pietro di Cortona and dedicated to S. 
 Luke the Evangelist. The picture in the right 
 chapel representing the martyrdom of S. La- 
 zarus is by Lazzaro Baldi ; that over the high 
 altar representing S. Luke painting the Madonna, 
 is a copy by Grammatica , a scholar of Raphael, 
 of Raphael's original preserved in the large hall 
 of the academy; on the same altar is the statue 
 of S. iMartina by Menghino. The subterranean 
 church deserves particular notice for the rich 
 chapel built by Pietro di Cortona at his own 
 expense ; under the altar ornamented with 
 precious stones and gilt bronze , reposes the 
 body of S. Martina, Here were found the four 
 fine has reliefs of the time of Marcus Aurelius 
 which are now in the Conserratori palace at 
 the Capitol. 
 
 The house adjoining the church is the aca- 
 demy of S. Luke founded by Sixtus V; it is 
 composed of painters , sculptors , architects 
 and amateurs of the fine arts. It has the direction 
 of the arts of design now established in the 
 Roman University. On the walls of the aca- 
 demy are portraits and pictures the works 
 of the academicians , and paintings by celebra- 
 ted artists of past ages ; two landscapes by 
 Gaspard Poussin ; a S. Jerome , by Salvator 
 Rosa;, a flemish portrait f Christ with the Pha- 
 
104 Second day 
 
 risee, Titian; Fortune, Guido; Lilcretia, Guido 
 Cagnacci; a Sybil, Gherardo ; profane love , a 
 fresco painting of Gucrcino transferred to can- 
 vass; Diana discovering Gallisto in the bath, 
 Titian ; a fine fresco , Raphael ; Sisara ^ Carlo 
 Maratte ; S. Luke painting the Virgin by Ra- 
 phael who has introduced his own portrait; 
 S. Jerome ^ Spagnoletto ; a holy family , Al- 
 bano; several drawings and terra cotta models, 
 of artists who have obtained prizes. 
 
 CBURCB OF S. ADRIA^r. 
 
 The facade of this bailding is ancient , 
 though of • the period of decline as seen bj iU 
 construction. The wall in terra cotta was plas- 
 tered with stucco ; some remnants are still 
 visible;. the bronze door , of a good style was 
 taken by Alexander YII to S. John Lateran where 
 it now stands. Thougll called by some the temple 
 of Saturn , by others the Emilian basilica , the 
 style of this building sbows that it belongs to 
 the V century. It appears by an inscription found 
 in theXVlI century thatGaviniusVettiusProbia* 
 nus Prefect of Rome in 378 had placed a statue 
 in the basilic, but this is no proof since the 
 inscription was on a marble employed in the 
 materials ; as to the temple of Saturn the an- 
 cient writers agree in placing it under the Ca- 
 pitol near the Tarpeian rock , , « in faucibus clivi 
 capitolini » , that is at the angle of the forum 
 near the Gonsolazioae. Nearly opposite i& 
 
, ^, • ^ 
 
 -^%»"^" 
 
 .^J^rTj;. '*^ ^r-^ 
 
 
 \- 
 
 '^:^ 
 
 ^ r 
 
 m 
 
Second day 105 
 
 TllS COUIMiH OF FHOCAS. 
 
 Before the late excavations this monument 
 was supposed to be the temple of Jupiler Gus- 
 tos, or the bridge of Caligula, thongh it is af- 
 firmed by ancient writers that the former was 
 situated on the Capitol and the latter destroyed 
 by Claudius. In 1 81 3 it was ascertained that it was 
 a column erected to the Emperor Phocas in 608 
 by Smaragdus , Exarch of Italy , as seen by the 
 inscription on the pedestal ; the name of Phocas 
 was erased after his death by Heraclius his 
 successor. 
 
 When the excavation was renewed in 1817 
 the column was found to stand upon a pyra- 
 mid of steps many of which have preserved 
 their place , and the level of the Forum was 
 here 10 palms lower that at the arch of Se- 
 verus ; several ancient inscriptions , half greek 
 half latin , to the Dii Averrunti , to Minerva 
 Averrunca , and one to Marcus Cispius the son 
 of Lucius the praetor , are worthy of notice. 
 The inscription on the column has been recently 
 restored and is as follows. 
 
105 Second ddy 
 
 f optinao • clementis . felicissimoQVE 
 PRiNCiPi . DOMINO . n. focae imperatori 
 
 PRRPETUO . A . DO . CORONATO . TllIUMPHATORI 
 
 SEMPER . AVGVSTO 
 
 SMARAGDVS . EX . PRAEPOS . SACRI . PALA.Tn 
 
 AC . PATRICIVS . ET EXAUCHVS . ITALTAE 
 
 DEVOTVS . EIVS . CLEMENTIAE 
 
 PRO, . INNVMERABILIBVS . PIETATIS . EIVS 
 
 BENEFICIIS . ET . PRO . QVIETE 
 
 PROCTRATA . ITAL . AC . CONSERVatA . LlBfiRTATE 
 
 HANC . STatvam . maieslaTis • eivs 
 
 AVRI • SPLENDORE . fylgetlTEM . HVIC 
 
 svBLiMi . coLvraNae . ad perennem 
 
 IPSiyS . GLORIAM . IMPOSVIT . AC . DEDICAVIT 
 
 DiE . PRIMA . MENSIS . AVGVST • INDICT . VND. 
 
 PC . PIETATIS . EIVS . ANNO . QVINTO 
 
 II appears by this inscription that on the 
 column was a gilt statue of Phocas , the co- 
 lumn itself is greatly anterior to his time ; the 
 style would seem to indicate that of the Anto- 
 nines. It is of white marble , corinthian and flu- 
 ted , 4 i/i ancient feet in diameter , 47 high, 
 the pedestal 1 2. Facing this column to the south is 
 
 THE GBECOSTJSIS 
 
 This ruin of fine ancient architecture can- 
 not have belonged either to the temple of Ju- 
 piter stator , or to that of Castor and Pollux , 
 since the first , according to ancient writers, was 
 more towards the Velabrum and the Palatine 
 and the second towards the Capitol. The passages 
 of the ancient writers and the plan of this 
 
Second day 107 
 
 monument agreeing with the fragment of the 
 plan in the Capilol on which is the word gre- 
 cosT leave no doubt that these three columns for- 
 med part of the « Grecostasis » , a building erected 
 for the reception of foreign ambassadors from the 
 time of Pyrrhus whose ambassadors were the first 
 received in it, and being Greeks it was called the 
 Grecostasis, or greek station. It had perished at the 
 time of the elder Pliny ad was rebuilt in a style of 
 greater magniQcence by Antoninus Pius on the site 
 of the primitive Grecostasis and of the Comitium. 
 TheGomitium was annexed to the curia and served 
 for the promulgation by the Comitii of the se- 
 natus consulli and the election of the Flamen 
 and Curioni priests. Justice was sometimes ad- 
 ministered in this building , near it were found 
 in the XVI century the celebrated « Fasti Ca?- 
 pitolini » and subsequently other fragments i the 
 facade of the Grecostasis was opposite the temple 
 of Antoninus and Faustina. The steps were in 
 three directions uniting in a larger stair case , 
 the front was composed of eight columns the 
 sides of thirteen or fifteen; it is uncertain 
 whether there were any columns on the side of 
 the curia; the whole edifice stood on a high sub- 
 struction covered with marble and ornaments. 
 
 Of this edifice three columns and the cor- 
 nice alone remain -, they are of white marble , 
 fluted and corinthian of the justest proportions 
 and finest style ; they serve like the Pantheon 
 as a model of the corinthian order , their dia- 
 meter is about 4 1/2 ancient feet , their height 
 48 comprizing the base and capital, the enta- 
 blature they support , though large and majestic, 
 is of the most delicate and finished work. 
 
108 Second day 
 
 The site of this monument is opposed to 
 the opinion of those who call it the temple of 
 Castor and Pollux or of Jupiter Stator; the for- 
 mer , according to Svetonius , became the ve- 
 stibule of Caligula's palace and the position of 
 these . three columns does not admit of their ser- 
 ving as a vestibule to the Palatine towards the 
 Capitol. It was on the left of the Curia according 
 to Cicero in looking towards the Capitol, and 
 these ruins are on the right; still more improbable 
 is the opinion that they belonged to the temple 
 of Jupiter Stator which was on the skirts of the 
 Velabr'um and the Forum Boarium as stated by 
 Livy and by Tacitus, it could not then be in 
 the Forum , besides the temple of Jupiter Stator 
 was placed by the Regionarii.in the X region 
 and the Forum Romanum to which this edifice 
 belonged was in the VIII region. Proceeding from 
 these ruins to the Velabrum are the remains of 
 
 THE CURIA 
 
 This edifice which served for the meetings 
 of the Senate faced the Forum and the Rostra. 
 The entrance was by steps from which Tarquiti 
 precipitated Servius Tullius. In the origin it was 
 called curia Hostilia , having been built by Tullus 
 Hostitius the third king of Rome, and was restored 
 by Sylla ; burnt in the times of Cicero , it was 
 rebuilt according to Dio by Augustus, who called 
 it Julia from the name of his adoptive father. 
 The remains are still visible on the western 
 side of the Forum and consist of three finely 
 built walls which were covered with marble. 
 
TE3ipi,E or irPITi;3L statoii 
 
Second day 109 
 
 The front was probably decorated with columns. 
 Between the Curia and Comitium was the 
 famous Ruminal fig tree, so called from (he word 
 « Buma « supposed to signify breast , under 
 which Romulus and Remus were nourished by 
 the wolf. Near the Curia and towards the Ve- 
 lahrum is 
 
 THE CHURCH OF S. THEODORE. 
 
 This round building is said to be built on 
 the spot where Romulus and Remus were ex- 
 posed, but the bronze wolf now in the Capitol, 
 dedicated by the ediles Cneus and Quintus Ogulni 
 near the ruminal fig tree , where the temple of 
 Romulus really stood , was found nearer to S. 
 Maria Liberatrice and not near the church of 
 which we now speak, which occupies the site 
 of the temple of Vesta. When changed into a 
 church it seems to have preserved its primitive 
 form. A church of S, Theodore existed near 
 this spot under Adrian I who restored it in 774. 
 It was built by Nicholas Y. in 1450, whose name 
 is still over the entrance door ; the picture over 
 the altar is by Zuccari , the two' others by Ba- 
 cicci and Ghezzi. 
 
 Near this temple was the Lupercal under 
 the Palatine , a cavern consecrated by Evander 
 to Pan , in which the Lupercal priests celebrated 
 sacrifices ; beyond the forum is the 
 
 VIA SACRA 
 
 This celebrated way was so called from the 
 peace concluded on it between Romulus and 
 
 7 
 
110 Second day 
 
 Tatius. It began on the spot where the Colos- 
 seum now stands , crossed the site where Adrian 
 built the temple of Venus and Rome, followed the 
 southern sid« of the so called temple of Peace 
 and passing under the temples of Remus , Antoni- 
 nus and Faustina and the Fabian arch it en- 
 tered the forum ; one branch of it was detached 
 to the left on the east side of the Grccostasis 
 and went behind the Curia , the temples of Ca- 
 stor and Pollux , of Yesta , and reached the 
 Palatine near S. Athanasia , uniting with the 
 other branch at the via nuova , a street which 
 commenced at the extremity of the forum before 
 the temple of Vesta and crossing the Velabrum fi- 
 nished at the Circus Maximus. The first building 
 on the left of the .Via Sacra is 
 
 TBS TEMPLE OF ANTONINttS ASD FAVStlKA. 
 
 Erected by the Roman Senate and people 
 in honour of the Emperor T. Elius Antoninus 
 Pius and his wife Faustina. The two sides of 
 the cella still exist, together with the whole por- 
 tico formed of ten large columns , all of one 
 piece of carystian or cipoUino marble , each 1 5 
 feet in circumference and about 47 in height, 
 comprizing the base and capital. The splendid 
 cornice 'of large marble blocks is of fine execu- 
 tion. The lateral friezes are carved with griffins , 
 chandeliers and other ornaments; on the front 
 is the dedication to Antoninus and Faustina; the 
 ascent to the temple was formerly by 21 steps; 
 from the base of the columns at the portico 
 to the level of the via sacra there are about 
 16 feet. 
 
Second day 1 i 1 
 
 On the ruins of this temple stands the church 
 of S. Lorenzo in Miranda , so called perhaps from 
 the ruin* surrounding it. 
 
 TEMPLE OF ROMULUS AND BEMUS. 
 
 This temple was built during the decline 
 of art as seen by the style and by an inscrip- 
 tion found near it, probably about the epoch 
 of Constantine ; the only remains are the cella 
 and two cipollino columns at the chapel of the 
 ria crucis. 
 
 In 527 S. Felix IV built the adjoining church 
 of SS. Gosma and Damiano , and used the cella 
 of the temple as a vestibule ; some mosaics are 
 still over the tribune, the modern pavement is 
 supported by four large pilasters ; on it was the 
 plan of Rome fragments of which are now in 
 the Capitol; in the subterranean church are the 
 high altar , chapels and some paintings ; a bronze 
 door brought from Perugia and two porphyry 
 columns form the entrance , the ^o cipollino 
 columns , measuring from the ba^ to the ca- 
 pital 33 feet were a part of^he portico leading 
 to the temple of Remus. The three large arcades 
 aear these columns are remains of the 
 
 BASILIC OF COSTJNTINE 
 
 These ruins were formerly supposed to be- 
 long to the temple of Peace; it is stated by Sve- 
 tonius that Vespasian erected a temple to Peace 
 near the forum , which , according to Galenus , 
 Dio , and Herodian , was burnt under Commodus 
 about the year 191 of the present era, and 
 
1 1 2 Second day 
 
 since that period no further mention of it is found 
 in ancient writers while Procopius expressly 
 says , that in his time it was levelled with the 
 ground , having been destroyed by fire. This 
 passage shows that, the temple of Peace was built 
 partly of wood , particularly the roof , and 
 that after the first, conflagration it was not re- 
 stored. These large arches have however been 
 considered to be ruins of the temple of Peace ; 
 on an impartial examination of this edifice it 
 appears that it was not that monumeiit>, not only 
 by the authority of ancient historians but by the 
 chacacter of the ruinS which are qot those of 
 a temple, being, without either ceUa or portico. 
 The style of building is greatly posterior to the 
 lime of Vespaaifin , being composed of irregular 
 bricks united by cement , while tl^e carved and 
 ornamentfil fragments Iqund on the spot , the 
 stuccoes slill remaining , do not belong to that 
 epoch , but are proper to the taste and style of 
 the era of Diocletian. 
 
 These, ruins may then be considered as the 
 remains of the basilic of Gonstantine , this opi- 
 nion agreeing with the authority of Victor and 
 of the Regioharii who place the: building in this 
 direction. It was raised on the Horrea Pipera • 
 taria , or the store houses for spices built by 
 Damitian, according.- to .Caasiodorus. 
 
 This basilic was built by Maxentius as as- 
 serted by Aurelius Victor, and after his death 
 dedicated to Gonstantine. In October 1 828 a block 
 fall from the roof in which was found a silver 
 medal of Maxentius ; the question is thus set 
 at rest. It is besides worthy of observation that 
 the tiles of this edifice are identic with those 
 
b 
 ^ 
 
 Q 
 
 a 
 
 H 
 1^ 
 
 ft 
 
 t3 
 
Second day 1 1 3 
 
 of Diocletian's baths and other buildings of 
 that epoch. The inscriptions beginning with tlie 
 words « Paci ^ternee » said to have been found 
 in these ruins were found in 1 547 arcording to 
 Graterus near the arch of Severus. 
 
 The basilic was formed of three naves, se- 
 parated by three large arches , covering the 
 whole breadth of the nave. The middle arch 
 was subsequently formed into a tribune, and 
 the three ornameuted with squares and niches ; 
 the corresponding arch and the middle nave 
 have fallen. On the pilasters of the three arches 
 are fragments of the marble cornice which was 
 supported by eight columns one of which re- 
 mained till the time of Paul V when it was 
 placed at the piazza S. Maria Maggiore. It is 
 of the Corinthian order , of white fluted mar- 
 ble , 18 roman feet in circumference, and 48 
 in height ; the Whole building was about 220 
 feet broad and 330 long. This column and the 
 three large remaining arches may bear witness 
 lo its magnificence; it was covered with earth 
 which was cleared away in 1812 and it was 
 then observed that there was no tribune on the 
 side of the Via Sacra , but that the principal 
 one was opposite the facade that looked towards 
 the Colosseum. The pavement consisted of com- 
 partments of giallo antico , pavonazzetto and 
 cipoUino marble ; it was used in early times as 
 a christian church; towards the Palatine there 
 was another entrance decorated with four por- 
 phyry columns opened after the first construction 
 of the edifice ; the principal facade, as already 
 said , was towards the Colosseum. 
 
 7 • 
 
^14 Second daif 
 
 J» FRANCESCA ROMANA 
 
 This church is of a very remote origin. It 
 was built by Paul I, rebuilt uader Leo IV, 
 restored by Paul V, who made the facade and 
 travertine portico; the roof is finely carved 
 and the chapels possess some good pictures. A 
 double staircase leads lo a presbytery, over the 
 high altar of which is an ancient image of the 
 B. Virgin which , about the year 1 1 00 , was 
 brought from Troy by Angelo Frangipaai on 
 his return from Asia. Between the two stairs is 
 the tomb of S. Franccsea a roman matron of 
 the noble family of the Ponziaai now extinct. 
 It is enriched with metals , precious stones, and 
 jasper columns ; iu the iribjac are ancient mo- 
 saics of the time of Nicholas L 
 
 On the left of the high altar is the tomb 
 of Gregory XI by Olivieri who has represented 
 in the bas relief the return of the Holy See to 
 Rome under this pontiff in 1377 after an ab- 
 sence of 72 years. 
 
 A stone is preserved in the wall on whick 
 the holy aposllos are said to have kneeled when 
 iu the £ct of prayer ; the paintings on the side 
 of the aitar representing their martyrdom are 
 by Caniui. In the vestibule of the side door arc 
 two nionumenls worlUy of notice : that of the 
 Cav : Vulcani a Ncapoliian who died in 1332 
 and of Antonio Rido of Padua , a captain at 
 arms and commandant of the castle S. Angelo 
 under Eugenius, IV. Over the doors of the sa- 
 cristy arc two fine paintings of the school of 
 the XV century both on boards ; that on the 
 left is by Sinibaldo Ibi of Perugia a scholar of 
 
' Second day 1 1 3 
 
 Pictro Perugino ; adjoining it is the tomb of 
 Alamanno degli Adimari a Pisan Avho died in 
 1422. In the chapter raotn of the convent is a 
 painting by Pierin del Vaga , representing Paul 
 III and Reginaido Polo. Bjliind this church are 
 the ruins of the 
 
 TEMPLE OF FESUS AND ROME 
 
 This edifice was built on the designs of the 
 Emperor Hadriau who directed its constructions, 
 and according to Dio who determines its po- 
 sition , dedicated it to Venus and Rome each 
 divinity having a mutual affinity from the ori- 
 gin of iEneas. It was burnt down and according 
 to Aurelius Victor was rebuilt by Maxentius. It 
 occupied an area of 500 parisian feet in length, 
 and 300 in breadth , the ascent by the east and 
 west sides was by a portico of grey granite co- 
 lumns many blocks of which 3 i/.! feet in dia- 
 meter arc scattered over the ground; the portico 
 was 333 feel long and 160 broad; it had a double 
 facade and two rows of columns on each front 
 and one on the sides; the two facades werti 
 composed of 1 9 columns of parian marble, the 
 sides of 20 fluted and corinthian about six feet in 
 diameter. In the area between the internal portico 
 and the peristyle of the temple were two large 
 columns of caryatian marble of the same dia- 
 meter , isolated , and supporting statues , as ve- 
 rified by medals and by recent excavations. The 
 cella was divided into two parts, covered with 
 large quadrilateral blocks of parian marble 5 \/j. 
 feel deep; the portico was also paved with pa- 
 rian marble. The roof was eov;ercd with bronza 
 
1 1 6 Second dag 
 
 which wis takea away under Honorius 1 and 
 served as tlie covering of the Vatican basilic. 
 The ascent to the vestibule was by seven, and 
 thence to the eel la by five, steps; the interior 
 <rf the cella , or rather of the two cclle , was 
 adorned with porphyry columns two feet two 
 inches in diameter, the roof with stucco squares; 
 ihe walls and pavement were lined with giallo 
 antico and serpeniine marbles ; of all this magni- 
 ficence nothing remains but the foundations and 
 the cella walls with the niches occupied by the 
 two goddesses. Of the identity of this edifice 
 with the temple of Venus and Rome no doubt 
 can exist from the conformity of its plan to the 
 medals of Hadrian, of Antoninus Pius, audits 
 topographical situation which perfectly agrees 
 with the assertions of Dio and Prudentias. The 
 opinion that it was the temple of Isis and Serapis^ 
 of the Sun and Moon , is deprived of alt foundav 
 tion. Near the ruins of this temple is- the 
 
 AHcja OF TITUS 
 
 It is proved by the inscription towards the- 
 Oolosseum 
 
 SENATVS . POPVLySQTE . ROMAN VS 
 
 DIVO . TITO . DIVI . VESPASIAN! F. 
 
 VESPASIANO . AVGVSXa 
 
 that it was raised by the roman senate and 
 people in honour of Titus , the son of Vespa- 
 sian as a memorial of the conquest of Jerusalem ; 
 from the word DIVUS in the inscription it is 
 evident that this moaument was erected under 
 

 . ^ 
 
 L 
 
 .—■•>*." ■r'lf-. 
 
 
 
 1=1 
 
 
 ^ 
 
 '- 
 
 fe 
 
 \^ 
 
 ^ 
 
 'v 
 
 g 
 
 N^ 
 
 
 f 
 
 w 
 
Second day i 1 7 
 
 Domitian , after the death of Titus , which opi- 
 nion is confirmed by the apotheosis under the 
 central arch and by the flowery style corres- 
 ponding with that of the Palladian forum begun 
 by that Emperor. This arch , the finest monu- 
 ment of the kind extant , is of pentelic marble. 
 On each side were four fluted columns of the 
 composite order , four of which having fallen 
 two only remain on either side and those in the 
 direction of the forum are not entire. 
 
 The has reliefs under the arch , though 
 greatly injured , may be ranked amongst the 
 finest of Rome ; one represents Titus in a car 
 drawn by four horses abreast , and led by a 
 female figure, emblematic of Rome; the other 
 Victory crowning the Emperor , is followed by 
 soldiers , citizens^, senators and lictors. The has 
 relief opposite represents a triumphal march 
 with Jewish captives, the golden table, trum- 
 pets or silver horns, the gold candlestick and 
 other spoils of the temple of Jerusalem ; in the 
 centre of the roof is the apotheosis of Titus 
 seated on an eagle; in the angles four fine fi- 
 gures representing victory. On the frieze round 
 the cornice is the remainder of the triumphal 
 procession : the Jordan , carried by two men , 
 oxen led to the sacrifice, soldiers of the Minerva 
 legion bearing round shields with the image of 
 the Gorgon. 
 
 This monument was restored by Valadier 
 by order of Pius VII. It is situated on the Via 
 Sacra near the ascent leading to 
 
118 Second ddy 
 
 n 
 TBE PALATINE HILL 
 
 The most celebrated of Rome , having been 
 the site ■ of the city founded by Romulus* It is 
 nearly the central point of the other six hills 
 except on the side of the Velabrum, the shape 
 is a trapezium with the following limits : S. 
 Maria liberatrice , S. Anaslasia , the extremity 
 of the Circus Maximus, the arch of Coustantine; 
 the perimeter is 6400 roman feet , about a mile 
 and a quarter , its height , over the level of the sea 
 52 metres. Amongst the various etymologies as- 
 signed by ancient writers, the name of Pala- 
 Hum is most probably derived from Pallantium 
 a city of Arcadia, and it was so called by Evan- 
 der. The primitive city having been built on the 
 bill , it is not surprizing that it was inhabited 
 by most of the kings and by many of the prin- 
 cipal personages of the republic ; that it was in- 
 habited by the kings is known from many ancient 
 writers , particularly from Plutarch , Solinus , 
 Konysius , and Livy. The house of Romulus was 
 situated on the side facing the Aventine near the 
 steps which led to the Circus Maximus ; that of 
 Numa , near the temple of Vesta , at S. Theo- 
 dore afterwards called Atrium Festo; those of 
 Tullus Hostilius , on the Velia , overlooking tho 
 Forum ; of Ancus Martius , on the site of the 
 temple of Venus and Rome; of Tarquinius Priscus 
 on the slope towards the Velabrum ; the two 
 last kings lived on the Esquiline. In the early 
 times of the republic Valerius Publicula wished 
 to build his house on the Velian where Tullos 
 Hostilius had resided , a point overlooking the 
 forum , but the jealousy of the people being 
 
Second day. 119 
 
 excited it vras built at the bottom of the bill, 
 as stated by Cicero , Dionysius and Livy. In the 
 last century of the republic this hill was occu- 
 pied by the houses of the Gracchi , of Fulvius 
 Flaccas , of Quintus Catulus , Lucius Grassus 
 the orator , Gneius Octavius , Marcus Emilius 
 Scaurus , Quintus Hortensius, Cicero, Claudius, 
 Lucius Catilina , Mark Anthony , Tiberius Clau- 
 dius Nero the father of the Emperor Nero , and 
 of Caius Octavius , the father of Augustus who 
 founded 
 
 fae PJLACE OF THE CXSARS 
 
 The house in which Augustus was bom was 
 situated in the street called « ad capita Bul- 
 bula » as proved by Svetonius, in opposition to 
 modern writers who pretend that Velletri was 
 his birth place. Svetonius distinctly states: iVa- 
 tus est Augustus , M, Tullio Cicerone , et An- 
 tonio Consulibus , IX halendas octobris , paulo 
 ante solis exortum , regione Palatii ad Capita 
 Bulhula I where , according to the same writer, 
 an altar was raised to him after his death. He 
 afterwards resided near the forum , over the 
 annlaria steps , in the house that had belonged 
 to Calvus the orator , and subsequently retmp- 
 ned to the Palatine in the house of Hortensius 
 which he rebuilt , and united to it that of Ca- 
 tiline; to this modest mansion he added a tempk 
 dedicated to Apollo , with a portico of numi- 
 dian columns and a library with a bronze statue 
 of Apollo 42 1/2 Parisian feet in height ; this 
 palace was subsequently encreased and called tha 
 « Domus Augustana ». Under Tiberius it exten- 
 
120 Second day 
 
 ded in the direction of the Velabrum , when it 
 was called the « Domus Tiberiana » , Caligula 
 encreased it on the side of the forum , built a 
 bridge which united the Palatine to the Capi- 
 tol , but this bridge and the house buUt by Ca- 
 ligula on the Capitoline hill were demolished 
 by his successor Claudius. Kero enclosed the plain 
 between the Palatine , the Cclian and Esquiline 
 hills , and a part of the Esquiline , as appears 
 by Tacitus who states that his palace joined the 
 gardens of Mecaenas on the Esquiline, where the 
 villa Negroni now stands. This new palace having 
 been destroyed in the great fire of the 64 year 
 of the christian era , was rebuilt by Nero in 
 such a style of splendour and magnificence that 
 it was called the >« Domus Aurea :». The columns 
 around the portico amounted to 3000 ; the en- 
 trance was on the via sacra towards the so 
 called temple of Peace and the arch of Titus. 
 In the vestibule was the celebrated colossus 1 60 
 palms bigh; it contained gardens, baths, an ex- 
 tensive pond surrounded by so many edifices that 
 it seemed a sea lined by a town; innumerable 
 halls and rooms were adorned with columns , 
 statues and precious stones. The riches of the 
 whole empire were united in this palace ; Se- 
 verus and Celer, who , according to Pliny, were 
 the architects , applied all their talents in its 
 embellishment ; Amulius , a celebrated painter, 
 employed his life in painting it. On taking pos- 
 session of the palace Nero said that he was at 
 last lodged in a manner suiting a man. It was 
 not however completed under his reign as 
 proved by the following passage of Svetonius 
 that Otho , rf nee quidquam prim pro potestate 
 
Second day 121 
 
 snhscHjp-sit quam quingenties sestertium ad pera- 
 gendam auream Domum , fiifty millioas of ses- 
 terces , or 1,250,000 sciidi to complete if, but 
 his reign was too short , aad it is certain that 
 Vespasian and Titus demolished or converted 
 to another use , those buildings not comprized 
 within the Palatine. The baths of Titus , the 
 Colosseum were in fact built upon these ruins, 
 Domitian embellished the whole palace. Trajan 
 stript it of its ornaments which he applied to 
 the temple of the Capitoline Jove ; his succes- 
 sors introduced various changes ; after Valenti- 
 nian and Maximns it suffered greatly from the 
 ravages of the Vandals ; Procopius asserts that 
 Genseric carried away all the bronzes comprizing 
 the vases of the temple of Jerusalem. It pro- 
 bably suffered also under Totila. It was however 
 inhabited by Heraclius in the VII century, and 
 in the VIII under Pope Gbnstantine a great part 
 of it still existed. Some ruins of the principal 
 rooms and of the foundations alone remain ; 
 mingled with the oak , the laurel , the cypress 
 the ivy , and the acanthus, they present many 
 picturesque points of view , particularly in the 
 direction of the forum and circus maximus. A 
 part of the palace is occupied by the 
 
 ORTI FARNESIASl 
 
 Pope Paul III , Farnese , built on these 
 ruins a villa , called the orli Farnesiani, which 
 now belongs to the court oif Naples -, the prin- 
 cipal gate , opposite the basilic of Constantine, 
 with the two doric columns supporting a ba- 
 lustrade was designed by Vignola; formerly it 
 
 8 
 
122 Second day 
 
 was cmbellislied with alleys, groves, and foun- 
 tains , statues , bas-rcliefe and various marMes 
 which liave been transferred toNaples.lt is easy to 
 recognize in these grounds the position of some 
 of the Augustan buildings , of the palaces of 
 Tiberius , of Caligula and of Nero ; the most 
 considerable ruins are those that supported the 
 external porticoes which had been successively 
 strengthened and enlarged as the palace encrea- 
 sed , in order to preserve the same level. In 
 the upper part are several remnants of the Pa- 
 latine librai-j built by Augustus, and of the tem- 
 ple of Apollo annexed to it which was raised 
 after the victory of Actiunf. Towards the circus 
 are the foundations of the theatre of Caligula 
 adjoining the front of the house of Augustus. At 
 a modern casino near which stood the house of 
 Romulus and the temple of Apollo, are two small 
 subterranean chambers , supposed to be remains 
 of baths known by the appellation of Livia's 
 baths , some paintings and gildings of a good 
 laste are well preserved ; the denomination of 
 these chambers is as uncertain as their primi- 
 tive use, it is however certain that they served 
 as a foundation to the pronaus of the temple of 
 Apollo. To the north is a groYC of evergreens 
 in which are scattered pieces of entablature, frie- 
 zes , cornices , jonic composite and corinlhian 
 capitals , all of Luni marble , of fine execution, 
 which were found in the ruins of the Palatine 
 library in I 726 ; it was also called the Apollo 
 library. The ornamental parts of the frieze and 
 cornice consist of griffins , tridents and dolphins; 
 the first allusive to Apollo the second to the 
 naval victory ; there are also trophies and figu- 
 
Second day 123 
 
 res of viclory* To the right of the Farnesc gar- 
 dens is 
 
 THE yiLLA PALATINA 
 
 Built at the begininng of the XVI century 
 bj the Mattei family. It afterwads belonged to 
 the Spada, Magnani and Coloeci families, and 
 is now the property of Mr. Mills , an English 
 gentleman. Its situation , the bealiful and exten- 
 sive views it commands on all sides , the asso- 
 ciations of antiquity connected with the spot , 
 render it one of the most interesting villas of 
 Rome. The front part occupies the site of the 
 celebrated portico and garden of Adonis men- 
 tioned by Philostratus ; the west adjoining the 
 Farnese gardens is situated on a side of the por- 
 tico of the Palatine Apollo ; the southern, the 
 most agreable , is on the ruins of the house of 
 Augustus, Nor is it wanting in modern embel- 
 lishments-, a chamber on the ground floor of the 
 modern casino having a small portico with four 
 columns of grey granite on which are paintings 
 by Raphael representing on the sides Venus and 
 the Nymphs, on the roof, the Zodiacal signs, Mu- 
 ses, Apollo, Hercules; several of these works 
 were engraved by Marc' Antonio who has thus 
 preserved the remembrance of these productions 
 of Raphael which have passed unnoticed by 
 his biographers. They had been greatly injured 
 through the neglect of the former proprietors 
 but have been restored by Camuccini , and all 
 are preserved excepting one which is irreme- 
 diably lost. A convenient flight of steps leads to 
 the subterranean balls of the house of Augustus 
 
124 Second da\/ 
 
 interesting by their size, their preservation, and' 
 good distribution. These halls and the adjacent 
 chambers which never served as baths , as has 
 been asserted, were discovered in 1777 by Ran- 
 coureil , who rendered ihem accessible to the 
 amateurs of art and of antiquity. 
 
 On the eastern side of the garden is an oblong 
 yard commonly called the Hippodrome though 
 without any foundation ; it appears , however , 
 to have been used for baths and gymnastic exer- 
 cises, in the middle there appears to have been 
 a fountain , and the tribune or apsis seen on the 
 east side was probably a place of repose. On 
 the level with the yard is a hail , the roof of 
 which is well preserved. In the adjoining gar- 
 den are remains of the galleries of the palace 
 and of the s^ot from which the Emperor could 
 see the .games of the circus. It commands a fine 
 yiew of the ruins of Rome and of the environs. 
 
 Oh quitting the Palatine villa at the arch 
 of Titus a splendid view of the Flavian am- 
 phitheatre strikes the eye. Near it is the 
 
 META srDJNS 
 
 This was an ancient fountain which existed 
 at the time of Nero , as noticed by Seneca, and 
 was rebuilt by Domitian , as stated by Gassio- 
 dorus. Its form , though despoiled of ornaments, 
 is recognized by medals representing the Colos- 
 seum , as that of a meta of the circus or of a 
 Cone from the top of which water flowed , 
 and for this reason it was called the « Mcta 
 Sudans »; the water fell into a large basin 80 
 Roman feet in diameter. Four ancient regions 
 
* 
 
 ^ 
 
Second day 125 
 
 met at this point : the II comprizing the sides 
 of the Celian ; the III , that of the amphithea- 
 tre ; the VI , comprizing the « Meta -> ; the X 
 the Palatine; it is probable that from this cir- 
 cumstance the form of the fountain was that of 
 a « Meta ». 
 
 THE COLOSSUS OF NERO 
 
 When Nero built his immense palace he 
 ordered Zenodorus , a celebrated sculptor , to 
 execute his colossus in bronze which was placed 
 in the vestibule of the « Domus Aurea » ; it was 
 transferred by Vespasian to the site afterwards 
 occupied hy the temple of Venus and Rome and 
 under Adrian it was removed by means of 24 
 elephants to the place where the large pedestal 
 now stands. After Nero 's death , his face was 
 changed into that of the Sun , under Gommodus 
 it resumed its primitive image, and after Corn- 
 modus it again represented the Sun. It still exis- 
 ted at the beginning of the V century; its height 
 was 1 20 feet. 
 
 THE FLAVIAN AMFHITHEAtRE 
 
 The amphitheatres were buildings erected 
 for spectacles , such as those of gladiators and 
 wild beasts, games unknown to the Greeks until 
 they fell under the Roman power; thus these 
 buildings were not known in Greece although 
 the word is taken from the Greek , which si- 
 gnifies a round circular or elliptic theatre. The 
 theatre is a sejni-circular , the amphitheatre an 
 elliptic edifice. Although the games of the am- 
 
 8 ♦ 
 
126 Second day 
 
 phitheatre arc of italic iiislitution , the romans 
 had no fixed amphillieatre before Augustus, undef 
 whom one was built in the Campus Martius , on 
 the spot where Monte CitoriO now stands , by 
 Statilius Taurus. Augustus intended lo have bniit 
 one in the centre of Rome an idea which was 
 followed out by Vespasian who, availing himself 
 of the site once occupied by the exlensive ponds 
 of the golden house of Nero , laid its founda- 
 tions two years before bis death , it is ihc one 
 of which we admire the prodigious ruins. It was 
 dedicated by Titus , and according to the ano- 
 nymous writer of Eccardo , finished hj Domi- 
 tian , And called the Flavian amphitheatre from 
 the Flavii ; many centuries afterwards , it was 
 named the Colosseum , the first mention of it 
 being in Beda , a writer of the VIII century; 
 this appellation does not arise from the colossus 
 of Nero which Adrian placed near it but from 
 its colossal dimensions , an appellation given also 
 to other amphitheatres in the lower ages , and 
 particularly to that of Capua. 
 
 It is related by Syetonius and by Dio, that 
 the dedication by Titus was sumptuous : The 
 games lasted a hundred days , five thousand wild 
 beasts were destroyed , several thousand gla- 
 diators lost their lives, a naval battle was fought 
 in the amphitheatre , a proof that there existed 
 means of inundation. Some parts were originally 
 of wood which rendered it subject to fires, one 
 occured under Macrinus from which time the 
 parts consumed were repaired with solid ma- 
 terials. 
 
 The gladiatorial games having been abo- 
 lished by Honoriiis, those of wild beasts were 
 
Second day 127 
 
 continued in the V century, and though (he 
 amphitheatre suffered greatly from earthquakes 
 in 439 and 480, it was always carefully resto- 
 red , nor was it damaged during the invasions 
 under Alaric, Genseric or Odoacer. It was per- 
 fect in 523 when the last games of wild heasts 
 took place , and that it was entire in the YIII 
 century is ascertained from Beda. It was the 
 barbarism of the following ages that destroyed 
 a part of this magnificent edifice. 
 
 In the XI century it became a fortress of 
 which the Frangipani and the Annibaldi, two ri- 
 val families, disputed the possession. The latter 
 retained it in 1 31 2'when it became public pro- 
 perty; in 1332 it was the scene of a splendid 
 tournament but this new destination soon disap- 
 peared and thirty years afterwards it was in 
 such a state of abandonment that it became a 
 stone quarry ; in 1 381 it was transformed into 
 a hospital when the part facing the Celian bill 
 had already perished. In the following century 
 it continued to furnish materials for the roman 
 palaces ; Paul II built the palazzo di Venezia , 
 Cardinal Riario, some years after the Cancelleria 
 an example followed byPaul III in 1 540 who built 
 the magnificent Farnese palace and by Clement XI 
 at the beginning of last century who, with the ma- 
 terials of one of the arches built in 1 y03theRipetta 
 port ; the Barberini palace was also built from 
 its ruins. Although the arena was consecrated 
 by Clement X in memory of the holy martyrs 
 to the passion of Jesus Christ , yet under the 
 same Clement XI above cited , the outward gal- 
 leries were used as a receptacle for rubbish 
 and dung. This degradation of the amphitheatre 
 
■128 Second day 
 
 lasted until the pontiGcate of Pius VII who not 
 only cleared but restored it in several parts, 
 and reinforced it towards the east. To Leo XII 
 we owe the repairs towards the west and south; 
 the works were continued by Pius YIIL Under 
 these pontiffs , protectors of the arts , the Co- 
 losseum has resounded after so many centuries 
 with instruments of restoration, which before had 
 been heard only for its destruction, and in our 
 days no expense is spared for the preservation 
 of what remains of this magnificent and imposing 
 monument. Its plan is an ellipse 2416 palms 
 in circumference ; the external facade , composed 
 of large travertine blocks , though ruined to the 
 west and south , is preserved in the remainder 
 and shows that the decoration was formed of 
 superposed orders 232 palms high? each ex- 
 ternal order corresponding to a story or in- 
 ternal passage leading to the steps. The three 
 fitst orders were formed of eighty arches sup- 
 ported by half columns, doric, ionic and Corin- 
 thian. The fourth order instead of arches had 
 windows each of which corresponded tojwo lower 
 arches ; eighty arcades were separated by inter- 
 mediary columns. The arches of the first order 
 being so many entrances are numbered ; that 
 between numbers XXXVIII and XXXIX cor- 
 responding to the minor axis of the ellipsis to- 
 wards the Esquiline , is without any number 
 and it is supposed that the other three now wan- 
 ting were entrances depending directly on the 
 public authority. These entrances , probably pri- 
 vileged , were more richly ornamented , as in 
 that towards the Esquiline there are traces of 
 two fine marble veined columns which formed a 
 
Second day 129 
 
 kind of propyleufia. This arct is besides wider 
 than the olhers , and leads to a splendid inter- 
 nal hall lined with stucco , of which some parts 
 are visible and (a one of the first places on the 
 podium. It may be considered as one of the en- 
 trances to the imperial seat which seems to 
 ha-ve been on the minor axis of the arena from 
 the Esquiline , Palatine and Celian as the parts 
 perfectly correspond. In the external cornice 
 are apertures between every five square palms^ 
 corresponding with travertine stands below ; 
 the former served to contain , the latter to sup- 
 port the bronze beams of the awning which 
 sheltered the spectators from the sun. In the in- 
 terior , nothing can give a better idea of the 
 size and magnificenee of this monument than by 
 examining it from the second story which can 
 be reached with the utmost facility the' arches 
 having been propped up and the pavement cleared 
 of ruins. These excavations were made in 1812, 
 when arriving at the primitive level of the are- 
 na , which bad been filled with substruction& 
 in the lower ages , the secret passage was dis- 
 covered in which Commodus was attacked by 
 Ihe conspirators ; numerous fragments of marble 
 columns , of statues, has reliefs and inscriptions 
 were also found; the most remarkable inscriptions 
 are those ofLampadius and Basilius Prefects of Ro- 
 me the former in 430, the latter in 480 under Theo- 
 doric; it appears by that of Lampadius that he re- 
 stored the arena, the podium, the doors and the 
 seats ; in that of Basilius that he rebuilt the arena 
 and podium thrown down by an earthquake. The 
 two entrances into the arena were by the great 
 axe; the arena was the spot where the games. 
 
1 30 Second daij 
 
 were celebrated , it was so named from tlie sand 
 which covered the soil , the length^was 420 palms 
 and the width 268 , ,a circular wall of suffi- 
 cient height to prevent the beasts getting up it , 
 with openings at intervals closed by iron gales 
 through whicK the gladiators and wild beasts 
 entered the arena , was called the « Podium »; 
 on this were placed the seats of the emperors 
 and of the imperial family, of the senators, chief 
 magistrates and vestals. 
 
 Over (be podium began the steps for the 
 spectators ; the doors leading to them were cal- 
 led vomitorii ; these steps were, divided into three 
 rows, called « meniani » or .« precinctioni ,» i the 
 first of which consisted of 24 and the second of 
 16 steps both of marble ; the third, the greater 
 part of wood , was replaced by Heliogabalus and 
 Alexander Sevcrus.by a more solid mate^al after 
 the lire under Macrinus, At the end of the steps 
 was a gallery, composed of 80 columns , first 
 built of wood afterwards of marble , suppor- 
 ting a roof under which were placed the keepers 
 of the awning ; the « meuiani » were divided 
 into scalaria , or small stairs, under the «om»-. 
 torii-^ there was room on the benches for 87,000 
 persons , and in the upper porticoes, for 20,0.00. 
 The public garden near the amphiteatre was 
 opened in 18J2. 
 
 ARCH OF . CONSTANTIHB 
 
 This triumphal arch was raised to Constan- 
 tine the great, by the roman senate and peo- 
 ple in commemovalion of his victory ad saxa 
 rubra over Masentius ; it consists of three arches 
 
n 
 
 
 «■ 
 
 u 
 
Second day 131 
 
 with eiglit fluted corintliian giallo antico co- 
 lumns and has reliefs of different periods, some 
 of the time of Gonstantine , others , as seen bj 
 the style , were taken from the arch of Trajan; 
 those below represent an allocution to the sol- 
 diers , the taking of Verona , the victory at Ponte 
 Molle ; the lunettes under the arch represent 
 the sun and moon ; the victories on the pedes- 
 tals , the four figures of fame are of a coarse 
 style; the arts at the time of Gonstantine being 
 in a state of great decay. Eighteen are of a fine 
 style there are ten long has reliefs on the attic, 
 eight round ones on the small arches , these 
 were taken from one of Trajan's arches ; the po- 
 sition of Trajan's arch despoiled by Gonstantine 
 is not known ; it was certainly not that of his 
 forum which was entire long after that period. 
 The four has reliefs on the side of the Co- 
 losseum placed in the attic between the statues, 
 represent the triumphal entrance of Trajan into 
 Some ; the restoration and enlargement of the 
 via appia ; the audience with Partomasiris, king 
 of Armenia and his dethronement ; the two bag 
 reliefs on the attics of the side are the most 
 magnificent , they Were formely of a sole piece ; 
 they represent the battle , and the victory gai- 
 ned by Trajan over Decebalus king of Dacia ; 
 the Emperor declaring Partomaspatus , king of 
 the Parthians , the conspiracy of Decebalus 
 against Trajan , an address to the army, and the 
 Suovetaurilia sacrifice. The rounds over the small 
 arches represent a chase and sacrifices to Apol- 
 lo, Mars , Sylvanus and Diana , the two under 
 the middle arch , though superior to those of the 
 time of Gonstantine, are greatly inferior to those 
 
132 Second day 
 
 of the time of Trajan and are probably of an 
 intermediary epoch. 
 
 To the arch of Trajan belonged the .eight 
 giallo antico columns , a part of thp entablature 
 the seven Dacian prisoners in Phrygian marble 
 whose heads are said to have.been taken away by 
 Lorenzino de' Medici and carried to Florence ; 
 .the other figure of a prisoner in white marble 
 is modern, the ancient statue being broken into 
 fragments was placed in the capitoline Museum 
 by Clement XII who formed upon ancient models 
 the heads that had been taken from the other 
 statues ; there is a void in the attic and on thp 
 upper plan stood the triumphal car with four 
 bronze horses; the frieze of the arch and the 
 squares containing the eight round has reliefs 
 were lined with porphyry of which there are 
 still some remains. 
 
 The soij of Rome having been raised , a par;t 
 of this arch was underground ; in 1 804 under 
 Pius VII it was cleared and encircled with a wall 
 which was removed under Leo XII ; the arch 
 is now restored to its primitive magnificence. 
 On a fine road opened from this arch between 
 the palatine and ceiian hills stands the 
 
 cnuacir of j. greqorio 
 
 S. Gregory the great , of the ancient and 
 noble Auician family , had his paternal mansion 
 on this spot , which he converted in 584 into 
 a monastery of friars ; he lived in it prior to 
 his election to the papacy and built a church 
 in honour of S. Andrew the apostle which 
 still exists. After his death a church was built 
 
Second day 133 
 
 in his honour to which Cardinal Scipio Borgheso 
 added in 1633 the fagade and double portico 
 on the designs of Soria ; the architecture of the 
 church was renewed in 1734 by the Camaldu- 
 lesc monks to whom it now belongs ; it is com- 
 posed of three naves with 16 columns chiefly gra- 
 nite. 
 
 The painting on the roof is by Placido Cos- 
 tanzi ; the first altar piece on the right repre- 
 senting S. Silvia the mother of S. Gregory , 
 is by Parker , an english artist; S. Damian, on 
 the second altar , by Mancini; S. Romuald in 
 his agony , by Fernandi , the fine painting in 
 the chapel at the end of the nave reprissen- 
 ting S. Gregory , is attributed to Andrea Sac- 
 chi ; the altar is remarkable for its fine scul- 
 ptures and a painting by Signorelli. The picture 
 over the high altar is by Balestra ; that of the 
 conception in the following nave by Mancini ; 
 the Madonna with several camaldulese saints is 
 considered as one of the best works of Battoni; 
 the blessed Michael is by Bonfreni. 
 
 At the end of this nave is the chapel de- 
 dicated to S. Gregory the great who is repre- 
 sented over the altar piece; it is a copy, by an 
 unknown hand , of the original by Annibal Ca- 
 racci which is now in England. The chapel was 
 designed by Daniel da Volterra and finished by 
 Carlo Maderno ; the paintings of the cupola are 
 by Bicci. 
 
 Adjoiniag this chapel is a terrace offering 
 a fine view of the ruins of the imperial palace; 
 the three ancient chapels standing on it were 
 rebuilt by Cardinal Baronio ; the first is de- 
 dicated to S. Silvia whose statue placed over 
 
 9 
 
134 Second day 
 
 Ihe altar between two porphyry columns, is by 
 Cordieri, a scholar of Buonarotli; the paintings 
 of the roof are by Guido Reni, they were ordered 
 by Cardinal Borghese in 1608; the second chapel 
 is dedicated to S. Andrew , the painting over 
 the altar between two verd' antico columns is 
 by Roncalli surnaraed Pomarancio; the S. Peter 
 and S. Paul are by Guido. 
 
 On the walls of this chapel are the two 
 frescoes by Domenichino and Guido. The one 
 representing the flagellation of S. Andrew is by 
 Domenichino ; the other the saint kissing the 
 cross while led to martyrdom , by Guido. 
 
 In the last chapel, that of S. Barbara, there 
 is a statue of S. Gregory, begun by Buonarotti 
 and finished by Cordieri. The marble table in 
 the middle of this chapel is the same on which 
 S. Gregory used every morning to feed twelve 
 poor pilgrims. 
 
 MONTE CELIO 
 
 This hill the longest and most irregular 
 of the seven roman hills having a circumferen- 
 ce of 16100 ancient feet, was originally called 
 Querquetulanus, as asserted by Tacitus from the 
 oak wood which covered it; under Romulus 
 or Tarquinius Priscus it assumed its present name 
 from Celes Yebenna, an Etruscan chief who came 
 to the assistance of Rome. The height on which 
 stands the church of S. Gregorio was called 
 Geliolius the little Celius. The Celian was ad- 
 ded to the city by Tullius Hostilius the third 
 king of Rome who assigned it as an habitation 
 to the Albans brought to Rome after the de- 
 
Second daj) 135 
 
 struction of Albalunga. A fire broke out here un- 
 der Tiberius, as related by Tacitus, and the place 
 having been rebuilt by that emperor it was 
 called Augustus; having been destroyed by fire 
 and sword by Robert Guiscard in 1 0SO it was 
 no longer inhabited. Under the arch way to th« 
 right on quitting S. Gregorio is the church of 
 
 SS. GIOFANNI E FAOW 
 
 Built on the house of those martyrs by S.Pam- 
 machius , a monk , in the IV century. It beloa- 
 ged to various religious orders till the time of 
 Glemeht XIV who granted it to the « Passio- 
 nisti », The portico , which is ancient , is sup- 
 ported by six granite jonian , and two marble 
 columns of different orders ; the interior divi- 
 ded into three naves by 1 6 granite columns was 
 built by Ganevari. The pavement is a species of 
 mosaic composed of various coloured stones mi- 
 xed with porphyry serpentine etc. taken from 
 ancient buildings , forming what the ancients 
 termed an Ojpus Alexandrinum from having 
 been carried to perfection under Alexander 
 Severus ; it is seen in all ancient churches. The 
 urn , under the high altar , is also of por- 
 phyry. The best pictures are those of the tri- 
 bune by Pomarancio , and that of Benafiel re- 
 presenting S. Sebastian in the last chapel of the 
 right nave. In the passage leading to the sacristy 
 are the busts of Innocent VII and of Cardinal 
 Paolucci , by Pietro Bracci. 
 
 To the left on quitting the church is a large 
 travertine building commonly called the Curia 
 Hostilia , but this edifice , as already seen, was 
 
136 Second day 
 
 in tlie Roman forum , and no author speaks of 
 two curiae Hostilise. This building is supposed 
 to have belonged to the vivarium , where the 
 wild beasts were kept for the use of the Co- 
 losseum , being of a contemporaneous style. It 
 was more probably an ornament of the Nym- 
 phseum of Nero , and of the temple of Claudius 
 which was situated in the garden of the Pas- 
 sionisti. This portico formed a double archway 
 the lower order of which is still underground; 
 on these arches the church belfry was subsequent- 
 ly ii'aised. Behind this building is an extensive 
 ancient latomia , or tufa lithoid quarry. 
 
 Opposite the church are ruins said to be 
 those of the house of Scaurus , in contradiction 
 ti^ ancient writers who place it on the Palatine. 
 Tlwjy appear rather to have belooged to the 
 Mac^lum Magnum , a larg^ meat and Csh mar- 
 ket which was on the Cselian, The people seem 
 to have a tradition of its primitive use as they 
 still designate it by the name of « Pescaria Vec- 
 chia ». Fallowing the road opposite the church is 
 
 THE ARCH OF DOLABELLA 
 
 Built of travertine in the X year of the 
 Christian era by the consuls Publius Cornelius 
 Dolabclla , and Caius Junius Silanus , who was 
 also Flamen Martialis , as slated in the inscri- 
 ption on the eastern facade ; bis title of Sila- 
 nus has led to the supposition that the arch for- 
 med an entrance to the Campus Martialis where 
 the Equiria', or equestrian games in honour of 
 Mars , were celebrated when the Campus Mar- 
 tins was inundated by the Tiber. This field is to 
 
Second day 137 
 
 the left of the arch , towards the west side is 
 a part of the Nymphaeum of Nero and of the 
 temple of Claudius. The arch of Dolabella was 
 used by Nero as a supporter of his acqueduct 
 the arch of which still remains. To this acque- 
 duct belong the arches extending between the 
 Caelian and S. John Lateran. 
 
 S. MARIA IN DOMNICA 
 
 This very ancient church called in Domnica 
 corresponding to the greek word kiriahe was 
 built on the spot once occupied by the house 
 oi S. Ciriaca a Roman matron. It is now called 
 the Navicella from a small marble vessel placed 
 by Leo X before the church which was resto- 
 red on the designs of Raphael. In the interior 
 are 1 8 granite anf two porphyry columns. The 
 freize was painted in chiar'oscuro by Gialio Ro- 
 mano and Pierin del Vaga ; the altar pieces arc 
 by Lazzaro Baldi ; at the angles of the absis arc 
 two porphyry columns. 
 
 Between this church and that of SS. Quattro 
 were the quarters of the foreign soldiers , the 
 Castra Peregrina as ascertained from numerous 
 inscriptions. Chonodomar king of the Alemanni, 
 who was taken prisoner by Julian at the battle 
 of Argentoratum near the present city of Stras- 
 bourg , finished his days in these barracks , as 
 related by Ammianus. 
 
 Adjoining this church is the villa Mattci 
 filled with fragments of all sorts of antiquities; 
 in the middle of a large meadow is a small 
 Egyptian granite obelisk of two pieces on I he 
 upper part of which are ancient hieroglyphics. 
 
1;38 Second day 
 
 In the portico are two large pedestals with ins- 
 criptions relating to the V Cohort of the vigili, 
 whose quarters were between the villa and the 
 navicella. Sundry mosaics, a double headed her- 
 ines of Socrates and of Seneca, identifying the 
 features of the latter, were found on the grounds. 
 On the right of the road leading to the La^* 
 teran is the church of 
 
 S. STEFANO ROTONDO 
 
 This edifice , situated on the road called 
 Caput Africm has been considered by antiqua- 
 ries as a temple of Bacchus, of Faunus, of Clau- 
 dius ; by others as a Macellum. It is merely a 
 church of the V century built by Pope S. Sim- 
 plicius in honour of S. Stephen , as related by 
 Anastasius , whose authority agrees with the ir- 
 regularity observed in the base , the diameter, 
 the orders and capitals of the 6fty six interior 
 columns , nearly all granite which are spoils of 
 more ancient buildings ;its denomination is derived 
 from its round form. It formerly had a double 
 spheric perystile but at its restoration under Ni- 
 cholas V the first row of columns was enclosed 
 and thus a wall was formed by the outward cir- 
 cumference. 
 
 It contains paintings by Pomarancia and 
 Tcmpesta representing the martyrdom of seve- 
 ral saints which have been restored in latter 
 times; two have been repainted by Manni, a Si- 
 cilian artist. 
 
 Over the altar, in the centre of the church 
 is a tabernacle of curious design and execution 
 by a Swedish baker. Following the line of Ne- 
 
Second day -139 
 
 ro's arches, on the left is the church of SS. Qaat- 
 tro Coronati rebuilt by Pasqual II ; it contains 
 eight middle sized granite columns, supporting 
 eight smaller ones and some paintings of Gio- 
 vanni da S. Giovanni in the choir. On the main 
 street leading to S. John Latcran is 
 
 S. CLEMENTE 
 
 This church is said to be built on the house 
 of S. Clement , one of the early successors of 
 S. Peter ; his remains and those of S. Ignatius, 
 bishop of Antiochia , are under the high altar. 
 It is known that it existed in the V century as 
 Pope Zosimus here condemned Celestius in 41 7. 
 It was restored by Pope Adrian I and Nicho- 
 las I, the choir was rebuilt by John VIII, the 
 absis or tribune by cardinal Tomasio who ad- 
 ded the mosaic still existing. Under Clement XI 
 it was completed in its present state. 
 
 This church is one of the most interesting 
 of Rome being the only one preserving the form 
 of the primitive churches. The vestibule is on 
 the modern piazza di S. Clemente having a smaH 
 portico supported by four columns , a work of 
 the IX century ; the atrium surrounded by por- 
 ticoes leads to the interior which is divided into 
 three naves by two rows of columns taken from an- 
 cient edifices. In the middle nave is a species of 
 marble enclosure with the monogram of John VIII 
 lOHANNES similar to that found on the coins 
 of this pope which determine the period of its 
 construction. This enclosure was used as the 
 choir in ancient churches ; on the sides are the 
 amboncs or pulpits from which the epistles 
 
140 Second day 
 
 and gospel were read to the people. Further 
 on is the Sanctuary which is isolated and con- 
 tains the confessional , seats for the bishop and 
 for the assisting priests. Besides the paintings 
 by Conca , Grecolino , Odazzi , Chiari , and 
 Ghezzi , the chapel of the Passion contains some 
 fine fresco works by Masacci , one of the ear- 
 ly restorers of the art ; they represent our Sa- 
 viour on the cross and deeds of S. Catherine 
 the martyr. The evangelists on the roof , the 
 only works that have not been retouched , are 
 also by Masacci. Near the high altar are the 
 tombs of Cardinals Raverdella and Venier ofRe- 
 canati , the former is a white marble sarcopha- 
 gus of fine design and execution of the XV 
 century. The convent ofS.Clemente is now occu- 
 pied by Irish Dominicans. 
 
141 
 
 GUIDE OF ROME 
 
 FROM THE lATERAN TO THE QUIRINAL 
 
 PtAZZA S. JOHlf LATERAS 
 
 L 
 
 Ln the middle of this piazza is the obelisk 
 raised at Thebes by Thoutmos III as ascertained 
 by the cartouches. It is related by Ammianus that 
 by order of Constantine it was conveyed down 
 the Nile to Alexandria for the purpose of sen- 
 ding it to Rome, but that in consequence of that 
 Emperor's death this project was suspended , 
 and that subsequently it was erected in the Cam- 
 pus Martius by Gonstantius bis successor. 
 
 After the ruin of this circus the obelisk 
 remained under ground at a depth of 34 palms 
 until it was excavated under Sixtus V, and being 
 broken into three parts it was restored and raised 
 on this spot by Domenico Fontana. 
 
 The lower part was repaired with granite 
 and tho traces of the latin inscription which is 
 
142 Third day 
 
 preserved in the Vatican library are still visi- 
 ble. It is of red granite covered with hierogly- 
 phics ; the height , without the base and pedes- 
 tal , being 1 44 palms , and . the width at the 
 lower part 1 4. Adjoining it is a statue of S. John 
 the Evangelist. 
 
 The piazza is occupied by two hospitals 
 for women , by the Basilic and the Lateran pa- 
 lace where the Roman Pontiflls resided in early 
 limes ; it was enlarged and embellished until they 
 transferred their residence to, the Vatican, the 
 proximity of which to the castle S. Angelo of- 
 fered them a retreat and refuge. It suffered and 
 fell to decay during the ' residence of ,the holy 
 see at Avignon. In 1585 Sixtus V ebtrasted the 
 care of its restoration to Domenico Fontana 
 who built two sides -, the third was completed 
 by Alessandro Galilei under Clement XII The 
 rooms were painted in fresco by Nogari, Croce, 
 Ventura , Salimbeni , Ricci , Andrea d' Ancona, 
 the first artists of that day. It was occasionally 
 the residence of Sixtus V, but after his death 
 it was again abandoned and remained in a state 
 of neglect until its restoration under the pre- 
 sent Pope Gregory XVI whose views were ably 
 seconded by Cardinal Tosti the Finance Mini- 
 ster , and under the direction of the architect 
 Poletti it has resumed its former splendour; the 
 paintings and gildings have been restored and 
 this palace is now destined to form the third 
 Museum of Rome. 
 
 The rooms on the ground floor contain va» 
 rious monuments of early christian antiquities, 
 casts of the bas-reliefs of the Parthenon , now 
 in London , of the Egina marbles now at Mu- 
 
Third day H3 
 
 aich. In the third room is the mosaic represen- 
 ting gladiators found in the baths of Caracalla; 
 in the first to the left sundry fragments, a stag 
 in grey marble and a cow. In the second, statues! 
 of Germanicus , Drusus , Agrippina , a fine ci- 
 nerary urn. In the third a statue of Aristides ; 
 in the fourth one of Bacchus found in the Villa 
 Adriaaa at Tivoli. In the last a mosaic repre- 
 senting our Saviour , S. Peter holding the keys, 
 and S. Paul. 
 
 The rooms of the third wing contain frag- 
 ments of sculpture : a statue of Cato ; a captive 
 king from the arch of Constantine ; two casts 
 of the statue of Aristides one from the original 
 existing in the second wing , the other from that 
 at Naples; two small columns of pavonazzetto 
 marble lately found in the Tiber. 
 
 The first story is destined to form the gal-> 
 lery -, in the second room are various old pain- 
 tings on boards, a fine copy by Silvagni of the 
 martyrdom of S. Andrew , by Domenichino, exis- 
 ting in the church of S. Gregorio; the paintings 
 on the roof are by Zuccari. In the third room 
 are two Madonnas with saints by Parmegianino; 
 the baptism of S. John', Gesare da Sesto; two 
 draperies representing S. Peter and S. Paul co-- 
 pied by the students at S. Michele; two pictures 
 by Bartolomeo di S. Marco. In the following 
 rooms are cartoons by Giijio Romano, Gamuc- 
 cini , and sundry mosaics found out of the porta 
 S. Sebastiano ; the annunciation by the Gav. d' 
 Arpino ; the portrait of George IV by Lawrence; 
 a copy , by Bruni , of the assumption of the 
 Virgin from the original by Guercino now in 
 Russia. A superb mosaic found in the absis of 
 
144 Third day 
 
 the wrestling place at the baths of Garacalla , 
 considered to be the finest monument of the 
 sort that has come down to us from auliquitj. 
 Under the arches of the loggie are several land- 
 scapes by Paul Brill 
 
 THE BJPTISTERT 
 
 It is said that Coastantine built this sumptuous 
 chapel in order to receive baptism from Pope 
 S. Silvester ; it is known that, it existed in the 
 V century and Ihat in the IX it had the form 
 and columns it possesses at the present day. It 
 was despoiled of its; ornaments and ruined in 
 the frequent pillages of the city but was res- 
 tored by Gregory XUI and by Ifrban VIII. 
 
 The baptismal font ,; formed of an antique 
 basaltic urn with a bronze gilding, is placed 
 in a circular spot lined with marble to which 
 the descent is by three steps. Here on the Sa- 
 turday of holy week the Jews , the Turks and 
 others converted to the faith receive baptism. 
 Around this fount is an octangular balustrade 
 covered with a Cupola supported by a double 
 row of columns ; the first eight of porphyry sup- 
 port a cornice composed ofaatique fragments; 
 the others ace of white marble ; between the 
 pilasters of the second row are eight large pictu- 
 res relating to the^ acts of S. John , painted by 
 Andrea Sacchi; the frescoes are by Gemignani, 
 Camassei , Carlo Maralta , Mannoni ; in the cha- 
 pel dedicated to S. John are tvo columns of ser- 
 pentine ; in the one opposite , that of the Evan- 
 gelist , are two of oriental alabaster , the sta- 
 tues of both these saints are of bronze, the for- 
 
1=1 
 
 M 
 
 ^ 
 
Third day U5 
 
 msr bjr Laigl Valadicr , tlic latter modelled by 
 ftio : deila Porta; the two porphyry columns on 
 the wall supporting a cornice of antique frag- 
 ments formed the ancient entrance to the Bapt- 
 istery. 
 
 THE LATER AS B AS ILK 
 
 This temple , the first of Rome and of thu 
 Catholic world , is denominated Ecclesia TJrbis 
 et Orbis , Mater et caput Ecclesiarum , it is also 
 called Constantiniana^ivova. Consia.i\ivac the Great 
 its founder; Laleranense from the site of the bouse 
 of Plautius Latcranus (who was implicated in 
 the conspiracy against Nero ; of the Salvatore 
 to whom it was dedicated by Pope S. Silvester; 
 yiurea, from the rich gifts it contained and fi- 
 nally Basilica S. Giovanni, having been subse- 
 quently dedicated to the Baptist and the Evan- 
 gelist ; it is the cathedral of (he sovereign Pon- 
 tiff who , after his elevation to the Papacy, 
 takes solemn possession; it has been the seat of 
 twelve councils , either general or provincial. 
 
 This basilic , preserved during ten centu- 
 ries by the successive restorations of sundry 
 Popes was totally destroyed by fire, together vrilh 
 tlie palace, in 1368 under Clement V, when 
 the apostolic see was at Avignon; it was rebuilt 
 with the funds sent by the Pope , embellished 
 by Urban V , Alexander VI , and Pius IV who 
 made the gilt ceiling and the lateral facade to 
 which Sixtus V added the double portico on the 
 designs of Domenico Fontana ; the arabesques 
 are by Salimbeni , the bronze statue of Henry 
 IV of France by Cordieri , erected by the chap- 
 
 10 
 
146 Third day 
 
 ter to the benefactor of 0.w basilic ; Clement 
 YIII rebuilt the upper nave on the desigas of 
 Giacomo della Porta , and Innocent X the large 
 nave on those of Borromini. 
 
 At length Clement XII completed the temple 
 and added the principal facade by Alessandro 
 Galilei; it is in travertine , decorated with four 
 half columns and six. composite pilasters suppor- 
 ting a cornice and balustrade on which are pla- 
 ced ten colossal statues of various saints with 
 that of our Saviour in the middle ; there are 
 five balconies , the central one, which has four 
 granite columns , is destined to the Papal be- 
 nedictions; at the end of a splendid portico sup- 
 ported by 24 marble composite pillars, is the 
 colossal statue of Constantine the Great, found in 
 his thermae ; the central door was taken from 
 the Emilian basilic in the Roman forum , and 
 was placed here by Alexander VII; the walled 
 door to the right is the « porta santa » opened 
 only in the year of the great Jubilee. The bas- 
 reliefs over the doors represent S. John the Bap- 
 tist announcing the coming of the Bedeemcr 
 by Maini ; S. Zaccariah naming S. John by Lu- 
 dovisi; the death of the Baptist by Valle; S. 
 John reproaching Herod with his passion for Hc- 
 rodias by Bracci. 
 
 The interior is composed of five naves with 
 six pilasters on each side , the centre one was al- 
 tered by Borromini who covered the columns with 
 six large pilasters forming five arches correspond- 
 ing to the same number of chapels ; two fluted 
 p lasters of the composite order support the cor- 
 nice ; within these arc twelve niches with two 
 vcrde antico columns each , containing the co- 
 
Third day 147 
 
 lossal statues in marble of the apostlcss execu- 
 ted by the best artists of that day , S. James 
 the elder, S. Matthew, Andrew and John by Rus- 
 coni , S. Thomas and Bartholomew by Legros; 
 S. Thaddeus , by Lorenzo Ottoni , S. Simon , 
 Moratti; S. Philip, Mazzuoli; S. James the young- 
 er de' Rossi; S. Peter and Paul by Monot; the 
 stucco has reliefs , executed on the designs of 
 Algardi , represent various passages of the old 
 and new testament. In the ovals over these has 
 reliefs are painted the greater prophets: Nahuni, 
 the first near the right entrance by Muratori ; 
 Michea , the one opposite , by Ghezzi ; Jonas by 
 Benafiel ; Abdias by Chiari ; Amos by Masiai ; 
 Joel by Garzi ; Oseas by Odazzi ; Daniel by Pro- 
 caccini; Esechiel by Melchiorri; Baruch by Tre- 
 visani; Jeremiah by Gonca ; Isaiah by Luti-, the 
 ceiling of this nave was made by Pios IV of the 
 house of Medici, the design is attributed to Mi- 
 chael Angelo. 
 
 The Corsini chapel , the first near the left 
 entrance, is one of the richest and most mag- 
 nificent in Rome ; it was built by Clement XII 
 in honour of S. Andrea Corsini , his ancestor, 
 on the designs of Alessandro Galilei who deco- 
 rated il with columns of the corinthian order, and 
 lined it with the finest marbles. Over the altar 
 between two verdc antico columns , is a mosaic 
 portrait of S. Andrea Corsini , copied from a 
 painting by Guido ; on the front are the figures 
 of Innocence and Penitence by Pincellotti; the 
 has relief represents S. Andrea Corsini protect- 
 ing the florentine army at the battle of An- 
 ghieri; in the large niche supported by two por- 
 phyry columns is the tomb of Clement XII , 
 
148 Third day 
 
 with the antique porphyry uvn formerly in the 
 portico of the Pauiheon ; the bronze statue waa 
 modelled by Maini ; the marble statiles by Mo- 
 naldi. On the tomb of cardinal Neri Gorsini, the 
 uncle of Clement XII, is the cardinal's statue, 
 with a child and a seated figure of Religion, by 
 Maini ; in the four niches are statues represen- 
 ting the four cardinal virtues , surmounted by 
 marble bas reliefs : Temperance by Vallc; Force 
 by Rusconi ; Prudence by Cornacchini ; Justice 
 by Lirbni. The corresponding bas reliefs arc by 
 Benaglia , Anastasio , Bracci , Adami. The cu- 
 pola is ornamented with gilt stuccoes , the pa- 
 vement with choice marbles , the balustrade wiih 
 gilt bronze. Over the altar is a fine group re- 
 presenting a dead Christ supported by his mo- 
 ther ; under the chapel are the tombs of the- 
 Corsini family. 
 
 In the large nave near the high altar is a 
 bronze monument of Martin V Colonna who 
 died in 1431 the work of Simon the brother 
 of Donatello ; in the large arch of this nave are 
 two columns of red oriental granite 50 palms 
 high. On the high altar of (he transept four gra- 
 nite columns support a gothic tabernacle con- 
 taining, among other remarkable relics, the 
 Leads of S. Peter and S. Paul. 
 
 On the right nave are the tombs of Paolo 
 Millini who died in 1527, and of Giulio Acqna- 
 yiva created a cardinal by Pius YI when only 
 20 years of age. i 
 
 The second chapel, dedicated to S. John Ne- 
 pomucene, is now undergoing various improve- 
 ments on the designs of Raimondi , ^nd will 
 
Third day 149 
 
 be splendidly decorated at the expense of the 
 Torlonia family. 
 
 In the fourth chapel are the tombs of car- 
 dinal Rusponi who died in 1675 the figures by 
 Filippo Romano , and that of cardinal Martini 
 of Chaves in Portugal placed here in 1447. In the 
 second nave the tombs of Silvester erected in 1 003 
 by Sergius IV ; of Alexander III in 1181, who 
 held the council of Lateran ; of his nephew Caiv 
 dinal Randinelli ; of Pope Sergius IV who died 
 in 1013 ; and the cenotaph of Cardinal Farnese 
 c::ecuted by Valsoldo, on the designs of Vignola. 
 In the first chapel to the left dedicated to 
 S. Ilario whose portrait was executed in fresco 
 hy Guglielmo Borgognone , is a door leading to 
 the ancient cloister which contains several cu- 
 rious monuments remarkable by their design and 
 execuSion. 
 
 In the Lancellotti chapel is (he tomb of car- 
 dinal Casanate by Lcgros. 
 
 Ill Chapel , the Christ over the altar by 
 Civoli , or by Stefano Maderno; the tomb of car- 
 dinal S- Severino , by Pinelli of Carrara , 'and 
 that of Cardinal Valeriano. 
 
 IV. The fresco representing the assumption, 
 S. Domenick , S. Filippo Neri was begun by Odaz- 
 zi and finished by Hern. Below is a painting of 
 the Giotto school representing the death of the 
 Virgin, the tombs of cardinals Antonelli and Ca- 
 raccioli are of the XIII century , that of cardinal 
 Annibaldesi of 1240. 
 
 Along the second nave are those of Porti, 
 Lanciuti , Garimberti, Burgio, of cardinal Sasso 
 and of Elena Savelli by Delduca, a pupil of 
 Buonaroti. 
 
 10 • 
 
150 Third datj 
 
 On the roof of the absis is a large mosaic 
 of 1291 by fra Jacopo da Turrila who Avas as- 
 sisted by fra Jacopo da Camerino , both artists 
 being represented in small proportions on the 
 sides , and the name of the first is above. After 
 the death of Turrita the work- Avas completed 
 by Gaddo Gaddi; between the Madonna and S. 
 Francis is Pope Nicholas IV on his knees. Over 
 the central arch of the tribune a fine painting 
 by Agricola has recently been placed at the 
 expense of the Torlonia family; it represents the 
 Saviour, S. John the Baptist and Ihc Evangelist. 
 At the end of the transept , renewed on 
 the designs of Giacomo della Porta by Clement 
 VIII in 1600, is Ihc splendid altar of the most 
 holy Sacrament; the tabernacle is adorned with 
 fine marbles and four verd' anlico columns, the 
 architrave and front are supported by four flu- 
 ted columns of gilt bronze, of the composite 
 order 1 3 palms in circumference. Some antiqua- 
 ries assert that these columns are formed of the 
 bronze taken in the Egyptian vessels at the battle 
 of Actium which was deposited in the Capitol 
 by Augustus. The four marble statues completing 
 the altar represent Elias , Moses , Melchisedech, 
 Aaron: these, together with the respective has 
 reliefs , were executed by Mariani, Vacca, Egi- 
 dio , arid Silla ; the ascension of our Saviour is 
 by d' Arpino whose tomb is behind the tribune 
 near that of Andrea Sacchi ; the other subjects 
 are : Constantino presenting the sacred vases to 
 the basilic, by Baglioni ; the apparition of the 
 Saviour by Paris Nogari ; the triumph of Con- 
 stanline, by Ccsari; the apparition of the Apost- 
 les by Nebbia , S. Silvester on Mount Soracte 
 
Third day 15f 
 
 by Pomarancio ; the building of the basilic by 
 ?Jogari ; its consecration by Ricci ; the angel* 
 are by Mariani, Buzi, Cordieri, Valsodino, Ste- 
 fano Maderno. In the sacristy is a fine painting 
 of the a Annunziata » by Venusti made on tho 
 designs of Buonaroti. 
 
 In Ibo chapel of ihe clioir is the tomb of 
 Lacrelia Tomacelli the wife of Philip Colonna, 
 by Theodore delta Porta. The columns are of 
 paragone marble ; the bronze works are by Laa- 
 reaziani ; (he altar piece representing the Baptist 
 and the Evangelist, is by the Cav. d'Arpino; 
 the roof by Croce , the portrait of Martin V by 
 Scipio Gaetani. 
 
 In the chapel of the Presepe the subjects are 
 painted with much skill by Trometta ; SS. Peter 
 and Paul by d' Arpino; the monument to Car- 
 dinal Rezzonico is by d' Este. Two giallo antico 
 fluted columns support the organ ; they are 4o 
 palms in height and are the first known of this 
 kind of marble; the basilic also contains a paint- 
 ing by Giotto rcpresenling Boniface VIII pro- 
 claiming the first Jubilee of the holy year in 1 300, 
 it is on the wall behind the first large pilaster 
 on the right of the chief entrance. 
 
 The small semicircular nave behind the tri- 
 bune was formerly an open portico built pro- 
 bably by S. Leo I; in it is preserved part of the 
 table said to have been used at the last supper 
 of Christ and the apostles ; the ancient tombs 
 are those of Gio : Muti Papazzuri , Gabriel Fi- 
 lippucci , executed by Cametli and designed by 
 Costanzi ; on the allar behind the tribune is an 
 ancient crucifix and some statues on the side. 
 Opposite are the tombs of Alessaadro Galilei, of 
 
152 Third day 
 
 the duchess of Ascoli who died in 1 496 ; of Eli- 
 sabeth Sforza; of the poet Teobaldo ; ofdc-Rossi 
 a Roman ; of Scaanarolo who died in 1636 and 
 linally two ancient mosaics. The ancient door lead- 
 ing to the sacristy was placed here hy Celestin III 
 in 1 1 96. Over the altar , under which arc the re- 
 mains of Flavio Orsini a literary character of the 
 XVI century is a painting of the « Assunta » by Ve- 
 nusti, designed by Buonaroti. The small picture 
 of the Magdalen is of the old school; that of the 
 Trinity by Ciampelli ; S. John led by the disci-- 
 pies to the cave is by d' Arpino ; the vocation 
 of the Apostles , unknown ; the walls arc lined 
 with inscriptions to various Popes the benefact- 
 ors of the basilic. 
 
 In the sacristy of the canons are represented 
 various acts of Pope S. Clement, painted by Ciam- 
 pelli. Over the altar the Virgin and S. John 
 of the old Florentine school ; in the small sa- 
 cristy to the left a picture by Matnrino da Ca- 
 rayaggio and a cartoon of a holy family attributed 
 to Raphael ; amongst other sacred vestments a 
 cape of the V century is deserving of notice. 
 Nearly opposite the palace is 
 
 TffE SCALA SAKTJ, 
 
 Wlien Sixlus V rebuilt the Lalcran palace 
 and a part of the Triclinium ofS. Leo III which 
 had not been injured in the conflagration of 
 the ancient building the part extending to this 
 »pot underwent no change. A portico was by 
 the Pope's orders raised in front of the chapel 
 by Domenico Fontana with five stair cases, lea- 
 Ting in the middle the holy stair case formed 
 
third day 153 
 
 of 28 marble sicps, formerly in the bouse of Pi- 
 late, which bad been brought to Rome; this stair 
 case is called holy from having been sanctifi- 
 ed by the blood of Christ who ascended and 
 descended it several times at the period of his 
 passion ; it is therefore held in great veneration 
 by the faithful who ascend it only on their knees 
 and descend by the lateral slairs ; so great has 
 been the concourse of christians to this spot 
 that in the lapse of ages the steps sunk in and 
 to prevent further degradation the whole was 
 covered with wood which , for the same motive, 
 has been frequently renewed. 
 
 Within the chapel at the top of the steps 
 is a very ancient image of the divine Saviour 
 7 palms high which is held in great venera- 
 tion. S. Leo placed under the altar a box of 
 cypress containing three smaller ones filled with 
 relics , and inscribed Sancta Sanctorum , an ap- 
 pellation given to the chapel , which contains 
 many other relics; a spot inspiring veneration and 
 respect. 
 
 To the south of this sanctuary is a tribune 
 to which Benedict XIV transferred the mosaics 
 destined by Leo III as an ornament to his tri- 
 clinium in the Lateran palace; this monument 
 was restored by Camuceini and Valadier. The 
 ancient arches on the piazza di S. Giovanni are 
 ruins of Nero's acqueducl which brought the acqua 
 Claudia to the Celian hill. 
 
 rORTJ s. GiorjNtfi 
 
 This gale was substituted by Gregory XIU 
 to the ancient porta Asinaria which is closed. 
 
154 Third day 
 
 !t waa so named from the Via Asiiiaria having 
 been opened by some person named Asinius. The 
 modern name is derived from ihc basilic ; the 
 architecture is by Giacomo della Porta. It was 
 through this gale , opened by the Isaurian mer- 
 cenaries , that Totila , according to Procopius , 
 entered Rome. At a distance of two miles the 
 high road is intersected by the Via Lalina along 
 which are ruins of tombs one of which is well 
 preserved ; a little further on is a little temple 
 iupposed to have been erected to female For- 
 tune on ihe retreat of Goriolanus which was res- 
 tored by the youngftr Faustina ; but the Stylo 
 of building is not of that period , and the dis- 
 tance from Rome does not correspond to that 
 of this celebrated edifice which was situated near 
 the hamlet called « Roma vecchia » on the via 
 latina at the fourth mile from the ancient Ca- 
 pcna gate where , according to the testimony of 
 Dionysias and other ancient writers, Corioknus 
 pitched his tenls and yielded to the supplications 
 of his mother and wife. 
 
 At a distance of 2 1/2 miles is the « acqua 
 santa », a spring of mineral water held in some 
 estimation in cutaneous cases ; within the gale 
 a road to the right under Ihe walls , fortified 
 in the Y century , leads to the basilic of 
 
 SjlJfTJ 'CROCE Ilf GERUSALEMMB 
 
 This church , one of the seven basilies of 
 Rome , was built by S. Helena , the mother of 
 Constantine, on the site of the Variant gardens, 
 the residence of « Eliogabalus » and of «Alexan- 
 der Sererus" his successor. The palace was cal- 
 
Third day 155 
 
 led Sessortum , and the basilic Sesson'ana, S. 
 Helena having deposited here the third part, of 
 the holy cross wliich she had found at Jerusalem 
 the church assumed the denomination of Sanla 
 Crocc in Gerusalemme. It was consecrated bj 
 Pope S. Silvester and restored at various pe^ 
 riods by other Popes ; Lucius II rebuilt it in 
 1 1 44 ; Pius IV granted it to the cistertian monks 
 of the congregation of Lombardy. It was resto- 
 red by Benedict XIV who built the facade and 
 portico, supported by pilasters and columns, four 
 of which are granite. 
 
 The interior is composed of three naves 
 divided by pilasters and by eight large egyptian 
 granite columns; the high allar is isolated; the 
 •< baldacchino » supporlcd by four fine brcccii 
 corallina columns. Under ibe altar a basallic 
 urn with four lions' heads contains the bodies 
 of the martyrs S. Cesarius and Anastasius; Iba 
 frescoes over the tribune are by Pinluricchio , 
 those in the subterranean chapel dedicated to 
 S. Helena by Pomarancio , the mosaics by Pe- 
 ruzzi. At the entrance to the chapel is an an- 
 cient inscription in honour of S. Helena. 
 
 In the next chapel is a Piela in marble ; 
 the paintings on the roof are by Nappiand Nanni; 
 the library of the monastery contains several 
 manuscripts and various pictures thai were once 
 in the basilic; a statue of Benedict XIV by Mar- 
 chionci and paintings by Pannini;a small picture 
 of Ihe Virgin, the child and S. Joseph by Mancini. 
 In the vineyard marked N. XI to the right of 
 this church are remains of 
 
156 Third datj 
 
 TUB yjRJJTfl GJRDE.yS 
 
 ' It is stated by Frontinus thai llie arches of 
 Nero began ad spem veterem a spot probably 
 so called from some monument erected to Hope 
 in «ocieat times. In the quarter ad spem vete- 
 rem Lampridius , who wrote the lives of Helio- 
 gabalus, and Alexander Severus, places the «horti 
 Varijani » so called from the family name of 
 Heliogabalus , the son of Scxtus Varius Mar- 
 cellus ; as the arches of Nero begin in the vine- 
 yard annexed to the Santa Croce basilic , the 
 site of the ad spem veterem is evident, and con- 
 sequently yve must recognize as ruins of the Va- 
 riani palace all those existing both in this villa 
 and in the adjoining villa Couti now without 
 the walls ; nor is the style, of building opposed 
 to this supposition as it evidently is not anterior 
 to the times of Caracalla , the reputed father 
 of Heliogabalus. In the garden is the ruin of an 
 absis which , from its size , must have belonged 
 to some large edifice ; of this absis nothing re- 
 mains but the large niche and portions of the 
 lateral wails the remainder having been demol- 
 ished to provide materials for the facade of 
 the basilic. 
 
 This ruin was supposed to have been the 
 temple of « Venus and Cupid » a statue of a 
 female with a boy at her feel having been found 
 here which is now in the Vatican Museum ; 
 but it has been ascertained to be the portrait 
 of the wife of Alexander Severus and the stylo 
 of building is very different from that of a tem- 
 ple ; it was rather a hall or a basilic, such per- 
 haps was the Sessorium which the ecclesiastic 
 
Third day 157 
 
 ■writers and tlie scholiast of Horace placo ia tliis 
 direction , nor are the arguments adduced sul^- 
 ficient to prove that this was the temple of Ve- 
 nus and Cupid. 
 
 Near it is a fine remnant of the Claudian 
 acqueduct communicating with the porta Mag- 
 giore ; the Neronian acqueduct of a very fine 
 construction hranches oft at this point and con- 
 veys a part of the acqua Claudia to the Cielian 
 hill. In the Villa marked N. XIV are the ruins 
 of the 
 
 ANl'lTEATRO CASTRENSE 
 
 From what remains of this amphitheatre it 
 is evident that the exterior was composed of a 
 double row of columns , one half Corinthian , 
 the other corinthian pilasters. In the origin it 
 was out of the walls of Servius Tullius but 
 was enclosed when the arches were filled up 
 under the Emperor Honorius. The exterior is 
 visible when going out of the porta S. Giovanni, 
 the style of the columns proves that the con- 
 struction is of the first century of the christian 
 era ; of the first row nothing now remains but 
 a pilaster and part of an arch ; the amphithe- 
 atre was called « Castrense » from the martial 
 exercises , the combats of the soldiers against 
 wild beasts , and the military games practised 
 within the precincts. In the excavations made in 
 the arena, the bones of huge animals were found 
 together with an Egyptian statue inscribed with 
 hieroglyphics. 
 
 Beyond the walls and in the vicinity of the 
 araphithealre and Claudian acqueduct was a cir- 
 
 11 
 
158 Third day 
 
 ciis, probably that of Heliogabalus on which was 
 found the obelisk now erected on the Pincian 
 hill. 
 
 Between the amphiiheatre and the porta 
 M^giore was the Vivarium , a square building 
 used for the wild beasts destined for the public 
 games. It appears by the ancient inscriptions that 
 the Vivarium was entrusted to the care of the 
 Prct^orian guards. 
 
 The first road to the right of the Santa 
 Croce basilic, passing under the fine arches of 
 the Neronian acqueduct, leads to the 
 
 PORTA MAGGIORE 
 
 As it was customary among the ancients (a 
 give an imposing aspect to those parts of the 
 acqueducts which crossed the public roads, the 
 Emperor Claudius raised at this spot a building 
 in the form of a triumphal arch. It has three 
 inscriptions : the first « that this great work was 
 » completed by the Emperor Tiberius Claudius 
 " the son of Drusus , who, by means of two 
 » separate channels , brought to Rome the acqua 
 " Claudia derived from the Cerulian springs , 
 » from the Curtia , and that called the Anio 
 J' novus ». The second inscription records the 
 » restoration of the acqueduct by Titus » , the 
 third that of Vespasian ; the city walls ;having 
 been enlarged by Honorius , this building served 
 to establish the Prenestine and Labican gates so 
 named from the respective roads ; on the La- 
 bican gate now closed was the inscription « that 
 M in 502 Honorius repaired the walls ». The Pre- 
 destine which remains open was called Porta 
 
Third day 159 
 
 Magglore either from its being stronger than the 
 others , or from its leading to S. Maria Maggiore 
 the gate having been so called in the lower ages. 
 
 The monument of the acqua Claudia is one 
 of the finest of ancient Rome. It is composed 
 of large blocks of travertine and peperino united 
 without cement , supported by two large arches 
 ia which the gates were placed. It was very 
 solid but was weakened by the opening made by 
 Sixtus Y for the passage of the -<■ acqua Felice » ; 
 in the early ages this monument was disfigured 
 by numerous buildings which of late years have 
 been cleared away. On this occasion an ancient 
 sepulchre was found within the wall of a tower; 
 it belongs to the latter limes of the republic 
 and bears an inscription to Marcus Virgilius Eu- 
 rysaces a bread contractor. Many fragments found 
 at the same time are placed on the right side 
 of the gate. The arches on the left were chan- 
 nels of the Julia, the Tepula, the Marcia waters-, 
 a fe\t feet distant and on a level with the ground 
 is that of the « Anio vetus » brought to Home 
 by Curius Dentatus and so called to distinguish 
 it from that of Claudius. 
 
 Of these six acqueducts the Anio Novus was 
 the largest -, it began at a distance of 43 miles 
 from Rome ; its course was 62 miles. 
 
 The Claudia on a lower level was formed 
 of the Cerulea and Curtia springs , 38 miles 
 distant and having a course of 45; both were made 
 by Claudius who followed oat the project of 
 Caligula his predecessor. 
 
 The Julia built by Agrippa in the year 
 708 of Rome under his edileship was inferior 
 in level only to the « Anio vetus » and the « Clau- 
 
160 Third day 
 
 dia ». It began 1 2 miles from Rome a couple 
 of miles distant from the via Latiaa near the, 
 modern « ponte de' squarciarelli » and had a 
 course of 1 5 miles. Two miles distant from the Ju- 
 lia were the Tepula springs brought to Rome by 
 Gnaius Servilius Gepio and Lucius Gassius Lon- 
 ginus in the year of the city 627. 
 
 On a lower leyol was the Marcia which cofn- 
 menccd 33 miles from Rome with a course of 
 60 miles ^ it was the most salubrious of all the 
 waters and was conveyed to the city in the year 
 608 by ihe praetor Q. Marciiis Re. 
 
 The Anio vetus acqueduct was constructed 
 in the year of the city 482 by Manlius Curius 
 Dentatus who did not live to see it completed. 
 Its course was 43 miles ; it brought the waters 
 of the Anio from a distance of 20 miles; accor- 
 ding to Frontinus it was erected with the spoils 
 of Pyrrhus king of Macedon which added to 
 its interest. Its direction near the walls could 
 still be traced in 1834 but these venerable 
 ruins have disappeared through the ignorance 
 of those who preside over these works, a loss 
 still more to be regretted as it was all that 
 remained of this acqueduct near Rome. Three 
 roads branch off from the porta Maggiore, the 
 one to the right follows the line of the 
 
 riA LABICJSA 
 
 This road led to Labicum, a town of Latium 
 mentioned by Livy and by Yirgil the position of 
 which corresponds to tlie modern village called 
 Golonna. A mile and half on the right of the 
 gate are ruins of an ancient acqueduct which , 
 
Third day i61 
 
 from the style and direction , are ascertained 
 to be the acqueduct of the « Acqua Alexandri- 
 na » ; this water, coinciding with the present 
 acqua Felice, was brought to Rome by Alexander 
 Severus for the use of his thermie and of the 
 Variani gardens ; the spring is at the XIII mile 
 from Rome about a mile to the left of the road 
 where a part of the ancient acqueduct is still 
 visible ; the acqua Felice has been placed on 
 a higher level and three other springs -have 
 been added to it comprizing that of the Pan- 
 tanelle hills near Colonna. At the distance of 
 about another mile , at the place called « Tor 
 Pignattara » , are ruins near the road all de- 
 cayed excepting those of the mausoleum of S. 
 Helena in which stands the little church of SS. 
 Peter and Marcellinus , built by Clement XI to 
 perpetuate the memory of the ancient basilic de- 
 dicated to those saints in the environs of the 
 Mausoleum ; the fine porphyry urn in the Va- 
 tican museum, known under the name of S. He- 
 lena's tomb, was found in these ruins. At the 
 end of the forty ninth step are ancient cata- 
 combs the burial place of these two saints which 
 also contain a small chapel with funeral in- 
 scriptions relative to the Equites Singulares , a 
 choice troop in the times of the Emperors; some 
 are on the walls of the mausoleum and of the 
 church , and having been found in the environs 
 this was probably their place of sepulture as 
 the Celian is supposed to have been that of their 
 residence. Returning to the porta Maggiore the 
 road to the left of the via Labicana joins the 
 ancient 
 
 11 • 
 
■162 Third day 
 
 VIA PRENESTISA 
 
 This road , called the Gabina in Livy , as 
 it led both to Gabii and to Preneste ( now 
 Palestrina ) commenced , like the Labicana , at 
 the Esqniline gate of Servius , near the arch of 
 Gallicnus; about three miles distant are the ruins 
 of the villa that belonged to the Gordians which , 
 according to the Augustan history , was de- 
 corated with porticoes , basilica , and ther- 
 mae. Many of the ruins are still visible: reser- 
 voirs for water,two bathing rooms half destroyed 
 one still preserving some stucco ornaments , 
 a temple with a round cella now called « Tor 
 de' Schiavi ». It seems to have been both a tem- 
 ple and a mausoleum destined for the sepulture 
 of the members of the Gordian family. The third 
 road on quitting the porta Maggiore to the left 
 of the Prenestina way leads to the 
 
 BASILIC OF S, lOBEH/ZO. 
 
 On the spot called Campo Verano was a 
 cemetery belonging to S. Ciriaca , a Roman Ma- 
 tron , on which Constaatine is said to have built 
 this church in 330 5 it was rebuilt by Pelagius 
 li , and under Honorius III about 1214 it was 
 extended from the present door to the confes- 
 sional when the level of the church built by 
 Pelagius II was raised and formed into a presby- 
 tery closing the primitive door which was tur- 
 ned to the east , the modern door being towards 
 the west. After many restorations in the XV 
 and XVI centuries , in 1 647 it assumed its pre- 
 sent form. It is one of the seven basilica of Rome; 
 
Third day 163 
 
 the portico is decorated with six antique co- 
 lumns of the period of decay , with frescoes of 
 sundry deeds of S. Lorenzo the martyr , and 
 of Pope Honorius III who crowned in this church 
 Pierre de Courtenay Count d' Auxerre and Em- 
 peror of Constantinople, when he passed through 
 Rome to take possession of the empire in 1216. 
 The interior is divided into three naves se- 
 parated by 22 columns the greater part of oriental 
 granite ; this part was added by Honorius III. 
 Near the great door is an antique sarcophagus 
 with a has relief representing a Roman mar- 
 riage now the tomb of Cardinal Fieschi. In the 
 middle nave are two marble pulpits called in 
 latin Ambones used , like that in the church 
 of S. Clemente , for chaunting the gospels and 
 the epistles ; in the tribune , which is the church 
 built by Pelagius 11 is an ancient pontifical 
 chair covered with mosaic figures; in this tri- 
 bune are twelve antique fluted columns of pa- 
 vonazzetto marble the greater part of which 
 have remained under ground since the elevation 
 of the pavement under Honorius III; the capi- 
 tals are corinthian and support a large cornice 
 formed of pieces all of a different kind of tine 
 ornaments. Upon the cornice are twelve smaller 
 columns ten of pavonazzetto and two of green 
 porphyry , behind the tribune is a sarcophagus 
 of the lower ages with figures of Racchanalian 
 genii. 
 
 The high altar is isolated , the marble bal- 
 dacchino supported by four porphyry columns. 
 Under this altar is a chapel called the confessional 
 of S. Lorenzo in which the body of this saint is 
 
1 64 Third day 
 
 preserred with that of the protomarlyr S. Sle- 
 phea. 
 
 Near the small nave to the left in the sub- 
 terranean chapel which enjoys many indulgences 
 are two monuments designed by Pielro da Corlo- 
 na , and the bust of Guglielmi by Duquesnoy , 
 the fleming. This chapel leads to the catacombs 
 of S. Ciriaca. 
 
 Adjoining the basilic is the great cemetery 
 of modern Rome which was consecrated by the 
 Cardinal Vicar in 1834; it contains some fine 
 monuments. Returning into the city by the Ti- 
 burtine way , at the distance of half a mile is the 
 
 PORTA S. LOREKZO 
 
 The inscription over the gate states that 
 it was built by the Emperor Honorius iu the 
 year 402 and was called « Tiburtina » from 
 the Tivoli road,- it was also called « Collatina», 
 from « Collatia » now « Castel dell' Osa » the 
 residence of Gollatinus where Lucretia died , 
 now Porta S. Lorenzo from the name of the 
 Basilic. It stands against the monument of the 
 Marcia , the Tepula , and the Julia acquedu- 
 cls ; the inscriptions allude to the restorations 
 made by Caracalla. Sixtus V profited of this 
 arch for the conveyance of the Acqua Felice to 
 the fountain at Termini; the road to the left wi- 
 thin the walls leads to the church of S. Bibiana , 
 near which , in a vineyard to the right marked 
 number I is the pretended temple of 
 
Third day 165 
 
 MINERrA MEDIC A 
 
 Tlie term « Galluzze » applied to tliis quar- 
 ter led some writers of the XVI century to suppose 
 that this edifice was the basilic of Caius and 
 Lucius raised by Augustus ; others for the same 
 reasoa that it was the temple of Hercules Gal- 
 laicus founded by Brutus. After the discovery 
 of the fine statue of Minerva with a serpent at 
 her feet, (now iu the nuovo braccio of the Vatican 
 Museum ) it was supposed to be the temple of 
 « Minerva Medica » , cited by the Regionarii ; 
 the form is not that of a temple but rather 
 of a hall , and the construction corresponding 
 with the epoch of Diocletian it probably formed 
 part of a building erected in the gardens of 
 Licinius which were in this direction. The ser-' 
 pent at the feet of Minerva has no relation to me- 
 dicine being particularly sacred to that goddess, 
 as the eagle to Jupiter and the griffin to Apollo 
 as the tutelary gods of cities; the « Minerva Po- 
 lias » of Athens ; « the Minerva of the Parthe- 
 non » , were represented by Phidias with the ser- 
 pent at their feet ; thus it cannot be pretended 
 that these statues -were representations of me- 
 dicine , nor were any of the kind found in these 
 ruins , with the exception of an Esculapius , to 
 which the term could be applied ; it may then 
 be concluded that the Minerva in question merely 
 served as an ornament to the Licinian palace. 
 
 The edifice is of the decagon form ; the 
 distance between the two angles being 33 palms 
 the circumference was 330 ; it had ten windows 
 and nine niches for statues , the tenth niche for- 
 ming the door. Besides the «Minerva» and "■ Es- 
 
166 Third day 
 
 culapius 5' the statues of Pomona , Venus , Faun^ 
 Hercules , Antinous together with other marble 
 ■works found ia these ruius , are proofs of the 
 magnificence of this edifice which offers on all 
 sides picturesque points of view. 
 
 Between these ruins and the porta Maggiore 
 are two Colombari one of Lucius Aruntius , con- 
 sul under Augustus , who built it for his freed- 
 men ; his name is over the entrance. It con- 
 sists of two small rooms now underground, one 
 with small cinerary urns , the other with some 
 paintings and stucco ornaments. 
 
 The second columbarium , a single room , 
 was destined for sundry plebeian families. Near 
 the peasant's house in the vineyard are remains 
 of a reservoir which probably belonged to the 
 Claudia or to the Anio Nuovo waters , a few 
 steps te the left is the 
 
 CHURCH OF S. BIBIANJ 
 
 On this spot, anciently called « ad ursura 
 Pileatum » , Olympia a Roman matron is said 
 to have built this church in 336 which was con- 
 secrated by Pope S. Simplicius in honour of S. 
 Bibiana who had resided in the palace. It was 
 restored by Honorius III in 1 224 ; the facade 
 by Bernini and the paintings were added by 
 Urban VIII. The three naves are separated by 
 eight antique columns six of which are of gra- 
 nite ; the frescoes in the middle nave represent 
 the history of S. Bibiana , those to the right are 
 by Giampelii, to the left by Pietro da Gortona; 
 the latter have been restored by Gamuccini. Over 
 Jhp high altJir is the statue of S. Bibiana oije of 
 
Third day 167 
 
 the best works of Bernini and under the altar 
 a valuable antique urn of oriental alabaster con- 
 tains the remains of SS. Bibiana , Demelria 
 and Dafrosa their mother , all three martyrs. 
 On the road to the west are ruins of an arch of 
 the acqueduct which conveyed water to a large 
 fountain now called the 
 
 TROPHIES OP MARIVS 
 
 Although many antiquaries have supposed 
 that this monument belonged to the acqua Marcia 
 the observations of Piranesi have proved that 
 its level can only be attributed to the acqua 
 Julia ; by recent discoveries it would appear that 
 instead of having been a reservoir it was a large 
 fountaiu that furnished water to this part of the 
 city. As already stated it was brought to Rome 
 by Marcus Agrippa who profited of the arches 
 of the Acqua Marcia. 
 
 The building was known under the name 
 of the « Trophies of Marius » from the marble 
 trophies found in its niches which are now on 
 the balustrade of the Capitol. Though supposed 
 to be raised to Marius iu commemoration of his 
 double victory over the Cimbri and Teutons they 
 seem , on an attentive examination of the sty- 
 le , execution and construction of the building, 
 to be coeval with Septimius Severus who restored 
 the acqueducts and other ancient monuments. 
 
 This fountain forms the original section of 
 the Labicana and Prenestina ways which passed 
 through the Esquiline gate of Servius near the 
 gardens of Mecsenas and of Lamia. On the site 
 of the Esquiline gate is the 
 
168 Third day 
 
 ARCH OF GALLIENVS 
 
 Erected , as seen by the original inscription 
 in honour of the Emperor Galiienus and his \vife 
 Salonina by Marcus Aurelius Victor. 
 
 This areh had four pilasters with a double 
 buttress formed of large travertine blocks of a 
 middling style of architecture. Till lately part 
 of a chain was suspended to the arch with the keys 
 of tbe Porta Salsicchia of Viterbo captured by 
 the Romans in the XIII century ; the inscription 
 is as follows ; 
 
 GALLIENO . CLEMENTISSIMO . PRINCIPI 
 
 CVIVS . INVICTA . VIRTVS 
 
 SOLA . PIETATE . SVPERATA . EST 
 
 ET . SALDNINAE . SANCTISSIMAE ■ AVG 
 
 M . AVRELIVS . VICTOR. . DEDICATISSIMVS 
 
 NVMINI . MAIESTATISQVE . EORVM. 
 
 Near this arch is the church of S. Vilo in 
 « Macello » so called from the Livianum fish 
 and meat market near which site it stands; the 
 word «Macello» added to the name of the church 
 gave rise to the opinion that the martyrs were 
 put to death here , and it is sometimes called 
 "■ Macello Martyrum ». 
 
 THE CHURCH OF S. EUSEBtO 
 
 Is said to be built on the house of the saint 
 to whom it is dedicated in which the Emperor 
 Constantius died of hunger. It was already ti- 
 tular under Constanline the great ; the painting 
 on the roof representing S. Eusebius surrounded 
 

 ^ 
 
Third day 169 
 
 by angels is one of the best works of Mengs ; 
 the high altar is by Onorio Lunghi, the paint- 
 ing by Croce. Leo XII granted the church with 
 the house annexed to the Jesuits. 
 
 In the gardens were found rooms with paint- 
 ings of a good style and a spiral alabaster 
 colunan now in the Vatican library. 
 
 Near it is a kind of granite column sur- 
 mounted with the cross and figure of the Ma- 
 donna , a monument erected in 1595 by Cle- 
 ment VIIT in memory of the absolution given to 
 Henry IV king of France. 
 
 The church of S. Antonio Abate is said to 
 be built on the ruins of a temple of Diana or 
 on the basilic of Sicinius. 
 
 On the piazza S. Maria Maggiore is a while 
 fluted Corinthian column taken from the prin- 
 cipal nave of Gonstantine's basilic ; it is 24 palms 
 in circumference and 64 in height without the 
 pedestal and capital. It was raised here in 1614 
 by Paul V under the direction of Carlo Mader- 
 no ; the bronze gilt statue of the Madonna on 
 the top was modelled by Bartholof. 
 
 BASILIC OF S. MARIA MAGGIORE 
 
 This church is on the part of the Esquiline 
 called Cispius not far from the ruins of the tem- 
 ple of Juno Lucina. It was built about the year 
 352 under the pontificate of S. Liberius in con- 
 sequence of a vision that he and John the Pa- 
 trician had the same night and which was con- 
 firmed the following morning, the 5 August, by 
 a miraculous fall of snow which extended over the 
 space the church was to occupy; for this reason it 
 
 12 
 
*70 Third day 
 
 was called « S. Maria ad Nives ■>' and Basilica 
 Liberiana. It is now named S. Maria Maggiote 
 from being the principal church dedicated to 
 the most holy Virgin , and is one of the four 
 basilics haying the porta santa; it is served by 
 a chapter of canons the chief of whom is always 
 a Cardinal. 
 
 It was enlarged by S. Sixtus III in 432 , 
 restored and embellished by sundry Popes, par- 
 ticularly by Benedict XIV who decorated it with 
 marbles , stuccoes and a facade which has two 
 rows of columns jonic and corinthian, a double 
 portico and several statues in travertine; the low- 
 er portico is formed of eight granite columns, 
 various pilasters of white marble, four bas re- 
 liefs , a bronze statue by Lucenti of Philip IV 
 king of Spain , a benefactor of the basilic. In 
 the upper portico is the loggia for the Papal 
 benedictions containing the mosaic of the for- 
 mer facade by Gaddo Gaddi, a contemporary of 
 Cimabue. 
 
 The interior is composed of three naves with 
 36 fine jonic columns of white marble proba- 
 bly taken from the temple of Juno , and four 
 of granite supporting the large arches of the 
 principal nave. Near the entrance are the tombs 
 of Clement VII by Guidi and of Nicholas IV by 
 Leonardo of Sarzana. 
 
 The baptismal font has been embellished 
 by Leo XII ; its principal ornament is the fine 
 antique porphyry vase which was formerly in 
 the Museum at the Vatican. 
 
 The chapel of the holy sacrament , built 
 by Sixtus V on the designs of Fontana, is lined 
 with fine marbles and decorated with paintings 
 
Third day 171 
 
 and Corinthian pilasters. On the righi is the 
 tomb of Sixlus V with his statue by Valsoldo; 
 it has four verde antico columns , various has 
 reliefs, a statue of S. Francis by Flaminio Vacca, 
 one of S. Anthony of Padua by Ollvieri. 
 
 Opposite is the tomb of Pius V whose re- 
 mains are preserved in a fine verd' antico urn , 
 adorned with gilt bronze ; the tomb is decora- 
 ted with columns , has reliefs and marble statues; 
 that of Pius V is by Leonardo of Sarzana. 
 
 In the centre of the chapel is the altar of 
 the sacrament with a tabernacle supported by 
 four angels of gilt bronze. Beneath it is the al- 
 tar dedicated to the nativity of the Redeemer, 
 containing the objects in which he was wrapt up 
 in the stable. The paintings in the chapel are 
 by Pozzo , Ercolino , Arringo , Nogara , Andrea 
 of Ancona , Nebbia , the sacristy contains some 
 iandscapes by Paul Brill. 
 
 The high altar is isolated and formed of 
 a large porphyry urn covered with a marble slab 
 and supported by four angels in gilt bronze. Over 
 the altar is a baldacchino placed by Benedict 
 XIV resting on four porphyry corinthian columns; 
 the angels above are by Bracci ; the painting at 
 the end of the tribune by Mancini; the mosaics 
 are by fra Giacinto of the time of Nicholas IV; 
 those over the arch and above the columns of 
 the large nave, which represent various passages 
 of the old testament and some actions of the 
 Madonna, are worlds of the year 434 under S. 
 Sixtus 111. 
 
 Opposite the chapel of the sacrament is the 
 one dedicated to the Madonna, and built by Paul V 
 Qi the Borghese family , on the designs of Fia- 
 
172 Third day 
 
 minio Ponzio. It is of the corinthian order , li- 
 ned with fine marbles , and filled with good 
 pictures. The tomb of Paul V supports a statue of 
 that pontiff by Silla ; the has relief to the right 
 is by Stefano Maderno ; the one to the left by 
 Buonvicino ; the centre one above by Buzj ; the 
 one to the right Valsoldo , the one to the left 
 by Stali. In the niches are the statues of S. 
 Basil and of S. David , by Gordieri. 
 
 The tomb opposite is that of Clement VIII 
 Aldobrandini ; the statue by Silla , the has reliefs 
 by Buonvicino, Mochi , Buzi and Pietro Bernini. 
 In the niches are the statues of Aaron and S. 
 Bernard by Gordieri. 
 
 The altar of the Madonna is decorated with 
 four fluted columns of oriental jasper ; the base 
 and capitals in gilt bronze support a cornice 
 with a rich agath frieze , the pedestals of the co- 
 lumns are also of agath ; in the centre , on a 
 ground of lapis lazzuli , is an ancient image of 
 the Virgin enclosed with precious stones , and 
 supported by four angels of gilt bronze repre- 
 senting the miraculous snow ; the paintings are 
 by d' Arpino; those of the cupola by Givoli , those 
 near the windows over the tombs and upper ar- 
 ches are by Guido Beni. 
 
 The adjoining sacristy was built by Flaminio 
 Ponzio , the paintings are by Passignani. The 
 chapel is under the patronage of the Borghese 
 family and the service is performed by a college 
 of chaplains. 
 
 The first chapel ia the right nave is that of 
 the « Patrizi » the basilic having been founded by 
 Giovanni Patrizio ; the picture representing his 
 dream is by Baslaro 5 the holy family by Ma- 
 
Third day -f?? 
 
 Siicci ; the Beato Albergati by Pozzi j the an- 
 nunciation by Baltoni. Near the crucifix are 
 ten porphyry columns and pilasters ; this cha- 
 pel contains the holy cradle , consisting of five 
 boards which formed part of the Presepio ' in 
 which the infant Jesus was deposited ; this 
 precious relic is enclosed in a fine silver urn , 
 substituted in the present century to the an- 
 cient urn which had been given in 1 606 by 
 Margaret of Austria , the wife of Philip III 
 of Spain. Near this chapel was buried in 1 590 
 the painter Muziano over whose tomb was 
 placed the picture representing the resurrection 
 of Lazzarus , now in the Vatican. 
 
 At the end of the nave is the tomb of Car- 
 dinal Gonsalvo who died in 1^99^ and his re- 
 cumbent statue , the ancient mosaic above by 
 Cosimati represents the Madonna, S. Matthias, 
 and S. Jerome. 
 
 In the opposite nave are the tombs of Mer- 
 lini by Borromini and of Platina the biogra- 
 pher of the Popes. 
 
 In the left nave the first chapel is that of 
 Sforza , by Buonaroti , now used as the choir. 
 The assumption and portraits are by Scrmonela, 
 the other paintings by Nebbia ; S. Francis by 
 Placido Gostanzi , the Virgin and S. Leo by Cec- 
 carini , the altar piece by Sermoneta represents 
 the martyrdom of S. Lucia ; the marriage of S. 
 Catherine is by Gessi ; SS. Peter and Paul by 
 Novarra; the dispute by Canini. On (he tombs 
 of cardinals Gessi are two fine urns of paragone 
 marble , the bronze recumbent statues were mo- 
 delled by Guglielmo della Porta. At the bot- 
 tom of the nave the tomb of Monsignor "Favcs- 
 
 U * 
 
1 74 Third day 
 
 riti is by Gemignani, the statues by Carcani, the 
 busts near the tomb of Segardi are by Algardi; 
 above is the mausoleum of cardinal Toledo, the 
 paintings in the nave over the mosaics are by 
 Terrace, Croce, Salimbeni, Ricci, Andrea d' An- 
 cona and Genlileschi. 
 
 The faqade behind the tribune ordered by 
 Clement IX and Clement X is by Carlo Rainal- 
 di. On the piazza stands an Egyptian obelisk said 
 to have been brought to Borne by the Emperor 
 Claudius ; this obelisk and that of Monte Cavallo 
 were placed before the Mausoleum of Augustus; 
 Sixtus V under tbe direction of Fontana erected 
 the latter which is of red granite , without hie- 
 roglyphics , 66 palms high without the pedestal 
 which is 30. 
 
 THE CHURCH OF S, PRASSEDE 
 
 Built in 882 by S. Paschal I, restored 
 and embellished by S. Carlo Borroraeo ; it bas 
 three naves divided by 26 granite columns ;, the 
 high altar is isolated and decorated with a bal- 
 dacchino supported by four porphyry columns; 
 tbe ascent to the tribune is by a doable stair- 
 case the steps of which are of rosso antico; the 
 blocks are the largest known of this quality of 
 marble ; the most remarkable chapel is the one 
 over the altar on which is a large remnant of a 
 column brought from Jerusalem to Rome in 1223 
 by Cardinal Giovanni Colonna, on which it is sup- 
 posed that our divine Redeemer was bound and 
 flagellated ; the well situated in the middle of the 
 great nave is the same in which S, Prassede col- 
 lected the blood of the holy martyrs. In the sa- 
 
Third day 175 
 
 cristy is a fine picture By Giulio Romano repre- 
 senting Christ at the column-, this church is of- 
 ficiated by the monks of Vallombrosa, 
 
 In the presbytery are two small choirs ; 
 under the great arch six fine fluted columns of 
 white marble; in the tribune the mosaics are of the 
 IX century of the time of Paschal I ; the mosaic 
 under the arch represents the holy city with the 
 elect and guarded by angels as described in the 
 Apocalypse. Over the absis is the mystic lamb to 
 ■which the 24 elders offer homage , on the absis 
 the Saviour with several saints. The painting in 
 the middle is by Dom. Muratori; under the altar 
 is a small chapel containing many relics , amongst 
 others the body of the titular saint , the angels 
 at the ciborium are by Rusponi , the paintings 
 of the roof , representing the apostles Peter and 
 Paul are by Ricchierai ; it was erected by Pa- 
 scal I in honour of S. Leo I, adorned on all 
 sides with rich mosaics which still exist and ce- 
 lebrated by their antiquity being of the year 
 819. Over the altar on which are two fine 
 columns of oriental alabaster is an ancient mosaic 
 image of the Virgin. At a short distance from 
 this church is that of 
 
 S. MJRTINO 
 
 It is said that at the time of Gonstantine 
 Pope S. Silvester built a church on this spot over 
 which Pope S. Simmacus raised the present one 
 about the year 500 , which was restored in 1650 
 by Pietro da Cortona ; it was further embellished 
 at the end of the last century and is now one 
 of the most elegant churches of Rome. 
 
<76 Third day 
 
 It consists of three na-vcs s^pardted by 14 
 antique Corinthian columns of different lands of 
 marble ; the landscapes on the walls of the small 
 nave by Gaspard Poussin , the figures by Ni- 
 cholas , are highly esteemed ; the two near the 
 altar of S. Maddalena de' Pazzi were painted by 
 Gio : Francesco Bolognese , and represent acts 
 in the life of the prophet JElias from whom the 
 Carmelite order derives its origin. The chapel at 
 the end of the lateral nave , dedicated to the 
 Madonna del carmine, contains fine marbles and 
 good paintings by Cavallucci who was buried 
 near it; the high altar was painted by the same 
 artist. 
 
 Some marble steps under the high altar 
 lead to another altar under which are the bo dies 
 of Popes S. Silvester, S. Martino and othersaints. 
 This spot was ornamented with columns by Pietro 
 da Cortona. The subterranean church is said to 
 be the one founded by Gonstantine, in which tho' 
 council of Rome was held in 324. It consists of 
 three naves ; the ground is paved with coarse 
 white and black mosaics , over the altar is an 
 image of the Madonna also in mosaic of the 
 period of decay. 
 
 Near the ancient church called « S. Lucia 
 in selce » some steps to the left lead to the piazza 
 della Suburra , a name derived from the celebra- 
 ted quarter of ancient Rome ; the long street 
 to the right called the via Urbaoa agrees in all 
 respects with the ancient Vicus Patricius between 
 the Viminal and the Esquiline. At the left end. 
 of this street is. 
 
Third day 177 
 
 THE CHURCH OF S. PUDENTIANA 
 
 It is said that the house of S. Pudens a Roman 
 senator stood on this spot and that in it he received 
 S. Peter by whom he was converted to the faith 
 together with his children Novatus, Timotheus, 
 Padentiana and Praxedes. Others with greater 
 probability suppose that here were the thermte 
 of Novatus, but what admits of no doubt is that 
 the church is united to an extensive building 
 of the first century of the empire as proved by 
 the ruins in the court yard and under the church; 
 it is abo pretended that Pope Pius I in 164 
 built here an oratory whicb subsequently became 
 a church , was freqdently restored and finally 
 rebuilt by Cardinal Gaetani, the titular, in 1 508, 
 under the direction of Francesco da Volterra ; 
 it is divided into three naves by 14 antique 
 marble columns ; the altar piece representing S, 
 Pudentiana is by Nocchi ; the paintings on the 
 roof by Pomarancio; in the chapel to the right 
 of the high altar is the altar at which S. Peter 
 is said to have celebrated mass ; the delivery of 
 the keys by our Saviour to S. Peter is represented 
 in marble by Gio: della Porta. The chapel of 
 the Caetani family possesses fine marble columns 
 and sculptures ; in the well before this chapel 
 S. Pudentiana collected the blood of the holy 
 martyrs who , to the number of 3000 , were bu- 
 ried in the church. 
 
 Opposite is the BambinGesu a church erected 
 by Clement XII together with the adjoining mo- 
 nastery; it belongs to the nuns called of the Bam- 
 bin Gesu , who direct the education of young 
 girls , particularly for their first communion. 
 
178 Third day 
 
 Returning to the piazza della Suburra , and 
 leaving to the right the via Leonina which leads 
 to the Madonna ds' Monti and is on (he line 
 of the ancient Vicus Giprius , near the via S, 
 Francesco di Paola is the church of S. Pielro 
 in Vincoli ; this ascent records one of the most 
 atrocious historical deeds of Rome : the turn of 
 the via Leonina, or Vicus Giprius, was the scene , 
 according to Livy , of the execrable deed of 
 Tullia who drove her car over the dead bodj 
 of Servius Tullius her father. It was called the 
 Vicus sceleratu$. 
 
 S. PIETRO tir rilfCOLI. 
 
 This church was built about the year 443 
 under the pontificate of S. Leo the great by Eu- 
 doxia the wife of Valentinian III Emperor of 
 the west to preserve the chain which bound the 
 apostle S. Peter in the prison at Jerusalem. It 
 was rebuilt by Adrian I and restored under Ju- 
 lius II who granted it to the canonsof the most 
 holy Saviour to whom it still belongs. In 1705 
 it assumed its present form under the direction 
 of Francesco Fontana. 
 
 This fine church is composed of three nates 
 supported by 20 antique fluted columns of the 
 doric order each 1 palms in circumference ; two 
 larger granite columns support the middle arcb. 
 Over the first altar to the right is a picture of 
 S. Augustin by Guercino ; the tombs of cardinals 
 Margotti and Agucci were designed by Domeni- 
 chino who painted their portraits ; the S. Peter 
 in prison over the next altar is a copy of tb^ 
 
Third day i1<i 
 
 same subject by Domenichino which is preser- 
 ved in the sacristy. 
 
 In the transept is the tonjb of Julius II de- 
 signed by Michael Angelo Bxionaroti and the 
 statue of Moses , the master piece of that ce- 
 lebrated artist , by the grandeur of expression 
 and the truth of its details. The prophet, of a 
 colossal form , is seated ; under his right arm 
 he holds the tables of the law, casts a haughty 
 look on the people as if doubtful of their new 
 and apparent resignation. The statues of the ni- 
 ches were terminated after Buonaroti's death by 
 his pupil Rafaelle di Montelupo. 
 
 The S. Margaret over the allar in the fol- 
 lowing chapel is a fine work by Guercino, The 
 paintings at the end of the tribune are by Coppi 
 a floreatine; in the small nave is a S. Sebastian 
 in mosaic of the VIII century, with the costume of 
 the time of Diocletian; over the last altar a Pieta 
 with the three Marys said to be by Pomarancio. The 
 large picture on the ceiling is by Perodi , to the 
 left of the principal entrance is the tomb of the 
 PoUajoli , celebrated bronze artificers of the XV 
 century; near the high altar that oiClovio a minia^ 
 ture painter of the XVI century whose works, or- 
 dered by the Dukes of Urbino, are now in the 
 Vatican library. 
 
 In the sacristy is the fine picture of the li- 
 beration of S. Peter by Domenichino, possessing 
 a surprizing effect of light. The altar in which 
 the chain is deposited is a fine work of the XIV 
 century ; it contains many antique pavements 
 from the 
 
ISO Third day 
 
 THERMAE OF TITUS 
 
 As these are the first ruins of thermae yet 
 met with in our itinerary , which constitute so 
 interesting a part of Roman ruins , it may not 
 be improper to premise by some general notions 
 of these sumptuous edifices of ancient Rome. 
 
 In the early times of the republic the Romans 
 seem to have had no other baths than the^ waters of 
 the Tiber ; by degrees baths were introduced into 
 private houses and the villas of great personages , 
 but these consisted merely of a single room orcella 
 if we may be guided by Seneca who describes 
 that of Scipio in his villa at Liternum. The ther- 
 mae, a word derived from thermos, a warm bath, 
 introduced in the latter limes of the Republic, 
 encreased considerably under the Emperors, and 
 in the times of Nero they became immense pa- 
 laces uniting all that could afford exercise to 
 the body and enjoyment to the mind. These edi- 
 fices may be divided into two parts : that of 
 the baths , that of the exercises : to the former 
 belong the calidarium, tepidarium, frigidarium 
 ^hich are not to be confounded with the warm , 
 tepid and cold bath ; these were called, ca?«da, 
 tiepida, frigida lavatio; by the calidarium was 
 meant a place of perspiration called also sudatio 
 and laconieum , by the tepidarium a room ha- 
 ving a tepid temperature , frigidarium a place 
 exposed to the open air within the precincts 
 of the thermae ; these baths formed the Lava- 
 Hones , a part of the thermae. Annexed to these 
 were the apodyterium or dressing room; the elceo- 
 thesium or cella unguentaria , the rooms for 
 perfumes and other bathing purposes. 
 
Third d^y 181 
 
 In ihe part destined to exercise was the onis- 
 lus or area planted with trees and flowers, the 
 stadium an open space in which were 3eats for 
 the spectators where the people indulged in 
 gymnastic exercises , racing , the pugilate , 
 the discus and others; they contained the exe- 
 dra or tables with marble seats , libraries for 
 orators poets and philosophers where they read 
 their works. The pinatotechae were decorated 
 with objects of art where the artists exposed 
 their works. This notice will suffice to give an 
 idea of the uses to which the thermae were ap- 
 plied, and the sort of edifices they were by their 
 decoration; nothing could exceed their splendourj 
 statues , columns, foreign and precious marbles , 
 paintings , stuccoes, mosaics as seen by the ruins 
 discovered up to this day. Although private and 
 public baths were previously in use the thermae 
 were not known in Rome before Marcus Agrippa 
 who built one near the Pantheon some remains 
 of which are still visible. According to Dio he 
 left ' these thermae with his extensive gardens to 
 the people'; the Laconicum was for the first time 
 introduced into Rome by Agrippa. Nero follow- 
 ing his example built new thermaj in this vi- 
 cinity on a larger and more splendid scale as 
 will be noticed hereafter. 
 
 Titus, availing himself of that part of the 
 Neronian palace which was near the amphithea- 
 tre and which , according to Martial, contained 
 the gardens , built his thermaj on the Esquiline 
 using the substructions of Nero as a foundation. 
 in order to obtain a plain equal level on the 
 upper part of the hill. Although Trajan placed 
 his thermae near those of Titus, they always re- 
 
 13 
 
^82 Third day 
 
 mained distinct among the ancients as seen by the 
 inscription of Ofsus Togatus now in the sacristy 
 of the Vatican; they might however be considered 
 by their proximity as separate parts of the same 
 edifice and were probably provided with water 
 by the same acqueduct. 
 
 The therma; of Trajan appear from the 
 inscriptions found to have been situated be- 
 tween S. Marlino, S. Pietro in Vincoli and the 
 sctte sale. The thermcc of Titus , as related 
 by Svetonius and Martial, were built in a very 
 short time; they were annexed to the palace in 
 which, according to Pliny, the celebrated group 
 of Laocoon was discovered under Julius II 
 between the sette sale and S. Maria Maggiore 
 in the villa de Fredis ^ the fate of these ther- 
 mtc in the lower ages is uncertain; they pro- 
 bably served as a place of defence to some 
 noble family of Rome perhaps the Cmti. On 
 the revival of letters and arts at the close of 
 the XV century , these subterranean rooms 
 were frequented by artists , amongst others by 
 Raphael who derived from them the fine orna- 
 mental drawings we now admire in the Vati-r 
 can loggie, a ti-adition confirmed by contemporary 
 accounts. That after having discovered these fine 
 ornamental works he caused the rooms to be filled 
 up and closed, is a calumny invented by those 
 who sought to sully the fame of that immor- 
 tal artist; it is in opposition to his character , his 
 love of the arts and of antiquity. It is besides 
 well known that the rooms were always ac- 
 cessible after his death , in the time of Paul 
 IJI , in that of the Caracci , and in after times 
 as proved by the inscriptions accompanied with 
 
Third day 183 
 
 dates of the visiters of those days but subsequently 
 they were forgotten. It was only in 1776 that 
 they were reopened and excavated in part by 
 Mirri who published the plan and ornaments. 
 The entrance was dilTicult , being through a 
 narrow aperture and by torchlight; the paintings 
 being seen too near lost a part of their effect 
 and were subjected to a continual decay from 
 -the indiscretion of visiters who carried away 
 the best preserved pieces. These abuses wore put 
 a stop to in 1812 and 1813 when many chambers 
 were completely cleared and at present the tra- 
 veller , the amateurs of fine art, of antiquity, 
 can with every facility enjoy the original effect 
 of these paintings which have suffered more 
 from the hand of man than from the injuries 
 of time. 
 
 A pari of the edifice of Titus and the thermae 
 have perished ; a few walls alone remain in the 
 adjoining grounds near the saltpetre works. A 
 plan was published by Palladio when they were 
 more perfect which has been rectified by the 
 architect Ganina wbo found , amongst the un- 
 known fragments of the Ichnography of Rome 
 E reserved in the Capitoline Museum , the part 
 elonging to these thermse; its analogy to these 
 ruins was ascertained from the interior and 
 the outward enclosure being separated by an 
 area. This area is recognised in the thermaj of 
 Caracalla and Diocletian, surpassing those of Titus 
 jn extent and preservation but not in taste. 
 JJy means of the external lines it is easy to trace 
 the position of the stadium, of the exedrce , or 
 tables surrounded by scats and other divisions 
 of the interior, a large pile in the great hall, 
 
184 Third day 
 
 the soulliern court yard , the chambers on the 
 line of the stadium. The partition walls have 
 been stript of their ornaments but the con- 
 struction of the whole edifice is grand and 
 imposing. 
 
 Far more interesting are the walls on which 
 are paintings; these, in the origin, formed part 
 of the constructions of Nero and were covered 
 with ornaments , but the rooms not being suf- 
 ficiently completed to serve as baths , Tilus 
 stript them of their marbles aud decorations , 
 filled up the empty parts, raised in some spots 
 the soil and added to their solidity by means 
 of the materials which still obstruct them; this 
 may explain their present state of obscurity ; 
 though the foundations are filled up the vaults 
 are intact ; no paintings are found at the right 
 angles or on the axis of the upper building. 
 The rooms discovered in the late excavations 
 are without marbles, while amongst the mate- 
 rials no object worthy of observation has been 
 found , icither in the rooms designated by Mirri 
 or in the long cripto portico. A small stair case 
 leads to these rooms; it is situated in the area 
 of the stadium, and can be reached by the road 
 lo the left of the amphitheatre erroneously called 
 via Labicana. The first object presented to the 
 sight is the fabric of Titus supporting the Ne- 
 ronian walls Avhich give to the upper area the 
 form of a semicircle. In one of the passages 
 formed by these separate constructions, all the 
 fragments found in recent excavations were uni- 
 ted. , with the exception of a small statue of 
 Pluto which is now in the Gapitoline museum; 
 these buildings of the semicircle do not i^oot 
 
Third day 185 
 
 the primitive fabric at riglit angles, nor do they 
 unite , being of a different construction ; nor 
 were they ever ornamented or covered with 
 stucco, an evident proof that they arc posterior 
 to the times of Nero and that they served in 
 the upper part of the edifice to the stfle of 
 which they correspond. 
 
 To the left of these ruins (is a chapel de- 
 dicated to S. Felicita founded in the VI century 
 within one of the ancient chambers. Near it is 
 the original entrance to the Thermaj of Nero 
 containing paintings and other objects worthy 
 of the attention of amateurs. The part of the 
 Neronian palace hiiherto brought to light is , 
 by its state of preservation, the only monument 
 that conveys an idea of the disposition, the de- 
 corations, the splendour of ancient Roman houses 
 of the period preceding the decay. A plan and 
 a description of the^e subterranean chambers was 
 lately published with plates by the architect An- 
 tonio De Romauis ; it is one of the most inte- 
 resting works published of late years on romau 
 antiquities. To these therniEe belongs the large 
 reservoir called. 
 
 THE SETTE SALE. 
 
 This edifice, of the class of those called by 
 the ancients « Piscine , » seems to be anterior 
 to the baths of Titus , not being on the same 
 axis but added subsequently. It consists of two 
 stories the first of which is still underground; 
 the upper part is divided into nine [chambers. 
 It probably derived its appellation from being 
 situated in the quarter called by the ancients 
 
 13 • 
 
186 Third day 
 
 septisolium ; another tradition attributes this ap- 
 pellation to the number of chambers being ori- 
 ginally seven. The construction is very solid , 
 the pavement and walls arc of a fine terra cotta 
 work strengthened by what the ancients called 
 the opus signinum adapted ta the parts of the 
 edifice in contact with water, and in some parts 
 a deposit formed by water is visible and has 
 the hardness of stone. The commanications bet- 
 ween the passages are by a diagonal line that 
 the vacuum should not affect the strength of the 
 walls. Each passage is 17 I/2 by 12 palms in 
 breadth ; the lengths are unequal; the middle 
 passage is 54 palms long , the others decrease 
 progressively. 
 
 On the via del Colosseo is the small church 
 of S. Andrea in Portogallo, a word said to be 
 derived from the ancient street denominated ad 
 bmta galliea from the funeral piles on which 
 the bodies of the Gauls were burnt after the 
 victory of Camilius. It is certain that in this 
 direction was the street called Carine , one of 
 the most celebrated of ancient Rome , so called 
 from its shape resembling the keel of a ship ; 
 of this street a slight record remains in the little 
 church of S. Maria in earinis. After this church 
 is the piazza delle carretle and the Conti tower 
 built under Innocent III in 1 207 over the ruins 
 of the temple of Tellus near which stood the 
 house of Pompey. On the « piazza delle colon- 
 nacce » are the ruins of the 
 
Third dat/ 187 
 
 FORUM palladium: 
 
 FORUM OF NEBVA 
 FORUM TRANSITORIUM 
 
 II is stated by Svetonius that a forum near 
 that of Gsesar was begua by Domitian and de- 
 dicated to Pallas his tutelar deity , that it was 
 finished by Nerva from whom it derived its ap- 
 pellation. It was also called transitorium by Lam- 
 pridius , pervium by Aurelius Victor, as it served 
 as a passage to the fori of Augustus, of Ciiesar, 
 of Trajan between which it was situated , or 
 rather from its position near the lower part of 
 the city, the Yiminal the Quirinal and the Es- 
 quiline hills. It was here that Alexander Severus 
 put to death) by means of the smoke of straw 
 and damp wood , one of his favorite courtiers 
 named «■ Vetronius Turrinus », condemned as a 
 ■vile adulator who received presents for situations 
 he promised in the name of his sovereign; the 
 sentence was carried into execution amidst the 
 cries of Firnm punitur qui vendidit fumum. 
 
 The two columns still existing, called er- 
 roneously the ruins of the temple of Pallas, be- 
 longed to the enclosure of the forum. The figure 
 of Minerva and the bas reliefs still visible on 
 the frieze allude to the goddess to whom the 
 whole forum was dedicated. These works are 
 of the finest execution though not of the purest 
 - taste and are half underground , the two co- 
 lumns that remain are fluted coririthian 14 
 palms in circumference and 42 in height ; the 
 cornice is richly ornamented, the bas relief of 
 the frieze of a fine style of composition and 
 exquisite execution represent the art& of Pallas 
 
188 Third day 
 
 ^liose statue is placed in semirilievo over th6 
 coruice. 
 
 The temple of Pallas was in the middle of 
 the forum towards the west near the church of 
 S. Agatha. Of this temple seven large fluted co- 
 lumns existed in the- time of Paul V, together 
 with a magaiQceat cornice bearing the name of 
 Nerva who had dedicated it, as seen by various 
 old engravingSj but Paul V ordered the whole 
 to be demolished to provide marbles for his large 
 fountain on the Jauiculum,' that ofS. Pietro in 
 Moiitorio. 
 
 The es^lernal wall of this forum is remark- 
 able for its height and for being composed , 
 like other ancient edifices of the kind, of blocks 
 of alban stone called peperino, united without 
 cement and with hinges of wood; the solidity of 
 the construction, the direction forming various 
 angles never connected with the internal edi- 
 fices , are sufficient arguments to beleive that 
 it-is anterior to Domitiah by many centuries , 
 and thalfc he and his successors only profited of 
 it as a support to their fabrics. The street to the 
 right of this temple leads to the arco de Pan- 
 tani uader which are the ruins of 
 
 THE TEMPLE OF NERrA 
 
 Bj the testimony of the younger Pliny this 
 temple was consecrated by Trajan to the me- 
 mory of Nerva , his adoptive father , and was 
 one of the most elegant and most splenidid edi- 
 fices of ancient Rome, by its incomparable ma- 
 gnificence, its excellent style of architecture, and 
 the splendour of its ornaments. The facade conr 
 
k-^"^ 
 
 s 
 
 
Third day 189 
 
 sisted of eiglit columns , the sides of eleven , 
 placed in an area formed by two semicircles 
 with a double row of niches , some parts of 
 which are visible. Of the temple itself nothing 
 remains but a portion of the western portico 
 consisting of three splendid columns and a pi- 
 laster supporting the architrave and a part of 
 the celia formed of large square stones. These 
 columns arc of white marble, fluted, corinthian, 
 24 palms in circumference , 74 in height ; the 
 architrave and roof of the portico are richlj 
 adorned. The front of this magnificent temple 
 was towards the roman forum , the back part 
 near the wall of enclosure; it was surrounded 
 by columns , eight on the facade , ten on the 
 sides , on the back part stood a single pilaster 
 from want of space. 
 
 Near the forum of Ncrva and the church 
 of S. Maria in campo Carleo, are remains of an 
 ancient semicircular terra cotta building suppo- 
 sed to have belonged to the baths of Paulus 
 Emilius. The part adjacent to the Quirinal is 
 now called monle magnanapoli said to be a cor- 
 ruption of balnea pauti the ancient appellation. 
 It is probably a construction of Trajan tostrenght- 
 en the hill and cover the fabrics he destroy- 
 ed when he built his forum. At the foot of this 
 hill between the Quirinal and the Capitol is the 
 
 FORUM OP TRAJJN 
 
 This forum , built by ApoUodorus of Da- 
 mascus , surpassed all others in taste , regula- 
 rity and magnificence. In order to enlarge it 
 towards the north Trajan cut the Quirinal hill,^ 
 
190 Third day 
 
 ^which formed an obstacle, fo the height of ihe 
 present column , a work justly praised by Pau- 
 sanias, Dio, and Ammianus MarccUinus. The late 
 discoveries which have conveyed a juster idea 
 of this forum , the fragments found in it prove, 
 that the idea formed of it by Ihe ancients was 
 not exaggerated. Even S. Gregory the great , 
 struck with admiration at its splendour , is said 
 to have offered up prayers to the Almighty for 
 the salvation of Trajan's soul. 
 
 The site selected for this forum was a qua- 
 drilateral area iu the proportion of 1 to 3, the 
 length from south to north being 2000 ancient 
 feet , the breadth 600. The south side was pre* 
 coded by a quadrilateral piazza surrounded by 
 arched porticoes ; a triumphal arch stood in the 
 middle of the south side as ascertained from me- 
 dals ^ this arch was discovered in ihe XVI cen- 
 tury near the church of S. Urbane. Adjioining it 
 was the Uipian library , a square edifice, in the 
 direction of east to west , which like the other 
 basilics served for the administration of justice, 
 for the assemblies of pools and philosophers, and 
 the communication of their works; three doors 
 towards the south can still be traced. The in- 
 terior was divided by four rows of columns for- 
 ming five naves, the entrance was by five steps 
 formed of blocks of giallo antico, the pavement 
 divided into conipartmenls of various forms co- 
 vered wilh yellow , afrieano and pavonazzetto 
 marbles. The columns were of grey granite, the 
 walls lined with white marble , the interior de-> 
 corated with pilasters corresponding to the co- 
 lumns , the remnants of broken columns have 
 been replaced on the spot where they originally 
 
Third daj 191 
 
 stood. The entablature of the basilic was of 
 bronze as related by Pausanias; between the pi- 
 lasters of the walls that enclosed the edifice were 
 pedestals supporting the statues of illustrious men; 
 those that have been found belong to the IV 
 and V centuries , one discovered in the last ex- 
 cavation was erected to « Merobandes , another 
 to Flavins Eugenius was found in the XVI cen- 
 tury. Towards the column the basilic was en- 
 closed by a wall lined with marble; the column, 
 as seen by the inscription , is a year posterior 
 to the southern part of the forum. It was 
 erected in the centre of a square court 76 
 feet long and 56 broad , covered with marble 
 slabs and enclosed towards the southern side 
 of the basilic; on the other sides a small portico 
 supported a double row of columns some bases 
 of which still exist in their place towards the 
 ascent to the Quirinal. Near the lateral columns 
 to the east and west are the ruins of the Ulpian 
 library which was subsequently transferred to 
 the thermae of Diocletian. When the forum was 
 enlarged to the north by the cut made in the 
 hill , the small portipo was removed which en- 
 closed the part of ground where the column was 
 erected ; remains of this portico are still visible 
 on the level of the soil ; at some distance from 
 the column a temple was erected to Trajan some 
 remains of which are under the imperial palace 
 in the piazza SS. Apostoli. On the space between 
 the column and the temple was the equestrian 
 statue of Trajan mentioned by Ammianus Mar- 
 cellinus which excited the admiration of the em- 
 peror Costantius ; the temple was probably am- 
 phiprostyle,. to the north was a piazza ,and arched 
 
192 Tkird day 
 
 portico which led to the triumphal arch cor- 
 responding to the opposite side of the forum. 
 
 The cohimn may be considered as one of 
 the most remarkable monuments of Roman great- 
 ness that have come down, to m. The pedestal; 
 was, uncovered under Sixtus V in 1 590 but the^ 
 column was nearly concealed by modern buil- 
 dings which were demolished in 1812 and 181 3. 
 It sla^ids , as aleady stated , in the centre of 
 the forum and was raised to Trajan by the Ro - 
 man senate and people in commemoration of his 
 German ajid Dacian victories. The following in- 
 scription, relative to the out in the hill , is on 
 the pedestal. 
 
 8EWA,TVS . PQPVLrVSQVE . ROMANVS 
 
 IMP. CAESAllI . DIVI . NERVAE . F. NERTAE 
 
 TRAIANO . AVG . GERM . DACICO . PONTIF. 
 
 MAXIMO . TRIB. POT. XVII. IMP. VI. COS. VI. P. P. 
 
 AD . DECLARANDVM . QVAISTAE . ALTlTVDraiS 
 
 MONS . ET . LOCVS . TANlis . OpCRIBVS 
 
 SIT . EGESTVS. 
 
 It served as a sepulchre to the ashes of 
 Trajan as stated by Eutropius and Gassiodorus 
 and is of white marble; it is remarkable for 
 its dimensions and the fine eKecution of the bas 
 reliefs which represent the first and second Da- 
 cian campaigns of Trajan and his victories over 
 Decebalus, the full and half sized figures amount 
 to about two thousand five hundred exclusivie 
 of horses, arms, machines of war, military en- 
 signs , trophies, and a great variety of other 
 objpcts. The invention and design of the bas re- 
 liefs are by the same artist , the figures by va- 
 
Third day 193 
 
 rious artists but all of excellent execution and 
 each figure about three palms high: these works 
 have always been considered as master pieces of 
 sculpture and served as a model to professors 
 of the fine arts; Raphael, Giulio Romano, Polidoro 
 Caravaggio have profited by them. 
 
 The column of the doric order is formed 
 of 34 blocks of white marble ; the pedestal , 
 adorned with beautiful trophies of 8, the trunk 
 of 23, the capital of 1 , the pedestal of the statue 1. 
 The total height comprizing the statue is 193 1/2 
 palms as follow : the large pedestal 22, base 4, 
 column with base and capital 131 ; base of the 
 statue 20, statue 16 i/j; the lower diameter 
 1 6 1/2 palms , the upper 1 5. Comparing this 
 monument with the Antonine column, that of 
 Trajan comprizing base and capital , exceeds 
 it in height by two palms ; the ascent to the 
 top is by a winding stair case cut in the marble 
 consisting of 1 85 steps , each three palms and 
 two inches long and lighted by 43 apertures. An 
 iron railing encircles the top from which the 
 yiew embraces all Rome. Here stood the bronze 
 gilt statue of the Emperor which was replaced 
 under Sistus V by that of S. Peter modelled 
 by Tommaso della Porta; the height of the co- 
 lumn is equal to that of the Quirinal hill which 
 was levelled in this direction to make the forum 
 as attested by the inscription on the pedestal 
 of the column; this pedestal is ornamented with 
 trophies , eagles , garlands of oak leaves finely 
 carved and of an excellent style of architecture. 
 Two churches have been built on the ruins 
 of this forum , one dedicated to the Virgin ou 
 
 14 
 
194 Tkifd day 
 
 the occasion of the deliverance of Vienna in 1 683; 
 the other to 
 
 S. MARIA VI LORETO. 
 
 Of an octagon form , decorated with Co- 
 rinthian pilasters and a double cupola , the 
 architecture is by Antonio Sangallo ; the only 
 objects to remark in this church are the pain- 
 ting over the high altar, one of the best works 
 of Pietro Perugino , and in the second chapel 
 a statue of S. Susan by QuesRoy, called il fiam- 
 mingo. 
 
 PALAZZO COLOUSA 
 
 This palace, situated at the base of the 
 Quirinal hill , was begun by Martin V Co- 
 lonna, completed and embellished at different pe- 
 riods by the cardinals and princes of the family; 
 though the exterior is without any architectural 
 decoration it is one of the principal palaces of 
 Borne in extent. 
 
 The apartments on the ground , floor were 
 painted hy Gaspard Poussin, Tempesta , Poma- 
 rancio, AUegrini, the Cav. d' Arpino and others. 
 
 On the great stair case are a colossal statue 
 of a captive king and a head of Medusa in por- 
 phyry. In the servants hall a colossal bust and 
 in the room contiguous to the gallery two fine 
 Titians representing Luther and Calvin; Eu- 
 ropa bv Albano ; a caricature by Annibal Ca- 
 racci ; a portrait, Tintoretto; two other por- 
 traits by Titian ; the guardian angel by Guer- 
 cino; Christ with two angels, Bassano; S. Charles 
 
Third day 193 
 
 by Daniel Crespi ; a portrait of Francesco Co- 
 lonna by Stall; a Paul Veronese , a holy family 
 by Bonifacio ; two portraits by Tintoretto ; a 
 Madonna by Guercino; a portrait by the Antwerp 
 farrier ; a holy family by Bronzino ; Music by 
 Paul Veronese ; a S. Jerome by Gio : Spagna ; 
 a large picture in the manner of Titian ; a holy 
 family Domenico Pulego ; the resurrection of 
 Lazzarus by Parmigianino. 
 
 In the vestibule of the gallery are several 
 landscapes by Poussin and Orizzonte ; two battle 
 pieces of the flemisb school ; landscapes by Ber- 
 ghem, Sranevelt, Breguel , Paul Brill ; the death 
 of S. Stephen by Flore ; the flight into Egypt 
 by Van Everdingen, and a battle piece by Leduc. 
 
 The gallery 209 feet long and 35 broad 
 is one of the most splendid in Rome. It con- 
 tains an assumption by Rubens ; a reunion of 
 portraits in one picture by Giorgione; S. Fran- 
 cis by Guido ; another by Muziano ; a pictu- 
 re \Tith two portraits , Tintoretto ; the two 
 SS. John , Salvator Rosa; Ecce Homo, Albano; 
 the martyrdom of S. Agnes , Guercino ; the Mag- 
 dalen , A. Garracci ; a picture with portraits , 
 Pordenonc -, the last supper , S. Peter in prison, 
 Lanfranc ; S. Jerome , Spagnoletto ; a portrait of 
 Frederic Colouna by Suttermans ; a Roman cha- 
 rity , Jordaens ; Christ by Bronzino ; Adam and 
 Eve , Salviati ; Agar and Rebecca , Mola; a fa- 
 mily , Scipio Gaetano ; a holy family with S. Pe- 
 ter, Giovanni Bellini ; Venus, a satyr and child, 
 Bronzino; S. John Baptist, Guido Gagnacci ; Lu- 
 cretia Golonna by a flemish artist ; a holy family 
 and S. Lucia by Titian ; the portrait of Giaconio 
 iJciarra Golonna by Giorgione ; a caricature, Ga- 
 
196 Third day 
 
 ravaggio ; S. Francis by Muziano ; shepherds 
 asleep by Nicholas Poussia; S. Sebastian by Gaido 
 Seni ; the Magdalen in glory A. Caracci ; the 
 Sabines and Romans , by Ghirlandaio. 
 
 In the upper apartment are several pictures 
 by Orizzonte and Vanvitelli ; in the first room 
 Parnassus by Castello ; the four seasons by Mar- 
 tin de Boss ail described by Lanzi in his history 
 of painting. A landscape and animals by Vander 
 Does; two Teniers ; an infant by the deaf Urbi- 
 nese ; four landscapes by Caspar Poussin ; three 
 portraits of the Venitian school ; a holy family 
 school of Leonardo da Vinci ; a convivial scene , 
 Breughel ; S. Christopher and a presepio, Gia- 
 como da Ponte ; a Magdalen, Calvart ; several 
 flemish pieces; a landscape by Salvator Bosa ; 
 two Rosa di Tivoli, an alchimist by Wick. In the 
 following room four landscapes by Caspar Pous- 
 sin ; a battle , and a robbery by Borgognone ; 
 a landscape , Salvator Bosa; the portrait of car- 
 dinal Pompeo Golonna by Lotto ; S. Charles dis- 
 tributing alms by Antonio Caracci ; the portraits 
 of the Doge Andrea Gritti and his wife, by Paul 
 Veronese ; a picture by Miel ; a holy family 
 F. Barocci ; S. Francis supported by an angel, 
 Tiarini ; Adam and Eve , Breughel Velour ; a 
 grotio and dogs by Pielro Laer; other flemings. 
 
 The next rooms contain twenty paintings 
 fey Brill ; others by Bauer, David Winckembooms, 
 four sea pieces by Manglard, a landscape by 
 Eltxheimer, and other flemish pieces : two land- 
 scapes , Grimaldi ; two Cornelius Bruyn ; a 
 John Miel; two Slembreker ; two battle pieces 
 by Borgognone; several marines by Henry Uroom; 
 a sketch by Rubens ; a rape , Rostenhamer , two 
 
Third day 197 
 
 landscapes Agostino Tassi ; two pictures of ani- 
 mals by Undicidita ; two Peter Laer and other 
 flemiugs; a marine by Bonaventura Peters; a Ma- 
 donna and child Aldograft ; two Carlo Dujar- 
 din; other flemish pieces. 
 
 The apartment containing the spiral co- 
 lumn of rosso antico is destined to receive pict- 
 ures. The following are already disposed: a cru- 
 cifiction by Scarsellino; a S. Sebastian of 1400 ; 
 Christ bound to the column, Leonello Spada; a 
 holy family , Giu lio Romano ; S Andrew and S Ca- 
 therine, Vasari; S Sebastian of the old Bolognese 
 school; a marine, Peters; the calumny ofApelles, 
 Gherardi; Moses, Guercino; the death of Abel, 
 Andrea Sacchi; several family portraits , Scipio 
 Gaetano; Cardinal Pompeo Colonna, Antonio Ca- 
 racci; an allegory, Luca Giordano; the temptations 
 of S Anthony, Luca Kranack; Martin V, qf his 
 time; Coriello, Callotta; a deposition, Salviati; 
 another, Bonifacio; a Pieta, Palma the younger; 
 the ages of the world, Venetian school; two land- 
 scapes relative to Erminia , Albano ; a portrait 
 of Sophonisbe Anguistrola by herself; a holy fa- 
 mily, Procaccini; a picture by Bagnacavallo ; 
 a portrait by Cigoli; Susan, Gennari; S. Fran- 
 cis , Cignoli ; portrait of a man on horse- 
 back , Rubens ; S. Julian , Pontormo ; a holy 
 family, Filippo Lippi ; others by the nun Plautilla 
 Nelli ; the jlAadonna and yarious saints , Tinto- 
 retto ; and' several others. 
 
 In the garden belonging to the palace are 
 two large pieces of a marble frontispiece of very 
 fine execution , commonly, but without any foun- 
 dation , supposed to be remains of the temple of 
 the sun; there are also ruins of the thermiie of 
 
 14 * 
 
198 Third day 
 
 Conslantine. Adjoining the pabce is the ehurch of 
 
 SS. APOSTOLl, 
 
 One of those said to have been built by 
 Contantine. It was restored at various periods 
 and rebuik by Martin V but at the beginning of 
 last century it threatened ruin when it was re- 
 built in a style of greater taste and magnificence 
 on the designs of Francesco Fontana who pre- 
 served the portico , a work of Sixtus IV. On 
 the right side of the portico is an antique has relief 
 of an eagle holding is its claws a crown of oak. Op- 
 posite is the monument of Volpalo, a celebrated 
 engraver, executed and erected by his friend Ca- 
 nova. The bas relief represents friendship expressed 
 under the figure of a female weeping near Volpato's 
 bust. The church has three naves divided by corift- 
 thian pilasters which support the roof; in the centre 
 is the triumph of the Franciscan order by Ba- 
 ciccio, the chapels are decorated with marbles 
 and good paintings ; those of the first altar to the 
 right by Lapiccola ; the altar by Carquinto. In the 
 chapel of S. Anthony are eight fine columns and a 
 good picture by Luti, the altar piece represent- 
 ing the martyrdom of the Apostles SS. James 
 and Philip is by Muratori, over the sacristy is 
 the tomb of Clement XIV by Canova , with the 
 statue of the Pope , and figures of meekness 
 and temperance. The chapel of S. Francis was 
 painted by Chiari ; the tomb of the last Con- 
 stable Coionna is by Pozzi. The altar piece of 
 the last chapel representing S. Joseph , is by 
 Cades. The deposition from the cross in the last 
 chapel by Manao. 
 
Third day 199 
 
 The convent annexed was chiefly bnilt by 
 Sixtus V who embellished it with courts and 
 fountains. The large marble vase in the first court 
 is antique ; of the various monuments preceding 
 the cloister the most worthy of observation is 
 that of Cardinal Bessarion and a cenolaph in 
 honour of Buonaroti reposing on a bed of an 
 antique form on which are placed emblems 
 of the various branches of art in which he ex- 
 celled. 
 
 The portrait resembles all those known of 
 Michael Angelo; it has even the break in the 
 nose occasioned by the blow he received from 
 Torregiani. The great artist died in the parish 
 of the SS, Apostoli the 1 7 february 1 564 and 
 for some time had his sepulture in this church. 
 
 On the piazza della Pilotta are the barracks 
 of the dragoons: adjoining it the church of the 
 holy cross belonging to the Lucchesi. In this 
 direction were the ancient Forum Siiarium and 
 Vieu$ Cornelius. 
 
200 
 
 GUIDE OF ROUE 
 
 «MjH 
 
 FROM THE mMki TO THE MAUSOLEUM 
 
 TBE quiRlKjit. 
 
 JL he niosl ancient name of this hiU , a» 
 mentioned in Tacitus and Feslus was "Agonalis", 
 « A^onus » and «■ Egonus » from the numerous 
 heights by which it is formed, the word Agones 
 in the sabine tongue signifjng hills ; for the same 
 reason it is called by Dionjsius " Collinus » by 
 other writers collis the bill by excellence. Its 
 subsequent name Quiriuat is derived , according 
 to Varro aud Festus from the Curetes who settled 
 on it in the time of Tatius or of Quirinus. This 
 denomination is still preserved though it is com- 
 monly called Monte Cavatlo from the colossal 
 horses aud statues that adorn the principal piazza. 
 Its narrow oblong shape gives it the cesemblanee 
 of an elbow; it is about 15700 ancient feet iu 
 
•+-#fWiKlili!.iM' 
 
 \' 
 
 ^ 
 
Fourth day 201 
 
 circumference , 293 Paris feet 5 inches com- 
 prizing the cross over the palace clock, above 
 the level of the sea. 
 
 PIAZZA DEL QUIRINALE 
 
 This piazza is one of the finest in Rome by its 
 situation and the edifices which decorate it. Its 
 principal ornament consists in two colossal fi- 
 gures in the act of taming horses. The figures 
 of the young men, 25 palms high, are two master 
 pieces of the Greek chisel , and if credit could 
 be attached to the latin inscriptions they would 
 be the work of Phidias and of Praxiteles; but 
 though these inscriptions are ancient , they are 
 not anterior to Constanline who placed these 
 colossi in his thermae ; these inscriptions dating 
 from at least seven centuries after the completion 
 of the statues and at the period of the decay of 
 art , inspire but litte confidence. The same un- 
 certainty prevails respecting the subject they rcr 
 present , but the opinion that they are intended 
 for Castor and Pollux is the most probable. They 
 are certainly monuments of great skill from the 
 exactness of the proportions , the delicacy of the 
 work, the grandeur and correctness of the style; 
 they were raised on this spot by Pope Piu^ V. 
 
 Under Pius Yl these groups assumed tiieir 
 present direction , and in the centre the obelisk 
 was erected which was found near the Mauso- 
 leum of Augustus, It is of red granite 66 palms 
 high without the pedestal. Pius VII completed 
 the monument with the large basin of oriental 
 granite 1 1 1 palms in circumference , found in 
 the roman forum , and which receives the wa- 
 
202 Fourth day 
 
 ters of the fountain placed here by the same 
 Pontiff. 
 
 PjdLJZZO DEL QVIRINALE 
 
 About the year 1573 this palace was com- 
 menced under Gregory XIII on the designs of 
 Flaminio Ponzio ; it was continued, enlarged and 
 completed hy Mascherino , Domenico Fontana ^ 
 Carlo Maderno , Bernini and Fuga. 
 
 The court yard is 442 palms long 240 wide ; 
 on three sides is a portico supported by pilas- 
 ters , on the fourth side a facade of the jo- 
 nic order ; under the clock is a portrait of 
 the Madonna in mosaic , from the original hy 
 Carlo Maratte. 
 
 A large marble stair case richly carved and 
 gilt having a frieze painted by Lanfranc and 
 by Carlo of Venice leads to the chapel. Over the 
 door is a has relief representing the washing of the 
 Apostle's feet , by Landini. This chapel , called the 
 Cappella Paolina is of the size and form of the 
 Sixtine at the Vatican; in the hall preceding the 
 chapel are several paintings worthy of observa- 
 tion ; SS. Peter and Paul by fra Bartolomeo , 
 3. Jerome, Spagnoletto ; the resurrection of our 
 Saviour, Vandyk ; a Madonna by Guido Reni; 
 David and Saul by Guercino ; Christ disputing 
 with the doctors of the law , Caravaggio ; the 
 frescoes of the chapel representing various acts 
 of the Virgin are by Guido , the annunciation 
 oyer the high altar is of singular beauty. The 
 rooms besides their rich furniture contain has 
 reliefs in stucco of the triumph of Alexander 
 
Fourth day ' 203 
 
 bj Thorwaldsen ; of the triumph of Trajan by Fi- 
 nclti , now changed into that of Constantine. 
 
 The garden attached to the palace is fiilcd 
 with statues , fountains , and shady walks ; the 
 casino in the centre built by Fuga is adorned 
 with paintings by Orizzonte , Battoni , Pannini 
 and Masucci. 
 
 PALAZZO DELIA CONSULT A 
 
 This splendid palace was built by Clement 
 XII on the designs of Fuga. It is the residence 
 of the Cardinal secretary of the Briefs , and of 
 the secretary of the Consulta. 
 
 PALAZZO ROSPIGLIOSI 
 
 This extensive palace , the architecture of 
 Flaminio Ponzio was begun by Cardinal Scipio 
 Borghese on the ruins of the Thermae of Con- 
 stantine , the last that were built in Rome. It 
 subsequently belonged to Cardinal Bentivogtio , 
 to the Slazzarini family who completed it under 
 the direction of Carlo Maderno , and is now the 
 property of the Rospigliosi house. 
 
 The casino at the left entrance and the first 
 story of the palace belong to Prince Pallavicini. 
 On the roof of the saloon is the celebrated Au- 
 rora of Guido represented by a figure scattering 
 flowers , followed by phosphorus holding a torch 
 and hv the sun under the figure of Apollo seated 
 on a car drawn by four horses abreast , and 
 surrounded by seven nymphs dancing , probably 
 emblematic of the hours though incomplete in 
 number; by the beauty of the composition , 
 
204 Fourlh day 
 
 tlie grandiose of design, the airs of the heads, 
 this painting is allowed by all to be one of the 
 best works of Guido. The freize representing 
 the triumph of love and of virtue is by Antonio 
 Tempesta. This room also contains some lands- 
 capes by Paul Brill , an antique statue of Diana 
 and a bronze horse. 
 
 In one of the contiguous rooms are : an 
 antique bust of Scipio Africanus, a large paint- 
 ing by Domenichino of Adam and Eve in the 
 terrestrial paradise , Samson overthrowing the 
 temple by Ludovico Caracci. 
 
 In the next room are the twelve Apostles 
 in half size by Rubens; Andromeda delivered by 
 Perseus , Guido; Eve offering the apple to Adam 
 hy Giacomo Palma ; Christ bearing the cross, Da- 
 niel di Volterra; the two lovers, Giorgione; David 
 conquering Goliath , Domenichino ; a charity , 
 Gignani; a Pieta by Annibal Caracci; S. Jerome 
 by Albert Durer. 
 
 The second story and the ground floor be- 
 long to Prince Rospigtiosi, the former apartement 
 contains a collection of choice pictures. In that 
 ou the ground floor are : a large verd' antico 
 vase ; several antique busts and statues ; eighteen 
 large and small fresco paintings , taken from the 
 thermae of Constantine. Amongst the pictures 
 are a S. Cecilia and the sketches of the four 
 angles under the cupola at S. Andrea della Yalle 
 by Domenichino ; one of the rooms was painted 
 by Brill and by his brother, others by Giovanni 
 da S. Giovanni. 
 
Fourth day 205 
 
 S. SILVESTER 
 
 This church , wbich formerly belonged H 
 Ihe Domenican and Teatia orders , is now Ihe 
 property of the missionary priests. The paintings 
 in the Urst chapel are by Nucci ; the one in the 
 second is a highly esteemed work of Giacomo 
 Palma ; the assamplion over the left altar is 
 painted on slate by Scipio Gaetani ; the lunettes 
 at the base of the cupola in this chapel are by 
 Domenichino, they have been restored by Ga- 
 muccini and represent David dancing before the 
 ark; Judith showing the head of Holophernes 
 to the Betulians ; Esther fainting in presence of 
 Assuerus ; the queen of Saba and Solomon seat- 
 ed on the throne ; the Magdalen in the adjoin- 
 ing chapel is hy Albertinelli ; the paintings on 
 the side hy Maturin and Polidor Garavaggio ; 
 the one on the roof by d' Arpino. In this church 
 are the tombs of cardinal Benlivoglio the his- 
 torian of the wars in Flanders in the XVII cen- 
 tury and of Farinaccio a Roman jurisconsult. 
 
 SS. DOMElfICO AND SIXTO. 
 
 This church and the annexed monastery 
 were founded by Pius V for the Dominican nuns 
 who enlarged it under Urban VIII on the designs of 
 the architect Delia Greca ; the facade is formed of 
 Corinthian and composite pilasters. The paintings 
 in the interior are by Moia , Gentile , Ganuli , 
 Allegrini and Romanelli who painted in the last 
 chapel the Madonna giving a rosary to a nun. 
 
 Opposite is S. Gaterina di Siena , a church 
 and monastery of Dominican nuns built about 
 
206 Fourth day 
 
 1 563 ; the pilasters are marble and of the GO-- 
 riathian order. 
 
 la the yard of the monastery is a large 
 brick tower called delle milizie ; it is said to have 
 been built by Augustus or by Trajan for the sol- 
 diets who guarded the fori situated in the prox- 
 imity. 
 
 It is erroneously called the tower of Nero 
 which was placed by Svetonius in the gardens 
 of Mecjenas on the Esquiline far distant from 
 this spot: it has been ascertained that this buil- 
 ding was raised by the sons of Pietro di Ale^sio, 
 partisans of Pandolfo di Suburra , Senator of 
 Rome in 1210. 
 
 The adjoining villa Aldobrandini contains 
 many antique marbles and some paintings. Be- 
 hind it^is S. Agatha called in Suburra in the low- 
 er ages now the Irish College ; to the right 
 the church of S. Bernardino of Siena and the 
 via de' Serpenti which forms the opening of the 
 Quirinal valley, separating the Quirinal from the 
 Viminal hill, [and covered at the present day 
 with vineyards and kitchen gardens. On the part 
 of the former hill overlooking the valley stood 
 the temple dedicated to Romulus under the title 
 of Quirinus. It was built on this spot as Proculus 
 Julius, a roman patrician, declared on his oath he 
 had seen Romulus descend from heaven into this 
 valley, and that he had been charged to announce 
 to his people that Rome would become the ca- 
 pital of the world. 
 
Fourth day 207 
 
 S. V IT ALE. 
 
 The origin of this church is very remote 
 haying been built under Innocent I in 416 when 
 it was dedicated to S. Vitale and his sons Ger- 
 vasius and Protasius , both martyrs. After se- 
 veral repairs it was renewed and united to the 
 church of S. Andrea at Monte Cavalio ; the 
 frescoes on the facade and portico formed into 
 a vestibule and the oil paintings near the high al- 
 tar are by Fiammeri ; the Christ in the Tribune 
 the angels and the two martyrs by Commodi ; the 
 other works chiefly by Ciampelii. Opposite S. Vi- 
 tale are considerable remains of ancient walb 
 which sustain the sides of the 
 
 yiMINAL HILL. 
 
 The etymology of the name given to this 
 hill seems to be from the osiers which grew on 
 it. It is about 6600 roman feet in circumference; 
 its form resembles a tongue the roots being com- 
 mon to the Esquiline and the Quirinal; on its 
 sides are the church and monastery of S Lorenzo 
 in Panisperna and the Cimarra palace now a 
 barrack. 
 
 S. PAUL THE FIRST HERMIT. 
 
 This church was built in the form of a greek 
 cross about the year 1765 on the designs of Or- 
 landi. Over a semicircular portico supported by 
 columns is a palm tree with two lions on tho 
 sides alluding to the saint. The altar piece to 
 the right representing S. Stephen king of Hun- 
 
208 Fourth day 
 
 gary is by Concioli ; the stalue of S, Paul on 
 the high altar by Bergondi ; the guardian angel 
 over the third altar by Borgognonc. 
 
 S. DIONISIO, 
 
 This church and the annexed monastery 
 were built in 1619 by some french trinitarians 
 and restored in 1815. It is now occupied by 
 french nuns of the order of S. Basil dedicated 
 to the education of young females ; the church 
 is of a light architecture and contains some good 
 pictures. Over the altar to the right is a work 
 by Dasi ; the conception on the high altar and 
 the lateral paintings are by Carlo Cesi; on the 
 left a miraculous image of the Madonna under 
 the appellation of * Buon rimedio » which be- 
 longed to Gregory the great ; S. Denis and S. 
 Louis by Lebrnn ; the ^^Ecce homo » by Luca 
 Giordano. 
 
 PIAZZA DELLE QCTATTRO FONTANB 
 
 This piazza is formed by the junction of 
 two long and fine streets, one called Felice lea- 
 ding from the Triniti de' Monti to S. Maria Mag- 
 giore and S. Croce in Gerusalemme, the other 
 from Monte Cavallo to the Porta Pia; it derives 
 its name from the fountains placed in the four 
 angles, on one of which is the Albani palace, 
 and on the other 
 
Fourth day 209 
 
 THE CHURCH OF S. CARLO 
 
 Built in 1 640 by Borromini , the church 
 and convent belonging to the Spanish Trinita- 
 rians fill the same space as one of the pilasters 
 of the cupola of S. Peter's. On the facade is a 
 double row of columns , in the interior 1 6. In 
 the court yard of the couvent is a double por- 
 tico supported by 25 superimposed columns. 
 
 s. asdhea. 
 
 This church was erected in 1678 by Don. 
 Caniillo Pamfili , the nephew of Innocent X on 
 the designs of Bernini as a noviciate for the Je- 
 suits. The facade is of the Corinthian order, the 
 small circular portico is supported by two jonic 
 columns, the interior of an oval form contains 
 fine marble pilasters , four corinthian columns 
 and some good paintings. In the chapel of S. 
 Francis Xavier are three pictures by Baciccio ; 
 the crucifixion of S. Andrew over the high al- 
 tar is by Borgognone ; the chapel of S. Stanis- 
 las is adorned with fine marbles ; the picture 
 over the altar is by Carlo Maratte; those on the 
 sides by Mazzanli , on the ceiling by Odazzi. 
 The body of this saint , deposited in a rich uru 
 of lapis lazzuli , is placed under the altar. 
 
 In the interior of the no>iciate the room oc- 
 cupied by S. Stanislas has been formed into a 
 chapel; the marble figure of the saint in his dying 
 moments is by Legros, the head, hands and feet 
 of white, the habit of black, the bed of yellow, 
 marble. 
 
 Near the high altar is the tomb of Charles 
 15 * 
 
. 210 Fourlh darf 
 
 Emmanuel IV king of Sardinia who abdicated In 
 1 802 and retired to Rome ; in 1 81 5 he embra- 
 ced the institute of the Jesuits in which he died 
 in 1819. 
 
 S. BERNARDO 
 
 One of the round edifices situated at thef 
 angle to the west of Diocletian's thermae,*s up- 
 posed to have been a tepidarium or a calida~ 
 rium^ was converted into a church in 1 598 bjr 
 the Countess Sforza who built the adjoining house 
 for the monks of S. Bernard. 
 
 The eight large stucco statues are by Ma- 
 rianni ; that of S- Francis and other marble 
 works in the chapel by Fancelli ; in the 
 choir are the tombs of cardinals Bona and Ga- 
 brielli both belonging to the order. la the gar- 
 den is a chapel dedicated to S. Catherine , a 
 martyr , in which are two large pictures by 
 Lauresi , a Sicilian artist. 
 
 In the garden there are also ruins of a kind 
 of seinicircular theatre or of seats for the spec- 
 tators of the gymnastic games practised in the 
 baths of Piocletian. Opposite is the church of 
 3, Susan, 
 
 ACqUA FELICE. 
 
 This fountain is so called from the name 
 of Sixtus V who, as already mentioned , united 
 the springs of the acqua Alexandrina vsrith those 
 near Colonna , and availed himself of the ma- 
 terials of the ancient Marcia and Claudia aque- 
 ducts. It is in a greait measure the same water 
 
Fourth day 2U 
 
 as llie acqua Alexandrina ; the architecture 
 of the fountain is by Domenico Fonlana. It is of 
 travertine with four granite columns of the jonic 
 order and three niches; in the middle niche is 
 a colossal statue of Moses striking the rock, an 
 indififerent work of Prospero da Breccia; the has 
 reliefs representing Aaron conducting the people 
 of Israel to the miraculous spring hy Gio: della 
 Porta ; Gedeon selecting the soldiers who are to 
 lead the people over the river by Flaminio Vacca, 
 The -waters fall in abundance by three apertures 
 into marble basins on the sides of which four 
 lions pour water from their mouths, 
 
 CHURCH OP S. MARIA BELLA VlTfORlA. 
 
 Paul V built this church in f605 in honour of 
 S. Paul the apostle and presented it to the carmeli- 
 tan order; it was called S. Maria della Vitloria from 
 the numerous victories obtained by the catholics 
 over the hereticks and the Turks through the 
 intercession of the image of the madonna which 
 is preserved over the altar piece and is adorned 
 with precious stones. The facade by Soria was 
 raised at the expense of Cardinal Scipio Borghese, 
 in return for the present made to him of the 
 celebrated sleeping hermaphrodite which was 
 found in the gardens contiguous to the church. 
 
 The interior was lined by Carlo Maderno 
 with marbles and ornamented with pilasters of 
 fine Sicilian jasper, gilt stuccoes, good sculptu- 
 res and paintings of merit. The Magdalen , in 
 the first chapel to the right, is by padre Baffaelle, 
 a capuchin ; the S. Francis in the second , the 
 paintings on the walls, by Domenichino. On the 
 
2i2 Fourth day 
 
 altar of the cross between fouRverd' anlico co- 
 ,lumns is the statue of S. Joseph \a the act 
 of sleeping , with the angel appearing to him in 
 a dream ,thc work of Domenico Guidi ; the la- 
 teral has reliefs are by Monot ; the S. Joseph 
 in glory by Lamberti ; the paintings of the cu- 
 pola are by Domenico Perugino ; those of the 
 large arch by the brothers Orazzi ; the sum- 
 ptuous chapel of S. Theresa was built. and de- 
 corated at the expense of Cardinal Gornaro on 
 the designs— oil Bernini who executed the Gar- 
 dinal's bust and the statue of the saint re- 
 presented in the exstacy of divine love while 
 the angel holding the dart is in the act of pier- 
 cing her heart ; this group is considered one of 
 the finest works of Bernini ; the roof of this 
 chapel was painted by Abatini ; the adjoining 
 cfaapel contains some very fine marbles ; the 
 picture over the altar representing the most holy 
 Trinity is by Guercino; the crucifixion , and the 
 portrait unknown , by Guido Reni; the frescoes 
 by Francesco Bolognese; the other paintings by 
 Niccolai ; the S. Andrew apostle by padre Ra^- 
 faelle. 
 
 THERMM OF DIOCLETIAS. 
 
 These baths were built by the emperors 
 Diocletian and Maximian, and dedicated by their 
 successors Galerius and Gonstantiiis. It is stated 
 Jjy Olympodorus that 3200 persons could bathe 
 here at the same time; some idea may he formed 
 of their extent in considering that within their 
 limits were enclosed the church of S. Bernardo, 
 the garden and house annexed , the church of 
 
Fourth day 21 3 
 
 S. Maria degli Angioli with the adjoining mo- 
 nastery, the two extcnse piazza, the granaries 
 and other houses ; the whole circuit amounted 
 to about 4275 feet. They were of a square form 
 and at each angle stood a round building; -one 
 still remains at the gate of the Yilla Massimi, 
 the other in the church of S. Bernardo. By some 
 it is supposed that these round edifices servedr 
 as warm or tepid baths; these thermee contained 
 numerous porticoes , splendid halls, and all that 
 has been narrated of those of Titus. We know 
 by Vopiscus that the celebrated Ulpian library 
 was transferred here from the forum of Trajan; 
 the pinacoteca has been converted into 
 
 THE CHURCH OF S. MARIA DEGLI ANGIOLI. 
 
 Pius IV wishing to reduce to some sacred 
 usage the principal hall of Diocletian's baths 
 entrusted the operation to the celebrated Buo- 
 naroti who formed the present church on the 
 plan of a greek cross, and rendered it one of 
 the most magnificent and best proportioned edi- 
 fices of Rome. To protect it against humidity 
 a new pavement was raised which has left under 
 ground the base and part of the eight granite 
 columns to which bases of white marble have 
 been adapted. The church has been restored at 
 diCferent periods and particularly in 1 749 by 
 Vanvitelli who made some alterations; the large 
 entrance became the altar of the blessed Nic- 
 cola Albergati ; the lateral door alone remaining 
 became the principal entrance , the altar of 
 the Madonna the high altar , and as at the 
 nave which first served as the entrance there 
 
214 Fourth day 
 
 were eight large granite columns, to form the 
 correspondence he raised eight others of brick 
 varnished like granite which they resemble. 
 
 The entrance is now by around vestibule, 
 one of the rooms of the thermae , of the size 
 of the one changed into the church of S. Ber- 
 nardo. In this vestibule are two chapels ; that 
 of the crucifixion cpntains a painting of S. Je- 
 rome by a scholar of Daniel da Volterra , the 
 other, one of Christ and the Magdalen by Henry 
 the fleming , the tombs of Carlo Maratte , Sal- 
 vator Rosa, of Gardinats^arisio and Alciati. The 
 transversal nave of the church was formerly the 
 grand hall or the Pinacoteca; the eight granite 
 columns are 23 palms in circumference , 62 in 
 hjeight comprizing capital and base, the length 
 of the nave 406 , the height 124 palms; for 
 the greater embellishment of this splendid tem- 
 ple Benedict XIV adorned it with some original 
 pictures from S. Peter's, which had been copied 
 in mosaic. The crucifixion of S. Peter is by Ric- 
 ciolini, the fall of Simon Magus a copy by Vanni, 
 in the chapel of the Blessed Nicholas, a Gra- 
 ziani , the lateral pictures Trevisani , those on 
 the roof Biccherai and Mazzetti ; S. Peter res- 
 suscitating Tabitas , a copy from an original of 
 Baglioni in S. Peter's and a fine original by 
 Muziano. 
 
 In the nave of the high altar is a chapel 
 with paintings by Baglioni , and on the walls 
 are four large compositions ; the presentation 
 of the Madonna at the temple by Romanelli , 
 the martyrdom of S. Sebastian a fine work of 
 Domcnichino , transferred to this spot with re- 
 markable dexterity by Zabaglia, the baptism of 
 
Fourth day 215 
 
 our Lord by Carlo Maratta , the punishment of 
 Ananias by Pomarancio, restored by Camuccini; 
 Over the high altar is an ancient image of the 
 Madonna surrounded by seven angels from which 
 the church has taken its name. 
 
 In the transversal nave are: the conception 
 of the Madonna by Bianchi , the picture adjoin- 
 ing by Placido Costanzi ; the S. Bruno in the 
 following chapel by Odazzi, the lateral paintings 
 by Trevisani , the evangelists on the roof Pro- 
 caccini , the fall of Simon Magus by Pompeo, 
 Battoni , S. Basilius presenting a chalice to a 
 deacon , Subleyras; the roofs of the three large 
 altars were painted by Biccherai, those between 
 the windows by Ricciolini. 
 
 On the marble pavement of this church a 
 meridian was traced in 1 701 by monsignor Bian- 
 chini; the line marked on brass is enclosed within 
 two long marble lines on which the signs of the 
 Zodiac arc expressed in various coloured stones. 
 In the sacristy are paintings by Odazzi; the 
 Cibo chapel is richly ornamented and has a pain- 
 ting by Ricciolini. 
 
 Annexed to the church is the cloister of 
 the Cistercian monks built on the designs of 
 Michael Angelo ; it contains a square portico 
 supported by one hundred travertine columns with 
 four extensive corridors. 
 
 Behind the baths of Diocletian and in the 
 direction of the walls, are some remains of the 
 Agger of Servius Tullius consisting, according to 
 Dionysius Halicarnassus, of a ditch 100 feet long 
 and 30 deep , lined with large blocks of 
 tuffo forming a hillock , which extended from 
 the CoUatina to the Esquiline gates, or the angle 
 
216 Fourth day 
 
 of the Barberini Yilla till the arch of Gallienus 
 on which space ofgroand its traces are still Yisible. 
 Near the walls were 
 
 THE C^STRA PRETORIA. 
 
 Established by Sejanus under Tiberius for 
 the quarters of the Prsetorian Guards; they were 
 demolished by Gonstantiue the great and three 
 sides were enclosed by Honoriiis in the walls ; 
 the form of these castra is. easily traced on the 
 right out of tbe porta Pia and conveys a just 
 idea of a roman camp. On the left of the, Porta 
 Pia is the villa Buonaparte and opposite that of 
 
 DOy MARINO TORLOHIA. 
 
 This villa in a delightful position, formerly 
 belonged to tha Androsilla family and has been 
 greatly embellished by its present possessor, on 
 the designs of the architect Sarli. The vestibule 
 built on the model of that of the Farnese pa- 
 lace is composed of four ionic columns on each 
 side supporting a fine gilt stucco roof. The inte- 
 rior contains a fresco by Carta representing Te- 
 lemachus and Galypso, another: by Capalli re- 
 presenting Parnassus , harmony , poetry and 
 music , finely executed and other frescoes by 
 eminent artists; the chapel in the gothic style 
 is painted with great taste by Bromiti. 
 
 PORTA PIA. 
 
 This gate was substituted in 1 564 by Pius 
 IV to the Nomentana gale of Honorins which 
 
-^ 
 
 
 6 
 
 I 
 
 ■■■.-... .j-:»iji"::-i?fi 
 
 u 
 
 ^1 
 
 ^, ' 
 
 ^ 
 
 u 
 o 
 
 O ^J 
 
 ^ fi 
 
Fourth day 21 7 
 
 stood a lilllc to the right and was so called from 
 leading to Nomontum a latin colony in the Sa- 
 bine country about 12 miles from Rome, now 
 a small village called Mentana ; the interior 
 part is on the designs of Buonaroti. 
 
 On the high road are the Patrizi , Bolo- 
 gnetti and Massimi villas and at three quarters 
 of a mile from the gate 
 
 THE VILLA OF PRINCE TORLONIA, 
 
 Many architects, sculptors and painters have 
 been employed of late years at this villa which 
 is at length completed in a style of great splen- 
 dour and magnificence. The casino is of the 
 style of architecture used in the XV century , and 
 on the attic are several ancient statues; the first 
 room is painted by Garetti with views of the 
 principal cities of Greece and medallions of 
 some of her greatest men, the ceiling is covered 
 with bas reliefs; the frescoes in the second room 
 are by Goghetti, on the ceiling are gilt stuccoes, 
 the pavement is of fine marble intermixed with 
 mosaic works, on the walls are views of Naples 
 and above the three Graces by Carta. 
 
 The amphitheatre is smaller than the mau- 
 soleum of Augustus but well distributed ; the 
 small broken temple in its vicinity is supposed 
 to be sacred to Minerva , the casino has a por- 
 tico of eight cipollino columns and several 
 ancient marble busts. At a short distance is the 
 temple dedicated to Saturn with a portico of 
 eight granite columns and a frieze represeoting 
 human life by Gajassi. 
 
 A flight of steps supported by four aacienl 
 
 16 
 
2-1 S Fourth- day 
 
 colossal statues leads to tlie palace whicli was 
 built 6a the designs of Carreiti. On the frontis- 
 piece is a terra colta has relief by Rinaldi 
 represcnling the return of Bacchus from the 
 conquest of the Indies, the entrance is by tweirc 
 doric columns. 
 
 The ground floor is composed of twelve 
 rooms ^d of a large saloon, the-frieze is covered 
 with gilt stuccoes intermixed with figures of 
 Cupids, Dolphins and other allegorical subjects 
 by Caretti , and the triumph of Galatea by 
 Paoletti who also executed the Dante in the li- 
 brary ; the hall of Psiche is by Caretti. 
 
 The hall of the italian poets and artists was 
 painted by Paoletti 5 the ball room in which 
 are marble columns and pilasters, by Massabo and 
 Tojetti. In the lunette is a fine painting by Cor 
 ghetti of Apollo on Parnassus surrounded by the 
 Muses , the philosophers and poets of antiquity 
 and of modern times , on the pavement is a 
 copy of the celebrated Palestrina mosaic. 
 
 On the first floor in three lunettes are Au- 
 rora, day, and night by Trabalza ; in the hall 
 of Bacchus the birth and expeditions of the God 
 were painted by Podesti; the pavement is filled 
 with mosaic figures. In another room Yenus 
 at the toilette by Goghetli; in the egyplian room 
 the mosaic pavement represents the history of 
 Cleopatra ; the walls are decorated with fluted 
 pilasters , the niches filled with marble statues 
 representing Apollo and the nine Muses ; the 
 frieze is an estimable work of Thorwaldsen; the 
 marble pavement is interspersed with mosaic 
 figures and on the walls Goghetti has repre- 
 sen^ted in fresco the deeds of Alexander the Great. 
 
t^ourth day 219 
 
 The chapel dedicated to Pope S. Alexander 
 contains the portrait of that saint by Bombeili 
 and some sculptures by Aureli. 
 
 In an extensive plain stands an obelisk ; 
 another is situated between Iwo small lakes near 
 the Swiss cabin and the ruins of an old castle 
 on which is a moorish tower with an hexagon 
 room richly decorated in the moorish style; tha 
 doors are of coloured glass, at the entrance are 
 two marble lions; the front is painted on a blue 
 ground with gold stars in relief , the interior 
 filled with mirrors. 
 
 The field for the tournaments is in the foria 
 of a parallellogram; at the extremity is the tent 
 of the prince of the tournament, the theatre is 
 built on the designs of Raimondi, the principal 
 prospect being closed by a portico of columns ; 
 the interior is decorated with great taste and 
 elegance and possesses many objects worthy of 
 observation. 
 
 S. AGNES. 
 
 This church was built by Constantine the 
 great at the solicitation of his daughter Constaatia 
 over the cemetery of S. Agnes where the body 
 of the saint was found; the descent is by a larga 
 stair case consisting of 45 steps; on the walls 
 are many ancient sepulchral inscriptions ; the 
 church is formed by a double portico, superior 
 and inferior, and by three naves supported by 
 16 antique columns , two of granite , four of 
 porta santa and two of pavonazzetto marble. 
 The upper portico is supported by 16 smaller 
 columns ; over the high altar is a baldacchiao 
 
220 Fourth day 
 
 ■with four very fiae porphyry columns ; under 
 the altar , composed of precious stones, reposes 
 the body of S. Agnes whose statue is cut out 
 of the trunk of an ancient statue of oriental ala- 
 baster , the head , hands and feet being of gilt 
 bronze ; the work is by Franciosini. The name 
 of S. Agnes is written on the tribune ; in the 
 chapel dedicated to the Madonna is a head o 
 onr Saviour by Buonaroli and an antique marble 
 chandelier with acanthus leaves of a very fine 
 work. This church more than any other conveys 
 an idea of the Basilica of the ancient Romans. 
 In the chapel to the right is the tombofCima, 
 the chamberlain of Leo XI whose bust was exe- 
 cuted by Salviali. The 21 January, the festival 
 of S. Agnes , two lambs are blessed by the Pope 
 which are entrusted to the care of a nunnery; 
 the wool of these animals forms the sacred pa^i 
 used by the Pope, the bishop of Ostia, and the 
 archbishops. A few steps distant is 
 
 s, cosTjrrzj. 
 
 This edifice which has been recently restored 
 was too inconsiderately attributed in past ages 
 to a temple of Bacchus from the figures of boys 
 'loldiug leaves and bunches of grapes which are 
 on the circular nave ; these symbols were also 
 found in has relief on the porphyry urn disco- 
 vered at this spot; the has reliefs of the urn being 
 of the same style as these mosaics they may be 
 considered of the same period, and as no doubt 
 can exist that the urn served for a tomb it was 
 natural to suppose that these symbols had another 
 allusion than to Bacchus ; in fact, in the early 
 
Fourth day 221 
 
 christian monuments Ihey were symbolic of the 
 Saviour, of the church, and of future life. Ahas- 
 tasius the librarian says that when Constantine 
 built the church of S. Agnes he built near it 
 a baptistery of a spheric form , in imitation of 
 that of S. lohn Lateran for the baptism of the 
 two Constantias his sister and daughter. That 
 this edifice should have been used for their se- 
 pulchre is proved by the porphyry urn found 
 here greatly resembling the one known as the 
 tomb of S- Helena found at Tor Pignatarra ; 
 they were both placed by Pius VI in the Va- 
 tican museum. Ammianus Marccllinus also speaks 
 of a sepulchre of Gonstantine's family existing 
 on the via Nomentana. Alexander IV converted 
 this splendid mausoleum into a church under 
 the dedication of the same SS. Gonstantia whoso 
 bodies he took from the urn and deposited under 
 the altar; the chiirch is of a spheric form, 100 
 palms internal diameter with a modern cupola 
 supported by the ancient portico formed of 12 
 double granite columns , corinthian and com- 
 posite , being the first example of binary co- 
 lumns. 
 
 Near the church arc some ruins of an an- 
 cient oval building supposed to have been an 
 Hippodrome of Constantine and forming a large 
 piazza surrrounded with porticoes used for horse 
 and military exercises. But no ancient writer 
 makes any mention of a hippodrome of Constan- 
 tine at this spot and as the construction seems 
 to be posterior to Constantine this opinion must 
 be excluded on reflecting that tVie enclosure 
 united the churches of S. Agoes and S. Gon- 
 stantia , nor can the gravity of the early ages 
 
 16 ♦ 
 
222 Fourth day 
 
 of Christianity admit the existence, in such a 
 place, of profane spectacles. It is then reasona- 
 ble to suppose that these walls are merely re- 
 mains of the enclosure of the two churches , 
 made probahly by Honorius I in the VII cen- 
 tury , and it is still used as a cemetery. 
 
 In the Rufini vineyard is a columbarium welt 
 preserved, belonging to plebeian families, disco- 
 vered in 1 822 ; about a mile beyond S. Agnes 
 the Anio, now the Teverone, is crossed on the 
 Nomentano called by corruption the Lamentano 
 bridge , which was rebuilt by Narses and re- 
 stored by Nicholas V; from thij bridge is a view 
 of the celebrated 
 
 ilONS SACER. 
 
 It was upon this hill , situated on the right 
 bank of the Anio, that in the year of Rome 
 261 the people withdrew from the oppression of the 
 rich and nobles and that they were persuaded 
 to return to Rome by the apologue of the 
 Imman body and limbs used by Menenius Agrippa 
 as related by Livy ; on this occasion the tri- 
 bunes of the people were created. The second re- 
 treat took place after the death of Virginia when 
 the tribunate was reslablished and a law passed, 
 binding the people on oath never to take up arms 
 against the tribunes ; this law was called sacra 
 and the hill on which it was promulgated hi- 
 therto called " Velia » assumed the appellation 
 of sacer. 
 
 A mile beyond the Lamentano bridge , bet- 
 ween the Noraentana and Salaria ways , was si- 
 tuated the Villa of Phaon, a freedman of Nero 
 
Fourth day 223 
 
 where this Emperor died by his own hands 5 
 llie ruins of ihe villa are still visible in the 
 farm called the Vigne nuove. Returning to the 
 Porta Pia on the right along the walls is 
 
 THE PORTA SJLARIA. 
 
 When Honorius rebuilt the walls this gale 
 was substituted to the Collina gate of Servius 
 and called Salaria from the road , a name used 
 at the present day. It was through this gate that 
 Alaric, king of the Goths , entered Rome in 409 
 in the time of Honorius, and plundered the city 
 and the adjoining gardens of Sallust ; this seems 
 to have been the weakest defence of the city 
 as the Gauls had entered previously by the porta 
 Collina, and Hannibal himself meditated an attack 
 in this direction. About a quarter of a mile from 
 this gale is 
 
 THE riLLA ALBANI. 
 
 About the middle of last century Cardinal 
 Alexander Albani built this villa , one of the 
 most magnificent of Rome. He made the design 
 of the casino and villa' , and entrusted the 
 execution to the architect Marchionni, The Car- 
 dinal collected a prodigious number of statues, 
 busts, has reliefs, urns, columns, inscriptions and 
 antique marbles for the embellishment of the 
 villa which may be considered as a rich mu- 
 seum of antiquities; in their distribution he was 
 assisted by the celebrated Winkelmann , the re- 
 storer of the archcological science. 
 
 The principal casino is composed of a largo 
 
224 Fourth day 
 
 apartment under which, towards the garden , is 
 a fine portico with columns and statues ; the 
 Testibule is decorated with modern stucco has 
 reliefs taken from the antique , with ancient 
 statues representing an athlet , a roman female 
 under the form of Ceres, a nymph, a pretended 
 Brutus , by some supposed to be Harmodius , 
 by others an actor or rather a slave , and with 
 the colossal masques of Medusa , Bacchus and 
 Hercules. 
 
 Near the stairs are a relief of Rome trium- 
 phant, sundry bas rcliefsi, an ancient painting said 
 to be Livia the daughter of Octayia sacrificing 
 to Mars. 
 
 Along the stairs arc several bas reliefs ; 
 the children of Niobe struck by lightning bj 
 Diana ; Philoctetes in the isle of Lemnos , two 
 Bacchantes. In the round hall are two line giallo 
 antico columns , a statue of Faun , a bas relief 
 of the prisons of a circus and three cars drawn 
 by Cupids. The ceiling was painted by Bicche- 
 rai , the chiaroscuri by Lapiccola , the lands- 
 capes by Paolo Anesi ; three rooms, containing 
 landscapes and arras works, lead to the gallery 
 in which are a small ,bronzc statue of Pallas , 
 a Diana in alabaster with a bronze head, feet and 
 hands; theFarnese Hercules of Glyconin bronze; 
 another Pallas in alabaster with a bronze head, 
 hands and feet ; a small Diogenes, a Silcnus and 
 two small Fauns ; an Apollo in bronze, one of the 
 finest statues in the collection ; the celebrated 
 bas relief of the repose of Hercules , several 
 small statues, one of esmerald representing Osiris, 
 a green basalt Serapis of Ganopus with" egy- 
 ptian symbols ; (en alabaster busts with grey ba- 
 
Fourth day 223 
 
 sallic heads, various has reliefs , five alabaster 
 vases , and one of porphyry. The paintings in the 
 following rooms are by Biccherai; in the third is a 
 marble discus representing the combat between 
 Apollo and Hercules to recover the tripod". 
 Over the chimney is the celebrated has relief 
 of Antinous; the gallery is decorated with pilas- 
 ters eight of which are covered with mosaics and 
 ten are of various marbles. In two bas relief? 
 over the doors are trophies finely executed, but 
 some of the finest in the collection are the Hespe- 
 rides , Dedalus and Icarus; Alexander and Bu- 
 cephalus ; the temple of Delphi and its sacred 
 precincts ; Hebe pouring out nectar to Apollo, 
 Diana and Latona , of the early Gi-eek style ; 
 Marcus Aurelius with Faustina holding a wand; 
 statues of Jupiter, and of Pallas. On the ceiling 
 is a fine painting by Mengs representing Apollo 
 and Mnemosine on Parnassus in the midst of 
 the nine muses ; the chiaroscuri works are -by 
 Lapiccola. In one of the adjoining rooms is a 
 basrelief of the early Greek period representing 
 Orpheus, Eurydice and Mercury; the paintings 
 of the ceilings are by Biccherai , the chiaroscuri 
 by Lapiccola. Near the vestibule is the atrium 
 called of the Caryatides , decorated with fine 
 works with a marble vase in the centre. Besi- 
 des the caryatides which bear the inseription 
 of the sculptors Crito and Nicolaus of Athens , 
 Ibis atrium contains the busts of Marcus Au- 
 relius , Vespasian , Titus , Capaneus ia high re* 
 lief struck by the lightning of Jove and a co- 
 lolossal masque of Silenus. 
 
 In the long gallery are manyhermes; those 
 best ascertained are Alexander the great, Ho- 
 
226 Fourth day 
 
 mer, Epicurus, the celebrated Mercury with a 
 greek and latin inscription; a fine slalue of Faus-^ 
 tina , two of Venus , a Muso , a Faun and a 
 priestess. 
 
 The portico of Ibe casino is supported by 
 pilasters and 28 antique marble columns. A sta- 
 tue representing one of the hours is in tbe act 
 of dancing; it contains statues of Juno Lucina, 
 Tiberius, L. Verus , M. Aurelius , Anto/iinus 
 Pius, Trajan, Hadrian, six friezes, six masque? 
 in the niches , and a pavonazzetto vase. 
 
 The atrium called of Juno , is of the same 
 form and decoration as that of the caryatides, in 
 the middle is a fine antique vase ; it contains the 
 siatues of Juno , of two Caryatides, the busts of 
 L. Ycrus , M. Aurelius, Socrates, Perlinax, a 
 colossal head of a river placed on a round ara 
 with a representation in^gh relief of a Roman 
 triumphal dance. 
 
 In the adjoining gallery are several hermes; 
 those known are £uripidcs and Numa , a statue 
 of Hope in the early greek style , one of B'aun 
 with an infant Bacchus , of Apollo , Diana , n 
 priestess , and finally another Faun. 
 
 The room with an adcient mosaic pavement 
 is decorated with two columns, one very beautiful 
 of flowery alabaster found near the ancient na- 
 vali in the Cesarini vineyard , two statues of 
 Faun , a superb marble sarcophagus with the 
 nuptials of Pelops and Thetis and other antique 
 marbles. 
 
 In the following cabinets, possessing many 
 pieces of ancient sculpture, are busts of Berenice 
 in porphyry, with a head of green basalt; thosa 
 of Caracalla , Pcrtinax , Lucilla in rosso aiilico; 
 
Fourth day 2il 
 
 amoug the has reliefs the most remarkable are 
 those of Diogenes in his tub discoursing with 
 Alexander the great , of Dedalus preparing his 
 wings, in rosso antico, several in terra cotta and 
 a bust of Sera pis. 
 
 In the II. cabinet eight columns , a fine 
 Cupid a copy of the statue bj Praxiteles; Atlas 
 supporting the twelve signs of the Zodiac with 
 Jupiter seated in the centre; a small statue of 
 a iisherman placed on a triangular base on which 
 are represented the three seasons into which the 
 ancients divided ihe year ; a white marble cup 
 52 palms in circumference wilh a has relief ex- 
 pressing the labours of Hercules, found eight miles 
 from Rome on that part of the via appia where 
 Domitian raised a temple to Hercules. 
 
 HI. Cabinet. Six columns and numerous an- 
 tique marbles; the most singular a hermes of 
 •• alabastro fiorito » with the head of Faun in 
 rosso antico , a hermes of Priapus , a bust of 
 L» Verus, caps of black granite and of africano 
 supported by two young slaves , an ancient mo- 
 saic representing the inundation of the Nile and 
 a small has relief with the rare subject of Iphi- 
 genia in Tauris. 
 
 lY. Cabinet. Eight fluted columns and an- 
 cient sculptures; an Apollo seated on a tripod , 
 Leda wilh a swan , on the outside several an- 
 cient, inscriptions and bas reliefs, the most sin- 
 gular one representing the combat between Achil- 
 les and Memnon, a fragment of the entablature 
 of Trajan's temple found in the ruins of his 
 forum. 
 
 At a short distance from the casino is the 
 billiard room ; the portico is decorated with 1 4 
 
22S Fourth day 
 
 columns, various hermes, a has relief and a chan- 
 delier ; in the room are eight columns , an ala- 
 baster cup, statues of a greek priest in the ear- 
 ly style, of Ptolemy, Geta, Maximus, Bacchus 
 and Hyacinlhus. In the room opposite a superb 
 has relief of Berenice, the wife of Ptolemy Ever- 
 geles , offering her hair in sacrifice for the safe 
 return of her husband ; the adjoining room , 
 adorned with 14 columns contains a statue of 
 Diana of Ephesus and a Syren; the paintings are 
 by Fattori. 
 
 Under the balustrade in the garden is a foun- 
 tain with two caryatides and an urn of oriental 
 granite supported by two greek sphinxes with 
 the figure of the Nile in egyptian stone; another 
 fountain rests also on caryatides ; near it arc 
 the colossal busts of Titus and Trajan; in Ifae 
 middle of the garden is another fine fountain 
 with a beautiful cup of white aud black gra- 
 nite 60 palms in circumference. 
 
 At the end of the garden and opposite the 
 casino is another fine edifice with a semicircular 
 portico supported by pilasters and 26 granite 
 columns; it contains the statues of Mercury, Achil- 
 les , Apollo, Diana , Sappho, Hercules, Bacchus, 
 two Caryatides , twenty small statues placed on 
 columns and twenty busts or hermes ; those best 
 known are JEsop, Crysippus, Hippocrates, Theo- 
 phrasfus, Isocrates, Horteiisius the orator, Ca- 
 ligula , Balbinus , Aurelian , and ten antique 
 masques. 
 
 In the centre ot the portico is a large cup 
 of Egyptian breccia , on the sides statues of a 
 hero and of Juno. In the second vestibule two 
 small statues of black egyptian marble, twosphinx- 
 
Fourth day 229 
 
 es , four small hermes and six statues. A bas 
 relief representing Ario , the son of Ceres and 
 Neptune ; in the gallery an antique mosaic and 
 a painting by Lapiccola of- a Bacchanalian fes- 
 tival from Julio Romano ; the landscapes and 
 sea pieces by Anesi, the small pieces byBicche- 
 rai ; the statue of Juno on an antique mosaic 
 representing a school of philosophy and a nymph 
 on another mosaic representingHesione exposed to 
 the monster and liberated by Hercules. 
 
 Behind this edifice is another portico con- 
 taining a colossal statue of Rome with a bas re- 
 lief on the pedestal of Theseus raising the stone 
 which concealed his father's sword; the statues 
 of Augustus , Claudius , an ancient greek priest, 
 a caryatides , various bas reliefs and antique 
 monuments; out of the portico two captives, two 
 bas reliefs and sundry antique marbles. 
 
 In the garden, to the right of this circular 
 portico, between two granite columns are a group 
 of Pan and Olympus , the statues of Paris, Ju- 
 piter, Julia Soemia , Proserpine and of a Naiad, 
 and a mutilated statue in a broken edifice in 
 imitation bf the ruins of an ancient temple. 
 
 The remaining part of the villa contains 
 fountains , lish ponds, busts, hermes, sarcophagi, 
 cups, urns, aras , bas reliefs , columns, ancient 
 inscriptions and other precious monuments. This 
 collection, as alreardy stated, was formed by Car- 
 dinal Albani and illustrated by Winkelman who 
 has thrown a new light on the science of ar- 
 chaelogy. At a distance of two miles and a half 
 on the high road is the. 
 
 17 
 
230 Fourth day 
 
 POKTE SJLARIO, 
 
 This bridge, situated on the Anio, having 
 been destroyed by Totila, was rebuilt by Narses 
 after the victory he gained over the Goths, as 
 ascertained by two inscriptions which existed 
 till 1 798. It was on this bridge that in the year 
 350 before the christian era , the Gallic soldier 
 was killed by Manlius who , from this feat took 
 the name of » Torquatus » from the latin word 
 Torques or collar , an ornament proper to the 
 Gauls , which Manlius wore in token of his vi- 
 ctory. 
 
 On the right bank of the Anio near the 
 bridge was the site of Antemna! one of the old- 
 est cities of Latium and the first conquest of 
 Romulus. It stood on the hills at the confluence 
 of the Anio and the Tiber. A quarter of a mile 
 beyond the bridge is a tower formed of the blocks 
 of an ancient unknown tomb. The tract of coun- 
 try extending between the Anio and Fidenae , 
 an ancient city placed near the villa Spada,.al 
 a distance of five miles from the Collina gate^ 
 together with the adjacent hills on the right , 
 is celebrated in the early ages of Rome by the 
 various combats of which it was the seat and 
 particularly by the battle between Tnllus Hosti- 
 lius , the Veientes , the Fidenates which occa- 
 sioned the punishment of Sletius Fusetius the 
 Alban captain who was quartered in this plain^ 
 and the destruction of Alba. The site bears 
 testimony to the precision of Livy in describing 
 the topography of this combat. Returning to the 
 city by the porta Salarja on the right is an iron 
 
Fourth day 2 31 
 
 gateway in a vineyard called Mandosia which 
 contains ruins of 
 
 THE SALLVSTIAN GARDENS, 
 
 The celebrated latin historian G. Crispins 
 Sallustias , after his government of Africa for 
 Julius Caesar , formed these magnificent gardens 
 on the sides of the Quirinal, in the valley of the 
 latter bill as far the present porta Pinciana. At 
 his death they descended by inheritance to a 
 nephew on his sister's side who died in the year 
 20 of the present era , as related by Tacitus , 
 when the whole property reverted to the im- 
 perial domain. It is certain that it belonged to 
 the Emperors under Nero who occasionally re- 
 sided here ; Vespasian preferred these garden* 
 to the Imperial palace ; Nerva finished here his 
 days ; Aurelian after the conquest of Palmyra 
 frequently fixed here his residence ; he used the 
 Milliarum portico for his chariot races , a spot 
 so called either from its length of a thousand 
 feet, or for the number of its columns. 
 
 In the year 409 Alaric entered Rome by 
 the porta Salaria , fired and laid waste the edi- 
 fice and gardens which from that period were 
 never restored. It is easy to recognize the 
 form of the circus in which the obelisk of the 
 Trinita de' Monti was found , of remains of the 
 palace , of a temple probably of Venus men- 
 tioned by Rufus, and an ancient inscription as 
 existing in the gardens, very different from that of 
 Venus Ericine, and magnificent substructions with 
 niches supporting the Quirinal grounds. In the 
 Barberini gardens which overlook the Mandosia 
 
232 Fourth day 
 
 rilla , the ag^er of Servius in distinctly seen ; 
 here was the campus sceileratus , the sepulchre 
 of the Vestals who had violated their vows; the 
 walls of Servius TuUius built of large blocks of 
 tuffo are still visible in the part of the Barbe- 
 rini grounds near modern Rome ; these ruins by 
 their historical certainty are amongst the most 
 interesting of the City. 
 
 riLCA LVDorist 
 
 This villa built by Cardinal Lodovico Lu- 
 dovisi , the nephew of Gregory XV , now be- 
 longs to the Buke of Sora Buoncompagm, whose 
 permission is requisite to visit it. It oecupies a 
 part of the gardens of Sallust in which many 
 works of sculpture were found and confines with 
 the city walls. 
 
 The villa is composed of three casini , the 
 principal one to the left was built on the de- 
 sign of Domenichino ; on the facade are statues , 
 busts and antique has reliefs. In the second ca- 
 sino is a fine collection of antique works of 
 sculptfire : a bust of Pyrrhus in bas relief, sta- 
 tues of Esculapius, of Venus, Antoninus Pius, of 
 Apollo ; busts of Claudius and Anlinous ; a very 
 fine head of Juno; a statue of Mars in repose; 
 a group of Apollo and Diana, a god Pan; sta- 
 tues of Cleapatra , of a seated gladiator, Bac- 
 chus , Mercury and one of Agrippina beautifully 
 draped; the celebrated group supposed to re- 
 present the youth Papirius protending to reveal 
 to his mother the secret of the senate, though 
 more probably Orestes in the act of recognizing 
 his sister Electra , a greek work of Menelaus, 
 
Fourth day 233 
 
 the pupil of Stephen , as known by the inscri- 
 ption ; another group equally celebrated sup- 
 posed to represent Petus in the act of supporting 
 Arria his wife , falling in her dying moments , 
 while with the other hand he plunges a dagger 
 into his breast; the third group represents Pluto 
 carrying away Proserpine , by Bernini. 
 
 In the third casino , situated in the cen- 
 tre of the villa, is the celebrated fresco of Guer- 
 cino representing Aurora seated on her car dri- 
 ving night before her and scattering flowers. This 
 work is considered to be the master piece of 
 Guercino. In one of the lunettes is represented 
 day break under the figure of a winged youtb 
 holding in one hand a torch , in the other flowers. 
 In the lunette opposite Night appears Under 
 the iignre of a female reading and falling asleep^ 
 these works are also by Guercino; in the adjoin- 
 ning room are four landscapes in fresco , two 
 by Domenichino; the ceiling of the next cham- 
 ber paitjted by Zuccari contains a large porphyry 
 bust of Marcus Aurelius with a bronze head. 
 
 In the upper appartment is another pain- 
 ting by Guercino representing Fame under the 
 figure of a female blowing the trumpet and hold- 
 ing an olive branch ; in the same room are six 
 marble busts, one by Bernini , throughout the 
 villa are statues, busts, basreliefs, urns and other 
 antique marble works. 
 
 J. NICCOLA DI TOLENTISO. 
 
 This church was built at the expense of 
 Prince Pamphilj in 1 61 4 on the designs of Baratti 
 for the reformed Augustinians, Qn the facade is 
 
 17 • 
 
234 Fourth day 
 
 a doable order of colamas and in the interior 
 are some good paintings. S. Geltrude and S. Lu- 
 cre tia in the third chapel by Guercino ; the S. 
 John Baptist by Bacicoid ; the high altar was 
 designed by Algardi who modelled the statues 
 which were executed by two of his scholars j God 
 the father by Ferrata, S. Nicholas by Guidi; 
 the Gavbtti chapel , decorated with marble and 
 other ornaments was designed by Pietro da Gor- 
 lona who painted the ceiling and began the cu- 
 pola which at his death was finished by Ferri. 
 The bas- relief of the altar representing: the 
 Madonna of Savona is by Fancelli. The Madonna 
 in the chapel was painted by padre Raffaelle a 
 capuchin , the other by Cades; the four columns 
 supporting the organ are of a rate quality of 
 iuarble» 
 
 ' ■ PIAZZA BARBERtSI. 
 
 In ancient times the circus of Flora where the 
 floral games were celebrated; the fountains were 
 designed byBernini; theonein the centre consisting 
 of four dolphins holding a large shell in which is 
 seated Triton blowing a born and throwing up 
 water to a considerable height ; the second foun- 
 tain is formed by an open shell with three bees 
 throwing water. On one side of this piazza is 
 
 THK CHIESA DE CAPPUCCISI 
 
 Bailt , together with the convent , at the 
 expense of Cardinal Barberini, a capuchin friar 
 the brother of Urban VIII , though plain the 
 church possesses many fine works. In the first cha- 
 
Fourth day 235 
 
 pel to the right is the archangel S. Michael by 
 Guido Reni; in tha third S. Francis in exstacy 
 by Domenichino , the S. Anthony in the fourth 
 by Andrea Sacchi ; the Conception over the high 
 altar by Bombelli, a pupil of Camuccini. In the 
 following chapels S. Bonaventura by Andrea Sae- 
 chi , and the nativity of our Saviour by Lan- 
 franc; the Christ in the third chapel is by Ca- 
 massei ; the S. Felice in the last but one by 
 Turchi ; S. Paul cured by Ananias in the last 
 chapel is one of the most correct works of Pietro 
 da Gortona ; over the church door is the cartoon 
 of Giotto which served as a model for the mo- 
 saic of the navicella now under the portico of 
 the Vatican basilic. In the choir are some paintings 
 by good authors , and in the sacristy an Ecce 
 Homo , a S. Jerome in cartoon by Muziano , a 
 portrait of fra Elia supposed to be by Giacinto 
 the Pisan. Near the high altar is the tomb of 
 Alexander Sobieski the son of John III king of 
 Poland who died in Rome in 1714. 
 
 J. JSIDORO. 
 
 This church and the annexed convent were 
 built in 1622 on the designs of the architect Ca- 
 soni; they now belong to the Irish osservanti 
 of the order ■ of S. Francis ; the paintings in the 
 first chapel to the right are by Carlo Maratte 
 who also painted the fine picture of the con- 
 ception in the chapel to the left of the high al- 
 tar; the S. Isidore over the high altar is one of 
 the best works of Andrea Sacchi , the paintings 
 in the last chapel are also by Carlo Maralte. ' 
 
236 Fourth day 
 
 PALAZZO BARBERHfl 
 
 This palace was built under the pontificale 
 of Urban YlII of the Barberini famjiy.lt was 
 begun on the designs of Carlo Borromini and 
 finished in greater part by Bernini. It is one of 
 the most magnificent, palaces of Rome and con- 
 tains some line paintings. 
 
 On the stairs £(re several statues and an 
 antique lion, the frescoes of the great hall by 
 Pietro da Gorjlona are considered by their in- 
 vention , finish and execution as the best work 
 of that artist; The subject alluded to is. the pon- 
 tificate of Urban VIII and the triumph of glory 
 expressed by the attributes of the Barberini 
 house; the painter has divided the ceiling into five 
 compartments, with the Barberini arms in the 
 centre raised to heaven by the virtues in pre- 
 sence of providence, surrounded by time, the 
 pareae, eternity and several divinities. The first 
 picture represents Minerva fulminating the giants , 
 the second religion and faith; on the sides plea- 
 sure and- Silenus , the third justice arid abun- 
 dance ; beneath charity and flercules killing the 
 Harpies, an allusion to the chastisement of the 
 wicked. In the centre of the fourth, the churph 
 and prudence , beneath, the forge of Vulcan, and 
 peace closing the temple of Janus. 
 
 The apartments contain a fine collection of 
 pictures , a portrait by Guido which it is cus- 
 tomary to consider as that of Beatrice Cenci, 
 and one said to be the Fornarina. 
 
 The Library which is open to the public 
 on mondays and thurdays contains fifty thousand 
 volumes and many valuable manuscripts. 
 
H' 
 
 
 
 o 
 
Fourth day 237 
 
 In the adjoining gardens stood , it is ge- 
 nerally beleiyed, the old Capitol built by Nunia 
 Pompilius , composed of a small temple with 
 three « edicoli » dedicated to Japiter, Juno and 
 Minerva. Similar « edicoli » were placed in the 
 temple of the Capitoline Tore, when this tem- 
 ple was called the old Capitol. 
 
 FOIST AN A DI TREVI. 
 
 The water furnished by this splendid 
 fountain is the celebrated Acqua Vergine so 
 called from the springs having been pointed 
 out to some soldiers by a young girl; it was 
 brought into Rome by Agrippa for the use of 
 his thermje situated behind the Pantheon. The 
 springs are about eight miles from Rome between 
 the Tivoli and Palestrina roads, in a farm. called 
 «Salone»; the acqueduct is chiefly under ground, 
 its extension about 14 miles ; it was restored 
 by Claudius and by Trajan. After passing near 
 the Nomentano bridge it bends to the left and 
 following the declivities of the Pincio passes 
 through the villa Borghese, enters Rome by the 
 Muro torto , proceeds to the Trinita de' Monti 
 where it divides into two branches, one passing 
 through the Via Condotti, the other leading to 
 this fountain. 
 
 Pius IV after having repaired the acqueduct 
 built on this spot forming a tri-oio , or treble 
 way, a fountain with three mouths, and fr^m 
 the word trivio it is supposed tha^ the water 
 and the fountain took the name of TreDii"; Cle- 
 ment XII changed the form altogether on the 
 designs of Salvi and raised the splendid fountain 
 
238 Fourth day 
 
 that now exists ; the statues and has relief be 
 left in stucco were replaced by marble works 
 under Clement XIU. 
 
 Tbe fountain , at one end of the Buon- 
 compagai palace , is decorated with four co- 
 lumns and with corinthian pilasters of travertine; 
 between the columns are bas relief , over the 
 cornice is an attic order with four statues and 
 the arms of Clement XII ; from a mass of rock 
 springs a body of water which falls into a large 
 white marble cup. In the great niche supported 
 by four columns is a colossal statue of the Oceah 
 standing in a car formed of shells and drawn 
 by two sea horses guided by Tritons; in tbe 
 lateral niches are the statues of salubrity and 
 of abundance by Valle , over which are bas re- 
 liefs of Marcus Agrippa and of the young girl 
 who indicated the springs , the works of Bre- 
 gondi and Grassi ; the four travertine statues on 
 the columns represent the abundance of flowers, 
 the fertility of the country , the riches of au- 
 tumn and the beauty of the meadows. On the 
 piazza of the fountain is the 
 
 CHURCH OF SS. rjNCENZO ED ANASTASIO. 
 
 Which was granted by Clement IX to tbe 
 order of the « minori regolari » who attend the 
 infirm. It was rebuilt by Cardinal Mazzarini on 
 the designs of Martino Lunghi , who decorated 
 the facade with corinthian and composite co- 
 lumns ; in the church are paintings by Pietri , 
 Procaccini , Francesco Rosa and Tommasi. 
 
 As this is a pontiG.cal parish from its in- 
 cluding the Quirinal palace, it is customary to 
 
Fourth day 239 
 
 preserve in a subterranean chapel the interior 
 parts of the bodies of the deceased Popes; from 
 Sixtus V to Pius VIII the separate inscriptions 
 are engraved on stone near the high altar. To 
 the right of the fountain is the church af S. 
 Maria a Trevi of a very remote origin having 
 been built by Belisarius, as stated in the inscrip- 
 tion on the external part. It was ceded to the 
 « chierici regolari degl'infermi » by Clement XIII 
 and under Alexander VII the church was rebuilt 
 on the designs of Del Duca. The paintings in the 
 interior are by Bolognese , Gennari , Morelli , 
 Scaramuccia , and Gherardi, 
 
 To the left of the church is the piazza Poli 
 and the Buoncompagni palace ; in the palazz^o 
 del Bufalo is a monument of the acqua Vergine 
 built by Claudius. 
 
 S. ANDBEA DELLE FRATTE. 
 
 At the period of its foundation Rome was unin- 
 habited in this direction and the church derived 
 its denomination from the gardens and vineyards 
 among which it was placed. The church and 
 convent were built by the Bufalo family for the 
 padri minimi of the order of S. Frangois de 
 Paule , on the designs of Guerra; the cupola and 
 belfry on those of Borromini; the chapel of S. 
 Francesco di Paola is decorated with tine mar- 
 bles ; the angels near the high altar are by 
 Bernini ; the painting of the martyrdom of S, 
 Andrew in the centre of the tribune of the high 
 altar is by Baldi , the picture to the right hy 
 Trevisani, the one to the left by Leonardi, those 
 of the tribune and cupola by Marini. Under the 
 
240 Fourth day 
 
 allar of Ihe adjoining chapel is a fine statue 
 representing the death of S. Anne hy Pacetti. 
 In this church are the torribs of several artists 
 distinguished in their day, Angelica Kauffmau , 
 Zoega the archeologist , and of the painter 
 Schadow. The paintings in the cloister relate to 
 acts of S» Francesco di Paola ; at the entrance 
 is the tomb of a Morocco prince who died in 
 Rome in 1739 where he abjured Islamism; in 
 1733 hehad^taken up arms against his uncle the 
 sovereign of Morocco , fled to Spain and thence 
 to Rome. 
 
 ■ ■ ' ' iA^-' "^ ._ _ . - ■■ ■ ^"•^^ ■ ■■ " ''■ 
 
 This piazza derives its appellation from the 
 palace of the Spanish Legation, and is the part 
 of Rome most frequented by travellers. In the 
 middle is a fine fountain placed by Urban VIIl 
 commonly called the « Barcaccia « from the form 
 of "a barque given to it by the elder Bernini. 
 
 Nearly opposite is a literary establishment 
 at No. 79 where the present guide is published 
 containing reading rooms and a. circulating li- 
 brary- of English and American papers and pub- 
 lications. Commissions are received for. all 
 english and foreign works, there is a book of ad- 
 dresses of strangers. Attached to the establish- 
 ment is an agency for the packing and shipment of 
 works of art at fixed and reasonable rates, At;No. 
 69 a depot of the costumes i of; Rome . and of 
 the adjacent country , engravings of the Papal 
 functions , and a choice collection of coloured 
 views of Rome executed by distinguished artists. 
 
s^ 
 
 
 g '^ 
 
 - irw ■ 
 
■'=Spf^^ 1 i 
 
 :^ 
 
 
 « 
 h 
 <© 
 
 
 1^- 
 
Fourth day 241 
 
 At the extremity of the piazza is the col- 
 lege of Propaganda Fide , commenced on the 
 designs of Bernini and finished by Borromini. 
 It was founded hy Gregory XV and by Urban 
 VIII for the reception of youths of all nations 
 who are instructed in the theological sciences 
 and destined to propagate the catholic faith in 
 the most distant countries. 
 
 What adds to the decoration of this piazza 
 is the fine flight of steps leading la the Trinita 
 de' Monti on the Pincio. It was begun under In- 
 nocent XIII at the expense of M. de GoufCer, 
 a frencb gentleman, on the designs ofSpecchi 
 and was finished under Benedict XIII. 
 
 The piazza di Spagna is supposed to oc- 
 cupy the site of the Naumachia of Domitian in 
 which naval combats were performed for the 
 diversion of the people and the exercise of youth 
 in maritime warfare. 
 
 Various streets branch off from this piazza; 
 the one opposite the steps is called the « Con- 
 dotli » from the passage of the acqueducts of 
 the Acqua Vergine. 
 
 PIAZZA TORLONIA. 
 
 About the middle of this street is this 
 piazza to form which Don Marino Torlonia, 
 Duke of Bracciano, caused several houses to be 
 demolished, and on the designs of the architect 
 Sarti built the hotel d" Angleterre one of the 
 best and most comfortable in Borne, extending 
 along the via Borgognona , a street which has 
 been embellished and in a great measure rebuilt 
 by the Duke. 
 
 18 
 
242 Fourth day 
 
 On the pia/za is Ihe palace in wliich he 
 resides , formerly the Nunez palace , built on 
 the designs of Antonio de'Rossi. After belonging 
 to Lucian Buonaparte , Prince of Canino, it was 
 purchased by the present Duke of Bracciano. 
 One wing extends along the via Condolti , tho 
 other on the via Borgognona, the facade along 
 the piazza. It has been greatly embellished on 
 the designs of Sarli, a celebrated architect and 
 member of the academy of S. Luke who has 
 made the fine staircase , decorated the rooms 
 on the ground floor with allegorical paintings exe- 
 cuted by able artists; one room he painted himself 
 in fresco , in water colours and in oil, together 
 with the picture on the ceiling alluding to phi- 
 losophy. ■ 
 
 In the new wing on the side of the via Bor- 
 gognona is the chapel with frescoes by Mbrani. 
 
 Amongst the pictures existing in the palace 
 thoSe most distinguished by their merit are the 
 following : the interior of S. Peter's by Bombelli; 
 the church of S. Paul without the walls before 
 its destruction by fire, BomieZ?»-, Torquato Tasso 
 at S. Onofrlo, Agricola; the entry of Francesco 
 Sforza into Milan, Camuccini; the death of Leo- 
 nardo da Vinci , Cavalleri ; Coriolanus before 
 the walls of Rome, (JamMccjnj; the roman ladies 
 offering their jewels to the Consul for the expen- 
 ccs of the war , Camuccim; a portrait', size of 
 life , of the Duke Salvator Cesarini ^ Agricola; 
 Tasso and EleOnora by Count Marlinengot, Lucia 
 receiving Cardinal Borromeo , a subject taken 
 from the « betrothed lovers » of Manzoni , by 
 Coghetti ; Faith by Sigueira a porlugueze ; the 
 Crucifixion of our Saviour by Jffetsue formerly 
 
Pburlh day 243 
 
 in the Fesch gallery ; an old man mending a 
 fea , a. Flemish piece 5 a large landscape re- 
 presenting « Muzio Attendolo Sforza » throwing 
 his hatchet on a tree and as it remained there 
 he embraced the career of arms, by the Marquis 
 tC Azelio^ the author of many celebrated histo- 
 rical romances. The palace is embellished with 
 stucco and other ornamental works, and is fur- 
 nished in a style uniting elegance to splendour. 
 The street towards the north west of piazza 
 di Spagna is called Babuino from the statue of 
 a satyr disfigured by lime placed over a foun- 
 tain. At the top of the steps is the 
 
 tUBELISK OF THE TRIfHTU DB' MOSTl 
 
 This obelisk was raised in 1789 by Pius YI 
 under the direction of Anlinori. It is of egyptian' 
 granite with hieroglyphics, 63 palms high without 
 the pedestal, and formerly stood in the circus 
 of the gardens of Saliust. It was found in a corner 
 of th0 piazza Laterana, haying been taken thei-« 
 under £iement XII who intended to place it near 
 the principal opening of the basilic. 
 
 The church of the Trinita de' Monti so called 
 from being situated on the Pincian which was 
 not comprized in the seven hills but was origi- 
 nally called » Gollis Hortorum » from being oc- 
 cupied by the gardens of Saliust, of Lucullus and 
 Domitian. The church with the annexed convent 
 once b elonged to the minimes of S. Francois d« 
 Paule but is now the property of the french 
 Buns of the SacH Cmur. It was founded by 
 Charles VIII Mng of France at the instance of 
 S. Francois de Paule in 1494 and was conse:- 
 
24 i Fourth day 
 
 crated by Sixlus V in 1585. The Cardinal de 
 Macon adorned it with paintings; about the year 
 1798 it was abandoned and was closed till 1816 
 when it was reestablished by Louis XVIII king 
 of France on the designs of Mazois; it has been 
 subsequently embellished with paintings by the 
 students of the french academy. 
 
 In the first chapel to the left is Christ libe- 
 rating the .demoniac , by Foreslier; the frescoes 
 representing various acts of the Redeemer's pas- 
 sion arc by Nebbia. In the next chapel a gra- 
 ceful statue of the Virgin , a copy of the Ma- 
 donna della Seggiola , frescoes of Adam and Eve, 
 and the nativity of Christ by Ccsare di Piemontc; 
 those on (he ceiling by Cedaspe , a Spaniard ; 
 between the pilasters a Daniel by Duprd and a 
 David ; the picture in the third chapel is a copy 
 of the celebrated painting of the deposition from 
 the cross by Daniel da Volterra which is pre- 
 served in the sacristy ; this copy is supposed 
 to be by Nicholas Poussin; the frescoes are also 
 by Volterra ; the S. Victor over the pilaster (o 
 the right is by Dupre; In the fourth chapel is 
 a fine « Ecce homo » by Biscara. In the follow- 
 ing chapel is the apparition of the Redeemer to 
 the Magdalen, la the sixth is a large painting 
 by Thevenin representing S. Louis IX depositing 
 on the altar the crown of thorns brought from 
 the holy land; the frescoes of the altar by Pierin 
 del Vaga represent various acts of the Madonna; 
 the Assumption also in fresco was commenced 
 by Taddeo , and finished by Frederick, Zuccari 
 who painted the coronation of the Virgin over 
 the sacristy door. In the sacristy is the cele- 
 brated picture of the deposition of Christ , a 
 
Fourth day -245 
 
 classic ■flrork by Daniel da Volterra, to TvhicM 
 has been assigned the second place after the 
 transGguration of Raphael ; it has suffered much 
 in the colouring but the design and composition 
 are full of merit; the high altar has been raised 
 on the designs of Champagne; in the little chapel 
 opposite is a repose in £gypt by ,Sclinetz ; the 
 frescoes in the chapel after that of S. Francis 
 are by an unknown hand and resemble the ancient 
 style; they represent the resurrection, assumption, 
 the coming of the holy Ghost. In the following 
 chapel , the fifth to the right entrance, are fres- 
 coes of the school of Raphael , the flagellation 
 in the next chapel is by PailliSre, the frescoes 
 by Paris Nogari; the paintings of the last chapel 
 but one were executed on the designs of Daniel 
 da Volterra by his scholars Alberti, Rosetti etc; 
 the picture in the following chapel of Christ 
 giving the keys to S. Peter is by Ingres'; in the 
 last chapel the baptism of Christ and the frescoes 
 are by Naldini. 
 
 At the end of the road to the right of this 
 church is the entrance to the public garden made 
 under Pius VII by the architect Valadier. In 1 822 
 the egyptian obelisk found in the Vatican gardens 
 was raised on this spot. 
 
 TSE FRESCB ACADEUT 
 
 This palace , together with the yilla , was 
 begun by Cardinal Ricci in 1550 on the designs 
 of Lippi , excepting the facade towards the Yilla 
 ■which is attributed to Ruonaroti. It was pur- 
 chased by Cardinal Alexander de'Medici, elected 
 to tho papacy under the name of Leo XI, who 
 
 18* 
 
246 Fourth day 
 
 cmbcllisbed il and although within the walls it t» 
 a mile and a half in circuit; the silualion coni-> 
 mands nearly the whole horizon presenting to th® 
 eye a gallery of landscapes and of architecture . 
 The palace and villa having passod intoi 
 the possession of France, it is now the Aeademy 
 of the fine arts founded in Rome by Louis XIV, 
 in 1 666. The academy is composed of a director 
 and of sixleen pensioners selected amongst : the 
 students who have obtained at Paris the pre- 
 miums in sculpture , painting and architecture. 
 It contains a collection of casts of the master 
 pieces of ancient sculpture scattered in the mu-, 
 scums and galleriesof Rome, and of books treat-? 
 ing of the fine arts. The public walk of the 
 Pincio leads to the piazza and porta del Popalo 
 beyond which i? the entrance to 
 
 THE VILLA BORGHESB 
 
 This villa, belonging to the Rorghese family, 
 was formed under the pontificate of Paul V by 
 Cardinal Scipio Rorghese on the designs of Van- 
 sanzio a fleming. It was enlarged at the close 
 of the last century by the Prince Don Marcanr 
 tonio , and has been greatly embellished by his 
 sons the Princes Camiilo and Francesco, on the 
 designs of Canina the architect. To the first 
 epoch of the villa belongs the eastern part; to 
 (he second the centraPj ahd to the third the west- 
 ern part comprizing the splendid entrance near 
 the Popolo gate built on the model of the most 
 celebrated propilei of Greece and Asia Minor, 
 taken from the temples of Athens , ofEleusis, 
 Miuerra Suniades and Minerva Prieosis, and forr 
 
Fourth day 247 
 
 miag by the elegance of the work a perfect mo- 
 numeatof the greek stjle. The carriage entrance 
 is through two fine tetrastjle porticoes of the 
 doric order with a cella on each side. Over the 
 porticoes are an eagle and a, dragon, the arms 
 of the proprietors, at the end of the large alley is 
 a fountain where the road branches off into 
 two directions ; on that to the left is a trium- 
 phal arch on the model of the antique with a 
 statue of Septimius Severus between two slaves; 
 behind it is the lake embellished with a telras- 
 tyle temple and an antique stt^tue of Escula- 
 pius. The road to the right passes through the 
 pylon of an Egyptian temple before which are 
 two obelisks with hieroglyphics; these monu- 
 ments unite the new villa to that of the Prince 
 Marc' Antonio. Near the ancient entrance to the 
 right, formed on the design of that of the Adriana 
 villa , an angle of the, Muro Tor to is perceived, 
 which had the same bend in the time ofBcli- 
 sarius. This wall belongs to the latter period 
 of the Republic having been built, together with 
 the adjactjnt substructions , by Domitius JEno~ 
 barbus to prop up the horti Dotnilii; to the 
 right of the entrance into the middle villa is 
 the casino of RaphacL At a short distance after 
 passing the acqneduct of the acqua Alessandrina 
 is the temple dedicated te Diana, and the valley 
 serving as an hippodrome of the same dimen- 
 sions as the piazza di Sieua. Opposite, a temple 
 in ruins sacred to Antoninus and Faustina, and 
 near it a kind of feudal castle ; on the road 
 leading to the villa a fine fountain decorated 
 frith four horses. 
 
248 Fourth day 
 
 rue PALjcB AND uaseifu. 
 
 The palace was built by Cardinal Scipio 
 Borgfaese on the designs of Vansanzio ; the in- 
 terior was renewed by Don Marc'Antonio who 
 formed the museum of ancient sculpture which 
 was transferred to Paris in 1 808;a new coUect'- 
 ion has been subsequently made under the 
 direction of the architect Canina and of the 
 sculptors d'Este and Laboureur. 
 
 The portico 90 palms in length and 26 in 
 breadth is divided by five large arches mixed 
 with doric pilasters ; the two bas reliefs repre- 
 senting triumphs belonged to the arch of Clau- 
 dius, on the piazza Sciarra ; the colossal torsi 
 are finely executed ; a bas relief represents a 
 battle between the Romans and the northern bar- 
 barians; another is allusive to the origin of Rome; 
 a rare monument is tbat of Orvius and CoiviuS 
 Nasica representing a magistrate preceded by thre« 
 lictors, and the figure relating to Julius Miletus 
 who designed labyrinths ; to Flavia Variana , the 
 daughter of Flavins a freedman of Vespasian and 
 Titus, found at Gabii in 1792 ; the Saloon is 
 90 palms long, 60 wide and 76 high]; the cei- 
 liag painted by Rossi in fresco represents tluj 
 combat between Camillus and Brennus; the fi- 
 gures of animals are by Peter , the cameos iii 
 relief by Pacetti , Monti , Laboureiir, Carradori 
 and Salamei; the circuliar bas reliefs over the 
 doors and windows by some of these artists; on 
 these have been placed the busts of the twelve 
 Cesars, the heads of white marble, the drape- 
 ries in antique coloured marbles ; eight jonic 
 
Fourth day 249 
 
 granite columns of the Simplou , the pede&tals 
 of which lined with seme sanlo , a rare brec- 
 cia , support figures in relief and the Borghose 
 arms. 
 
 At the left entrance is a statue of Diana 
 to which the restorer has given the head of a 
 roman matron and the attributes of Lucina ; 
 a fine antique head of Vespasian in pentelic mar- 
 ble on a bust of porta santa ; a tine colossal 
 head of Isis with the lotus ; a dancing Faun lar- 
 ger than nature on a pedestal with an antique 
 Bacchanalian bas relief ; the colossal heads of 
 Isis and of Diana of an exquisite work with 
 the ears bored , an indication of the inaures 
 or earrings; a head of Tiberius , an ancient sta- 
 tue of Jupiter with the eagle at his feet resto- 
 red for a Domitian and placed on a sepulchral 
 ara ; a statue of Meleager in repose of line exe- 
 cution ; one of Caligula wearing the toga the pe- 
 destal being a very fine sepulchral ara of Fla- 
 via Dafne. Over the door is a bas relief of a Bac- 
 chanalian festival and a figare on horseback res- 
 tored for a Curtius, forming part af a larger mo- 
 nument , a finely draped statue of a priestess on 
 a quadrilateral sepulchre on which is an inte- 
 resting epitaph in greek verse of a celebrated 
 dancer named Musa ; a Faun striking the cym- 
 bals , a statue with the toga on a square ara 
 representing a sacrifice to Minerva; a head of Ves- 
 pasian in porphyry on a bust of flowery ala- 
 baster ; a colossal head of Adrian in fine pre- 
 servation, on the pedestal an antique bas relief 
 of a nereid ; a statue of Bacchus crowned with 
 ivy on a pedestal with the bas relief of a sa- 
 crifice to Bacchus ; a colossal head of Antoni- 
 
250 Fourth day 
 
 nus of a very fine work and in perfect preser- 
 ration i a head of Adrian and a fine. statue of 
 Diana. 
 
 BJl.1. OF CERES > 
 
 .This hall derives its name from its princir 
 pal monument : it is ornameated with fluted 
 pilasters of the composite order and stuccoes 
 modelled on the antique by Pacetti and Penna; 
 the ceiling is divided into various grotesque com^ 
 parlments by Marchetti with fifty mythological 
 subjects by Dc AngeHs. In the middle of the hall 
 is a pentelic marble vase with has reliefs and 
 ivj leaves placed on a triangular chandelier of 
 very ancient work, representing Bacchus, Mer- 
 cury and Venus 5 near this vase are two cups of 
 porphyry on granite pedestals ,-,. around the^.liaJl 
 to the left is a very fine greek hermes of ApoUo 
 in pentelic marble ; a statue of Urania of an 
 elegant execution on a round ara covered with 
 Bacchanalian has reliefs ; a statue of Ceres in pen- 
 telic marble of exquisite work, the size of na- 
 ture, which may be considered as the finest known 
 of this goddess and one of the most celebrated 
 works of Sculpture ; a Venus in the act of drop- 
 ping the peplon and preparing for the bath , a 
 work of the fine period of art placed on a round 
 Bacchanalian ara; a has relief representing a phi- 
 losopher followed by an old woman carrying a 
 basket of fruit. In the niche a fine portrait of 
 Alcibiades larger than life; another has relief re- 
 presents five of the muses before a portico ; 
 in the niches busts of Diadumenianus, of Julia 
 Pia, the rape of Cassandra in bas relief; a bust 
 
Fourth day 25\ 
 
 of Garacalla in his youth; a Sne.hearded bermes 
 of Bacchus of the greek chisel ; a female statue 
 unknowa standing on a fine round ara sacred 
 to Jupiter, another veiled female-' statue ; one 
 of Polymnia, restored as Flora, on a round ara 
 representing a sacrifice; the celebrated has re- 
 lief of the education of Telephus , an exquisite 
 ■Work of the time of Hadrian resembling a ca- 
 meo, found in 1 760 in the farm of « Torre nuoTa»; 
 a head of Septimins Sererus;: two busts unknown- 
 a chandelier with leaves / a Venus and Cupid ; 
 a has relief of Apollo with four muses ; Cupid 
 on horseback and an eagle holding a thunder- 
 bolt ; two unknowir busts and one of Galba. 
 
 ir. Hall of Hercules, so called from con- 
 taining subjects relative to that hero. It is filled 
 with camei separated into compartments by Ri- 
 gfai ; on the ceiling is the fall of Phaeton by 
 Oaccianiga. In the centre an Amazon who has 
 overcome Hercules and Theseus ; the pedestal is 
 modern , the has reliefs placed on it are antique. 
 Beginning by the left from the hall of Ceres, a 
 head of Antoninus Pius ; in a niche a fine; sta- 
 tue of Hercules draped like the Farnese Hercu- 
 les ; beneath a large sarcophagus expressing fire 
 of the labours of Hercules : the death of the Ne- 
 mfean lion , the killing the hydra , the Erimanl- 
 hean boar, the stag with the bronze feet, the 
 destruction of the stymphalides. On the lid are 
 two large masques and in the centre a rich com- 
 position of the arrival of the Amazons to the 
 assistance of Troy. A colossal head of Hercules 
 covered with the lion's skin taken from the se- 
 pulchral ara of Lucius Eutichianus, In a niche a 
 female bust unknown ; a fine vase of phrygian 
 
ZSa Fourth day 
 
 marble on a cippus ; a bust ofllie elder Faust- 
 ina ; a hermes of Sylvanus , a sarcophagus with 
 Tritons and Nereids ; a fine architectural orna- 
 ment ; a has relief representing the three Capi- 
 toline divinities between the Dioscuri , the sun 
 and moon , a hermes -oi Faun ; in the niche a 
 bust of Sabiaa , a pavonazzetto vase, a bust of 
 Juno veiled apd w%arin^ the diadem ; a colossal 
 head of PerlatSx sontlie sepulchral ara of Clau- 
 dius Felix ;^ithih;a 'niche a statue of Hercules 
 crowned with ivy ^ folding in his right hand the 
 clava, in his left the apples of the garden of 
 the Hespcrides. The sarcophagus beneath , by the 
 she , execution an4 subject of the has reliets , is 
 analogous to the One already, described ; it re- 
 lates to five Other labours of Hercules; the victory 
 over the Marathon bull , over Geryon , the Ama»- 
 zon , Echidna, and the centaur Nessos ; on the 
 lid two large 4Q'asques, several figures of gods; 
 in the centre Jupiter' holding a spear with a 
 globe at his foot and near him Hebe and Gany- 
 mede; Thetis taken away from her father Nereus 
 to be given in marriage to Peleus. In a niche a 
 bust of Alexander of fine work , a child on a 
 column of red granite ; in the niche the bust 
 of a female unknown. On (he pedestal bearing 
 an inscription to Titus Trifonius is a fine slatuu 
 of Venus; on a quadrilateral ara sacred to Apollo 
 and Diana having symbols of the crow, the stag , 
 the lyre and the dog, is a small statue of Diaua 
 and on a pedestal inscribed to M. Ulpius Eliade« 
 a statuo of Apollo with the lyre; the last mo- 
 nument of this hall is a small seated statue of 
 Anacreon crowned with vine leaves, holding in 
 
Fourth day 253 
 
 his riglit hand a banch of grapes , in his left a 
 cup; it is placed oa a column of red granite. 
 
 III. Hall of Apollo and Daphne so called 
 from the celebrated group of this subject by 
 Bernini. It has suQered less than others in its 
 decoration and contains many remarkable mo- 
 numents of modern sculpture , si\leen pilasters 
 and four red granite egyptiau columns on a gra- 
 nite basement with capitals of a carious com^ 
 position ; the first landscape by Moore represents 
 the celebrated valley of Tempe in Thessaly; the 
 second by Labruzzi, Daphne and Apollo in the 
 midst of a fine countryj scenery ; the paintings of 
 animals by Peter are finely coloured and exe- 
 cuted. On the ceiling is an oil painting by An- 
 geletti of Apollo and Daphne. In the centre of 
 the hall is the celebrated group , of a natural 
 size , of Apollo and Daphne by Bernini ; if justly 
 criticized as mannered and wanting in truth it 
 is admired for the perfection of the work ; it 
 stands on a pedestal analogous to the monument 
 and the inscriptions allude to the subject; one 
 is by Barberini who became Pope Urban YIII, 
 the other is taken from the metamorphoses of 
 Ovid. On the left of the hall of Hercules is a 
 modern dark grey figure with white drapery hol- 
 ding a dog and caressing a child , a work of 
 the XVII century ; it stands on an antique chan- 
 delier similar by the subject and the work to 
 the one still existing in the church of S. Agnes 
 without the walls. In the niche is a modern group 
 representing jEneas bearing Anchises , his Pe- 
 nates, and followed by Ascanius carrying the 
 sacred fire , it is undecided whether the work 
 is by Bernini or by his father Pietro ; to the right 
 
 19 
 
254 Fourth day 
 
 and left are a modern and anlique grunp of a 
 stag and goal. Opposite the group of :/£neas is- 
 an image of sleep under the figure of a child 
 in nero antico willi the attributes of a dormouse 
 and a poppy ; a child in pentelic marble hold- 
 ing a duck in each hand , an antique work ; a 
 fine \'ase with a has relief allusive to winter bj 
 Laboureur who executed the three others re- 
 j)resenting the other seasons ; the two children 
 plaving wiih a goat are of the XVI century; 
 David in the act of lancing the sling at Go- 
 liath , a statue praised by Bernini for its expres- 
 sion; a modern group of three children sleeping- 
 on a nero autico table of the XVII century. A 
 fine antique bust of pentelic marble representing 
 Lucilla, larger than life, standing on a red gra- 
 nite column , and a lion in alabaster. 
 
 In the cabinet a fine granite table with an 
 alabaster cup; busts of Marcus Aurelius in his 
 youth, and of Sabina the wife of Hadrian. 
 
 The Gallery, paraletl and equal in length 
 to the saloon, is adorned with ten giallo antico 
 pilasters with gilt capitals ; between each pilaster 
 is an hexagonc cameo of statuary marble on a 
 blue mosaic ground ; above are eleven bas re- 
 liefs by Carradori , Laboureur , Penna , Righi , 
 Pacetli and Salimbeni who also executed the 
 camei on the designs of Conca ; the arabesques 
 are by Marchctti , the Galatea by De Angclis. 
 Over the lateral doors arc four bas reliefs al- 
 lusive to the seasons ; the monuments are placed 
 iu niches or on cipollino and granite columns; 
 those in the niches represent a muse restored 
 with a comic masque, two Dianas , two Bacchus , 
 and Thetis with the peplon; those on columns 
 
Fourth day 255 
 
 a small stalue of Telephorus , Bacchus, a young 
 faun, a Venus, Paris, a nymph, an infant 
 Hercules ; another Telesphorus , a bacchante , a 
 faun ; a third Telesphorus , Achilles , a priestess 
 of Isls, two statues of Venus ; a portrait unknown 
 of a youth represented as Hercules, a hero with 
 the chlamis , a statue unknown, Pallas and Faun, 
 several, porphyry busts of emperors ; a sareogha- 
 gus in porphyry said to have been found in the 
 mausoleum of Hadrian ; four porphyry tables , 
 several alabaster vases and cups particularly one 
 in ophix a very rare stone described by Pliny. 
 
 CABINET OF THE HERMAPHRODITE 
 
 So called from the celebrated statue of Pa- 
 rian marble found near the church « della Vit- 
 toria » under Paul V; the pavement is composed 
 of an ancient mosaic with graceful meanders; in 
 the centre a fishing boat with two fishermen 
 found at »■ castello Arcione » on the Tiburtinc 
 way. The niche apposite the hermaphrodite was 
 painted by Marchetti , the oil paintings are by 
 Buonvicini , the landscapes over the doors by 
 Ultikins. On the left a female statue unknown 
 restored with a comic masque ; a Bacchus bet- 
 ween two cupids , one playing with a bird , the 
 other weeping from having his legs fettered ; 
 a male statue unknown , and in an edicola sup- 
 ported by red porphyry columns, the celebrated 
 statue of the hermaphrodite which , though cor- 
 roded by earth and deprived of its epidermis , 
 still preserves the greater part of its beauty by 
 the truth of the. design and execution. Near it 
 are an alabaster and a breccia corallina vase , 
 
256 Fourth day 
 
 copies of the child in the capitol ^ and of the 
 recumbent Venus of the Vatican ; heads of Ti- 
 berius , Scipio Africanus , a bust of the genius 
 of the RomaTi people , a hermes of Mercury and 
 a richly worked florenline table with rare and 
 precious stones on which is a small group of 
 Venus and Mars. 
 
 IV. Hall of u^pollo , so called from a rare 
 statue of that god ; the hall contains sixteen 
 pilasters , four massive columns of breccia co- 
 rallina 1 6 palms high , with basement of Spanish 
 brocatello; Ihe council of the gods is by Pecheux: 
 the bas reliefs representing the pyrrhic dance of 
 the Corybantes by Pacelti , the landscapes by 
 Thiers. In the centre a large chandelier of Liini 
 marble ornamented with masques , arabesques , 
 animals , and leaves -, a statue of Pallas on a table 
 of red oriental granite , a fine rOsso antico cup 
 with three handles between two marble vases of 
 nero antico ,, with handles in the form of eagles' 
 heads, and an alabaster vase with dolphins. The 
 statue of Apollo holding the griffin in the right 
 hand and placed near a tripod is of pentelic 
 marble , of the early greek style and very im- 
 portant for the history of art. Near the windows 
 to the north are two splendid nero antico vases 
 with serpents for handles ; a colossal head of 
 Lucilla on a cipollino column ; a portrait of 
 Paul V in bronze bas relief; a female recum- 
 bent figure, formerly on the lid of a sarcophagus, 
 holding poppies ; three alto relief reman portraits 
 unknown ; the statue of a nymph holding a cup 
 similar to one in the Vatican museum; over a red 
 granite table a bas relief representing a festival 
 by the fleming ; the infants in nero antico on a 
 
Fourth day, 257 
 
 ground of lapis lazzuli ; a Leda finer than the 
 one in the Capitol by the style and preservation ; 
 a female veiled statue unknown ; a male recum- 
 bent statue with the toga on a sarcophagus car- 
 ved with Tritons and Nereids ; Esculapius with a 
 Telesphorus. 
 
 V. Or Egyptian hall , the decorations are 
 very splendid ; on each side are four red orien- 
 tal pilasters , near the doors leading to the sa- 
 loon columns of nero antico, the « edicole»sup- 
 ported by granite columns, the paintings by Conca, 
 in the centre a fine group of Faun riding on a 
 dolphin , a vase of oriental alabaster on a gra- 
 nite cippus , a fine statue of Isis , a rare rose 
 alabaster vase , a hermes of Bacchus crowned 
 with ivy, the head of bronze , the hermes of 
 alabaster^ the first side is completed by an oval 
 granite cup on a pedestal of colonna granite ; 
 on a black pedestal is a sphinx in basalt, in an 
 K edJGola » a statue of Ceres with a grey mar- 
 ble drapery, on the third side an oval cup on 
 a granite stand, a statue of a draped gypsy a 
 work of the XVIII century; a female statue un- 
 known of the early greek style between two fine 
 alabaster vases. On the last side is a beatiful 
 vase of ophix , unique by its rarity, by the fexe- 
 cution and elegance of the form; it is between 
 two porphyry and two alabaster vases, the pa- 
 vement contains a mosaic representing the «/«- 
 dus » of the ancient Italians ; a hermes of Bacchus 
 with a bronze head and bust of flowery alabaster. 
 VI. Hall of Bacchus so called from a group 
 of the early greek style representing Bacchus 
 and Proserpine , a rare monument of the ancient 
 theogony 5 the has reliefs over the doors arc by 
 
 ■J9 ♦ 
 
258 Fourth day 
 
 Kiglii , llie paintings by Concha , the ornaments 
 by Marcbetti; in the centre a chandelier for- 
 ming a group of three female figures with si- 
 lenic masques and leaves , standing on an ara of 
 victory ; ;o the left of the egyptian hall a Ceres 
 veiled and wearing a diadem, a seated Mercury 
 vrith the pallium , on the pedestal an antique 
 has relief representing tvro genii and a Triton ; 
 another has relief with Polymnia , Thalia j Mel- 
 pomene , Euterpe , Erato and their attributes , 
 a fine Faun striking the tymbal , a female bust 
 unknown , a faun copied from the statue of 
 Praxiteles, Pluto with Cerberus at his feet. Above 
 a bacchanalian has relief; a statue of Antoninus 
 Pius , a satyr playing on the bag pipe placed on 
 the sepulchral monument of C. Julius Metro- 
 dorus ; the fragment of a has relief representing 
 the death of Adonis , a pretended bust of Se- 
 neca , the statue of a young female unknown , 
 a philosopher seated ; the muses Clio , Urania , 
 Erato and Terpsichore in has relief, portrait of 
 a female restored as Thalia ; a head of Scipio 
 Africanus , a female statue , a portrait under the 
 form of a muse to which the restorer has ad- 
 ded the attribute of a patera , a rare group of 
 Liberus and Libera , or Bacchus and Proserpine, 
 a fine statue of Poiymnia and a female bust unk- 
 nown under the form of Venus ; a has relief re- 
 presenting nereids and cupids riding on Tritons 
 carrying a shell, supported by another cupid bet^ 
 ween whom is Venus holding the torch. 
 
 On the second floor are chimnies of ame- 
 thyst , rosso antico , porphyry and some fine pain- 
 tings , amongst others a portrait of Paul V 
 by Garavaggio ; pictures by Peter representing 
 
Fourth day 259 
 
 animals , others by Gavin Hamilton , statues of 
 Paris and Helen by Penna , four bas reliefs of 
 giallo on a porphyry ground by Pacetti ; this 
 floor commands an esLtensire view of the envi- 
 rons of Rome. To the right of the villa is 
 
 THE PORTA PI NCI AS A 
 
 So called from the Pincian hill on which 
 it is situated , and closed as not being requisite 
 at the ptesent day. It was originally built by 
 Honorius and repaired by Bclisarius who called 
 it after his own name , but it soon resumed its 
 primitive appellation. It has bi;en related that 
 this celebrated captain incurred the displeasure 
 of Justinian , that blind and miserable he was 
 compelled to ask alms, but Muratori has long 
 since proved by positive documents that this 
 tradition is altogether fabulous. 
 
Missing Page 
 
Missing Page 
 
262 Fifth day 
 
 it was destroyed during a popular cOTamotion 
 and since llien it has been left in ruins. 
 
 Mutilated by time and by the hand of man 
 little idea can be formed of its pristine magni- 
 ficence without the accurate description left by 
 Slrabo , a contemporary of Augustus and Tibe- 
 rius. This geographer says « that the Mausoleum 
 « was worthy of a particular mention, that near 
 « the river on a high marble basement rose a 
 « tumulus, planted and shaded with evergreens 
 « up to the summit , where the bronze statue 
 « of Augustus stood 1 that under the . tumulus 
 « were his own tomb , and those of his rela- 
 «■ lives and servants ; that behind the tumulus 
 « was an extensive wood with fine walks ; in 
 . « the centre the Vstrinum in white marble 
 « where the bodies were burnt, enclosed within 
 <' an iron railing and planted with poplars ». 
 To this description it is necessary to add that 
 the entrance to the Mausoleum was towards the 
 south , and that like the tombs of th« Egyptian 
 kings at Alexandria it was ornamented with two 
 red granite obelisks without hieroglyphics which, 
 not being mentioned by Strabo were added 
 subsequently , perhaps by Claudius. 
 
 At the present day nothing remains but the 
 nucleus of the basement stript of its marble 
 blocks ; the style is a reticular tufa work ,. the 
 total diameter 200 ancient roman feet. Around 
 the circular building were situated the sepul- 
 chral rooms indicated by Strabo , found to be 
 1,3 besides the one leading into the interior. The 
 centre formed a large round hall , 1 30 roman 
 feet in diameter , covered by a roof which on 
 Ibe exterior was planted with trees; this roof 
 
Fifth day 263 
 
 fell in and formed a plalform on which , at 
 the end of last century , steps and boxes were 
 built thus rendering the central hall an amphi- 
 theatre used for equestrian exercises , scenic 
 representations and other spectacles; the sepul- 
 chral chambers have become stables ; the obe- 
 lisks are at S. Maria Maggiore and at the Qui- 
 rinal. In the excavations made in 17^7 on the 
 foundations of a house in the Corso opposite 
 the via della Groce , various blocks of traver- 
 tine were found , on which were inscribed the 
 names of the children of Germanicns, of other 
 members of the Imperial family, some with (he 
 epigraph Hie crematus est , a proof that the 
 UsCrinnm of the Emperors extended (o the via 
 Flaminia occupying the spate between the streei 
 and the Mausoleum; in this escavation the splen- 
 did alabaster cotognino vase was found which 
 is now at the entrance of the cabinet in the 
 Vatican museum; this vase probably contained 
 the ashes of the unfortunate children of Ger- 
 manicns. On the via Bipetta is the 
 
 CHURCH OF S. ROCCO. 
 
 Built on the designs of De Bossi in 1645 
 by the fraternity of the annexed hospital ; Ihe 
 facade by Yaladier was finished in 1832 at the 
 expense of Vitelli. The altar piece of the second 
 "chapel representing S. Boch and S. Anthony is by 
 Baciccio , that of the high altar hy Brandi, and 
 of the presepio chapel by Baldassar Peruzzi ; 
 the hospital is destined for poor lying in women. 
 
264 Fifth day 
 
 PORTO Dl RlPETTA, 
 
 These steps were made by Clement XI on 
 the designs of Speech! in order to afford an easier 
 communication with the banks of the river , and 
 are formed of the travertine of an arch of the Co- 
 losseum which fell during the earthquake of 1 700; 
 it serves as a landing place for the coal, wine, 
 oil and provisions brought by the river from Ilm- 
 bria and the Sabine country. At the lop of the 
 steps is a fountain between two columns mar- 
 king the encrease of the Tiber in its inundations 
 the highest point hitherto attained being thai of 
 1598. 
 
 Opposite is the church of S. Giovanni de' 
 Schiavoni to which nation it was given by Ni- 
 cholas V ; it was rebuilt by Martino Lunghi 
 under Sixtus V , and decorated with paintings 
 by Gerutti , Andrea d' Ancona, Viviano, Nogari, 
 Guidotti, Nucci , Yang and del Bastaro ; the 
 lodge annexed to the Borghese palace, suppor- 
 ted by columns and pilasters, is by Flaminio 
 Ponzio. 
 
 PALAZZO BORGHESE. 
 
 This palace , one of the most magnidcent of 
 Rome, was begun by Cardinal Dezza in 1590 
 on the designs of the elder Lunghi , and finish- 
 ed by Pope Paul V Borghese on those of Fla- 
 minio Ponzio ; the form is that of a cymbal , 
 the court yard square with a double row of 
 arches over which is a corinlhian attic ; these 
 arches are supported by 96 doric and corinlhian 
 granite columns forming a platform ; on the first 
 
Fifth day 265 
 
 story are two open porticoes with three colos- 
 sal statues of Julia Pia , Sabina , and Ceres. 
 
 The apartment on the ground floor contains 
 a rich and choice collection of paintings divided 
 into eleven rooms. 
 
 I Room; on the left a Trinity by Leonardo 
 Bassano ; the Madonna child and two apostles, 
 the conversion of S. Paul , Garofolo ; the Ma- 
 donna and child , Sassoferrala ; S. Catherine , 
 Agoslino Caracci, a Madonna addolorata, Mar- 
 cello; the Virgin and child, Ghirlandajo; over 
 the doors in two lunettes a holy family by Pol- 
 lajolo; the Madonna, child and S. John, a sketch' 
 in the first manner of Raphael; S. Peter repen- 
 tant , Spagnoletto ; the kiss of Judas , the ado- 
 ration of the Magi, Giacomo Bassano. 
 
 II. Room beginning by the right : a Magda- 
 len, by Agostino Caracci; the Saviour, by An- 
 nibal Carrcci ; a depositiou , Zuccari ; a holy fa- 
 mily , the marriage at Cana, the birth of Jesis 
 the deposition from the cross , all four by Ga- 
 rofolo ; Christ with one of his disciples , Scar- 
 sellino ; S. Francis penitent, Cigoli; S.Jerome, 
 Muziano ; the Madonna child and S. John, Ti- 
 tian ; S. Jerome penitent , the burning of Troy 
 Baroccio; Venus weeping for the death of Adonis, 
 Scarsellino ; a head of S. Francis , Annibal Ca- 
 racci; the chase of Diana, a celebrated work by 
 Domenichino; the Madonna, child and S. John, 
 Pierin del Vaga ; a portrait of Lucretia, Bron- 
 zino ; in the middle of this room is a superb 
 porphyry urn said to have contained the ashes 
 of Adrian and found in his mausoleum , a fact 
 not sufficiently proved. 
 
 III. Room, S. Anthony preaching to the fish, 
 20 
 
266 Fifth day 
 
 Paul Veronese ; the portrait of Pordeaone and 
 his. family painted by himself ; , that of Andrea 
 Sacchi •. Lucilla surprized by the sea spirit, Lan- 
 franc; S. Catherine della Rota, Parmigiano; S. 
 John Baptist in the desert , Paul Veronese ; S. 
 Francis by Annibal Caracci ; a holy family by 
 Pierin del Vaga. In the middle of the room a 
 fine jasper table with the feet of gilt bronze 
 between two antique mosaic tables. 
 
 < ly. Room: S. John Baptist from the. ori- 
 ginal of Raphael by Julio, Romano; two apostles, 
 Buonaroti ; the rape of Europa , d'Arpino ; a holy 
 family Scipio Gaetani ; deposition from the cross, 
 Raphael; the same subject by Garofolo; the Gur 
 nia;an Sybil by Domcnichino ; the visitation of 
 S. Elisabeth , Rubens ; David by Giorgione ; a 
 holy family , Garofolo ; a half figure , school of 
 Leonardo da Vinci. 
 
 V. Room : the adulteress ,.Venitian school ; 
 the four seasons by Albano ; a Venus, Pado- 
 vanino ; a Madonna and child, by Andrea del 
 Sarto; four round pictures representing Joseph 
 and the wife of Putiphar by Lanfranc; the Sa- 
 maritan, Garofolo; Jesus and the Magdalen, Giu- 
 lianelU ; the prodigal child in the first manner 
 of GuefCino; the resurrexion of Lazzarus, Agos- 
 tino Caracci. 
 
 VI. Room: Leda, school of Leonardo da Vinci; 
 Susan, Eubens; Venus and Adonis , Luca Cam- 
 biasi; the Fornarina of Raphael a fine painting 
 by Julio Romano ; the three graces, school of Al- 
 bano ; a Venus and a Salyr, Paul Veronese; a 
 Venus in the sea, Luca Cambiasi. 
 
 Vli. Room: filled with looking glasses or- 
 namented with paintings by Giro Ferri. 
 
Fifth day 267 
 
 Vni. Room: four pictures in mosaic; one 
 Paul V Borghese ; a large picture representing 
 a gallery by a flemish artist ; the Madonna and 
 child , Palma Vecchio; a portrait by Romanelli; 
 a Magdalen by ■ Lavinia Foutana ; a portrait , 
 Bronzino ; sundry small paintings on stone and 
 two very fine tables. 
 
 IX. Room : the prodigal child by Titian ; 
 the conversion of S. Paul , d'Arpino ; a holy fa- 
 mily , Innocenzo da Imola ; the deposition from 
 the cross , Pietro Perugino ; Cupid and Psiche, 
 Dosi of Ferrara ; the adoration of the Magi , 
 Giacomo Bassano; a very fine flemish picture ; 
 a portrait of Cesare Borgia by Raphael ; the re- 
 surrexion of Lazzarus on slate by Agostino Ca- 
 racci; Judith cutting off the head of Hoiopher- 
 nes , by Elisabeth Sirani; the Madonna and child 
 Scarsellino ; a Cardinal painted by Raphael ; a 
 musical concert by Lconello Spada ; a portrait 
 of Pordenone ; S. Jerome by bpagnoletlo ; the 
 Madonna and child, Julio Romano; Divine and 
 profane love, a celebrated work by Titian; tlie 
 Madonna and child , Agostino Caracci ; two sea 
 pieces by Paul Brill; a half figure of a young 
 man holding a basket of flowers , Michael An- 
 gelo Garavaggio. 
 
 X. Room: the return of the prodigal son, 
 by Guercino ; the resurrexion of Lazzarus , Ben- 
 Tenuto Garofalo ; the deposition from the cross 
 Mnziano ; a portrait of Cosimo de' Medici , Bron- 
 zino ; portrait of a female, Garofalo; a Magda- 
 len , by Andrea del Sarto ; a Madonna by Pietro 
 Perugino ; Samson bound to the pillar of the 
 temple , in ihe first manner of Titian ; two por- 
 traits on slate , Bronzino; the'Madonna and child 
 
268 Fifth day 
 
 Scipio Gaetani; the three Graces, a celebrated 
 picture by Titian ; Jesus in presence of the Pha- 
 risee , Titian. 
 
 XI. Room: a holy family, Scipio Gaetani ; 
 the same subject , Andrea del Sarto ; another 
 holy family, Julio Romano ; the Virgin and child, 
 Giovanni Bellini ; the wife of Titian under the 
 figure of Judith , by Titian ; Loth with his daugh- 
 ters , Gherardo delle notti; a portrait of Raphael, 
 by Timoteo da Urbino -, a cook by Caravaggip ; 
 the Madonna and child by Andrea del Sarto. The 
 street opposite the palace leads to the palazzo 
 di Firenze which was built by Vignola and con- 
 tains paintings by Primaticcio and Fontana of 
 Rologna. 
 
 PIAZZA DI CAMPO tlARZlO 
 
 This piazza and the rionc are so called from 
 the ancient and celebrated Campus Martins; the 
 same appellation was given in ancient times to 
 the whole plain extending from the Capitoline, 
 Quirinal and Pincian hills to the Tiber; it was 
 consecrated to Martins or Mars after the expul- 
 sion of the Tarquins to whom it belonged. 
 
 In the origin this place was dedicated to 
 the exercises of the people and to the public 
 meetings for the election of magistrates , but 
 with the encrease of the city it was covered 
 with splendid edifices and in the time of Strabo, 
 under the reign of Tiberius , it was divided into 
 the Campus Martius properly called where the 
 public games were continued , and into another 
 field covered with such large and splendid fa- 
 brics that Rome itself seemed to fprm merely an 
 
Fifth day 269 
 
 accessory. Amongst the edifices alluded to b» 
 Strabo were the theatres of Marcellus , Pompey, 
 Balbus , the amphitheatre of Statilius Taurus , 
 the baths of Agrippa , the Pantheon , the Fla- 
 miniaa circus , the mausoleum of Augustus etc. 
 
 S. MjiDDALENA. 
 
 This church was begun under Clement Xil 
 by de Rossi and finished by Quadri and Sarli 
 who built the facade ; in the chapel of S. Ca- 
 miUo de Lellis are some fine marbles ; the pict- 
 ure of the saint over the altar is by Placido 
 Costanzi , those of the ceiling by Conca, of the 
 lateral walls by his scholars ; the picture over 
 the high altar representing S. Mary Magdalen , 
 by Gherardi ; the lateral bas reliefs by Bracci, 
 the S. Nicholas of Bari in the following chapel 
 by'Baciccio; this church and the annexed house 
 belong to the « Ministri degli infermi » whose 
 mission is to assist the dying. 
 
 S. IIJRJA IN AQUIRO. 
 
 Several persons are of apinion that this 
 church took the denomination of Aquiri from 
 the « Equirian » games celebrated in ancient 
 times in honour of Mars in the campus Marlius. 
 It is now called degli orfanelli from the house 
 annexed in which poor orphans are received. 
 This church was built by S. Anastasius about 
 the year 400, on the ruins , it is supposed , of 
 the temple of Juturna ; it was afterwards rebuilt 
 in 1 590 by Cardinal Salviati on the designs of 
 Francesco da Yolterra with the exception of the 
 
 20 * 
 
270 Ftflh day 
 
 facade by Camparesi at the close of last century; 
 in the chapels are paintings by Carlo Veueziano , 
 Nappi , Buoncore and Speranza. 
 
 In the adjoining lane, called « Spada d' Or^ 
 lando » is a massive CipoUino column , and se- 
 veral similar ones in the adjacent houses which 
 seem to have formed part of a sumptuous portico , 
 probably that of Agrippa ; some autiquaries with 
 little foundatiati altribute them to the temple 
 of Julurna.. 
 
 PIAZZA DEL PANTHEOIf. 
 
 After the devastations of Rome this piazza 
 was covered with ruins when Pope Eugenius IV 
 cleared and reduced it to its ancient level; on 
 this occasion he found before the portico of the 
 Pantheon the two fiae basaltic lions now in the 
 Egyptian museum at the Vatican which probably 
 served as an ornamsnt to the portico if they did 
 not belong to the adjacent thermae of Agrippa. 
 He also found the fine porphry urn now at the 
 tomb of dement XII in the Gorsini Chapel at 
 S. John Lateran; a head of Agrippa in bronze; 
 a horse's hoof in bronze and a fragment of a 
 bronze wheel supposed to have formed part of 
 a iriumphal car probably placed over the fron- 
 tispiece of the portico. Gregory XIU made the 
 fountaiu on the designs of Lunghi , on which 
 Clement; XI raised the obelisk of egyptian gra- 
 nite covered with hieroglyphics found, with that 
 at the Minerva, in laying the foundations of the 
 Dominican convent ; they both belonged to the 
 temples of Isis and Serapis situated near that of 
 Minerva. 
 
Fifth day 271 
 
 THE PJNTHEOK. 
 
 This magnificent temple, the most celebrated 
 monument of ancient Rome , both by its style 
 and preservation , was erected by Agrippa in his 
 third consulship in the year 727 of Rome or 
 27 th before the christian era. By a passage of 
 Pliny it was conjectured that the architect was 
 Valerius Ostiensis , but that architect directed 
 the works of the games of Libonius 166 y^rs 
 before the third consulship of Agrippa. It is 
 evident that the circular part of the monument 
 is detached from the portico , and that the latter 
 was added subsequently , a fact that has given 
 rise to serious disputes among the moderns though 
 it is indicated hy Dio who , while he makes no 
 mention of the building of the monument in 726 
 affirms , that in 729 Agrippa completed the Pant- 
 heon , an expression alluding by some to the 
 construction of the portico. Al any rate it is 
 certain that to Agrippa are to be ascribed both 
 the circular part and the portico since the for- 
 mer is firmly bound to the thermae of which 
 it forms a part , and as these were beyond all 
 doubt built by Agrippa so also was the Rotonda 
 and that the portico is also his work is proved 
 by the following inscription on the frieze : 
 
 M . AGRIPPA . L . F . COS . TERTIVM . 
 FECIT: thus, though some persist in beleiving 
 that the round edifice and the portico are con- 
 structions of two different periods, it is erroneous 
 to suppose that the former was erected during 
 th« republic and the portico only by Agrippa, 
 
272 Fifth day 
 
 both being the work of that distinguished per- 
 sonage. 
 
 By Pliny we learn that this temple was de- 
 dicated to Jove the Avenger , iahd by Dio that 
 it contained the images of Mars and Venus who, 
 possessing the attributes of several divinities gave 
 rise , iu the opinions of the latter writer , to 
 the name of Pantheon which the edifice slill 
 preserves; Dio declares , however^ that the name 
 was derived from the roof being similar to that of 
 heaven , so that the common opinion that it was 
 called the Pantheon from being consecrated to 
 all the gods is without foundation; the statue of 
 Julias Gsesar was also placed in it by Agrippa. 
 Though of the utmost solidity it suffered from 
 fire under Titus and Trajan , was restored bj 
 Domitian , Hadrian , Antoninus Pius , Scptimius 
 Severus and by Caracalla ; of the latter resta- 
 ration the memory has been preserved in the 
 inscription on the architrave by which it appears 
 that this time it was restored , not on account 
 of fire but of its decayed state : 
 
 IMP ., CAES . L . SEPTIMIVS . SEVERVS . PITS . PERi- 
 TIMAX . ARABICVS. ADIABENICVS . PARTHICVS . MA- 
 XIMVS . PONTIF . MAX . TRIE . POTEST . X . IMP . 
 XI . COS . Ill . P . P . PROCOS . ET . IMP . CAES . 
 M . AVRELIVS . ANTONINVS . PIVS . FELIX . AVG . 
 TRIE . POTEST . T . COS . PROCOS . PANTHEVM . VE- 
 TVSTATE . CORRVPTVM . CVM . OMNI . CVLTV.RE- 
 STITVERVNT - 
 
 This restoration coincides precisely with the 
 year 202 of the christian era when Severus en- 
 tered upon his third and Caracalla on his first , 
 
Fifth day 273 
 
 consulship ; all these repairs are proofs of the 
 care taken of this monument by the emperors. 
 After 202 no further mention is made of the 
 Pantheon till 354 when , according to Ammianus , 
 it excited the admiration of Gonstantius parti-^ 
 cularly by its cupola. In 391 it was closed like 
 all other pagan temples and remained so till 608; 
 through the intercession of the Emperor Phocas 
 it was consecrated as a church by Pope Boni- 
 face IV and dedicated to the virgin and martyrs 
 from whom it derived its denoinination of S. Ma* 
 ria ad martyres. 
 
 At that period the Pantheon was more ea- 
 tire than at the present day as it preserved the 
 bronze tiles that covered the roof and cupolsu 
 In 663 Constanlius II Emperor of Constantinople 
 came to Rome and ordered them to be sent to 
 his capital -, he was killed at Syracuse and this 
 bronze covering was sent by the Saracens to 
 Alexandria. In 713 Gregory repaired this injury 
 with sheets of lead. Anastasius lY built a palace 
 near it as it then belonged to the Pope and now 
 to the Apostolic palace. The temple suffered much 
 from the factions of the lower ages ; in 1400 the 
 three columns of the east portico were wanting , 
 the roof and cupola lost their lead covering , 
 and the encrease of soil had buried the base of 
 the portico columns. Repairs were made under 
 Martin V, continued by Eugenius IV and Ni- 
 cholas V whose arms exist on the lead covering 
 which he completed. At the beginning of the XVI 
 century the angular column wanting was replaced 
 by another taken from the ruins; about 1631 
 Urban VIII made the capital on which is the 
 Barberini bee; in 1 632 the same Pope took down 
 
274 Fifth day 
 
 the bronze beams under the entablature of the por- 
 tico with which he cast the four columns , the 
 ornaments of the confessional of the Vatican ba- 
 silic and some cannon for the castle of S. An- 
 gelp. Nardini was an eye witness to this spo- 
 liation which is further attested by an inscrip- 
 tion of Urban VIII on the left of the great door 
 of the Pantheon, and yet in the face of such 
 documents the fact is still revoked in doubt by 
 some persons. In 1 662 Alexander VII by means 
 ^f two granite columns found in the thermae of 
 Nero at S. Louis des Francais completed the re» 
 storation of the eastern side of the portico which 
 he cleared , and repaired those parts that had 
 suffered. On the capitals are hills surmounted 
 by a star , the arms of his family. In the middle 
 of last century considerable restorations were 
 made in the cupola by Benedict XIV who re- 
 duced the internal attic to its present form. Under 
 Pius VII a great part of the lead covering his 
 been renewed and excavations made before the fa- 
 cade and on the sides which give a better idea 
 of the edifice. 
 
 As the temple has only the front portico it 
 is prostyle and having eight columns octostyle. 
 The entrance was by an ascent of seven white 
 marble steps , now reduced to two very low ones 
 in travertine on account of the encrease of soil. 
 The front was 1 50 palms , the depth 70 ; the 
 facade is supported by eight magnificent columns; 
 on the architrave are the inscriptions of Severus 
 and Garacalla ; on the frieze the original one 
 of Agcippa , on the tympanum was a bas relief 
 of gilt bronze representing probably the battle 
 between Jupiter and the giants, and the revenge 
 
Fifth day 275 
 
 of the god , to correspond with the dedication 
 of the temple to the avenging Jove. The pin- 
 nacles of the facade supported statues ; in the 
 central one Jupiter on a car in the act of dart- 
 ing his thunder ; on the sides those of Mars and 
 Venus divinities particularly worshipped iu this 
 temple. On the sides of the portico are three 
 columns and a pilaster , four others in the in- 
 terior portico ; these columns of red and grey 
 egyptian granite are corinthian 6 palms 9 inches 
 in diameter , 56 in height; the walls were lined 
 with marble and divided into compartments on 
 which were finely carved and executed the sacred 
 utensils, paterae , chandeliers -, the external part 
 of the portico was also decorated , particularly 
 towards the west , on which side are two small 
 antique doors leading to the cupola, now reached 
 by one towards the east. 
 
 The great door preserves its ancient jambs; 
 on the sides the inscriptions of Urban VIII re- 
 cording the spoils of bronze , the use made of 
 them , the building of the belfries. Torrigio who 
 was a witness to these spoliations of the bronzes 
 affirms that they weighed 450,251 pounds, the 
 nails alone 9374 pounds and that the cannon 
 made of this metal were upwards of 80. On each 
 side of the door in two large niches were the 
 statues of Agrippa and Augustus as related by 
 Dio ; the door is of bronze and antique , as also 
 the grating above , although some moderns sup- 
 pose that the original was carried away by Gen- 
 seric ; the pavement is of African marble. 
 
 The interior , of the circular form , is grand 
 and' majestic ; the diameter without computing 
 the wall encircling the temple , is 1 94 palms , 
 
276 Fifth day 
 
 the height from the pavement to the summit also 
 1 94 palms ; the thickness of the wall round the 
 temple 28 palms; the paxement, as seen by the 
 base of the columns , was raised when restored 
 by Septimius Severus ; the temple receives the 
 light from a circuUr aperture 37 1/2 palms in 
 diameter ; the triburie^of the high altar is formed 
 by a semi-circle cut in the wall, its arch similar 
 to the one al the entrance, is decorated with two 
 fluted pavonazzelto columns. In the interior are 
 six chapels also cut out of the wall , each with 
 two pilasters and two corinthian fluted columns , 
 four of pavonazzetto, eight ofgiallo antico, each 
 5 palms in diameter and 40 in height without 
 their marble base and capital ; these columns 
 and the pilasters support a magnificent while 
 marble cornice with a porphyry frieze. Above 
 is a kind of attic with 14 rectiline niches and 
 a cornice supporting the large roof; this attic 
 was restored by Benedict XIV previous to whom 
 it was decorated with small prophyry pilasters 
 the designs of which are preserved in Piranesi's 
 work. It is supposed that instead of columns 
 between the niches there were bronze caryatides, 
 the work of Diogenes the Athenian, highly praised 
 by Pliny ; (he roof was divided into five orders 
 of compartments which were covered with gilt 
 stuccoes and not with bronze as erroneously 
 stated. 
 
 Between each of these chapels are eight other 
 altars with corinthian columns supporting their 
 frontispiece ; four of these have each two gialla 
 antico columns , two of plain porphyry and two 
 of plain granite; the walls up to the cornice , 
 and the pavement are divided into compartments 
 
Fifch day 277 
 
 lined with various marbles , these and the eight 
 altars are attributed to Septimius Severus ; the 
 colossal statue of Jupiter seSms to have stood in 
 the middle of the tribune. The paintings over 
 the altars are by Majo , Majoli , Gabbo, Ottone, 
 Labruzzi , Pozzi. 
 
 As there existed in this church a confra- 
 ternity of painters , sculptors , architects and 
 virtuosi it contained many busts, but these hav- 
 ing encreased to a great extent, were transferred 
 to the Capitol in 1821 , leaving however un- 
 touched the inscriptions to Raphael and to An- 
 nibal Garacci on the sides of the altar of the 
 Madonna by Lorenzetto ; this Madonna is de- 
 nominated del Sasso probably a corruption of the 
 word Sanzio the name of Raphael who, by his 
 testamentary dispositions as recorded by Vasari, 
 desired to be buried in ibis edicola of which 
 he built the altar, had the statue executed at 
 his expense by Lorenzetto and left an endow- 
 ment for the benefit of his soul; the researches 
 made in 1833 to find his body vrere attended 
 with success ; on the 1 4 September the skeleton 
 was found entire, the cranium was formed in 
 thejuslest proportions; his remains were exposed 
 to public curiosity and in the evening of the 
 18 October were again buried with the honours 
 due to so great an artist. Resides those of this 
 immortal painter the Panlheon possesses the re- 
 mains of Peruzzi , Giovanni da Udine , Pierin 
 del Vaga, Taddeo Zuccari, Annibal Caracci and 
 of other distinguished artists. This temple ce- 
 lebrated for its form, antiquity and architecture, 
 is deprived of ornaments cither in painting or 
 sculpture ; of the latter it contains only Ihc 
 
 21 ' 
 
278 Fifth day 
 
 statue by Lorenzetto and that of S. Joseph by 
 de Rossi. 
 
 The thermffi of Agrippa ^^ere annexed to 
 tlie back part of the temple with which they 
 had no communication; the baths were supplied 
 with the Acqua Vergine waters brought to Rome 
 by Agrippa ; amongst the statues they contained 
 was one in bronze by the celebrated Lysippus; 
 Pliny relates that it was transferred by Tiberius 
 to the imperial palace and that the complaints 
 of the people obliged him to replace it in the 
 thermse, some remains of which are now used as 
 the sacristy. 
 
 Many modern writers pretend that these 
 thermae were situated on the spot where Ro- 
 mulus , when reviewing the troops , was killed 
 by the Senators. Near the Pantheon is tho 
 
 PIAZZA DELLA MINERVA. 
 
 The obelisk with hieroglyphics raised on 
 this piazza was found in 1 663 in the garden 
 annexed to the Minerva convent; it was placed 
 here by Alexander VII but being only 24 palms 
 high the architect Bernini conceived the idea 
 of raising it on the back of an elephant , the 
 work of Ercole Ferrata. The repeated discovery 
 of monuments relating to the Egyptian worship 
 leaves no doubt that the temples of Isis and 
 Scrapis , known to the ancients under the names 
 of Isetim and Serapeum were erected on the 
 space of ground between the Minerva convent 
 and the monastery at S. Stefano del Cacco. Bes- 
 ides the obelisks at the piazza del Pantheon and 
 the Minerva, the Isiac table at the Capitol was 
 
Fifth day 279 
 
 found in the gardens of Domitia , near S. Ste- 
 fano del Cacco together with the celebrated sta- 
 tues of the Tiber and the Nile , the former in 
 the museum at Paris , the latter in the Ghia- 
 ramonti museum at the Vatican ; the name of 
 the church, convent and piazza is derived from 
 the temple of Minerva erected by Pompey after 
 his victories. The palace opposite the church 
 called the ecclesiastical academy was instituted by 
 Clement XI for young men destined to the ec- 
 cletia&tical career. 
 
 S. UARIA SOPRA UIHERKA. 
 
 This church was ceded to the Domenican 
 erder by the nuns of Campo Marzio about the 
 end of the XIV century. In the XVII century 
 Cardinal Barberino repaired the interior as it 
 now is ; the tribune and choir are by the ar- 
 chitect Carlo Maderno. This church by the mo- 
 numents of art it contains may be considered 
 as one of the most important in Home. 
 
 In the chapel adel fonte» near the right en- 
 trance is a stucco has relief by Benaglia; in the 
 second chapel S. Luigi Bertrand by Baciccio ; 
 on the walls several acts of S. Domenick by 
 Celio ; in the chapel of S. Bosa a painting by 
 Baldi ; the martyrdom of S. Peter in the fol- 
 lowing chapel by Lamberti ; other paintings by 
 Franco Veneziano ; the arch and pilasters, Mu- 
 ziano ; the chapel of the Annanziala was built 
 by Carlo Maderno and painted by Nebbia; the 
 statue of Urban VII by Buonvicino ; in the fol- 
 lowing chapel the altar piece representing the 
 last supper by Barocci 5 the other paintings by 
 
-280 Fifth day 
 
 Alberti ; the statues of SS. Peter and Paul by 
 Mariani ; the angels by Buonvicino ; Clement 
 Yin by Buzi ; the S. Sebastian, the father and 
 mother of the pope , the charities and the second 
 S. Sebastian by Cordieri ; Religion by Mariani; 
 the two children on the tomb of the father of 
 Clement VllI, Stefano Maderno. In the chapel of 
 S. Baimondo a painting by Magni ; the Cruci- 
 fixion in the adjoining chapel is supposed to be 
 by Giotto. The chapel of the transept is dedi- 
 cated to S. Tommaso d' Aquino; the acts of the 
 Saint by Lippi , the ceiling by Batfaellino del 
 Garbo, the altar piece, a work highly esteemed, 
 by the Blessed Angelo da Fiesole; the tomb of 
 Paul IV of the Caraffa family , the proprietors 
 of the chapel, by Ligorio, a celebrated architect 
 and antiquary of the XVI century ; near the 
 following chapel the tomb of Durante; the pain- 
 tings in the chapel of the Rosary expressing the 
 fifteen mysteries by Venusti ; the acts of S. Ca- 
 therine of Siena by De Vecchi ; the crown of 
 thorns, Carlo Veneziano ; the Madonna over the 
 altar , by the B. Angelo' da Fiesole. In the Al- 
 tieri chapel a picture by Carlo Maratte repres- 
 enting the Rve saints canonized by Clement X 
 and led into the presence of the Virgin by S. 
 Peter. Behind the high altar the tombs of Leo 
 X, Clement VII by Baccio Bandinelli ; the epi- 
 taphs of Cardinal Casanata and padre Mamachi , 
 before the pilaster to the right of the high altar 
 the statue of Christ with the cross by Buonaroti. 
 Near the lateral door the monuments of Car- 
 dinals Alessandrino by Giacomo della Porta ; 
 Pimentelli , by Bernini ; Benelli , by Rainaldi. 
 
Fifth day 2S1 
 
 the epitaph of the Blessed Angelo da Fiesole a 
 celebrated painter of the XV century. 
 
 The altar piece of the saerisly is a cruci- 
 fixion finely painted by Andrea Sacchi; in the 
 chapel of S. Doinenick, the tomb of fienedict XIII 
 Orsini , on the designs of Marchionni ,- in the 
 chapel of S Vincenzo Ferrerio an altar piece 
 by Gastelli a celebrated Genoese painter ; in the 
 nave a sepulchral epitaph to Paolo Manuzio, (he 
 son of Aldo , the typographer of the XVI cen- 
 tury ; on ihe last pilaster the tomb of Raffaelle 
 Fabretti , a distinguished antiquary of the XVll 
 century. 
 
 The annexed convent possesses the Gasanata 
 library the most complete in Rome for printed 
 works as the Vatican is for manuscripts. It was 
 dedicated to public use by Cardinal Gasanata 
 whose bust was executed by Legros , and is open 
 in the morning till 11 ,in the afternoon till one 
 hour before sunset. 
 
 Be tween the Minerva and the Stimmate church 
 are the ruins of an ancient round edifice and of 
 other rooms in the street called the arco della 
 Ciambella ; the style is evidently of the period 
 of decay nor can they be remains of Agrip- 
 pa's baths , but it is probable that they were 
 additions made to Ihem in the IV century. At 
 a short distance is the 
 
 CHURCH nezlE. STjMltATBi 
 
 Built on the designs of Ganevari. In the first 
 chapel a painting by ]!Aancini;the crown of thorns^ 
 Muratori ; the tlagellation , Benafiale ; the other 
 paintings by Conca , Caprinozzi , Brand i ; the 
 
 21 • 
 
282 Fifth doty 
 
 ceiling by Gazzi , the picture over the high alUr 
 by Trevisani. 
 
 In a large yard to the south of the stim- 
 mate are ruins of thermae of a fine construction 
 probably of Hadrian which arc known to have 
 been in this direction. 
 
 CHURCH OF S. EUSTJCHIO. 
 
 After various restorations this church was 
 renewed in the course of last century on the 
 designs of Canevari ; under the high altar in a 
 fine antique urn is preserved the body, of the 
 titular saint whose martyrdom is represented in 
 a painting of the choir, the work o^f Fernandez; 
 the other paintings are by Zoboli , Naldini, Lioni 
 and Conca. 
 
 Opposite the church is the Maccarani pa- 
 lace built by Giulio Romano; adjoining it the 
 Lanle palace wi(h various ancient statues in the 
 yard ; the one placed over the fountain is sup- 
 posed to represent Ino suckling Bacchus. On the 
 piazza S. Kustacbio is. 
 
 THE UlfirERSITT. 
 
 Being the first established in the Roman sta- 
 les it is called the Archiginnasio Romano, 
 
 The motto over the principal door initium 
 sapientiae timor Domiai has given rise to the 
 denomination of sapienza by which the univer- 
 sity is generally called. Though deriving its origin 
 from Boniface VJII at the cl«se of the XIII cen- 
 tury , the edifice is not anterior to Leo X the 
 proteclar of letters and arts who commenced it 
 
Fifth day 283 
 
 on the designs of Buonaroti ; it was continued 
 by Sixtus V, enlarged by Urban VlIF, the church 
 and library were added under Alexander VII. 
 
 The plan of theedifice is a parallelogram with 
 a quadrilateral court in the centre surrounded 
 on three sides by a double storied portico with 
 pilasters of the doric and corinthian orders. On 
 the fourth side towards S. Eustachio is the church 
 hj Borroniini , dedicated to S. Ivo. 
 
 Leo Xll a protector of letters and art» 
 added to the institution the schools of fine arts 
 and of the engineers. By the new organization 
 the university is composed of a cardinal arch 
 chancellor , a rector and five colleges for the 
 classes of theology , law , medicine , philosophy , 
 philology; forty eight professors deliver lectures, 
 on scripture, dogmatic and scholastic theology, 
 sacred eloquence, physics, law, physiology, che- 
 mistry , anatomy and other branches of the me- 
 dical science and mathematics , architecture , 
 mineralogy, archaeology, the greek, hebrew,ara- 
 bic and siro chaldsean languages. 
 
 Annexed to the university are the cabinets 
 of natural history, mineralogy, physics, zoology, 
 the halls of anatomy and chemistry. 
 
 On the ground floor are the schools of fine 
 arts under the direction of eleven professors , 
 members of the academy of S. Luke. 
 
 PAIAZZO MADAMA. 
 
 This palace was built by Catherine de'Ma- 
 dici before she became queen of France on the 
 designs of Marucelli and was called the palazza 
 Madaoia a name which it still preserves. It was. 
 
284 Fifth day 
 
 purchased by Benedict XIV for the residence and 
 the administration of the governor of Horn; . 
 
 On this spot were the thermae of Nero called 
 Alexandrine from haviiag been restored and enlar- 
 ged by Alexander SeveruS ; before the new buil- 
 dings were erected in the' second yard , a large 
 arch and other antique walls forming part of 
 the baths were still visible ; the small church to 
 the right of the palace preserves the appellation 
 of S. Salvatore in Thermis. Some remains of these 
 thermae may be observed in the Inn on the piazza 
 Bondaaini and in a cellar of the via dc'Cres- 
 cenzi where the columns stand in their origi- 
 nal places. The fine marble works found in the 
 ruins attest the splendour of these baths and 
 many are now in the 
 
 PALAZZO GIUSTIlflASI' 
 
 Built by the Marquis Vincenzo Giustiniani 
 on the designs of Giovanni Fontana and enriched 
 with paintings and statues that formed one of 
 the principal galleries of Bome, but the greater 
 part of these valuable works have passed into 
 other hands ; there still however remain some 
 good pictures by Caravaggio , Guercino , Guido 
 and Gherardo deile notti. 
 
 S. LUIGI De" FRANCESl, 
 
 In 1 589 the french nation built this church 
 on the designs of Giacomo della Porta ; on the 
 facade in travertine are two rows of dorie and 
 Corinthian pilasters and four niches with statues 
 by Lestache ; the interior is divided lata three 
 
Fifth day 285 
 
 naves by ionic pilasters lined with Sicilian jasper; 
 the frescoes of the roof by Natoire , in the second 
 chapel near the entrance to the right are two 
 superb frescoes by Domenichino injured by damp 
 and by restorations ; on one side S. Cecilia dis- 
 tributing her garments to the poor , on the other 
 the saint in her dying momen's , on the third 
 side crowned by angels ; in the following chapel 
 a painting by Parocel of S Giovanna Fermiol; 
 over the high altar the assumption of the Madon- 
 na by Francesco Bassano ; in the chapel dedica- 
 ted to S Matthew two fine paintings by Caravag- 
 gio ; the ceiling of the same chapel by d'Arpino. 
 In the last chapel the tombs of Cardinal de Bernis 
 by Laboureur, of Madame de Montmorin by Ma- 
 rin . In the sacristy a small picture of the Virgin 
 a beautiful work attributed to Correggio. 
 
 S. AGOSTINO. 
 
 This church was built in 1483 by Pintelli 
 at the expense of Cardinal d' Estouteville mi- 
 nister of France at Rome. It was restored in 
 the last century by Vanvitelli ; the facade is 
 plain but majestic and the cupola is the first 
 that was raised in Rome. 
 
 Near the right entrance is the statue of the 
 virgin and child by Sansovino which , being an 
 object of especial veneration , is enriched with 
 precious donations. 
 
 The interior is composed of three naves. 
 The S. Augustin over the altar in the right 
 transept and the lateral paintings are by Guer- 
 cino; the high altar is decorated with fine mar- 
 bles and four Angels modelled by Bernini ; the 
 
286 Fifch day 
 
 Madonna is one of those images attribatcd to 
 S. Luke which was brought to Rome by the 
 Greeks after the fall of Constantinople. Over the 
 altar forming the cross is a line marble group 
 of S. Tommaso di Yillanova distributing alms , 
 bj Ferrata ; the adjoining tomb of Cardinal 
 Imperiali by Guidi; in the last chapel but^one 
 a hne group of the Virgin , child and S. An- 
 drew by Sansovino; the Madonna di Loreto in 
 the last chapel by CaraVaggio ; over the third 
 pilaster the celebrated Isaiah by Raphael painted 
 in imitation of the prophets of Michael Angelo 
 ill the Sixtine chapel , a work greatly admired 
 hy Buonaroti. 
 
 Among the monumental tombs the most 
 deserying of notice are : those of Paarinio da 
 Rimini ; of Cardinal Norris whose portrait is by 
 Maratta of Mantua ; Monsiguor Eusanio , the 
 bust by Rasconi ; of the wife of Calabrese the 
 painter. 
 
 In the annexed convenlf is a public library 
 cftUed Angelica from the name of the founder 
 and opposite 
 
 S, ASTONlO De" PORTOGHEIB. 
 
 This church was built by the Portngueie 
 nation about the year 1695 on the designs of 
 Martino Lunghi the younger and embellished 
 with fine marbles, gilt stuccoes and paintings by 
 Calandrucci, Francesco Graziahi, and Agricola who 
 painted the S. Elisabeth queen of Portugal over 
 the altar to the right of the cross; the paintings 
 in the chapel of the Virgin are by Concioli, the 
 church is beautifully ornamented with Sicilian 
 
Fifth day 287 
 
 jasper and under the altars of the transept are 
 two urns of a fine but uuknown quality of 
 marble. 
 
 S, jtPOLLINJRE. 
 
 lliis church was built by Adrian I in 772 
 and rebuilt by Benedict XIV on the designs of 
 Fuga; it is decorated with a vestibule containing 
 a fountain and a chapel to the Madonna ; oa 
 the altars are statues of S. Ignatius by Marchion- 
 ni , of S. Francois Xavier by Legros; the p«in- 
 tings are by Zoboli, Gennari, Costanzi and Pozzi. 
 
 On the high altar adorned with fine mar- 
 bles is an image of S. Apollinare in the act of 
 being consecrated Bishop of Ravenna by S. Peter, 
 a work of Ercole Graziani. 
 
 SEiaiNJRIO ROMANO. 
 
 Leo XII having restored to the Jesuits the 
 Collegio Romano where the Seminario ofRoma 
 was situated transferred the latter to this buil- 
 ding for the education of youth dedicated to 
 the ecclesiastical profession ; it is under the di- 
 rection of the cardinal vicar. 
 
 Opposite is the palazzo Altemps built b y 
 Martin Luoghi the elder , the porticoes were 
 added by B. Peruzzi ; the palace contains some 
 antique statues, fine marble columns and a chapel 
 in which is preserved the body of Pope S. Ani- 
 cet , a martyr in 1 68. 
 
 On the facade of a house to the left , at 
 a short distance from the palace, Polidoro Ca- 
 rayaggio painted the fable of Niobe which has 
 
288 Fifth day 
 
 recently been retouched and consequently in- 
 jured. Near it is the Lancellotli palace begun by 
 Francesco da Yolterra and finished by Carlo Ma- 
 derno ; it contains a double portico supported 
 by granite columns ; on the upper portico and 
 in the yard are statues , busts and bas reliefs. 
 In the via de' Coronari is 
 
 S. SALVATORE IN LAUBO. 
 
 This church, built on the designs ofMas- 
 cherino , was granted by Clement X together 
 with the annexed college, to the inhabitants of 
 « la Marca » who dedicated it to the Madonna 
 di Loreto ; the interior contains 34 columns , 
 chapels with paintings by Ghezzi, Turchi, Pietro 
 da Cortona , Perugini , Grammalica; in the por- 
 tico is the tomb of Pope Eugenius IV. 
 
 On the left of the Via Coronari is a house 
 which once belonged to Raphael ; being rebuilt 
 in 1705 Carlo Maratte painted his portrait on 
 the facade in chiaro scuro, but it is nearly de- 
 stroyed. On the piazza di castcl S. Angelo an 
 arch was erected by the Emperors Gratianus, Va- 
 lentinian and Theodosius as an oinament to a 
 magnificent portico which led to the Vatican bar 
 silic , it is probable that many verd' antico co- 
 lumns and other fine marbles found in laying 
 the foundation of the churches of SS. Celso and 
 Giuliano belonged to this arch of which mention 
 is made as late as the XlII century. The archi- 
 tect of this church was de Domiaicis , the pi-? 
 cture over the high altar is by Pompeo Battoui, 
 the others are by Tigra, Caccianiga and Ranucci, 
 Near it is the palazzo Gicciaporci of a fine stylai 
 
Fiflh day 289 
 
 of architecture by Giulio Romano. Opposite the 
 Niccolini palace by Sansovino and the banco S. 
 Spirito built on the designs of Bramante. 
 
 It belongs to the Hospital of S. Spirito, and 
 receives deposits of money without paying any 
 interest. 
 
 The street beside the banco leads to the 
 Chiesa Nuova and to Monte Giordano so called 
 from Giordano Orsini whose palace, now belon- 
 ging to Prince Gabrielli , contains some good 
 paintings and a fine library. 
 
 CHIESA NUOrA, 
 
 This church was built on the designs of Mar- 
 tin Lunghi the elder by S. Filippo Neri with the 
 assistance of Gregory XIII and of Cardinal Cesi; 
 the fagade is adorned with corinthian and com- 
 posite columns; the interior divided into three 
 naves and decorated with fine paintings, gilt stuc- 
 coes , chapels with rich marbles designed by 
 Pietro da Cortona who painted the great tribune. 
 
 The first chapel to the right contains a pi- 
 cture by Scipio Gaetani; in the following is a 
 copy of a dead Christ one of the best works of 
 Caravaggio now in the Vatican ; in the third , 
 one by Muziano ; the coronation of ^he Madonna 
 over the altar, d'Arpino; the two statues Fla- 
 minio Vacca ; in the chapel under the organ 
 built by Fontana and adorned with eight columns 
 of rare marble and three pictures, the one over 
 the altar representing S. Charles Uorromeo and 
 S. Ignatius invoking the Madonna by Carlo Ma- 
 ratte; on the high altar four porta santa colu- 
 mns,' a cj^orwrn of gilt bronze with precious sto- 
 
 22 
 
290 Fifth day 
 
 nes in the midst of two angels modelled by Giro 
 Ferri ; three pictures by Rubens , the one over 
 the altar a Madonna with angels in glory ; on 
 tlie sides S. Gregory and S. Papia a martyr; 
 b. Domitilla , SS. Nereo and Achilleo. The cha- 
 pel under the second organ where his body is 
 deposited, is dedicated to S. Filippo Neri; it is 
 covered with precious stones ; his portrait in 
 mosaic is taken from an original by Guido pre- 
 served in the annexed house, the acts of the 
 saint by Pomarancio. On the following a fine 
 picture by Baroccio representing the presenta- 
 tion of the Madonna at the temple ; over the 
 altar in the sacristy a statue of S. Philip by Al- 
 gardi and a fine painting by Pietro di Gortona. 
 In the lateral chapel a fine picture by Guerci- 
 no; the room inhabited by S. Philip contains 
 some of the furniture he used , and be is re- 
 presented in prayer by Pietro di Gortona ; his 
 original portrait by Guido is in a small chapel 
 where he celebrated mass. 
 
 Returning to the church in the second cha- 
 pel to the right is the visitation of the Madonna 
 to S. Elisabeth by Federigo Baroccio ; the pain- 
 tings of the last chapel , d'Arpino , the archi- 
 tecture of the oratory with its facjade and that of 
 the house aivnexed by Borromini; in the oratory is 
 a plain roof S3 palms long, 53 wide on the model 
 of the solar cella in the baths of Garacalla . In 
 the street to the left is the palazzo Sora built by 
 Bramante , now a barrack. 
 
Fifth day 291 
 
 S, MARIA DELIA PACE 
 
 This church , huilt on the designs of Bac- 
 cio Pintelli , was dedicated to S. Maria della 
 Pace by Sixtus IV to return thanks for the 
 peace reestablished among the christian princes. 
 Under Alexander VII it was restored by Pietro 
 da Gortona who made the semicircular facade 
 supported by doric columns ; this church and 
 the house annexed which fbrmerly belonged to 
 the canons of S. John Lateran , were granted 
 by Pius VII to the Irish Dominicans whp have 
 restored the convent , the cloister of which is 
 an elegant work by Bramante. 
 
 The interior consists of a nave and of an 
 octagon cupola of good taste; in the first chapel 
 to the right a bronze has relief of the deposi- 
 tion from the cross by Fancelli by whom are 
 S. Catherine and the children ; over the arch 
 of this chapel a fresco by Raphael, lately restored,, 
 of the Cumaean, Persian, Phrygian and Tibur- 
 tine Sybils ; the paintings over the cornice by 
 De Rossi. Under the cupola the visitation of 
 S. Elisabeth by Carlo Maratte ; the Madonna in 
 the temple , a master piece of Baldassar Pe- 
 ruzzi ; the nativity of the Madonna, Vanni; the 
 death of the Madonna , Morandi. On the high 
 altar , built by Carlo Maderno, four verd' an- 
 tico columns, sculptures and a painting by Fran- 
 cesco Albano ; the painting in the last chapel 
 by Baldi , those above by Peruzzi. 
 
 In the Ponzetti chapel subjects from the 
 old and new testament by Baldi, the large figu- 
 res by Peruzzi , who painted the fresco lately 
 discovered on the altar which Baldi had co- 
 
292 Fifth day 
 
 vered over with the figure of S. Ubaldo; this 
 fresco represeats the Madonna , S. Brigida and 
 Ferdinando Ponzetti the founder of the chapel 
 kneeling before them ; on the sides are tombs 
 of the Ponzetti family, one of Beatrice and La- 
 rinia children of 6 and 9 years of age who died 
 the same day of the plague in 1505. In the 
 lower portico of the convent which was finish^- 
 ed by Olivieri Caraffa are several sepulchral 
 monuments , one to Bocciccio Bishop of Mo- 
 dena who lived in the times of Sixtus IV. 
 
 S. If ARIA DELL ANIMA, 
 
 This church was begun in 1 400 with funds left 
 by a fleming named Giovanni Pietro and was en- 
 larged in the XV century by the Austrian nation i 
 the doorsof the facade are attributed to Sangallo ; 
 it is divided into three naves and is decorated 
 with marbles and paintings. In the first chapel S Be- 
 none by Saraceni ; in the following the Madonna 
 and S Anne by Gemignt^ni ; those of the third 
 chapel by Sermoneta ; in the fourth a pieta in 
 marble, a copy fromBuonaroti by Bigio; the Ma- 
 donna and saints oyer the high altar by Giulio 
 Romano. The sepulchre of Adrian VI in the chapel 
 of the high altar by Michael Angelo of Siena 
 and Tribolo of Florence on the designs of Peruzzi; 
 the marble figures on the tomb of Cardinal An- 
 drea by Riviere ; the sepulchral monument of 
 Luca Holstenius ; the chapel of the dead Christ 
 was painted by Salviati ; the frescoes relative 
 to the history of S. Barbara and those of the 
 chapel dedicated to the Madonna are by Cellier; 
 the nativity and circumcision by Bassetti ; the 
 
Fifth day 293 
 
 altar of the last chapel , Carlo Veneziauo , the 
 frescoes , Mielle. In the sacristy are several 
 pictures ; at the entrance the tomb of the Dake 
 de Cleves with a has relief of Gregory XIII A&- 
 livering him a sword by Nicola de Mas; of the 
 paintings in the sacristy , built by Marucelli , 
 two by Morandi are relative to the Madonna, 
 two others by Bonatti and Alet , the fresco by 
 Bomanelli. 
 
 Nearly opposite is the church of S. Nicho- 
 las of Lorraine built by Carlo Fonlana , lined 
 with fine marbles and adorned wilh paintings 
 by Nlccolai and Giaquinto who painted the high 
 altar , the cupola and the ceiling. 
 
 PIAZZA N AVON A 
 
 This large piazza, one of the finest in Rome, 
 occupies the site of the ancient circus either 
 made or restored by Alexander Severus whose 
 thermae were in the vicinity, the piazza still 
 preserves the form of a circus the houses being 
 built on the seats. It is said to have been the 
 circus Agonalis , so called from the Agonalian 
 festivals a word derived from the greek. Agon 
 signifying combat, as in addition to the chariot 
 races it served for the gymnastic games, but these 
 games were common to every other circus. 
 It is probable that the word Agon by which 
 it was known in the lower ages was derived by 
 tradition from the agonalian games , and that 
 in modern times an agonalian circus was sup- 
 posed to have existed on this spot and that 
 It gave rise to the appellation Navona which il 
 now bears 5 it is certain that a circus of Alex- 
 
 22 * 
 
294 Fiflh day 
 
 ander is mentioned by writers of antiquity but 
 no circus Agonalis. 
 
 The piazza was ornameated with two foun- 
 tains by Gregory XIII one near S. AppoUinare , 
 the other near the Braschi palace ; the former 
 prsfvides a large body of water , the latter is 
 composed of two cups one over the other ; 
 in the centre of this fountain is a Triton by Ber- 
 nini holding a dolphin by the tail and .distri- 
 buting water in the shape of a fan; on the bor- 
 ders of the second cup are four large masques 
 and four Tritons pouring water from the mouth; 
 these works are by Flaminio Vacca , Sarzana , 
 Silla and Landini. In the centre of the piazza 
 is the fountain ordered by Innocent X Pamphili 
 and executed by Bernini consisting of a round 
 spacious bason 106 palms in diameter with a 
 large perforated rock on the four sides 60 palms 
 high on which, amidst a copious supply of water 
 is on one side a sea horse, on the other a lion, 
 the work of Lazzaro Morelli. On the top of the 
 rock is a granite pedestal 23 palms high sup- 
 porting a red granite obelisk covered with hie* 
 roglyphics 72 palms in height which was brought 
 from Egypt and placed in the circus of Romu- 
 lus, the son of Maxentius, beyond the S. Sebas- 
 tian gate where it was found. At the angles of 
 the rock are four colossal statues modelled by 
 Bernini representing the principal rivers of four 
 parts of the world ; the Ganges holding an oar, 
 by Adam; the Nile by Fancelli; the Rio della 
 Plata by Baratta ; the Danube by Andrea the 
 Lombard ; these statues throw a large body of 
 water into a marble cup; in addition to these 
 another fountain is remarkable by its large mar- 
 
Fifth day 295 
 
 ble sheli of a single piece found near the palace 
 of the Cancelleria. , . 
 
 Every Wednesday a market for the sale of 
 vegetables and other articles is held on this 
 piazza which being inundated in August on satur-r 
 days and Sundays forms a lake in which car- 
 riages circulate from noon till sunset. 
 
 *. AGNESE 
 
 When Innocent the X was raised to the 
 Pontificate he built this church and rendered 
 it one of the most sumptuous in Rome ; the 
 fagade is in travertine stone with columns of 
 the Corinthian order according to the designs of 
 Borromini. 
 
 In the interior, forming a greek cross, are 
 eight Corinthian columns lined with marble; the 
 architecture up to the cornice is by Bainaldi, the 
 cupola by Borromini. In the four arches forming 
 the greek cross are the principal door and three 
 chapels with has reliefs and statues by able art- 
 ists ; the paintings on the cupola are fay Ciro 
 Ferri and Gorbellini ; those beneath by Baccic- 
 cio , the S. Alexis on the first altar to the right 
 hy de Rossi; the has reliefs on the following 
 altars by Ferrata and Raggi ; the S. Sebastian 
 in the chapel of the cross was an ancient statue 
 changed into this saint by Carapi ; the has re- 
 lief over the last altar hy Ferrata , the tomb 
 of Innocent X near the great door hy Maini. . 
 To the left is a stair case leading to a sub- 
 terranean chamber formed hy the part of the 
 ancient circus of Alexander which served to 
 support the steps. It is here according to a pious 
 
296 Fifth day 
 
 tradition that S. Agnes was exposed , a subject 
 represented in a bas relief over the altar by 
 Algardi. 
 
 The bas relief on the high altar represent- 
 ing the Virgin with her divine son , S. John , 
 S, Joseph, S. Joachim and several angels is bj 
 Domenico Guidi, a scholar of Algardi; the altar 
 is adorned with four verd' antico columns two 
 of which , according to Venuti , were formed 
 out of one that belonged to the arch of Marcus 
 Aurelius in the Gorso demolished by Alexander 
 Yll; but Gancellieri is of opinion that two were 
 taken from the arch which were applied to the 
 high altar , for which 2000 scudi were paid by 
 Prince Pamphilj who completed the church after 
 the death of Innocent X. 
 
 THE PALAZZO BRJSCIJJ 
 
 Built at the end of last century on the 
 designs of the architect Morelli is one of ihe 
 finest of Rome by its style, by the marbles and 
 rich ornaments it contains, the stair case is re- 
 markable by its precious marbles, its columns , 
 and pilasters of red oi-iental granite; in the grand 
 apartment is a statue supposed to represent Cin- 
 cinnatus , another Julia Augusta the daughter 
 of Drusus , a Diana , two large cups of rosso 
 antico, a sarcophagus with a bas relief of a 
 Bacchanalian festival and other antique marble 
 works. One side of the palace is on the 
 
Fifth day 297 
 
 PIAZZA DI PASQUINO. 
 
 So called from the antique statue , greatly 
 injured by time , placed at the angle of the Bras- 
 chi palace; the denomination Pasquino is derived 
 from a tailor of that name ^ho amused him- 
 self in jesting and making satyFs on those who 
 passed by his shop. At his death in the begin- 
 ning of the XVII century, an excavation was 
 made on the spot, when this statue was found 
 and being situated where it was discovered, it 
 took the tailor's name; since then satirical com- 
 positions were placed on it which were called 
 Pasquinades. This ancient statue represents Me- 
 nelaus supporting the body of Patroclus who was 
 killed by Hector ; though injured by time it is 
 considered by what remains as one of the finest 
 statues in Rome ; in the Vatican and at Flo- 
 rence are other pieces of sculpture belonging to 
 the same group. 
 
 S. PANTJLEO 
 
 This church was built by Honorius III ia 
 1216 , and was grjinted hy Gregory XV to S. 
 Giuseppe Galasanzio the founder of the reli- 
 gious order of the Scuole P«e , instituted for 
 the instruction of youth in reading , writing , 
 the first rudiments of latin and arithmetic. It 
 was rebuilt on the designs of De Rossi except 
 the facade made by Valadier at the expence 
 of the Duke Torlonia. Under the high altar is 
 a superb porphyry urn containing the body of 
 S. Giuseppe Galasanzio represented in a has re- 
 lief over the altar by Acquisti. Near the door 
 
298 Fifth day 
 
 the monument of Borelli , a celebrated mathe- 
 matician , and the tomb stone of the daughter 
 of Brancaleone one of the XIII Italian champions 
 of the celebrated challenge at Barletta. 
 
 PALAZZO XASSIMI, 
 
 The two palaces contiguous to each other 
 helonging to the Massimi family are of a fine 
 style of architecture by Baldassar Peruzzi of Siena 
 who , on a narrow space of ground , has found 
 room for a portic^o composed of six doric co- 
 lumns , and for three yards in the first of which 
 i^ an elegant fountain. 
 
 In the grand apartment are sundry pictures 
 and a superb ancient statue representing a Dios- 
 cobulus found in 1781 in the Palombara villa 
 on the Esquiline with various other marble worksj 
 like the similar statue in the biga hall at the 
 Vatican it is a copy of the bronze statue by the 
 celebrated Miro , of the greek chisel , of a very 
 fine style and well preserved ; the chiaro scuro 
 paintings on the facade corresponding to the 
 piazza Navona are by Daniel da Volterra; in the 
 bouse adjoining the palace the first printing press 
 was established in Rome about 1 467 by Sweynn 
 heym and Panartz. 
 
 S, AUDREA BELLA rALLB. 
 
 A church belonging to the Theatine order 
 and so called from the neighbouring palace. To^ 
 gether with the annexed convent it was begun 
 in 1591 by Cardinal Gesualdo on the designs of 
 Olivieri, continued by Cardinal Moutalto on those 
 
Fifth day 299 
 
 of Carlo Maderno , and finished by Cardinal Per- 
 netti; the facade by Bainaldi is in travertine with 
 a double row of corinthian and composite co- 
 lumns. 
 
 The interior is decorated with paintings many 
 by great masters; the cupola which is 74 palms 
 in diameter by Lanfranc, is one of his best works; 
 the four evangelists at its base , the paintings of 
 the tribune allusive to S. Andrew are admirable 
 compositions of Domenichino ; the three large 
 pictures relative to the martyrdom of the saint, 
 by Calabrese. The S. Gaetano and S. Sebastian 
 by Guidi ; S. Andrew the apostle , S. Andrew 
 Avellino by Ferrata ; the two statues over the 
 door , Fancelli. 
 
 The first chapel to the left designed by Ba- 
 glioni and built at the expense of Cardinal liar- 
 berini , afterwards Urban VIII , contains the 
 assumption, the presentation at the temple, the 
 visitation; in the lunettes , actions of the Ma- 
 donna ; in the triangles , prophets and angels , 
 all by Passignani; the statues of S. Martha , by 
 Mocchi ; S. John the evangelist , Buonvicino ; 
 S. John Baptist , Pietro Bernini ; the Magdalen 
 by Stati ; on the left a S. Sebastian painted by 
 Passignani; opposite are the profiles of the father 
 and mother of Urban VIII whose tombs are adorn- 
 ed with verd'antico columns. 
 
 In the following chapel the altar piece , de- 
 corated with breccia and pavonazzetlo columns, 
 is by the B. Maninoni ; the S. Sebastian chapel 
 contains paintings of the school of the XVI cen- 
 tury, the one over the altar of the cross by Ca- 
 massei ; the chapel of the virgin near the sacristy 
 door was designed by Lanfranc ; that of the cru- 
 
300 Fifth day 
 
 cilix possesses fine marbles ; the S. Andrea Avel- 
 lino by Lanfranc , S. Charles by Biagioli ; the 
 annexed chapel belonging to the Strozzi family 
 designed by Michael Angelo is adorned with mar- 
 bles ; over the altar is a bronze copy of the 
 original by Buonaroti in S. Peter's; the bronze 
 statues of Rachel and Lia are copies from Raf- 
 faelle di Montelupo. The last chapel, that of the 
 Ancellotti , built by Carlo Fontana , is covered 
 with marble and adorned with light verd'antico 
 columns; the bas relief on the altar represents 
 the flight into Egypt by Raggi , the other works 
 by Rondoni. In the middle nave near the small 
 doors of the church are the marble tombs of 
 Pius II and Pius 111 of the Piccolomini family 
 by della Guardia and Pietro di Todi ; in the left 
 nave that of Monsignor Guriani of Benevento, 
 the epitaph of Pietro Vetturi , a literary cha- 
 racter and the tomb of Count Rieni ofYicenza 
 by Domenico Guidi. 
 
 In the vicinity of this church stood the cu- 
 ria of Pompey where the senators assembled 
 when the games were celebrated in the adjoining 
 theatre. It is here that on the 1 5 March 44 years 
 B. C. Julius Caesar was killed by Brutus and Cas- 
 sius. A part of this church is on the ruins of 
 
 THE THEATRE OF POMPET, 
 
 This magnificent theatre occupied the whole 
 space between the Palazzo Pio at Campo de'Fiofi 
 and the via Chiavari and Giupponari ; the scene 
 was in the direction of the via de Chiavari he^n- 
 ning near the tribune of S. Andrea della valle; 
 the centre of the ark is now occupied by thb 
 
Fifth day 301 
 
 fkaliizzo Pio wbere the temple of victory or of 
 Venus victrix stood. Under the palace some re- 
 mains are still visible aud it was the first perma- 
 nently erected in the city ; the portico formed 
 of a hundred columns , served as a refuge to 
 the people against the inclemency of the weather. 
 On the other side of the church is the 
 
 PALAZZO riDOSl, 
 
 This magnificent palace formerly belong- 
 ing to the Gafrauelli family , afterwards to Gar- 
 ^kaal Stoppani and now the praperty of the Vi- 
 doni was built on the designs of Haphael d'Ur- 
 bino. At the foot of the stairs is an antique statue 
 of Marcus Aurelius , above many fragments of 
 -the ¥errian calendar found last century at Pa- 
 lestrina, relative to the months of January, March 
 April and December. It was placed in a sepa- 
 rate room by Cardinal Stoppani who discovered 
 it ; the late Cardinal Vidoni had the fragments 
 cleaned and charged Professor Nibby to supply 
 the parts that were wauling ; these fi-agmenls 
 being filled up were published by the Cardinal 
 in black and red letters to dislinguish^the an- 
 tique from the modern; this work is now very 
 rare. At a short distance from the palace are 
 the little chuujohes of the Sudario , S. Giuliano , 
 and S. Niccolo ai Cesarini. In the convent an- 
 ne:&ed to the latter are four fluted tufa columns 
 which formed part of a circular temple supposed , 
 on good grounds:, to be that of « Hercules Gus- 
 tos » built by Sylla near the prisons of the Fla- 
 miaian Circus which was in this direction ; the 
 
 23 
 
302 Fifth day 
 
 simplicity of the materials is a sufficient indi- 
 cation that it is a work of the Republic. 
 
 PALAZZO MATTEL 
 
 This palace, of a fine style of architecture, 
 was built by the Duke Asdrubal Mattel on the 
 designs of Carlo Maderno ; the vestibule and yard 
 are adorned with antique has reliefs , busts and 
 statues ; along the stairs two marble seats found 
 on the Celian near SS. Giovanni and Paolo , a 
 has relief of a chase of the Emperor Commodus, 
 the statues of Pallas, Jupiter and Abundance with 
 sundry busts and has reliefs. 
 
 Of the has reliefs in the portico the most 
 interesting are: a consul in^flicting punishment; a 
 Bacchante proceeding to the temple ; the sa- 
 crifice of a goat to Priapus ; statues of Apollo 
 and of a muse ; sundry busts amongst whicb 
 that of Alexander the great over the hall door. 
 In the yard the chase of Meleager , the rape of 
 Proserpine, the three graces , Pelous and Thetis, 
 the sacrifice of Esculapius^ the busts of Anto- 
 ninus Pius, Hadrian , Marcus Aurelius , Severus, 
 Lucius Verus , Commodus. 
 
 Seven rooms of the apartments are deco- 
 rated with good pictures. In the servants hall 
 six representing feudal properties of the Mattel 
 by Paul Brill 5 the passage of the red sea by 
 Albani. 
 
 I. Boom four pictur<?s the subjects taken 
 from scripture by Paul Brill ; a portrait by Da- 
 Tid , another by Tandy k, S. Bonaventura, Tin- 
 toretto ; the paintings on the ceiling , Pomarancio. 
 
Fifth day 303 
 
 II. Room , two seasons , Paul Brill ; Ma- 
 donna and child; Scipio Gaelani; a Madonna child 
 and S. loseph , Caracci ; sundry children, Alba- 
 no; four fine pictures of people selling meat and 
 fish by Passerolli. 
 
 III. Room: two other seasons, Paul Brill; 
 S. Francis , Muziano ; six pictures with animals, 
 David. 
 
 IV Room; two pictures by Brill; the sa- 
 crifice of Abraham, Guido ; two Breguel ; the 
 paintings on the roof, Lanfranc. 
 
 In the gallery the ceiling by Pietro di Gor- 
 tona; the sacrifice of Abraham, Lanfranc; the 
 nativity of our Saviour, Pietro di Cortona; the 
 taking possession of Clement YIII and the entry 
 of Charles V into Bologna, Tempesla. 
 
 In another apartment? consisting of three 
 rooms , the ceiling of the first painted by Do- 
 meaichiiao , of the second by Albano ; the third 
 all in chiaroscuro by Domenichino. 
 
 On the space of ground extending betweea 
 the Mattel and Ginnasi palaces , the piazza Pa- 
 ganica and the monastery of Tor de' Specchi 
 was the 
 
 This circus was built by the consul C. Fla- 
 minius who made the Flaminian way and who 
 vas killed in the battle at the late of Thrasy- 
 menc ; the area e.vtended in length between the 
 modern piazze dell' Olmo and Margana. Around 
 the circus were several temples , that of Bellona 
 at the foot of the capitol built by the con- 
 sul Appius Claudius in the year of Rome 43,7 ; 
 
30 i Fifth: day. 
 
 before this temple stood the columna BelVicaivom 
 which the consul hurled a dart towards the na- 
 tion to which the senate had declared war. 
 
 Near the Mattel palace is the beautiful 
 « Tartaruga » fountain designed by Giacomo della- 
 Porta; the bronze figures were ejtecuted by;Tad- 
 dea Landioi a florentine. 
 
 PALAZZO COSTAGXIWI 
 
 Several frescoes in the p*incipal apartment 
 are particuiarly deserving of attention ; MerCules 
 directing his dart against Nessus who has car- 
 ried away Dejanira ,. by Albano -, Apollo on his 
 car , and tJime discovering truth , a- celebrated 
 work by Domenicfiino ; Rinaldto sleepiflgs on a 
 car drawn by two dragOBS' and gia'ardexife by Ar- 
 midla ,. of a fine colouring and in the first man- 
 ner ofi Guercino. Ifl the gallery Venus- andGu- 
 pid wit^ other gods by d^ Arpino ; justice and 
 peace said to be By Lanfijanc ; Arioa oo' the 
 dolphin and' a vessel filled with mapiaecs by? Ro- 
 manelli. 
 
 S. CAT ERIN A. 
 
 The appellation dc' Funari given to this 
 chiirch is derived fromi the rope manufadtory 
 at one time existing in the arena of the Flaminian 
 circus on the ruins of which the church is built. 
 At the principal entrance are two fine pavonaz- 
 zetto coiamns; over the altar a S. Marguerite, 
 a: fine copy of a picture by Annibal Garacci re- 
 touched by that artist, who painted the coro- 
 nation of the Madonna in the first chapel. Over 
 
Fifth day 303 
 
 ihe third altar a fioe work of Scipio Gaetani 
 representing the assumption of the Virgin ; the 
 other paintings by Muziani , Frederick Zuccari. 
 Venusti, Nanni. 
 
 S, MARIA Ilf CJMPJTEltl. 
 
 This church was built in 1 638 on the designs 
 of Rainaldi at the public expense for the pre- 
 servation of a miraculous image of the Madonna 
 and was granted to the congregation of Lucca , 
 the regular chieriei of the mother of God; on 
 the travertine facade are two rows of corinlhian 
 and composite columns : the interior is decora- 
 ted with pilasters and 22 fluted columns of the 
 Corinthian order. 
 
 Over the high altar is an image of the Vir- 
 gin in gold profile placed in a saphir or some 
 substance resembling that gem ; on the cornice 
 the portraits of SS. Peter and Paul , and on the 
 cupola a piece of cotognino alabaster , forming 
 a transparent cross , found in the portico of 
 Octavia. 
 
 In the first chapel the archangel S. Michael 
 by Conca; the magnificent chapel of S. Anne 
 by Luca Giordano 5 to the left a chapel built 
 bj de Rossi with a painting over the altar by 
 Gimignani , the two ang3ls in marbl« by Carca- 
 ni ; the chapel of S. John Baptist was painted 
 by Baciccio , the two angels are by Mazzoli ; in 
 the Altieri chapel built on the designs of Cipria- 
 ni is a bas relief on the altar by Ottoni; the 
 tombs by Mazzoli in the form of a pyramid are 
 supported by two lions of rosso antico ; the 
 paiatings above by Passeri. 
 
 23 * 
 
306 Fifth day 
 
 In a modem built house sitaated iti tlie 
 lane to the left of this church are thfee large 
 fluted columns with composite capitals ; these are 
 ruins of the temple of Juno , whi^ih like that of 
 Jupiter were comprized within the portico of 
 Octavia and together with the portico seem to 
 have been restored by Septimius Severus and Ca- 
 racalla, the style of these capitals appeariiig not 
 to he anterior to that rfeign. 
 
 PORTICO OF OCrAVtA. 
 
 Octavian Augustus after having erected a 
 theatre in honour of Marcellns his nephew in 
 order to afford a place of shelter against the 
 weather to those who attended the spectacles- 
 built a magniflceht portico in which he ertclosed 
 the temples of Juno and Jupiter both built by 
 Metcllus the Macedonian and called it by the 
 tiame of Octavia his sister. Its form was a large 
 parallelogram with a double row of columns said 
 to have amounted to 270 ; an adeqliate idea may 
 be formed of this portico by the fragments in 
 the ancient plan existing in \h6 capitbl. 
 
 Accordiiig to Pliny it contained fine slatutis 
 and paintings , and the celebrated statue known 
 as the Venus de' Medici was found in these ruins; 
 the edifice Was restored by Septimius Severus and 
 by his son Garacalla as seen by the following 
 msctiptioA on< the entablature. 
 
JFi/fA day 307 
 
 IMP. CAES. L. SEPTIMIVS. SEVERVS . PIVS . 
 
 PERTINAX . AVG. ARABIC. ADlABENIC. 
 
 PARTHIC. MAXIMVS . TRIE. POTEST. XI. 
 
 IMP . XI. COS. III. PP. ET . IMP. CAES. 
 
 M. AVRELIVS . ANTONINVS . PIVS . FELIX* 
 
 AVG. TRIE. POTEST. VI. COS. PROCOS... 
 INCENDIO . CORRVPTAM . RESTITVERVNT . 
 
 The fire alluded to in this inscription is pro- 
 bably the same which occurred under Titus and 
 reached the portico of Oclavia as stated by Dio. 
 
 The ruins still existing formed one of the 
 principal entrances, the one exterior, the other 
 interior, each having four white marble fluted 
 columns and two corintbian pilasters supporting 
 a circular cornice terminating in a large facade. 
 
 Several carystian or cipoUino columns of 
 the portico are still visible in the walls of ihe 
 houses in the strada di Pescaria. 
 
 Behind the portico is the church of S. An- 
 gelo called « in pescaria » from being situated in 
 the fish market; the street to the left leads to the 
 
 THEATRE OF MARCELLVSt 
 
 This theatre built by Augustus was the second 
 permanent theatre raised in Rome for scenic spe- 
 ctacles , the structure is so perfect that modern 
 architects have adopted it as a model of thie dorie 
 and ionic orders and of the proportions of these 
 orders placed one ovet the other. The semicir- 
 cular part on the exterior is supposed to have 
 been decorate'd with three orders of architecture ; 
 of the upper part no vestige remains , of the 
 lower a portion only on the side of the piazza 
 
308 fifth day 
 
 Montanara which formed, round the theatre, por- 
 ticoes composed of arcades with doric and ionic 
 columns •, the diameter was 540 palms , it was 
 formed of large travertine blocks and contained 
 30,000 spectators. 
 
 In the lower ages it served as a fortress 
 to the Pierleoni , who were succeded by the 
 Savelli ; a residence for the Massimi was built 
 on it by Baldassar Peruzzi which now belongs 
 to the Orsini , Dukes of Gravina. 
 
 About the middle of the Vicolo del Bufalo 
 near the piazza Montanara was the ancient porta 
 Carmentalis, so called from Garraenta, the mo- 
 ther of Evander. 
 
 FOHUX OLITORIUM 
 
 The Ohra or vegetable market was held 
 in the piazza now called « S. Niccola in Cai- 
 cere » from a church built about the IX cen- 
 tury on the ruins of three very ancient temples; 
 one in travertine of the doric order , the re- 
 mains of which are on the left before entering 
 the church ; this was the smallest. The middle 
 temple on which the church was principally 
 built was the largest ; in it were fluted ionic 
 columns of peperino of which there are some 
 remains near the left entrance within the church; 
 the third temple on the right was also ionic 
 the ruins being visible within the church and 
 in the ascent to the belfry, these three edifices 
 connected with each other were beyond a doubt 
 the temples of Piety , Juno Matuta and Hope 
 known to have been situated near the porta 
 Carmentalis without the gate on the forum Oli- 
 
Fifth day 3-0» 
 
 toriutn and. beside eaOh other. It is proper to 
 distingnish tliis temple ofi Piety, baiJl by Aci- 
 lius &Iabrio , from the temple raised in memory 
 of the yoting female who^ supported her father 
 with her own milk in the prison of the De- 
 cemviri ;; by the testimony of the elder Pliny 
 it is: ascertained) that this prison of the Decem- 
 viri and the temple' erejeted owr it tO' Piety 
 were situajted ««• the spot where the theatre of 
 Mainceltus was- siubsequently built and that it no 
 longer existed in his time. 
 
 S, If ICO L^ IS CAHCERE 
 
 This church was restored in 1 599 under 
 the direction of Giacomo della Porta and again 
 in 1 80S. Ihe three na-ves are divided 4)y 1 4 
 ancient cdlamns of diCfereHt diameter ; under 
 the high altar is a fine porphyry urn ornament- 
 ed with a; head of Medbsa^,. and over the altar 
 a baldacchino supported by four yellow African 
 columns ; the frescoes in the tribune are by 
 Gentileschi ; the supper with the apostles on the 
 altar of the Sacrament by Baglioni; the acts of 
 S. Niccola by Mantegua, 
 
 A little to the left in the same street is S. 
 Maria della Gonsolazione a church built bj 
 Martin Lunghi the elder ; the facade was com- 
 pleted in 1825 under the direction of Belli, in 
 the first chapel to the right are some fine pain- 
 tings by Taddeo Zuccari executed in his 26th 
 year which have been recently restored. An- 
 nexed to the church are two hospitals one for 
 wounded men , the other for females. At a 
 fbort distance is the church of S, Giovanni 
 
310 Fifth daij 
 
 decoUalo » erected by the Florentines about 
 the year 1495. It contains some fine paintings; 
 one in the first chapel by Giacomo Zucca, in 
 the second S. Thomas touching the ribs of Christ , 
 by a scholar of Vasari; the visitation, Roncalii; 
 the six saints painted in fresco round the arch 
 of the large chapel by Cosci ; the decollation 
 of S. John , Vasari ; S. John in the chaldron 
 a picture containing many figures , by Naldini; 
 the paintings of the third altar , del Conte; the 
 baptism of Christ , Mouanni ; S. John Baptist 
 preaching , Cosci ; over the altar in Ihe oratory 
 the deposition from the cross by del Conte; SS. 
 Andrew and Bartholomew , Francesco Salviati; 
 & Zaccariah , S. John preaching , the baptism 
 of our Saviour , by del Conte ; the Baptist in 
 prison by Franco da Venezia ; the supper of 
 Herod , the ball of Herodias , Pietro Ligorio ; 
 the visitation and birth of S. John , Salyiati. 
 
 This church is in the ancient fish market 
 situated in the quarter denominated the Yelabrum 
 by which begins the VI day. 
 
3n 
 
 GUIDE OF ROME 
 
 FROM THE VEIABRUM 
 
 TO THE FABRICIAN BRIDGE 
 
 THE KELABRUtl 
 
 The space between Ihe sides of the Palatine, 
 the Avenline and the left bank of the Tiber was, 
 in the origin, a marsh formed by the overflow- 
 ings of the river and the springs constantly is- 
 suing from the hills. It was called the Velabrum 
 a vehendis ratibus according to the aacient gram- 
 marians from dragging boats across it ; others 
 give a different etymology , far less probable , 
 from the veil or awnings extended over the way 
 during the passage to the games of the circus. 
 It seems more natural to derive that appellation 
 from the greek aspirated word helos, palude , 
 being more analogous to the locality. The marsh 
 was drained under the last kings of Rome by 
 means of the Cloaca Maxima and the embank- 
 
312 Sixth day 
 
 ment of the river , but the locality has preserved 
 its primitive uame. sfbeue are several iaterest- 
 ing moQuments -ia Ibk <qjiart@r,;; ttbe ^Efiit the 
 
 GIAXO QUADRIFRONTE. 
 
 Of the arches called quadrifronti from hav- 
 ing four fronts which were placed in every re- 
 gion and in all the fori of Rome , this is the 
 only one that remains ; there were also the bi- 
 frontiand fn/o«<«arches whioh ser-ved as a shelter 
 from rain and the sun. The present arch served 
 for the dealers in the femttm Boarrium. This mo- 
 nument opened df late years is -composed of large 
 white marble blocks , the pilasters it forms re- 
 posing on a square ibase; eadh side is 105 palms 
 in length ; around the interior the cornice is 
 preserved , on the outside destroyed ; on each 
 facade are tw^elve niches placed between small 
 columns supported by the base , those of the 
 first and second order by the entablature which 
 sustained the first order, a proof that the arts 
 were declining when this edifice was erected; this 
 decoration , so opposed to simplicity and true 
 grandeur , is used in the thermae of Caracalla , 
 profusely employed in the buildings of Diocletian 
 and Constantine , and seem to prove that this 
 arch is not anterior to Septimius Severus. The 
 holes observed in this and in sundry other an- 
 tique monuments were made in the lower ages 
 to take away the iron and bronze hinges that 
 connected the blocks ; a brick tower placed on 
 this arch in the middle ages by the Frangipani 
 who made it a fortress hasbeea lately pulled dov^n. 
 
Sixth daj/ 3 1 3 
 
 *. GIORGIO IS rSLABRO 
 
 This cliurcli, founded in the VI century was , 
 according to Anaslasius , rebuilt by Leo II iri 
 684 in honour of tbe martyrs S. George and S. 
 Sebastian ; it was subsequeatiy restored by Pope 
 S. Zaccaria. It consists of three naves divided 
 by 1 5 columns , eleven granite and four fluted 
 pavonazzetto. The portico was built in the XH 
 century by Stefano ex Stella, prior of the church 
 as seen by its inscription: 
 
 STEFANVS . EX .STELLA . CVPIENS . CAPTARE 
 
 SVPERNA . ELOQUIO . RARVS . VIRTVTVM 
 
 LVMINE - CLARVS . EXPENDENS . AVRYM 
 
 STVDVIT . RENOVARE . PROAVLVM 
 
 CLERICrS . HIC . CVJVS . PRIOR - ECCLESIjE 
 
 FVIT . HVJVS . EC. 
 
 ARCH OF SBPTIMIUS SEf^ERUS. 
 
 This small marble arch of a square form 
 and with a single aperture was raised by the 
 bankers and cattle dealers of the forum boarium 
 and dedicated to the Emperor Septimius Seve- 
 rus , to Julia bis wife , and to Caracalla as 
 appears by the ancient inscription. 
 
 IMP. CAES. L. SEPTIMIO. SEVERO . PIO PERTIWA- 
 CI . AVG. . ARABIC . ADIABENIC . PARTHIC . MAX. 
 FORTISSIMO . FELICISSIMO 
 
 PONT. MAX . TRIE. POTEST. XII. IMP. XI. COS. III. 
 PATRI . PATRIAE . ET 
 
 IMP . CAES. M. AVRELIO . ANTONINO. PIO FELICI 
 AVG. TRIB. POTEST. VII. COS. HI 
 
 24 
 
3f4 Sixth day 
 
 FORTISSIMO. FELICISSIMOQVE. PRINCIPI. PP. PRO- 
 COS . ET 
 
 IVLIAE . AVG. MATRI . AVG. N. ET - CASTHORVM 
 ET ..SENATVS . ET . PATRIAE . ET . IMP . CAES . M. 
 A^RELII . AINTONINI . PII . FELICIS . AVG. 
 
 PARTHICI . MAXIMI . BRITANNICI . MAXIMI 
 
 ARGENTARII . ET . NEGOTIANTES. BOARIII. HTIVS 
 LOCI . QVI . INYEHENT . DEVOTI . NVMlNI . EORVM 
 
 In the origin the name of Geta ^y^s com- 
 prized in the dedication but was effaced after 
 his death in this and in other monuments; traces 
 of it arc visible in the fourth and siitth lines of 
 the inscription and in the has reliefs which arc 
 of an inferior style of sculpture and greatly 
 consumed by time. On the sides of the inscrip- 
 tion is a figure of Hercules , in the wall wilUn 
 the church one of Bacchus , tutelary divinities, 
 as ascertained by medals, of the family of Sept- 
 imius Severus. The pilasters of the arch are 
 decorated with military eagles , the images of 
 Severus and Caracalla. Under the arch Severus 
 offering a sacrifice with Julia who holds the 
 wand ; opposite a sacrifice by Caracalla , an 
 empty space where Geta was represented ; va- 
 rious bas reliefs of the sacred utensils ; on tha 
 light the lituum , pr^fericulum, the patera and 
 sacred knives ; on the left the vase containing 
 the luslral water, ths malleum, the patera and 
 acerra. On both sides sacrifices of bulls ; op- 
 posite the arch two prisoners accompanied by 
 Koman soldiers and men driving oxen, alluding 
 to oue of the trades that raised this monutnent. 
 
Sixth day 31 3 
 
 FORUtt BOJRIUH 
 
 That this furam was situated on this spot 
 is proved by the inscription or. the arch ; it 
 was called Boarium not only from the cattle 
 market but from the celebrated bronze cow of 
 Miro brought from the island of Egina. In this 
 forum was an altar erected by Hercules to himself 
 after he had killed Cacus, who had robl>cd 
 and hid his oxen in a grotto of the Aventine ; 
 here also was the round temple of Hercules 
 Victor , discovered in the XV century and des- 
 troyed , to which belonged the statue of Hercu- 
 les in gilt bronze , now in the Capitoline Mu- 
 seum. At the forum boarium Romulus began Iho 
 furrow' of the city walls. The lane opposite to 
 this arch leads to 
 
 THE CLOJCJ MAXIMA 
 
 Ko people before the Romans conceived the 
 idea of constructing subterranean channels for 
 the course of waters or for the cleaning of the 
 city : the first to put them in practice was Tar- 
 quinius Priscus to drain the Velabrum by unit- 
 ing the waters that arose from the springs of 
 the neighbouring hills, one of the causes of the 
 marsh. This work was completed and extended 
 to other parts of Rome by Tarquinius Supcrbus. 
 These channels derived their name of Cloaca 
 from cloere , do re , cluere signifying to cleanse 
 in the ancient language of Latium, and in fact 
 by carrying off the pluvial and perennial waters 
 they cleansed the city of its filth ; the sevem 
 bills were perforated in every direction with 
 
316 Sixth day 
 
 these canals wliich , in llie process of lime and 
 •with the encrease of the population, were greatljr 
 muUipMed ; the greater pari carried their waters 
 to the principal canal that of the Tarquins which, 
 being the largest , was called the Cloaca Max- 
 ima a part of which , a quarter of a mile long 
 is entire between the Velabrum and the river 
 into which it empties itself near the ten>ple of 
 .Vesta, ia ancient limes it began at the Roman 
 forum. 
 
 This canal was arclied and about 1 S palms 
 high , two ihirds of which are choked up by 
 ■ruins and filth ; the construction was of qua- 
 -drilateral tufa blocks each 7 palms long, 4 deep, 
 .united at every 16 palms by travertine blocks 
 of the same size; at ibe moulb, the large arch 
 is formed of three superposed layers of square 
 blocks of the Gabii stone. The utility and gran- 
 deur of these works justify the observation of 
 Dionysius Halicarnassus and of Strabo, that the 
 greatness of the Roman people shone in the 
 chache, the aqqeducts, the roads , and in the 
 edifices. By its perfect level and solidity the 
 great cloaca still serves to carry away thesur- 
 ■plus waters at a period of twenty three cen- 
 turies and a half after its construction. 
 
 On a level with the ground is a small arch 
 through which passes a spring of lim^pid water 
 .which , after having been used in the neigh- 
 bouring, paper works , falls into the Cloaca. This 
 spring is said to have formed near the roman 
 forum the Juturna fountain , a light and salu- 
 brious water now called after the church of 
 S. Giorgio. 
 
Sixth day 3 17' 
 
 S, ANASTASIA 
 
 This church of a very remote orijjia was 
 creeled near ihe site of the ancient Ara Maxima, 
 and after having been restored under various 
 Popes the facade was raised by Urban VIII on 
 the designs of Arieucci. New restorations and 
 embellishments were made under Pius VII in 
 1 825; the three naves are divided by fine anti- 
 que columns , eight fluted paronazzetto , two 
 red granite , two africano marble. The S. John 
 Baptist in the first chapel is by Mola; the altar 
 piece , Trevisani; the sides near the small nave 
 by Baldi ; the statue of S. Anaslasia at the 
 high altar by Ferrata ; in the following chapel 
 a painting by Baldi ; S. George on horseback 
 killing the dragon by Ponti ; the ceiling by 
 Cerutti. 
 
 On the sides of the high altar are two tombs 
 with two gilt metal busts designed by Mippoli, 
 and near that of S. Torribio having two red 
 breccia columns on the wall is the tomb of Car- 
 dinal Haeffelin, Bavarian minister at Rome ; on 
 the last altar adorned with two porta Santa 
 columns is a S. John Baptist attributed to Mola. 
 
 These spots now occupied by hay lofts , 
 gardens and vineyards were, in the flourishing 
 times of ancient Rome , covered with splendid 
 edifices. In the ancient Murcia or Murtia valley 
 between the Palatine and the Aventine and op- 
 posite the palace of the Caesars on the spot now 
 filled with sundry gardens was 
 
 24* 
 
318 SiJcth day 
 
 THE ClRCl/S MAXIMUS 
 
 In tKe \alley where Romulas celebrated 
 the consuali games in, honour of Neptune and 
 where the rape of the Sabine women: was ef- 
 fected , Tarquinius Priscus founded the circus 
 which , being the most ancient , ihe largest and 
 the most maguiQcent , was subsequently called 
 Maximus. The circenses or games of the circus 
 formed the grandest spectacle of ancient Rome 
 they consisted in races of cars drawn by two 
 er by four horses , in the game called Ludus 
 Trojce , athletic exercises and other spectacles. 
 In the city and in the environs were other Cirei, 
 those of Flaminius , Flora , Sallust , Cajus or 
 Nero , Adrian, Varius, Heliogabalus, Alexander 
 Severus , Romulus the son of Maxentius ; the 
 last being the best preserved gives an idea of 
 the parts and distribution of these edi&ces. 
 
 The circus of Tarqain was restored and 
 enlarged by Julius Gjesar who , according to 
 Dionysius Halicarnassus , extended it to i 1/2 
 stadia on a breadth of four jugera constituting 
 a length of 2630 palms by 1040 and providing 
 room for 1 50,000 persons; in the centre Au- 
 gustus erected the. obelisk now at the piazza 
 del popolo. Having suffered in the great fire 
 under Nero which began in ibis quarter , it 
 was restored aud probably encreased by Vespa- 
 sian , as Pliny states that in his days it could 
 contain 260,000 spectators. It was embellished 
 by Trajan who , as stated by the younger Pliny 
 rendered it worthy of the Roman people. It 
 was again restored by Constaatiae the great » 
 
Sixth day 319 
 
 and by his son Conslanlius who erected on it 
 a second obelisk , the one now at S. John La- 
 teran. At this epoch it is calculated by Victor 
 Ijbat it could contain 380,000; by Notizia 405,000, 
 spectators. 
 
 The circus was of an oblong form , one of 
 the ends semicircular, the other a gentle curve. 
 At the semicircular end was the grand entrance, 
 at the curve were the carceres or starting 
 place. In the middle was the spina , a long 
 narrow platform covered with two obelisks , 
 various statues and columns and sundry small 
 temples. At the two extremities were the meto 
 which it was necessary to pass seven times to 
 obtain the prize. 
 
 A triple line of porticoes placed over each 
 other and numerous rows of seats as in the thea- 
 tres and amphitheatres were destined for the Spect- 
 ators. At the foot of the podium , appropriated 
 in all places of public amusement- to the digni- 
 taries of the empire , was a canal 9 feet broad 
 and deep added by Csesar , and called the Eu- 
 ripus from its resemblance to the canal that 
 separated Euhsea from the greek continent. 
 
 Although originally destined for the chariot 
 races pugilistic games , foot races , the hunting 
 of wild heasts and other manly exercises were 
 practised in the circus. It was on this spot , ac- 
 cording to Aulus Gellius , that Androcles, con- 
 demned to fight in the games, was recognized 
 by the lion from whose paw he had extracted 
 a thorn in Africa. 
 
 The extensive ruins on the Palatine belqng 
 to the palace of the Caesars ; the houses , gra- 
 
S20 SixA day 
 
 Haries , hay lofts around the basis are all bilfU 
 on the arches which suppoi'ted the steps. 
 
 At the angle of the Palatine on the road 
 to S. Gregorii) Was the celebrated Septizonium 
 of Septimius Severus. This ediGce is said to have 
 derived its appellation from seven rows of co- 
 lumas superposed , but this would have been too 
 high and out of all proportion. It was a three 
 storied portico supported by columns of various 
 marbles serving as a decoration on this side to 
 the entrance of the Imperial palace; and was nearly 
 entire in the time of Sixtus V but was demo- 
 lished by that Pope to supply columns for the 
 Tatican basilic. 
 
 Piscina pvbblicj. 
 
 Sach was the name in the times of the Re - 
 public of an extensive artificial pond made for 
 swimming and other esLercises. It is mentioned by 
 Cicero and by Livy , the former in a letter to 
 Quintus , while Livy proves that it existed at 
 the time of the second Punic war. It was drained 
 after the construction of the naumachia but the 
 quarter preserved the name as we learn from 
 Festus Ammianus, and the regionarii , and gava 
 it to the XII region which comprized the An- 
 toninc thermae and the adjoining hill, on which is 
 the church of S. Balbina erected in the IV cen- 
 tury of the Christian era by Pope S. Mark and 
 frequently restored. Beyond this church is one 
 still more ancient called S. Sabba ; the interior 
 is divided into three naves by 24 columns. On 
 the sides of the Celian looking over the piseina 
 
Sixth day 321 
 
 pubblica, and near tlie angle under tlie villa Mat- 
 tel was 
 
 THE PORTA CAPEKA. 
 
 The position of this gate in the walls of 
 Servius was determined when the miliary column 
 ■vtas found at the first mile on the Appian way , 
 and .justified Ihe . expression of Strabo that tho 
 separation of the Appian and Latin ways took 
 place .near Rome; this separation is still risible 
 at a short distance from the gate on the piazza 
 S. Cesareo; the discovery of the site of the porta 
 Gapena has determined many other positions. It 
 took its name , either from the adjoining sacred 
 wood and temple of the Cantenae , or from the 
 city of Capua to. which it led both by the. via 
 Appia and the via Latina which joined the Ap- 
 pia ^t Casilino , the site of the present Capua. 
 Its celebrity gave to it the name of the first 
 region of Rome called the porta Gapena. Near 
 (bis gate is 
 
 THE rjLLET OF EGERld. ,. '_ 
 
 Situated between the Celian and a hill cal- 
 led Monte d' oro on which was the porta latina 
 and the annexed church of S. Giovanni, called 
 for this reason, ante.portam latinam; the ppsi- 
 lion of the Gapena gate being known it follows 
 that the valley between the two hills is tb* 
 Kgeriau valley , where tradition places the meet- 
 ings between Numa Pompilius and thq ; nymph 
 and where a fountain existed which has disap- 
 peared in the changes of the roman soil. The 
 
322 Sixth day 
 
 modem illustrators of antiquity, ia opposition 
 to the authority of Juvenal and particularly of 
 the rcgionarii , had placed the fountain and val- 
 ley at the Gaffarella, three miles distant fromRome. 
 
 ' TERHE ANTONIANE. 
 
 Antoninus Caracalla began these magniiieent 
 Ifaci^aae about the year 2 1 2 of the Christian era 
 and dedicated them before his departure for the 
 expedition into Persia where he died in 217, a 
 proof that they were nearly finished with the 
 exception of the porticoes which were built by 
 Holiogabalus aud Ale&andcr Sererus. From the 
 name of their founder they were called Ant»~ 
 niaiie or of Ciiracalla; their splendour, attested by 
 Spartianus, Lampridius, Victor, Eutropius, Am- 
 mifiianus and Olympiodorus, is confirmed by thoir 
 ruinsy and by the statues csccarated from them 
 in the XVI century ; the Hercules of Glycon , the 
 bull and the Flora now called Farnesianc, from 
 haring belonged to the Farncsc, form the prhi* 
 cipal oruaments of the Naples museum where 
 they were sent in the last century ; the baths 
 were so extensive that not less than 1 600 perr 
 sans could bathe in them at the same time; they 
 were in use till the V century as tiles were dis«? 
 eoTered in recent excavations with the mark of 
 Theodoric who restored them ; « Regnante Theo- 
 darico bono Romse » the precise epoch of their 
 abandonment is not known, but it was proba^ 
 biy during the Gothic war in the early part of 
 the VI century, Vitiges having cut the aqueduct; 
 when he besieged the city; in the lower ages th9 
 columns served as ornaments to churches and 
 
Sixth day 323 
 
 private houses, the marbles to make lime; the 
 roofs deprived of iheir supporters, exposed to tb« 
 intemperaturc of ihe seasons yielded, and in their 
 fad brought down with them parts of the edi- 
 fice , covered the ground with iheir ruins and 
 buried the ancient pavement at a depth of se- 
 Ycral feet ; abandoned to avarice and private 
 speculation the walls were stript of their ori- 
 ginal ornaments; the excavations of the XVI and 
 XVII centuries were made with no other view 
 than that of finding statues and precious mar- 
 bles. The plan of these iherma; forming a square 
 1050 french feet on each sides , the circumfe- 
 rence was 4200 feet, iu the centre of the squarv 
 is the chief building 690 french feet long, 45€ 
 in its largest hreadlh and about 2280 in cir- 
 cumference. In the whole extension of the squaro 
 there seems to have existed a kind of ground 
 floor , except on the eastern front ; it was not 
 tbt; grand apartment , no decorations having been 
 found in the excavations hitherto made, but tha 
 upper floor was highly decorated and the cen- 
 tral part known as the internal body of the thcr- 
 mse was isolated by means of an extensive area 
 destined to various uses. 
 
 The facade towards the east was reached 
 hj a fine road flanked by porticoes and called 
 the via nuova, on the external part it had Ibo 
 aspect of an ample arched portico behind which 
 the same number of cellse corresponded to tba 
 external arches ; in the interior was a magni- 
 ficent palace standing on an eminence of 70 
 palms consisting of four doors , eight large arid 
 other smaller windows , the partition walls 
 w«re covered with fioa marbles to a coiisi- 
 
424 Sixth day 
 
 derable height , the remainder with stucco ; a 
 large cornice terminated this part of the edifice 
 over which were terraces lined with black and 
 white mosaics , the compartments being varied 
 with figures of Tritons and Nereids; the esternai 
 portico is destroyed, the cella remains; on six 
 of these were steps leading to the area around 
 the chief edifice , the remainder served as to- 
 bernae or as the habitation of the soldiers or 
 slaves attached to the service of the baths ;= they 
 are supposed by some to have been bathing rooms 
 but this conjecture , contrary to the authority of 
 Vitruvius who proves that the baths were lighted 
 from the west, is opposed to the construction and 
 form of the rooms and to the late discoveries 
 which have made known the positive locality of 
 the baths; this arched portico supported a ter- 
 race; over the cellm was a second set of rooms 
 with the door turned towards the west commu- 
 nicating with the area of the internal building. 
 This area, which served as a public walk , 
 would appear by the last excavations to have 
 been planted with trees , having on the sides 
 porticoes of grey and red granite columns about 
 3 1/2 feet which were probably added by Helio- 
 gabaliis and Alexander Severus; it is certain that 
 the posterior part served as a stadium for races 
 and athletic games since, not only in these ther-> 
 mae but in those of Titus and Diocletian, there 
 exists in the centre of the external building tur-> 
 ned towards the area or stadium:, a kind of thea- 
 tre with steps for the spectators; this theatre 
 was of a semicircular form ; in these thermae 
 the curve is insensible by reason of the adjacent 
 
Sixth day 325 
 
 hills or some other building may have prevented 
 its being of the regular and customary form. 
 
 The entrance to the internal area was by 
 four gates symmetrically disposed which can te 
 still recognized; this symetry is observed in the 
 slightest details ; each of these gates was ador- 
 ned wilh two columns supporting a double fron- 
 tispiece of which some traces are preserved, these 
 are now closed on account of the division of the 
 property; the one on the north angle of the edi- 
 fice leads to a spacious hall divided into three 
 parts by means of alabaster columns , adorned 
 with statues and a mosaic pavement composed 
 of white , portasanta , serpentine and other mar- 
 bles; ail these mosaic pavements are intermixed 
 with porphyry, serpentine , giallo antico, porta 
 santa, white marbles and basaltic lava, producing 
 by their variety of colours a very brilliant ef- 
 fect. Though covered by the ruins they were 
 well preserved and when excavated they pro- 
 duced, when cleaned by rain, their primitive ef- 
 fect and added to the idea conceived of the splen- 
 dour of the edifice. 
 
 From excavations recently made in the court 
 it is evident that on three sides there was a por- 
 tico of grey granite columns ; the frieze was 
 carved with military weapons , the pavement 
 was of mosaic, the different colours alternating 
 into scales. The pavement of the area is of the 
 same kind of work but in the form of ellipses 
 inscribed withiu parallellograms , and encircled 
 with a long garland of arabesques on a white gro- 
 und, on the north side is a large niche which pro- 
 bably contained the colossal statue of Hercules , or 
 the bull , opposite which was the highest portico, 
 
 25 
 
326 Sixth day 
 
 the red granite columnsl of whicli were of a dimen- 
 sion double that of the olher columns above named 
 themosaicis here coarser the square compartments 
 being filled with circles. Opposite this large niche 
 towards the south, is an ample semicircular exe~ 
 dra which contained the linest mosaic of the 
 thermae; in the square compartments figures large 
 as life, colossal busts of wrestlers , thus confirming 
 the opinion indicated by the plan that like the 
 other hall of a similar size it was used for the 
 gladiatorial games. 
 
 This northern hall communicates with ano- 
 ther, on the side of which are two chambers on 
 a double storj ; near these is the vestibule of 
 the great Piscina the entrance door to which , 
 though walled up , may be recognized at the 
 eastern area ; opposite is the apodyterium or 
 hall for undressing , of a square form with a 
 mosaic pavement of quadrilateral compartments 
 communicating by a staircase with the terra- 
 ces ; this hall now serves as a deposit for the 
 objecis found in the excavations. 
 
 The vestibule was separated from the pis- 
 cina by two fine alabaster columns ; the descent 
 was by seven steps discovered of late years; the 
 name of Piscina is given to the canals which in- 
 troduced the water and to the signina work 
 which lined the inferior walls ; the last exca:- 
 vations have shown that the spot was not co- 
 vered, which fully contradicts the opinion that 
 this was the celebrated cella described by Spar- 
 tianus, who, in his life of Garacalla, speakipg of 
 his works and of the therma; adds « that the 
 » cella solearis was of such a construction that 
 y the architects maintained that it could not be 
 
Sixth day 327 
 
 » imitated and that the principal difficulty consist- 
 » ed in its extent, the roof being altogether sup- 
 » ported by superposed bronze or copper railings. » 
 Thus if the cella solearis was a hall with a roof 
 of this construction it assuredly was not the 
 piscina in question which never had a roof of 
 any kind. Toward* the east it was closed by a 
 high wall having two rows of niches intersected 
 by a line of squares which conttsined has reliefs; 
 towards the west three tribunes communica- 
 ted with the central hall. Beyond the piscina is 
 another vestibule similar to the one just described 
 the gate of which is in the direction of the ex- 
 ternal area , with another hall opposite. Near 
 it is the southern palestra similar in size, plan 
 and decorations to the one described ; to this 
 palestra is also attached a large entiance hall. 
 
 The semicircular tribune leads to a square 
 hall communicating to the room used for un- 
 dressing, and by the yard to an ancient suda- 
 torium in which are the tubes that conveyed the 
 vapour, the bathing place , aaA ihe prwfurnium 
 that heated the room; the pavement is of black 
 and white mosaic in the form of scales, towards 
 the west are the reservoirs of water. 
 
 The square room leads to a magnificent cen- 
 tral hall once adorned with red and grey gra- 
 nite columns placed alternately,, of large dimen- 
 sions as seen by the fragments that remain; the 
 pavement is of marble slabs; the plan and or- 
 naments correspond to the hall of Diocletian's 
 baths now the church of S. Maria degl' Angeli; 
 till lately these halls have borne the name of 
 Pinacotheca but recent discoveries have shown 
 that they were used as baths , since the pipes 
 
328 Sixth day 
 
 that filled the labri still exist which give a bet- 
 ter idea of those parts of the thermBe called by 
 Vitruvius schola labri or the hall adjoining the 
 baths where the ancients waited before bathing, 
 or kept company with their friends that were in 
 Vheibath. This western room communicates witb 
 a court from which, and from the lunettes above, 
 it receives the light ; beyond the court are the 
 ruins of a large round hall. A similar square 
 hall leads to another court and to the sudaritim 
 llie reservoirs of which towards the west are like 
 those opposite to the central hall. On the sides 
 of the internal part of the thermae to the west 
 are rooms which probably served for literary 
 exercises or to enjoy the games of the stadium. 
 Returning to the north palestra in the « Vi- 
 gna Catucci » are remains of the north side of 
 the external edifice consisting in an octangular 
 hall which ofTered a view of the games of the 
 stadium, and of a room having the form of a 
 basilic; behind these to the, north is an arched 
 portico decorated with brick columns the base 
 and capitals of which were of marble. Out of 
 the enclosure of the thermae is a building with 
 large reticular niches forming a support to the 
 hill; on the west side bes.ides the ruins of steps 
 from which the games were seen , are those of 
 various halls and the large cisterns of the An- 
 tonine aqueduct. The southern side is demalished 
 excepting the octangular hall which is still pre" 
 served and by some is called , without any foun- 
 dation , the temple of Hercules. In its vicinity 
 were found in 1777 the two fine basaltic baths 
 which are now in the Vatican Museum. 
 
Sixth day 329 
 
 S. IfEREO ED ACHILLEO, 
 
 This church was built about the year 542 
 of the christian era and rebuilt in 1 5&6 by Car- 
 dinal Baronio, It possesses ambones and the mar- 
 ble seat on which pope S.Gregory said the XXXIII 
 homily which is in part engraved on it ; at the 
 confessional are four africano columns, the in- 
 terior is divided by several columns into three 
 naves; the altars have each two columns of fluted 
 Phrygian marble , the frescoes representing se- 
 veral acts of the apostles are bj Roncalli , a 
 scholar of Pomarancio, who painted the S. lio- 
 mitillaj the high altar is decorated with four 
 fine africano columns ; to the right is a marble 
 candlestick with figures partly ornamented with 
 gold. At the tribune is an ancient mosaic re- 
 presenting the transfiguration of Christ supposed 
 to be of the VIII century ;. the facade is painted 
 is chiaroscuro by Massei. 
 
 Nearly O'pposile is the church of S. Sisto, 
 formerly a Domenican convent, containing the 
 tombs of Cardinal Lucini and Orsi. After the 
 separation of the Appian and Latin ways , to the 
 right on the Appian is 
 
 S, CESAREO IN FALATIO. 
 
 This church , the origin of which is traced 
 to the VIII century , derives its appellation fi-om 
 the adjoining thcrmDB of Caracalla called like 
 all other large edifices in the lower ages , pa- 
 latiumr After various rest&rations it was com- 
 nleted by Clemeat VIDL At the confessional are 
 
 25* 
 
330 Sixth day 
 
 four fine brocatello columns and on the sides of 
 the altars four of black and white marble. 
 
 Oa the bill behind this church stood the 
 celebrated temple of Mars extra muros'^ the road 
 diverging to the right, and the present road fol- 
 lowing the same direction , led to the temple and 
 was called the cliom Martis. To the left on the 
 via Appia in the vigna Sassi is the 
 
 TOMB OF THE SCIPIOS, 
 
 This monument of the Scipios , a branch of 
 the illustrious Cornelian family , was discovered 
 in 1780 before which period it was supposed 
 to have been situated beyond the S. Sebastian 
 gate opposite the church of Domine quo vadis. 
 It was composed of two stories , the first cut 
 out of the tufa; of the second nothing jemains, 
 but it contained niches separated by peperino 
 columns in which stood the statues of the family, 
 and thai of Ennius as asserted by Cicero ; the 
 first monument to the right is that of Publius 
 Cornelius Scipio , a Flamen Dialis as appears 
 by the original inscription which, together with 
 all those found at the epoch of the excavation, 
 were transferred to the Vatican Museum, the sar- 
 cophagi were all placed in tufa; the plan of the 
 monument , though irregular, may be assimilated 
 to a square supported by two large quadrilateral 
 pilasters; the rock being naturally fragile, and 
 still more so after the excavation , the original 
 plan is not easily recognized. The other inscrip- 
 tions are those of Lucius Cornelius the son of 
 Cneius Scipio; of L. Cornelius Asiagenus, L. Cor- 
 nelius the son of Scipio Asiaticus and nephew 
 
Sixth day 331 
 
 of Scipio Africanus , Cneius Cornelius Scipio His- 
 panus. The ancient door has the form of an arch 
 roughed out of the tufa and resting on posts of 
 peperino , placed on a road communicating with 
 the Appiau and Latin ways; the rock , cut per- 
 pendiculary , was lined with white stucco and 
 ornamented with minium paintings , it was sup- 
 ported externally by a cornice of peperino over 
 which were the onaments of the second story. 
 In these tombs were found the sarcophagus of 
 peperino with triglyphs and roses finely carved 
 stated in the inscription to be that of Lucius Sci- 
 pio Barbatus , the conqueror of the Samnites and 
 of Lucania , consul in the year 303 B. G; a pe- 
 perino bust crowned with a laurel wreath is 
 supposed to represent Ennius , but is more pro- 
 bably one of the Scipios. In this monument all 
 breathes simplicity and it should be seen, not only 
 for its antiquity but for having been the tomb 
 of a family that deserved so well of the Roman 
 Republic. In the same vineyard was discovered 
 n 1830 the 
 
 COLUMBARIUM OF CN. POMPONIVS HTLAS 
 AND OF POMPONIA riTALINE 
 
 The columbarium, amongst Ihe ancient Ro- 
 mans, was a sepulchral chamber destined to re- 
 ceive the ashes of the families of slaves or of 
 freedmen who were generally buried near the 
 city and the tombs of their masters. The word 
 oolambarium is derived from the resemblance of 
 these chambers to those of doves, as they con- 
 sisted in many rows of small arched or rectiline 
 niches, occupied by one or more vases of the 
 
332 Sixth day 
 
 species called ollce containing the ashes and 
 bones collected from the funeral pile. In front of 
 the niches were small slabs called tiluli , recor-» 
 ding the name and quality of the deceased. Along, 
 the consular ways and especially along the Ap- 
 plan , many of these sepulchres have been found 
 at various periods ; this monument , situated on 
 a cross road between the Appian and Latin ways 
 is interesting for its state of preservation ; the 
 entrance is by the ancieiit steps opposite which 
 is a mosaic inscription to Cneius Pompomus Eylax- 
 and Pomponia Vitaline. The marble urns, the 
 stuccoes and paintings are well preserved ; the 
 names not being those of a single family and 
 the conditions of the persons being various , some 
 belonging to the courts of Augustus , Octavia 
 and Tiberius , lead to the supposition that it 
 was a common sepulchre , or that it belonged 
 to some company of which there were several 
 in Rome and that it was constructed about the 
 beginning of the christian era. Judging by the 
 additions and restorations subsequently made it 
 probably continued in use even under the An- 
 tonines. 
 
 The porta latina was opened when the wall* 
 of Rome were extended in the direction of 
 the via Latina , one of th« most ancient con- 
 sular ways, which traversed all Latium , passed 
 through Anagni, Frosinone, Ferentino and joined 
 the Appian at Casilino, the modern Capua, on the 
 Vulturnus, the porta Latina was built by Ho- 
 norius in 402 and restored in 560 under Ju^stinian;. 
 
 The ancient church of S. Giovanni within 
 the gate has been recently restored together 
 with the chapel where the apostle was pat iato 
 
Sixth day 333 
 
 a chaldron of boiling oil by order of Domitian, 
 a festival still celebrated on the 6 May by the 
 catholic church under the denomination of S. 
 Giovanni ad portam Latinam. 
 
 ARCH OP DRUSlfS 
 
 Built by the Senate in honour of Nero Clau- 
 dius Drusus , the father of the Emperor Clau- 
 dius , after his death. It is composed of large 
 blocks of travertine, of two columns of Africano 
 of the composite order , and was restored by 
 Caracalla for the passage of the aqueduct that 
 conveyed water to his thermae , the arcades of 
 which are still visible. 
 
 PORTA JPPIA OR S, SEBASTIAN 
 
 In extending the city walls this gate was 
 substituted to the porta Capena of Servius, and 
 having suffered in the Gothic war it was rebuilt 
 either by Belisarius or by Narses. It is now called 
 the porta S. Sebastiano from the neighbou- 
 ring basilic, in ancient times the porta Appia 
 from the celebrated way made by the censor 
 Appius Claudius in the year 442 of Rome which 
 extended to Capua and afterwards to Beneven- 
 tum and Brundusium a port where the ancients 
 used to embark for the east. The Appia , called 
 the queen of ways, was lined with tomlis, tem- 
 ples , triumphal arches and other monuments, 
 the portion which crossed the Pontine marshes 
 was restored by Julius Cajsar, Augustus, Domi- 
 tian , Nerva , Trajan and by the Gothic king 
 Theodoric , but it remained under water during 
 
334 Sitxh day 
 
 the lower ages. These waters were drained in 
 (he latter part of last century by Pius VI who 
 thus restored an extensive tract of country to 
 cultivation. 
 
 About a quarter of a mile beyond the gate 
 is the Almone , a rivulet formed by various 
 springs , Ihe most distant about three miles from 
 the city , and falls into the Tiber about half a 
 mile beyond the porta S. Paolo where, according 
 to Ovid , the priests of Cybele washed every 
 year the statue of the Goddess and the sacred 
 utensils in its waters. On the left of the road 
 is a pyramidal mass of a tomb unknown , and 
 the small very ancient church rebuilt in the 
 XVII century called Bomine quo vadis from the 
 pious tradition that S. Peter, having escaped 
 from prison here met our Saviour to whom he 
 addressed this question ; it is also called S. Ma- 
 ria ad passus and S. Maria delle piante from 
 the mark of the Saviour's feet on the stone which 
 is preserved in the church of S. Sebastian. 
 
 In a vineyard opposite are remains of a 
 sumptuous tomb supposed before 1780 to have 
 been that of the Scipios. Though stript of its 
 ornaments and marbles it is easy to recognize 
 that the form was a large square base surmoun- 
 ted by a round building with niches for sta- 
 tues and that it finished in a spheric cupola ; 
 by an inscription found in the vicinity it was 
 probably the celebrated sepulchral monument 
 of Priscilla , the wife of Abascanthus, mentioned 
 by Statins as existing on the via Appia beyond 
 the Almone where in fact it is situated. 
 
 The road here divides into two branches ; 
 the right the ancient via Ardeatina , the left 
 
Sixth day 335 
 
 tlie continuation of the via Appia along which 
 are ruins of tombs. In the first vineyard beyond 
 the lane leading to the GaCTarella is the round 
 edifice built by Cardinal Polo and in the vigna 
 Vagnolini are ruins of a large columbarium divided 
 into three rooms attributed , on very slight 
 grounds , to the servants of Augustus. 
 
 In the Casali villa the columbarium of the 
 Volusia was found in 1 825 , a family of distin- 
 ction in the times of Nero. In 1726 a large 
 columbarium was discovered in the last vineyard 
 to the left , perfectly preserved and now com- 
 pletely destroyed ; it belonged to the servants 
 and freedmen of Livia Augusta as ascertained 
 by numerous inscriptions now in the Capitoline 
 museum. 
 
 Within the Ammendola vigna in 1 820 and 
 in the following years several columbarii were 
 found of sundry persons which cannot on suf- 
 ficient grounds be attributed to any class or 
 family , but it is certain that they contained 
 many tomb stones, has reliefs, sarcophagi, lamps 
 utensils , necklaces and other interesting objects; 
 above all a splendid marble sarcophagus of ex- 
 quisite worli with a representation in has relief 
 of a battle between the Romans and the Gauls 
 who are recognized by their Torques, or twist- 
 ed collar ; this sarcophagus is preserved by the 
 family of Sig. Ammendola. Along the via Appia 
 is the 
 
 BASILIC OF S, SEBASTJAH 
 
 This celebrated basilic , of a very remote 
 origin , was built over the cemetery of S. Gal- 
 
336 Sixth- day 
 
 lixtus , the burial place of S. Sebastian. After 
 having been restored by sundry Pontiffs it was 
 rebuilt by Cardinal Scipio Borghese in 1911 on 
 the designs of Flaminio Ponzio ; the facade is 
 decorated with a portico supported by six gra- 
 nite columns , the high altar with four of verd' 
 nntico marble. In the chapel dedicated to S. 
 Sebastian , restored on the designs of Giro Ferri, 
 is the statue of the saint executed by Giorgetti, 
 on the model of Bernini; ihe paintings over the 
 three doors in the interior are by Antonio Ga- 
 racci. 
 
 The last chapel dedicated to the martyrs 
 SS. Francis and Pope Fabianus was built by 
 Clement XII on the designs of Garlo Fontana ; 
 the statue of S. Fabiano is by Papaleo ; the 
 painting on the right by Passeri , (he one to 
 the left by Ghezzi , the tomb on Ihe pavement 
 contains the remains of Orazio Albani, the bro- 
 ther and nephew of Clement XI. Over the high 
 altaris a picture by Tacconi a pupil of Annibal 
 Caracci. In the oratory is another over the altar 
 representing the Madonna , child and sundry 
 pilgrims in the act of adoration , by Albini. On 
 the sides of the steps leading to the oratory is 
 a fresco of the Virgin with her son. Over the 
 altar of a small chapel is a marble bust of S. 
 Sebfistian supposed to be by Bernini. 
 
 The door to the right of the S. Sebastian 
 chapel leads to the Catacombs or cemetery of 
 S. Callixlus where the earth is dug out in the 
 form of galleries ; these excavations were made 
 by the ancient Romans to procure (he pozzdlana 
 used in the fabrics they raised; they were en- 
 larged by the christians to whom they served as 
 
Six^h day 337 
 
 a place of refuge in times of persecution who 
 celebrated here their sacred functions and bu- 
 ried their dead ; these catacombs are supposed 
 to have an extension of six miles. It is staled by 
 ecclesiastical writers that 14 popes and 170,000 
 mai'tyrs were buried within' them, amongst whom 
 S. Sebastian ; they add that th^ey were inhabited 
 for some time by SS. Peter and Paul. 
 
 In some vineyards on the left of the road 
 beyond the church are several ruins built in the 
 same style , with alternate strata of volcanic 
 stones in the form of parallcpipeds and bricks 
 with lit lie cement. These ruins certainly belong 
 to a villa of a style of construction not anterior 
 to the IV century of the present era , and an 
 inscription found iu the adjoining circus of Max- 
 entius proves that the villa belonged to that 
 prince. At the sale of his property after his 
 death it came into possession of the Anicia fa- 
 mily , and afterwards into that of Simmacus , 
 one of the richest and most distinguished men 
 of that period. In fact he describes it as a large 
 edifice built within narrow limits in the proxi- 
 mitv of the Appian way. To this villa belongs the 
 
 ihi 
 
 TEMPLE OF ROMULUS 
 
 This temple , commonly called the stablis 
 the circus of Caracalla., is the only one left 
 at preserves the sacred enclosure, the identity 
 of the Construction with that of the circus called 
 of Caracalla and with the rains of the villa, the 
 vicinity , and the g«le of communication to the 
 circus , leave no doubt that the enclosure is a 
 part of the villa, and that it was used as such;, 
 
 26 
 
358 Sixth, day 
 
 ihc plan is that of a temple , beiug a quadri- 
 lateral area surrounded by a wall with an arched 
 portico , while in the centre stood the temple 
 of which the foundations alone remain. The 
 designs made by Palladio prove that it was pros- 
 tyle or with a single rectiline portico formed 
 by^ix front, three side, columns, and a pilaster; 
 the ascent to it was by steps, the cella round, 
 and altogether the plan resembled that of the 
 Pantheon; the foundations of the portico are 
 well preserved , the wall is about 1 4 feet deep; 
 the diameter of the cella 1 00 feet ; around are 
 niches in the wall with little windows or iron 
 gratings to give light and air under ground; in 
 the centre an octagon pilaster supporting the 
 roof; with larger dimensions and a little variety 
 in the details this temple resembles the villa 
 de Gordiani on the Prenestina way known under 
 the name of Torre de Schiavi • 
 
 It is interesting by its plan and the size of 
 the walls which appear to have belonged to ano- 
 ther period, but we know from inscriptions that 
 the villa was built by Maxenlius and that the 
 temple communicated with the circus which was 
 dedicated to his son Romulus in the year 311, 
 and as in the medals struck by the father after 
 the son's death there exists on one side a temple, 
 or mausoleum to Eroos , the opinion that it was 
 both seems to be founded , while the part under 
 ground was used as a place of burial , the cella 
 to contain the images of great personages amongst 
 which was placed that of Romulus; the enclosure 
 was called sacred from the procession composed> 
 of magistrates, assistants at the games, and priests,^ 
 who carried the statues of the gods in whose 
 
Sixth day 339 
 
 honour they were celebrated, and made the round 
 of the circus after completing the ritual sacri- 
 fices. 
 
 Behind the wall to the left of the temple 
 is an ancient sepulchre greatly anterior to the 
 wall itself but enclosed within it ; it is of an 
 elegant structure the plan being a species of 
 greek cross surrounded by a circular corridor. 
 
 THS CIRCUS OF ROMULUS 
 
 Till the year 1825 this circus was supposed 
 to be that of Garacalla on three very frivolous 
 grounds: the passion of that Emperor for these 
 games , a medal with a circus on the reverse 
 the discovery in this vicinity of his statue and 
 that of Julia Pia his mother, hut a passion for 
 the games does not imply the building ot this 
 edifice ; the medal may allude to the circus 
 maximus ; statues are easily transferred from 
 one place to another and no reliance can be 
 placed on the denomination of portraits in past 
 ages. In addition to these reasons the construct- 
 ion with irregular masses of tufa and brick is 
 directly opposed to that of the magnificent An- 
 toniniane iherma; , a work certainly of Gara- 
 calla , and to other contemporary edifices, while 
 these in every respect have the character of the 
 IV century. 
 
 But all doubt on the subject is removed 
 by the excavations undertaken by the late Duke 
 Giovanni Torlonia, the proprietor of the ground , 
 who cleared the carceres , the spina and the 
 arena when parts of three inscriptions were 
 found bearing the name of Maicentius , the one 
 
340 Sixth day 
 
 best preserved placed , as customary , under the 
 great gate stating that the circus was consecra- 
 ted in the year 311 of the present, era to the 
 divinized Romulus, the son of Maxentius, w^o 
 jjad been twice Consul. 
 
 DIVO . ROMVLO , N. M. Y. 
 
 COS . CRD . II. FILIO 
 
 D. N. MAXENTII . INVICT 
 
 Vim . ET . PERP . AVG . NEPOTI 
 
 T. DIVI . MAXIMIANI . SEN. 
 
 ORIS . AC . BIS . AYGVSTI. 
 
 This discovery serves as an illustration lo 
 the anonymous, author, a contemporary qfMax-r 
 entius, published by Eccard, who asserts that 
 this^Emperor built a circus in the catacombs: 
 hic',fec,it cixcum in Catacu.mMs and it is known 
 that by catacombs were understood those ofS. 
 Scbi^stian. 
 
 .It may not be. amiss to premise that the 
 form, pf a circus, was an oblong area confined 
 within two straight , not parallel , lines , united 
 at the ends by two curves, In the circus of Ro- 
 mulus this area was 1560 Paris feet long and 
 240 broad; these edifices consisted of three parts, 
 the carcercs , the spina, and the circus;. from 
 the carceres issued the cars divided into four 
 factions , the albata or white , russata or red , 
 /)r»sjn(? , or green, t'ewete' blue; the part situated 
 towards, the west formed a segment of a circle, 
 a disposition necessary lo maintain an equal start 
 for the cars ; the carceres formed 1 3 arched ways 
 communicating together, except the seventh which 
 served as a passage for the procession. On the 
 
Sixth day 34 f 
 
 side of ihe circus Ihey were closed by iron gates 
 the liinges of i^rhich are still visible , an usage 
 confirmed by a bas relief in tbe villa Albani; the 
 terrace over them was reserved for personages 
 of the first rank. At the ends were two high 
 towers from which the musicians animated the 
 horses by the sound of Ihe tibia> 
 
 The circus was similar in the disposition of 
 the seats to the amphitheatre, being divided into 
 the podium and precinctioni. In this circus a 
 single precinclione was divided into ten seats 
 providing room for "1 8,000 spectators; four doors 
 communicated witb the arena , two near the 
 towers , one opposite the first meta , the other 
 towards the east near the high road which , being 
 on a higher level , communicated with the 
 the arena by seven steps ; the opinion that the 
 cars entered on this side is thus without foun- 
 dation ; to the north east and to the south west 
 were distinct places called pulvinaria being co- 
 vered with pulvina or cushions , and as tbe one 
 to the north oast communicated direct with the 
 villa by means of a gallery, it was probably re- 
 served for the^Emperor ; the other , having a 
 separate entrance, for the magistrates who pre- 
 sided over the games , 
 
 The Spina may be defined a slight wall 
 dividing tbe area of the circus into two unequal 
 parts , the one to the north being wider than 
 the part towards the south , and not parallel 
 to either but oblique. It was adorned with co- 
 lumns , statues and obelisks ; the spina of this 
 circus was 837 feet 6 inches long , 20 wide,, ^ 
 deep near the first mete vhich were separated. 
 On it were reservoirs for the water that was 
 
 26 * 
 
342 Sixth day 
 
 occasionally thrown on the axes of the wheels 
 to prevent them from taking fire. On a slight 
 rise of ground was a beam with a rope to de- 
 termine the end of the races ; the metoe wero 
 three cones lined with marble and grouped to- 
 gether , adorned wilh has reliefs representing 
 the circus races ; they were found in pieces in 
 the late excavations and showed the extreme 
 decay of the arts, near the meta began the spinu 
 whore remnants of statues and ornamented mar- 
 bles were discovered with the traces of their 
 pedestals. On Ihe first stood a statue of Venus, 
 on the others grey marble columns supporting 
 an architrave with dolphins, the syrabolof Nep- 
 tune the protecting divinity of horses ; of these 
 seven dolphins , indicating the number of races, 
 one was taken down as each race was comple- 
 ted; thei<e' were also found pedestals of the sta- 
 tues of the sun , of Paris and beyond a platform 
 that used to be planted with flowers that of the col- 
 umn that supported the statue of victory and 
 the foundation of the obelisk raised by Innocent 
 X in the piazza Navona -, the first road that 
 crossed the Spina was near the platform, the 
 second near this obelisk; the pedestal of the 
 statue of Hercules , an edicola containing that 
 of Venus with seven eggs on the cornice a symbol 
 of Castor a protector of equestrian games, and al- 
 luding also to the seven circuits of the cars; 
 finally , after the 'third way , pedestals of the 
 statues of -an Amazon , and of Proserpine ; the 
 base of the second meta at this end of the spina 
 is lower than the others. 
 
 The spina was not placed in the middle , 
 and comR)cnce4 at a distance much greater from 
 
^\1t 
 
 
 ■■Jf 
 
 ■?■■ 
 
 f3 
 
 
 H 
 
Sixth day 343 
 
 ibc carceres than from the eastern gale , at a 
 more ample space to the right was necessarj 
 for the first start of the cars and horses. Re- 
 turning to the via Appia is the 
 
 TOMB OF CECILIA METE Ltd 
 
 ' This monument , one of the most magni- 
 ficent and best preserved of ancient Rome, was 
 raised , as appears by the inscription , to Ceci- 
 lia Metella , ihe daughter of Q. Metelius and 
 wife of Grassus. 
 
 CAECILIAE 
 Q. CRETICI . F. 
 ME TELLE. CRASI. 
 
 Of a round form and 1 32 palms in diameter 
 it stands on a square base of unequal height 
 forming a level to the ground. What is most 
 remarkable in this edifice is the size of its tra- 
 vertine blocks and the extraordinary thickness 
 of the walls ; the small round chamber in the 
 interior finishes in the shape of a cone; beneath 
 is the sepulchral chamber now underground in 
 which was found , under Paul III , the marble 
 sarcophagus now in the yard of the Farnese. 
 
 The bas relief over the inscription represents 
 a trophy and part of a figure of Victory in the act 
 of writing on a shield the wars of the father and 
 husband; beyond the figure there must have been 
 another trophy with slaves in chains; this has 
 relief forms part of the frieze which is orna- 
 mented with festoons and heads of oxen , the 
 origin of the denomination of rapb di Bm given 
 
344 Sixth day 
 
 to it in the lower ages ; this edifice of tbe latter 
 times of the Republic is the most ancient mo- 
 nument in wMcl) marble was used. 
 
 The well and battlements on the summit 
 were built about 1300 by Pope Boniface VIII 
 of llie Gaetani family as a place of forlificatioa 
 in the civil wars ; at the same period a kind 
 of palace and a church , the walls of which still 
 remain, were built near the tomb together with 
 an enclosure defended hy towers; the arms of 
 the ancient and illustrious Gaetani family are still 
 oyer the doors. 
 
 At the distance of half a mile is the tomb 
 of M. Servilius Quartus discovered in 1808 by 
 Ganova, and two miles further on is an exten- 
 sive possession of tlte Prince Torlonia commonly 
 called Roma Veaekia from the ruins of the 
 
 riLlA De' QUtNTILr., 
 
 To the excavations made by the late Duke: 
 Torlonia we are indebted for our knowledge of 
 this mass of ruins supposed, to have been the 
 Paffus Lemonius mentioned by Festus as exist- 
 ing near Rome on the latin way ; the. style a;id 
 ornaments seem at first sight to belong, to tha 
 last period of the second century of the present 
 era , but the lead pipes that conveyed water bear 
 the inscription II. Quintiliorum condini et max- 
 imi, or the Quintili ^ two brothers who pos- 
 sessed great riches and were put to death by 
 order of Gommodus , as related by Herodiaq ^ 
 Dio and. Lampridius ; their yilla became a fa- 
 vorite residence of Gommodus, who probably 
 added to its buildings; it was evidently enlaF- 
 
Sixth day 345 
 
 ged and restored at the end of the III century 
 or in the beginning of the IV; amongst the ruins 
 can be traced the amphiteatre, two bathing rooms 
 Tarious reservoirs, an aqueduct and a fountain 
 similar to that of the acqua Julia on the Esquiline. 
 
 The fountain is turned towards the appian 
 way in the direction of a large pyramidal mo- 
 nument probably that of Q. Cdecilii the uncle 
 of Atticus the friend of Cicero, who was buried, 
 according to Cornelius Nepos , on the via appii 
 live miles from Rome. 
 
 On the opposite side of the road are re- 
 mains of a large enclosure built with enormous 
 blocks of Alban stone, which calls to mind the 
 campus sacer Horatiorum placed by Martial at 
 this part of the via appia , to perpetuate the 
 remembrance of the combat between the Horatii 
 and Curiali near the Cluilian fossi. Returning to 
 the Metella tomb and within the Gafarella on the 
 top of a hillock is the 
 
 TRXPLE OP BACCHUS. 
 
 The discovery made under Urban VUI in 
 the vaults of this temple of a round ara with 
 a greek inscripiion arid the Bacchanalian serpent 
 calling it the hearth of Bacchus dedicated by ^ 
 Apronianus , has determined the denomination 
 of this small temple which is well preserved; this 
 discovery attested by Holtensius in one of his 
 letters, completely upset the opinion of those ^ 
 who called it the Camence or that of Honour and 
 Virtue placed by the ancient writers at the porta 
 capena and by the Regionarj within the limits 
 of the I region which did not extend beyond 
 
346 Sixth day 
 
 the AlmoDe at its point of intersection with tlic 
 via appia; the style of this edifice is very an- 
 cient, the columns forming the portico were ta- 
 ken at a later period from some edifice of the 
 Antoaines. The Hierophant Apronianus who de- 
 dicated the altar was probably Lucius Flavlus 
 Apronianus Asterius a friend of Julian , and a 
 zealous supporter of the ancient religion ; he 
 was created Prefect of Rome in the year 363 as 
 proved by Gorsini, a situation which he filled 
 in 364. 
 
 The four marble fluted corinthian columns, 
 by the proportions and style seem to have be- 
 longed to some other edifice , they are now en- 
 chased in the walls ofthefk^ade; at the right 
 entrance is the round ara of Bacchus; the ceila 
 is decorated with a stucco frieze , filled with 
 military trophies, the ceiling with stucco squares 
 oi an octagon form and some remains of a bas 
 relief. 
 
 The temple , having been changed into a 
 church in the lower ages, was adorned with pain- 
 tings in 1 01 1 proving by thfl subjects that the 
 diurch was consecrated by S. Urban; besides va- 
 rious passages from scripture they contain allu- 
 sions relative to the life of that holy pontiff and 
 of S. Cecilia. They were retouched under Ur- 
 ban VIII who restored and reconsecrated the 
 clmrcli , these paintings are important for the 
 history of the art. In the Caffarella beneath the 
 temple is the 
 
Sixth day 3^47 
 
 SYMPHXUM OR GROTTO OF EGERIA> 
 
 The passion lo give a great name to every 
 stone of Rome iadiiced antiquaries of past tim'is 
 to call this nymphseum the grotto of Egeria 
 which we have already proved, on the authority 
 of Juvenal and Symmachus , to have been situa- 
 ted near the porta capena between the Celian 
 and the monte d' oro. To these authorities it 
 may be added that the ancient statue at the end 
 of the nymphaium , though deprived of its bead 
 is evidently that of a man, nor can it be doub- 
 ted from its character and garments that it re- 
 presented a river god; this ruin is however a 
 nymphaeum, a kind of edifice consecrated by tbs 
 ancients to springs, fountains, rivers, and naiads, 
 so often met with in the villas of the ancients ; 
 the statue is that of the local fount , perhaps thu 
 Almone which received its waters. 
 
 This edifice, probably of the time of Ves- 
 pasian, is of reticular work and contains eleven 
 niches comprizing that of the fount ; the pave - 
 menl was formed of serpentine , the walls of 
 verd' antico, the niches of white marble and red 
 cornices; in the valley half a mile distant from 
 the nymphceum is the 
 
 TEMPLE OF THE DIO REDICOLO, 
 
 When Hannibal raised the siege of Rome , 
 a field and altar were consecrated to the genius 
 of return , Bio Kedicolo, the position of both was 
 determined by the elder Pliny at a spot on the via 
 Appia two miles to the right on quitting the city; 
 this temple was consecrated to some other god 
 
S48 Sixth day 
 
 than the Dio Rcdicolo since it is not only very 
 far from ihe Appian way but is also to the left 
 on leaving. Rome; the edifice is of a fine con- 
 struction , it had a portico of four columns now 
 ruined ; the facade being towards the Almo- 
 BO which flows nearly at its base has given rise 
 to the opinion lliat il was consecrated to that 
 stream; the bricks are light and well united, yel- 
 low on the walls, red at the base, on the pi- 
 lasters and ornamental parts. To the south two 
 octagon columns are enchased in the wall ; on 
 the opposite side are pilasters; the compartments 
 seem to have contained has reliefs; at the base 
 of the temple there was a road of which many 
 polygene stones remain. 
 
 BASILIC OF S. PAUL^. 
 
 An33t<isius tlie librarian affirms , that at the 
 instance of Pope S. Silvester, a church was built 
 h-^ the Emperor Gonitanline to the apostle of 
 the nations , on a spot of ground belonging to 
 Lucina a roman matron , and that S. Paul was 
 huried in an ancient christian cemetery situated 
 in its vicinity. It would be difdcult to precises 
 the period of the foundation, but by a rescript 
 esisting in the Vatican archives of the year 368, 
 the emperors Valentinian II, Theodosius and Ar- 
 eadius ordered Sallust , the prefect of Rome, to 
 rebuild the church on a greater extent , a proof 
 that a church was already consecrated to the 
 apostle. The work was completed by Honorius 
 as stated in the inscription on the large internal 
 arch. The confessional of pure silver was built 
 about 438 by Valentinian III; the mosaic oyer 
 
Sixth day 349 
 
 llie arch , a part of which remains is of 440 , 
 the time of Pope S. Leo, the charch was embel- 
 lished by several pontifiFs particularly by Sixtus V 
 and Pius VII. The interior not comprizing the 
 tribune was 335 palms long and 203 broad; it 
 was divided into three naves by 80 columns , 
 and contained in all 1 32 each 52 palms in height^ 
 1 6 in circumference, chiefly pavonazzetto, Phry- 
 gian or parian taken from the Emilian basilic ; 
 around the various altars were 30 porphyry co- 
 lumns, the pavement was formed of fragments of 
 antique marbles ; under the great arch was a 
 mosaic of 440 representing our Saviour wilh 
 SS. Peter and Paul and the 24 elders of the 
 apocalypse ; on the walls of the middle nave were 
 paintings of the IX century and the series of 253 
 portraits of the Roman pontiffs , from S. Leo I 
 down to PiusVIL 
 
 In the night of the 1 5 July 1 823 it was con- 
 sumed by fire; its reedification, begunby Leo XII, 
 is pursued with activity under the present so- 
 vereign. 
 
 Annexed to the basilic is a cloister with 
 small columns supporting light arches, and to- 
 gether with the exterior entablature covered with 
 mosaics. Under the portico are sundry antique 
 marbles and on the walls numerous inscriptions 
 published in the great work on this basilic by 
 the late Monsignor Nicolai; the cloislerwas begun 
 by Pietro da Capua and Qnished by Giovanni 
 d'Ardea about the year 1215. 
 
 27 
 
3i0 Sixth day 
 
 S. PAOLO ALLE TRE FONTllNE, 
 
 Three ' churches were erected by the early 
 christians at the yJquas Salvias ; the one de- 
 dicated to S. Paul on. the spot where he died 
 was rebuilt in 1590 by Cardinal Aldobrandini 
 on the designs of Giacomo della Porta who de^ 
 corated it with a facade. In the interior are two 
 altars and three fountains which are said to have 
 sprung up miraiculously at the three places where 
 the apostle's head rebounded after his decapi- 
 tation. 
 
 The adjoining church of S. Vincenzo ed Ana- 
 stasio built by pope Honorius I about 630, and 
 restored by S. Leo III, is formed of three na- 
 ves by pilasters over which the twelve apostles 
 arc represented in fresco on the designs given 
 by Raphael. This abbey is one of the most ce- 
 lebrated of Rome or of the environs. . 
 
 The third church, S. Maria schala coeli was 
 built over the cemetery of S. Zeno who , with 
 several of his companions , here received the 
 palm of martyrdom during the persecution under 
 Diocletian. The church was rebuilt in 1582 by 
 Cardinals Alessandro Farnese and Aldobrandini 
 on the designs of Vignola ; its form is octagon ; 
 in the tribune is a mosaic by Zucca considered 
 as the first modern work of this kind displaying 
 a good taste. 
 
 In a vineyard near the high road in retur- 
 ning to S. Paul's is an ancient bridge formed of 
 massive blocks for the passage of the consular 
 way over the Almote which, near this place, falls 
 inio (he Tiber. 
 
H 
 
 M 
 ^ 
 
Sixth day S'il 
 
 PORTA OSTIENSIS OR OF S. PAUL. 
 
 At the extension of the city walls this gate 
 was substituted to the Trigemina , Minucia , Na- 
 valis and Layernalis of Servius and called Ostien- 
 sis , from being on the road to Ostia, or S. Paul 
 from the basilic. It was rebuilt by Belisarius 
 26 palms higher than the ancient gate. To the 
 left before reentering the city , enchased in the 
 wall is the 
 
 PYRAMID OF CAWS CESTIUS. 
 
 This quadrangular pyramid was erected in 
 330 days to receive the ashes of Gaius Gestius 
 as appears by the following inscription on the 
 pyramid. 
 
 C. CESTIVS . L. F. POP. EPVLO , PR. TR. PL. 
 
 YII. VIR. EPVLONVM 
 
 OPVS . ABSOLVTVM . EX . TESTAMENTO 
 
 DIEBVS . CCCXXX. ARBITRATV 
 
 PONTI . P. F. OLA, MELAE . HEREDIS 
 
 ET . POTHI . L. 
 
 This mass ^ lined with white marble a palm 
 and a half thick , 1 64 high , and 1 30 wide, is 
 placed on a travertine base 4 palms deep; the 
 blocks are 36 palms thick on every side , the 
 sepulchral chamber 26 palms long , 1 8 wide , 
 19 deep. In the interior are various compart- 
 ments painted with figures of Victory, with vases 
 and other ornaments. Gajus Gestius was one of 
 the Seplemvirs of the Epulones who prepared 
 the solemn banquets to the gods , particularly 
 
332 Sixth day 
 
 to Jupiter- these banquets called Levtisternia 
 took place in the temples on the occasion of 
 signal victories or when a great calamity threat- 
 ened the republic. The pyramid , having suf- 
 fered by the injuries of time , vras restored by 
 Alexander VII; in lowering the soil which had 
 encreased to the height of 24 palms, two line 
 capitals and two small fluted columns were found 
 which were restored and placed at the western 
 angle of the pyramid together with two bases, 
 on one of which was the foot in metal, now in 
 the capitoline museum, and belonging to the sta- 
 tue of Ceslius, as seen by the inscriptions on the 
 base; it appears by it that Cestius lived in the 
 time of Augustus. The field before the Pyramid, 
 now the protestant cemetery, is filled with tomb 
 stottes auu sepmcnrai moutiiiicutSi ifl uUituiug 
 the wall of enclosure an ancient plan of Rome 
 and the pavement uniting the Ostian to the Lau- 
 rentina way were discovered. The cemetery has 
 been extended of late years on the south side 
 of the Pyramid. 
 
 MONTE TESTJCCIO. 
 
 This hill was formed by quantities of broken 
 earthenware united here at an epoch and for 
 reasons unknown at the decline of the empire , 
 no mention of it being made by ancient writers, 
 and many ancient tombs having been found under 
 the accumulated mass of their fragments. It is 
 known that the use of earthen vases was ge- 
 neral in Rome , that they served to contain wa- 
 ter, wine, oil, the ashes of the dead and to 
 many other purposes ; it is therefore not extra- 
 
Sixth day 353 
 
 ordinary lliat in the course of ages a Iiill should 
 have been formed 240 palms in height and 740 
 in circumference around which grottoes have been 
 excavated to deposit wine in Ihe summer months. 
 
 Opposite Testaccio is the front of a modern 
 baslion , a part of the new fortifications with 
 which Paul HI wished to cover Rome on this 
 side and which were never completed; other parts 
 are near S. Sabba with a finished bastion con- 
 necting the city walls between the S. Paolo and 
 S. Sebastian gates , known in the history of mi- 
 litary architecture as the bastion of Sangallo who 
 directed the works. 
 
 Near the chapel dedicated to S. Lazzarus 
 is an arch thrown, over the road which shows 
 the extreme decay of art at the period of its 
 construction ; it seems to have belonged, to the 
 granaries called by Victor the Horrea ^niceti. 
 On the piazza lately opened for the discharge 
 •if marbles are remains of the ancient 
 
 The place where the ancients landed goods 
 brought by sea to Rome was called the Navalia, 
 Livy, speaking of the election of Ciiicinnatus says 
 that they were situated on the right bank of 
 the Tiber , in other passages , out of the Tri- 
 geraina gate. In the Ccsarini grounds are nu- 
 merous ruins of constructions bearing the type 
 of the beginning of the VII century of Rome , 
 which seem by their plan to belong to the an- 
 cient arsenal. Several roagh blocks of fine mar- 
 ble with the date of their shipment have becB 
 discovered here , a proof that they were landed! 
 
 21 * 
 
3j4 Sixth day 
 
 at tl>is place which gave rise to the modern 
 name of the Marmorata applied to this quarter; 
 In the lower ages it was called the jKepa Grceca, 
 the opposite bank, the Ripa Romana. 
 
 In times of low water it is easy to distin- 
 guish the piles of the 
 
 SUBLICIAH BRIDGE, 
 
 Whea the city was extended on the right 
 bank of the river by Ancus Martius , a wooden 
 bridge was built here and from the beams which 
 composed it was called the jionte Sublicio; it is 
 celebrated by the valour of Horatius Codes who 
 defended it against Porsena^ In rebuilding it , 
 the beams were not coanecled by nails or iron 
 that it might be more easily taken to pieces. 
 Destroyed in an inundation under Augustus, pro- 
 bably the same so eloquently described byHorace, 
 it was rebuilt of stone by the Censor M. Emi- 
 lius Lepidus , and called the Emilian bridge , 
 recorded by Juvenal and by other writers. Res- 
 tored by Antoninus Pius , it was destroyed six 
 centuries later by another inundation under A.- 
 drian I; in 1 454 the remaining part of the bridge 
 was taken down, the piles stript of their tra- 
 vertine blocks till the level of the water , to 
 convert them into cannon balls many of which 
 still exist in the castle S. Angela. . 
 
 UOHTE ArKHTINO, 
 
 This hill, of a pentagon form , is about 1 1 000 
 ancient feet in circumference without calculating 
 some slight irregularities , a measurement pro- 
 
Sixth day 355 
 
 ving the exactness of Dionysius Halicarnassus who 
 valued it at 1 8 stadia or 1 1 260 feet, the height 
 is 42 metres above tlie level of the sea. Various 
 etymologies are assigned to its appellation by an- 
 cient writers , some deriving it from ab adventu, 
 the arrival of the Latin people who assisted Ser- 
 vius Tullius in erecting the temple of Diana , 
 others from AoenCe a river near Rieti , or ab 
 avibus the birds from which Remus look his 
 augury; the best founded opinion is that it was 
 called after Aventinus , a king of Alba, who was 
 buried on it ; its Qrst name was Muraus. 
 
 Enclosed within the walls by Ancus Martius 
 it became the residence of the Latins whom he 
 conquered, particularly of the inhabitants ofPo- 
 litorium , Tellene and Ficana; it was not com- 
 prized within the pomoeriura before the I'lm- 
 peror Claudius. In the times of the kings and of 
 the republic it was covered with sumptuous 
 edifices, the armilustrum, the temples of Diana , 
 Juno Regina , Dea bona , Minerva , the atrium 
 of Liberty, the palaces of Sura, of Trajan and 
 the therma; of Decius. It is now the most de- 
 serted of the seven hills , the edifices that ador- 
 ned it having so completely disappeared that it js 
 difficult by the passages of ancient writers to 
 trace , amidst the shapeless ruins , the site of 
 these edifices. 
 
 The ascent is by five roads in the direction 
 of those used by the ancients, and probably there 
 never were any others as in those all the di- 
 vergencies unite. The first is opposite Testaccio 
 near the ancient porta Navalis , the second leads 
 to S. Prisca , the third to the carceres of the 
 circus maximus corresponding to iho ancient Gii- 
 
35s ' Sixth day 
 
 vus Publicius , llie fourth near S. Anna , llie 
 fiflh corresponding 16 (he ancient porta Minuc- 
 cia , now closed , begins at the Marmorala and 
 leads to 
 
 f. MARIA ArENTlNENSE 
 
 This church , called also the « Priorato » 
 from its belonging to the knights- of Malta, com^ 
 mands an extensive view over the city and the 
 eampagna. At a short distance towards the south 
 east was the temple of the Dea bona whose 
 mysteries were celebrated by the Roman ladies, 
 as mentioned by Cicero in his oration against 
 Clodius; the period of the foundation of this 
 church i& anterior to the XIII century. It was 
 restored by Pius Y and by Cardinal Rezzonico 
 in 1 765 on the designs of Piranesi. A« antique 
 sarcophagus , now a tomb, representing Minerva 
 and the Muses is particularly deserving of no- 
 lice. To the left of the casino is 
 
 S. ALESSia 
 
 In this direction was the Armilustrum where 
 according to Plutarch , Tatius was buried , a 
 spot so called from the exercices of the soldiers, 
 and the celebratioa of games on certain days; 
 here was situated the house of Euphemianus a 
 senator, the father of S, Alessio, Under Leo 111 
 it was a deaconry and became one of the twenty 
 abbeys of Rome in 925 ; rebuilt under Honorius 
 III it was consecrated anew in 1217 and restored 
 by Cardinal Quirini in 1744, 
 
Sixth day 337 
 
 The facade consists of a portico of two gra- 
 nite columns and two to each of the four win- 
 dows; llifi pavement of the mitUHo n;ive is formed 
 of the Alexandrine work, under llio altar of the 
 conicssion on which are four vord'autico columns 
 are deposited the remains of SS. Bonifacio , Ales- 
 sio and Aglae ; the painting over the altar to 
 the left is by Ricciolini; the architecture by Mo- 
 rena; over the altar dedicated to the Virgin is 
 her miraculous image brought from Edessa in 
 the X century; it was adorned with fine marbles 
 and with two broccatello columns in 1813 by 
 Charles IV king of Spain ; the image is said tu 
 be the same that existed in a church of Edessa 
 at the door of which S. Alessio stood as a beggar 
 during many years , and the wooden stair case 
 in the church at the left nave is , according to 
 a pious tradition, the same under which S. Ales^ 
 sio , unknown in his paternal house , livied in 
 poverty during 17 years; the most remarkable 
 tombs are those of Leone Massimi in 1012 , of 
 padri Ncrini and Lupo de Olmese, of Cardinal 
 Guidi and; of Brippio a latin poet of the XV 
 century ; in the monastery annexed to the church 
 are 2% columns of various marbles. 
 
 S. SABINA 
 
 This church built on the paternal house 
 of the saint to whom it is dedicated, is situated 
 near the ancient temple of Juno Regina erected, 
 after the taking of Veil, by Camillus. An ancient 
 inscription in mosaic over the principal door 
 states that it was founded by Pietro, anillyrian 
 priest, in the time of Pope Celestine about 425. 
 
358 Sixth ddy 
 
 It was restored by Eugenius II in 824 and' con- 
 secrated anew by Gregory IX in 1238. Other 
 embellishments were made in 1541 by Cardinal 
 Gesarini and in 1587 by Sixtus Y; in the three 
 naves are 24 corinthian marble columns. The 
 Madonna del rosario in the smallest nave is one 
 of the best paintings of Sasso Ferrata. 
 
 The paintings of the Tribune are by the 
 scholars of Taddeo Zuccari ; the picture of S. 
 Hyacinth over an altar adorned with four ala- 
 baster columns is by Lavinia Fontana, the fres- 
 coes by Frederick Zuccari , who painted the 
 canonization of the saint. S. Dominick giving 
 the habit of his order to S. Hyacinth by Taddeo 
 Zuccari ; the martyrdom of S. Sabina by Silvani, 
 On the altar of the Elci family are four fine 
 breccia columns, the frescoes by Odazzi.The most 
 remarkable tombs are those of Cardinal Ausia 
 of 1483 , and of the two Bichi; the mosai? in 
 the central nave represents fra Munio of Zamora 
 the eighth General of the Predicatori order. The 
 portico leading to the convent is supported by 
 eight granite and pavonazzetto columns ; the 
 scriptural subjects executed in marble and situated 
 near the chief entrance are fine works of the 
 XII century. 
 
 Near the church are remains of the wall 
 built by Honor ius III in the XIII century on 
 this part of the Aventine where he resided. 
 
 S. PRJSCJ, 
 
 This church is of a very remote origin; it 
 is said to have been built at the time of the 
 apostles on the house of Aquila and Priscilla and 
 
Sixth day 359 
 
 consecrated after the death of S. Prisca by S. Eu- 
 lichianus in the jear 280. It was restored by 
 Adrian I and Callixtus III; the facade designed 
 by Lombardi was added by Cardinal Giustiniani; 
 the interior is decorated with 24 ancient co- 
 lumns, with frescoes by Fontebuoni and a pain- 
 ting over the high altar by Passignani. 
 
 Beneath the church is an antique marble 
 capital finely carved which is said lo have been 
 used by S. Peter as a font for the baptism of 
 SS. PriSca , Priscilla , and others. On the left 
 of the high altar are the arms of Callixtus III of 
 the Borgia family with an inscription in verse. 
 
 Opposite the church stood the celebrated 
 temple of Diana built originally by Servius Tul- 
 lius as the centre of the Latin federation, and 
 near it to the south the private house of Trajan; 
 a part of the church itself was the house of Li- 
 cinius Sura a celebrated personage and the friend 
 of Trajan, lo the west are ruins of the Claudian 
 aqueduct and of its reservoir. At the foot of the 
 Clivus Publicius near the- carceres of the circus 
 maximus are several ways all leading to 
 
 S. MARIA IN COSMEDIN 
 
 This church was built on the ruins of an an- 
 cient temple called by some moderns Matuta, bj 
 others Pudicitia Patricia but without any 
 foundation. It is stated in ancient writers, that 
 near the carceres of the circus Maximus, and 
 in the vicinity of the river , stood the temple 
 of Ceres and Proserpine rebuilt by Tiberius, and 
 it is very probable that the ruins existing in 
 this church were those of that temple; the parts 
 
360 Sixth day 
 
 of it remainiag are a portion of the cella for- 
 med of large , quadrilateral blocks of traverline, 
 of eight columns of the external peristyle , five of 
 which are enchased in the internal facade of the 
 church , one in the sacristy and two on the north 
 side; these columns are of white marble , of the 
 composite order fluted and 10 palms in circum- 
 ference; the beauty of the capitals is a sufficient 
 indication that the temple was built or, rebuilt 
 in the flourishing period of art. 
 
 When changed into a church it was em- 
 bellished by Adrian I in 702 and took the de- 
 nomination of Cosmedin from the greek word 
 cosmos, ornament; it was also called in schola 
 grceca, Grxcorum, from the greek confraternity 
 that occupied it, the word schola being used in 
 that signification in the lov.er ages. It is now 
 known under the appellation of cBoccadi Ve-t 
 rita » from a huge marbje masque, with the eyes 
 and mouth wide open , placed under the por- 
 tico; a tale is told to children that if they put 
 their hand into the mouth they cannot draw it 
 out; its concave, form seems to indicate that it 
 served as a mouth to some cloaca. 
 
 The interior is separated into tWee naves 
 by 12 marble columns; the pavement is formed 
 of various hard stones; it contains the ambohes, 
 in the tribune the pontifical marble seat , and 
 an image of the Madonna brought from Greece; 
 the high altar which is isolated , is formed of 
 a red granite cup, and is decorated with a bal- 
 dacchino supported by four red Egyptian gra- 
 nite columns. In the ancient confessional under 
 the tribune are many precious relics and pain- 
 tings by Brughi ; it has the form of a small ba- 
 
P 0^ 
 
 © 
 
 s 
 
 s 
 
 m 
 
 
Sixth day 361 
 
 silic ; the baplismal font is ornamented tvilh stuc- 
 coes, the choit by Mallei, the paiiiling over the 
 altar by Mainardi, the others by Chiari ; in the 
 sacristy is a mosaic representing the Madonna, 
 the child and angels executed by the order of 
 John VII in 705 for the Vatican Basilic and pla- 
 ced in this church in 1639; opposite is a foun- 
 tain and 
 
 THE TEMPLE OF VESTA 
 
 Of all the opinions published since the revi- 
 val of art respecting this elegant edifice the best 
 established appears to be that it was a temple 
 of Vesta, not the one in which was the Palla- 
 dium situated at the foot of iVie Palaline, but one of 
 those temples of Vesta that were placed in each 
 Curia accorditig to the institutidhs of Numa. That 
 it is a temple of that goddess seems to be pro- 
 ved by its round form, by the windows, and by 
 its dedication in tbc lower ages to the iVladonna 
 under the denomination of the sun to whom it 
 is at the present day consecrated. From the style 
 of the capitals and the slender prdporlion of the 
 columns it appears to have becti either built, or 
 rebuilt, in the time of the Anlonines about the 
 decline of the II century. 
 
 The wall forming the circular celia is 
 formed of fine white marble squares so well 
 arranged that they seem to be but one block ; 
 the portico was composed of 20 fluted corin- 
 thian columns of parian marbib of which the 1 9 
 remaining are raised on steps and form a cir- 
 cular peristyle 231 palms in circumference but 
 'Vrkhting a column , the architrave covering 
 
 28 
 
362 Sixth day 
 
 and ornaments which rendered it complete ; the 
 cella is 4 palms in diameter, the columns with 
 base and capital 47 in height. To the right is 
 
 TBE TEMPtB OF FORTUSA riRILIS. 
 
 One of the most ancient in Rome; Servius 
 TuUius , grateful to Fortune -which from a slave 
 had raised him to the rank of a king, built on 
 the banks of the Tiber a temple to Virile For- 
 tune which must not be confounded with that 
 to Fortuna Fortis. The former, supppsed to have 
 been the one we are about to describe, was burnt 
 and restored in the time of the Bcpublic. Its 
 form is a parallelogram composed of travertine 
 and tufa covered anciently with a fine hard 
 stucco to conceal the porosity and various co- 
 lour of the stones, and of 18 external traver- 
 tine columns; the six forming the portico and 
 the four in front are entire , the others are 
 only half columns placed along the cella wall; 
 they are fluted jonic 34 palms high ; the inter 
 columns of the portico were enclosed in a brick 
 wall when the temple was changed into a church, 
 the columns sustaining the large cornice are also 
 of travertine, the frieze being decorated with 
 festoons held by children and interwoven with 
 candlesticks and skulls of oxen, all stucco or- 
 naments much consumed by time. The temple 
 was raised on a high base , lately uncovered , 
 to which the ascent was by steps of the width 
 of the portico facade. 
 
 About 872, under the pontificate of John YIII 
 it was changed into a church and dedicated to 
 the Madonna; it was granted to the Armenians 
 
Sixth day 363 
 
 by Pius T and restored in 1830. The painting 
 over the high altar representing S. Maria Egi- 
 ziaca is one of the best works «f Frederick Znc- 
 cari. In the church is a model of the holy se- 
 pulchre of our Saviour as it exists at Jerusalem, 
 Opposite the church is an old building co- 
 vered with ornaments taken from ancient edi- 
 fices ; though bearing the denomination of the 
 house of Pilate it is ascertained by the inscript- 
 ion over the door , that it was built by Mic- 
 col6 the sou of Crescentius and of Theodora, who 
 lived in the XII century ; in the XYI it is sup- 
 posed to have been occupied by Niccpl6 di Lo- 
 renzo known under the name of « Cola di Ri- 
 enzo a the celebrated Tribune of the Roman 
 people in 1 247. On the other side of the street 
 are remains of the 
 
 POlfTE PJLJTJNO OR PONTE ROTTO. 
 
 In the early times of Rome there were only 
 two bridges, the Sublician and Palatine, the 
 latter being the first that was built of stone. It 
 was begun by the Censor Marcus Fulvius, and 
 terminated by Scipio Africanos and Lucius Mum- 
 mius also Cehsors , it was restored by Pope Ho- 
 norius III about 1227, by Julius III and some 
 years later by Gregory XIII. In 1598 one half 
 of it was carried away daring an extraordinary 
 rise of the river, and it has never been repaired. 
 
 A lane to the left leads to the banks of the 
 river at which are the mouth of the Cloaca 
 Maxima , and remains of a wall formed of large 
 blocks of volcanic stone . 
 
364 
 
 GUIDE OF ROME 
 
 FROM THE FONTS lABRlOO 
 
 TO THE PONTE ELIO 
 
 We will now cross the Tiber to a part 
 of Rome offering many ioleresting objects to the 
 curiosity of strangers. The Trastevere quarter 
 was added and fortified by Ancus Martius to s(;rve 
 a^ a barrier against the incursions of the Etrus- 
 canjS, and its first inhabitants were the Latins 
 whom Ancus had subjugated. In the times of Au- 
 gustus it -yras the quarter assigned to the soldiers 
 of the fleet stationed at Ravenna. 
 
 PONTiS FJBRlCtO. 
 
 This bridge was built in the year of Rome 
 690 by L. Fabricius curator of the roads', as 
 stated by the ancient iuscriptions on each side 
 
Seventh duty 365 
 
 of the great at-ches^ it took the iliodera name 
 of quattro capi from four hermes of Janus qua- 
 drifrons that were formerly placed on it ; one is 
 now opposite the church of S. Giovanni Galabita, 
 another at the entrance of the bridge and two 
 in the Vicinity. It is the most ancient bridge of 
 Rome that i-omains entire. 
 
 isozj TiMniNJti 
 
 After the expulsion of Tarquinius Superbus, 
 the Senate gave his property to the people, who 
 out of hatred to tyranny threw into the Tiber 
 the bundles of corn that had been collected in 
 one of bis fields near the river, which was con- 
 secrated to Mars and called the Campus Martins; 
 these bundles accumulated to such a degree that 
 they choked Up the currenl and uniting ^Ivilh 
 some sand banks formed^ in course of time, aU 
 island that was subsequently inhabited* 
 
 In the year 462 of Rome the plague raged 
 with violence and the Senate j after having con- 
 sulted the sybilli&e boSksj sent ambassadors 
 to the celebrated temple of Esculapius at Epi- 
 daurus who obtained one of the serpents which^ 
 as living symbols of the God , were fed in the 
 temple, and brought it to Rome, but when Jan- 
 ding it wasi lost in this island on which occasion 
 the Senate built a temple on it; the island was 
 fortified with square stones and reduced in th6 
 form of a vessel in memory of the one which 
 had brought the serpent ; the bust of Esdula- 
 plus with hij symbol engraved on tbe vessel stilt 
 eiists under the garden of S. Bartholomew. Iri 
 
 28 * 
 
366 Seventh day 
 
 the centre was raised aa Egyptian obelisk in 
 imitation of the mast of a vessel. 
 
 S. BJRTOlOMEO 
 
 This church was built in 903 on the ruins 
 of the temple of Esculapius -, it was rebuilt by 
 S. Gelasius II in 1118 and restored by Cardi- 
 nal Santorio under the direction of Martin Lun- 
 ghi who added four columns to the faqade, the 
 interior is divided into three naves by 24 co- 
 lumns chiefly granite , supposed to have belon- 
 ged to the ancient temple of Esculapius. 
 
 The fresco over the high altar representing 
 S. Bartolomew whose remains are deposited 
 beneath it in a porphyry urn, is by Francesco 
 Manno; the paintings in the chapels dedicated to 
 S. Antonio di Padua, to the Madonna and to 
 the Passion are by Antonip Garacci; the Blessed 
 Ginthia Casteilani is by an unknown author. In 
 the chapel dedicated to S. Carlo Borromeo the 
 altar piece represents the saint on his knees gi- 
 ving the communion to those affected with the 
 plague; on the other liberating a person from the 
 evil spirit, and distributing alms. All the pain- 
 tings in this chapel are by Antonio Garacci. The 
 S. Francis in the following chapel is by Carlino 
 of Siena , the side pictures by Sermoneta -, in the 
 chapel of the Sacrament are frescoes relating to 
 the history of the Madonna by Mercati. Kear 
 the altar is a well with has reliefs of the XII 
 century, serving as a tomb to the saints who 
 were buried in this church. Besides the temple 
 of Esculapius there existed on this island those 
 of Faun and of Jupiter Licaonius. 
 
Seventh day ' 367 
 
 CHURCH OF s, Giorjjfiri or dio 
 
 This church, once a Benedictine monastery, 
 was built in 1640 by the religious order of S. 
 Giovanni di Dio called the Ben fratelli , on the 
 area of the ancient church where they disco- 
 vered the body of their founder S. Giovanni Ca- 
 labrita which they placed under the high altar. 
 The facade by Barattoni was renewed on the 
 designs of Carpecchia, a pupil of Carlo Fontana; 
 the interior is decorated with fine marbles , stuc- 
 coes and gildings; in the first chapel is an image 
 of the Virgin ; in the second a picture repres- 
 enting S. Giovanni Calabrita by Leonardi ; the 
 one over the high altar by Generali , the tri- 
 bune and the S. Antonio Abbate by Giaquinto. 
 Annexed to the church is a hospital served by 
 the monks of S. Giovanni di Dio whose atten- 
 tions to the sick are incessant. 
 
 POSTE GRAZIANO 
 
 By the inscriptions on the parapets and on 
 the e&ternal front it appears that this bridge 
 was built about the 365 year of the Christian 
 era by Simmacus , prefect of Rome under the 
 Emperors Yalenlinian and Gralianus , and de- 
 dicated to the latter oa the testimony of Am- 
 mianus Marcellinus. It is now called the ponte 
 S« Bartolomeo. 
 
 The second lane to the left Jti'ads to the 
 « Ponte Rotto » already described as presenting 
 a picturesque view of the Aventine, of the temple 
 of Vesta , the mouth of the Cloaca maKitua and 
 the Marrana. 
 
368 Seventh day 
 
 St CEGlLtvl 
 
 This cliurcli is Said to have bcfen built on 
 the spot once occupied by the house of Sj Ge"- 
 cilia , and ^vas consecratesd about the yeai^ 25Q 
 by S. Urban I. The monastery was built by the 
 Benedictines to whom the church was granted 
 by Urban VIII5 it has been recently restored and 
 embellished by Cardinal Giorgio Doria^ In th& 
 court is an ancient marble vase remarkable iot 
 its size and form , the portico is sustained by 
 fbur columns, two being of red granite. 
 
 The interior consists of three naves sepa- 
 rated by pilasters. On the high altar is a mar- 
 ble "baldacchino" with four antique black and 
 white marble columns, and near it the tomb of 
 S. Cecilia, ornamented with alabaster^ lapis laz' 
 zuli , jasper , agath and gilt bronze i, the re- 
 cumbent statue of the saint is by Stefaiio Ma- 
 derno. Around the tribune are ancient mosaics;, 
 adjoining the chapel of the crucifixion is the 
 chamber in which it is supposed that S. Cecilia 
 suffered martyrdom ; it certainly served as a 
 vapour bath as the pipe* that conveyed the bwt 
 water still exist. The altar piece of this room 
 is by an unknown author ; the landscapes are 
 by Paul Brill. 
 
 The paintings of the middle nave ate said 
 to be by Gonca , those in the smaller naves by. 
 Torin and Tarquinio. On the left side is the- 
 tomb of Cardinal Fortiguerri of the year 1473; 
 on the right that of Cardinal Adam of Hertford, 
 perpetual administrator of the bishoprick of 
 London who died in 1 397; over the altars near 
 the confessional are paintings by Nanui {ind. Ba»^ 
 
Seventh day 369 
 
 glioni, on the Qrst altar of the small nave de- 
 dicated to S. Stephen are two porphyry columns 
 and a painting by Ghezzi ; near it the tomb of 
 Cardinal Magalotti, on the second altar a S. Be- 
 nedict ?ilso, by Ghezzi ; the chapel at the end 
 of the nave , adorned with two verde antico 
 columns and dedicated to SS. Peter and Paul, 
 is by Baglioni. In the right nave a has relief of 
 the Madonna executed in the XV century and 
 a painting of the sepulture of S. Cecilia of the 
 IX century. The Mary Magdalen beyond the Fer- 
 roni tomb is attributed to Baglioni, the chapel 
 of the relics was paint^ed by Vanvitelli, the S. 
 Andrew by Biagioji, the one dedicated to the 
 crucifixion is of the XV century. 
 
 RIP J GRJSDB 
 
 The custom bouse for mercandize brought 
 by sea was built by Innocent XII on the designs 
 of de Rossi. 
 
 It was near this spot that Mutius Scevola 
 entered the camp of Porsena with the design 
 of killing him , and having failed in his object 
 burnt his hand in the king's presence; the whole 
 ground occupied by the camp was given to Sce- 
 vola and called the Pratt Muzi. It is here also 
 that Cleli? and her companions crossed the river 
 on horseback. 
 
 S. MICHELE 
 
 This extensive edifice was commenced by 
 Innocent XI in 1 686 on the de^ign^ of De Rossi 
 and enlarged by Clement XII and Pius VI; the 
 
370 Seventh day 
 
 object of the institution is to instruct young 
 boys in various trades and in the liberal arts; 
 there is also a conservatory for young females, 
 and a retreat for aged invalids of both sexes. 
 The establishment which takes its denomination 
 from the church dedicated to S. Michael the 
 Archangel is under the special protection of 
 hb Eminence Cardinal Tosti. 
 
 PORTA PORTESE 
 
 This gate was substituted to the ancient 
 porta portuensis when Urban built the walls 
 found Trastevere; it was called Portuensis from 
 its leading to the Roman port and built , as 
 appears from the inscription , by the Emperors 
 Arcadius and Honorins. Between the ancient and 
 the modern gate opposite the Navalia were the 
 fields of Cincinnatus. 
 
 S. FRANCESCO 
 
 This chiirch was granted in 1229 to S. 
 Francis of Assisi and rebuilt by Cardinal Pal- 
 la vicini on the designs of De Rossi. 
 
 Beginning by the left side the 1. Chapel 
 contains the Conception by Martin de Yos, the 
 Nativity by Vdvet , the assumption by Cornia , 
 and the tomb of Giacomo Mola. The II the An- 
 nunciation , Salviati ; the other paintings by Na- 
 vera , the tomb of Monsignor Paravicini by Rus- 
 coni. The III , belonging to the Mattel family , 
 a painting on boards representing a dead Christ 
 and the Madonna ; the tomb of Laura Mattel 
 by Passarelli , the bust of Menghini. The IV. a 
 
Seventh day 371 
 
 Madonna the child and S. Anne by Baciccio , 
 the statue of Lodovico Albertoni by^Bernini, the 
 tomb of Paravicini by Ferrata, the high altar 
 was designed by Binaldi ; on the lateral pilas- 
 ters the images of S. John Baptist and S. Lo- 
 renzo by Guidotti ; in the choir S. Francis in 
 exstacy by d' Arpino , the other paintings by 
 Norera. In the first chapel beyond the high altar, 
 S. Pietro d' Alcantara , S. Pasqnale Baylon by 
 Ghiari ; the Madonna and S. Joseph by Legnami, 
 the other paintings by Passeri ; in the following 
 S. Giovanni Capbtrano and the side pictures by 
 Maria Muratori ; in the last a Crucifixion in 
 relief by fra Diego over the Bicci tomb; in the 
 middle nave a fine modern sepulchral monu- 
 ment to Gioacchino Costa. 
 
 The annexed convent belongs to the Fran- 
 ciscan order , and many relics are deposited in 
 the room once inhabited by S. Francis. In the 
 large street opposite is the church of the SS. 
 Quaranta , and at the end , that of 
 
 S. KARIA IS TRASTErRRS 
 
 Supposed to occupy the site of the ancient 
 « Taberna Meritoria » , a kind of military hos- 
 pital for invalid soldiers who had served with 
 distinction. Having subsequently become an inn 
 S. Caltixtus in 221 obtained permission from 
 the Emperor Alexander Severus to erect on Ihc 
 spot a small church, the first that was made 
 public in Rome. After frequent repairs it was 
 rebuilt in 11 89 by Innocent II and restored by 
 Nicholas V on the designs of Rpsseltini; the por- 
 tico , sustained by four granite columns , was 
 
372 Seventh day 
 
 added by Clement XI, and contains several in- 
 teresting ancient inscriptions; the mosaic on the 
 facade is of the time of Innocent II. ' 
 
 In the years of the Jubilee , as happened 
 in 1623 uhder Urban VIII when the plague ^ras 
 spread in Rome , and under Leo XII in 1825 
 after the destruction of S. Paul's, the large door 
 of this church served' as the porta Santa. A 
 frieze , a stucco! bas relief rejptesfchtiug the as- 
 sumption , and a freseo by Cavatlini , existing 
 under the portico, merit observation. 
 
 The interior of this church is divided into 
 three naves by 25 large granite (and 4 of anoth- 
 er quality) columns with jonic and Corinthian 
 capitals ; the jonic , of a very rich style , must 
 have belonged to a temple of Isis and Serapis 
 a? the figures of these two Egyptian divinities 
 and that of Harpocrates are represented itt the 
 volutes and flowers. The pavement of' the opus 
 alexd'ndrinum is formed , as customary, of por- 
 phyry, serpentine and other marbles. In the mid- 
 dle of the ceiling, richly carved and gilt, is the 
 assumption of the Madonna ^ a very line work 
 by Domenichino , who furnished the designs of 
 the chapel at the end of the small right nave 
 and represented on the ceilitig a young child 
 scattering flowers. The high altar is isolated , 
 the baldacchiuo sustained by four fine porphyry 
 columns; the upper mosaic of the tribune re- 
 presenting the Virgin arid sundry saints is of the 
 year 1143; the one below of the Madonna with 
 the twelve apostles is of a later dale. Among 
 the sepulchral tombs are those of Lanfranc; Giro 
 Ferri, and Monsignor Bottari, a distinguished 
 literary character, of Giuseppe Ario, a Gaiion 
 
Seventh day 373 
 
 of the basilic , on whose bust are three round 
 stones of those that were tied to the feet of 
 martyrs; near it and under the small nave are 
 ancient images of the Madonna and child in fresco 
 but injured by time. 
 
 On the side of the high altar is a small 
 column of white marble used for the paschal 
 candle ; around the organ , which is finely carved 
 and gilt , are five small pictures representing 
 aogels , by an unknown author. On the Tauri- 
 netti monument is a marble has relief of the 
 Annunciation said to have been designed by Mi- 
 chael Angelo , and over it an ancient mosaic re- 
 preseutingthe sea, barques and dolphins, and other 
 aquatic birds , both highly esteemed works. The 
 Corradini tomb near the lateral door , decorated 
 with marble of sundry colours and of a fine style 
 of architecture is by Filippo Valle. A large mo- 
 nument under the organ with corinlhian fluted 
 pilasters contains, in niches, the statues of SS. Lo- 
 renzo and Francesco , and above it one of God 
 the father. Over an urn is a recumbent statue of 
 Armellino surmounted by those of the Madonna 
 and child. Nearly opposite another urn with the 
 portrait of Cardinal Francesco Medici and a paint- 
 ing of the virgin ; the tomb of Cardinal Stefano 
 degli Anibaldi with his statue esLtended on a 
 marble chest covered with fine carvings of the 
 XV century by Paolo, a Roman sculptor by whom 
 is the tomb of a brother of Philip the fair, king 
 of France. In the tribune are the tombs of Car- 
 dinal Osio who died in 1579 surmounted by his 
 bust , and opposite that of Roberto Altemps , 
 first Duke of Gallese. The white marble « Ci- 
 borium » in the sacristy is by Nino da Fiesole a 
 
 29 
 
374 Seventh day 
 
 celebrated sculptor, and the painting over the 
 altar representing the Madonna , SS. Roch and 
 Sebastian , by Pietro Perugino. 
 
 s. cRisoaoNo, 
 
 This church , supposed to have been built 
 in the time of Constantine the great , was re- 
 stored in 740 by Gregory 111. In 1623 it was 
 renewed by Cardinal Scipio Borghese on the 
 designs of Soria who added the portico sustained 
 by four doric (iolumns of red granite. 
 
 The three naves are formed by 22 large 
 igranite columns taken from ancient edifices, the 
 capitals are modern ionic. The great arch of the 
 tribune rests on two corinthian of porphyry , the 
 baldacchino of the high altar on four alabaster, 
 columns. In the middle of the richly carved gilt 
 ceiling S. Crisogono is represented at the mo- 
 ment of being carried up to heaven in a picture 
 copied from a beautiful originalof Guercino in 
 his first and most spirited manner; the painting 
 of the Madonna and child over the high altar 
 is by d'Arpino. The tomb of Cardinal Millo, the 
 datario of Benedict XIV, was executed by Pietro 
 Bracci on the designs of Marchionni. 
 
 Beyond the piazza S. Maria in Trastevere 
 is the church of S. Maria delta Scala , built by 
 Francesco da Volterra. On the high altar is a 
 rich tabernacle composed of precious stones with 
 1 6 small columns of oriental jasper, the paintings 
 ia the choir are by d'Arpiao. To the left is 
 
Seventh day 373 
 
 THE JANICULUM. 
 
 This hill was called after Janus king of the 
 Aborigenes who is said to have built on it his 
 town of Antipolis at the period when Saturn 
 inhabited the Capitoline; the part extending to- 
 wards the Vatican was united to Rome by An- 
 cus Martins who enclosed it with walls for its 
 defence ; at its base , according to Livy was the 
 sepulchre of Numa Pompilius where two stone 
 chests were found each bearing inscriptions: one 
 thai Numa was buried here 535 years previous 
 to finding his tomb ; the second , that the books-- 
 composed by Numa were deposited in the other 
 chest where they were found, seven were in latin, 
 andseven in greek written on papyrus; these books 
 were burnt by order of the senate under the 
 pretext that they contained pernicious doctrines. 
 This hill, on account of its yellow sand, is now 
 called Montorio. 
 
 S. PIETRO IN MONTORIO, ■ 
 
 This church, said to be founded by Gonstan- 
 tine the great, was erected in honour of the 
 apostle S. Peter on the spot where he suffered 
 martyrdom. About the end of the XV century 
 it was rebuilt at the expense of Ferdinand IV 
 king of Spain, on the designs of Baccio Piutelli 
 and was restored at the beginning of the pre- 
 sent century. 
 
 Over the high altar is a copy of the mar- 
 tyrdom of S. Peter. 
 
 The first chapel to the right was painted 
 by Sebastian del Piombo; in the second is an 
 
3" 6 Seventh day 
 
 image of the « Madonna della letters » with 
 two angels in while marble of modern work. In 
 the chapel after the high altar the monument 
 to Cardinal del Monte was designed by Vasari; 
 the frescoes were painted by Ammaffato who also 
 made the statues of Religion and Justice standing 
 in the niches. The chapel of S. Francis of As- 
 sisi containing a marble slab on which are re- 
 presented Si Francis and other saints by Bolgi 
 was built by Bernini, who executed the statues 
 and has reliefs; the fresco paintings are byRon- 
 calli; the tomb of the Archbishop of Ragusa near 
 the door by Dossio. 
 
 The celebrated picture of the Transfigura- 
 tion , now in the Vatican , formerly decorated 
 the high altar of this church. The paintings in 
 the chapel of S. John Baptist are by Daniel di Vol- 
 terra and by Milanesi his scholar ; the balustrade 
 is of a Gne giallo antico made from columns 
 found in the gardens of Sallust ; the beautiful 
 paintings of the following chapel are supposed 
 to be by V.-inderstern , but there remain only one 
 in the lunette , another on the lateral wall. The 
 picture of S. Francis over the last altar was de- 
 signed by Buonaroti and painted by de'Vecchi. 
 
 In the cloister of the convent is a small 
 round temple with a cupola sustained by 1 6 grey 
 granite columns raised by Bramante by order of 
 Ferdinand IV of Spain, on the very spot where, 
 according to an ancient tradition, the prince of 
 the apostles was crucified. This is the first church 
 in Rome, after an interval of XII centuries, built 
 neither in the rectangular nor in the basilic form, 
 and it is the first edifice that imitates the an- 
 cient style of architecture. In its construction 
 
Seventh day 377 
 
 Bramante never lost sight of the temples of Vesta 
 and of the Sybil. Under the porticoes are acts 
 alluding to S. Francis by Delia Marca and Po- 
 marancia. 
 
 Near the tribune of S. Pietro in Montorio 
 are two slabs with inscriptions to the O'Neill , 
 Earl of Tyrone, and O'Donnel, Earl of Tyrconne 
 who died in Rome, the latter in 1608, Dungao^ 
 non , the eldest son of Tjronel in 1 609. The in- 
 scriptions record the eflorts of these Irish Prin- 
 ces to maintain the rights and religion of their 
 country, their emigration, the high estimation 
 in which they were held at Rome, and the uni^ 
 versal regret occasioned by their premature death. 
 Tyrone died at the age of 24, Tyrconnel in his 
 33 year ; the eldest brother Hugh O'Donnel had 
 previously retired to Spain. 
 
 It was near the high altar , at the foot of 
 the celebrated picture of the Transfiguration by 
 Raphael now in the Vatican, (hat Beatrice Genci 
 requested, in her last will, to be interred. The 
 beauty of this young girl occasioned the destruct- 
 ion of the noble family of the Cenci; the story 
 is related by Muratori in his Annals as follows: 
 « Francesco Cenci , a wealthy nobleman of Rome, 
 » after his second marriage , treated with the 
 ■o utmost cruelty the children by his first wife, 
 » and not content with having had two murdered 
 y, by banditti, uniting lust to cruelty, he com- 
 » mitted by fraud a violence on the person of his 
 » beautiful daughter. Beatrice with the consent 
 » of her mother in law revealed the horrible 
 » fact to her relatives and sought to obtain pro- 
 » tection from Clement VIII, but her reclamat- 
 y> ions seem to have been concealed from the 
 
 29 * 
 
378 Seventh day 
 
 » Pope ; it is added that the father continuing 
 » his course of violenice, she agreed with her 
 » brother Giaconio to rid the world of a mon- 
 » ster; the unhappy children when put to the 
 » rack confessed their offence and the Pope con- 
 » demned them to death. It was in vain that 
 » the learned Jurisconsult Farinaccio endeavour- 
 » ed to obtain a mitigation of the sentence , by 
 » representing in lively colours , the depravation 
 » of the father. About this period a matricide 
 » occurred in another noble family, and the Pope 
 » irritated by this succession of murders, gave 
 » orders that the sentence of death against the 
 » Cenci should be carried into execution. On 
 » the 1 1 September 1 599 Beatrice and her mo- 
 » ther in law were beheaded on the piazza be- 
 » fore the S. Angelo bridge ; Giacomo was put 
 » to death by the mazzolata , and the younger 
 » brother was spared on account of his tender 
 » years. » In the Barberini palace there exists a 
 portrait of Beatrice which is attributed to Guido, 
 and an authentic account of her misfortunes and 
 death has been left by Farinaccio. 
 
 FONTANA PAOLINA. 
 
 This foantain , the largest of Rome and sup- 
 plied with the greatest body of water , was built 
 in 1621 under Paul V with materials taken 
 from the forum of Nerva , by the architects 
 Giovanni Fontana and Stefauo Maderno. It is 
 adorned with six ionic columns of red granite 
 and five niches over a marble basin. This water 
 was brought to Rome byTrajan for the use of Tra- 
 stevere and called the acqua Trajana as seen by 
 
Seventh day 379 
 
 his medals ; afterwards Sabatina from its origi- 
 nating in the environs of Sabate, now Bracciano 
 a distance of 25 miles, and when Paul V restored 
 llie acqueducts and added new ones, the acqua 
 Paola. In the inscription over the fountain it is 
 called the acqua Alseatina which is a very great 
 error , as the Alseatina water was brought to 
 the city by Augustus from the Alseatino or Mar^ 
 tiniano lake , the lowest , while the present is 
 the highest, level, of all the aqueducts. 
 
 The garden to the right was destined by 
 Alexander VII as a botanic garden, and Clement 
 XI built the Casino on the designs of Contini, but 
 it was abandoned in 1 820 when a new Botanic 
 garden was formed at the palazzo Salviati on 
 the Lungara. At the top of the hill is the 
 
 PORTA S. PANCRjiZiO. 
 
 This gate was substituted by Honorius to 
 that of the walls of Servius which it is believed 
 was the Janicular gate , and called the Pran- 
 cratiana from lh« church of S. Pancrazio by which 
 it was known in the time of Procopius ; the gate 
 was restored by Urban VIII when he enclosed 
 Trastevere within the walls. 
 
 The villa Gristaldi is built in the form of 
 a ship , a tiud of construction without example 
 in architecture; the apartments are more regular 
 and commodious than they appear to be from 
 the exterior. 
 
 The casino of the Corsini villa was built 
 by Clement XII on the designs of Salvi. It contains 
 an entrance into the cemetery of S. Galepodius 
 or the catacombs of S. Pancrazio. 
 
380 Seventh day 
 
 S. PANCRAZIO. 
 
 The origin of this church is attributed to 
 Pope S. Felix I in 274 who built a small ora- 
 tory over the cemetery of S. Calepodius which 
 was 'enlarged into a basilic after the free pro- 
 pagation of Christianity. In this church Innocent 
 III crowned Pedro, king of Arragon,and John 
 XII received Louis , the king of Naples. In 1609 
 Cardinal Torres rebuilt it with three naves se- 
 parated by pilasters, and Alexander VII gran- 
 ted it to the Carmelite order who receive stu- 
 dents destined for their missions in the Levant. 
 It contains the tomb of Cresccntius the Roman 
 Consul, the chief of the Crescenzii, a powerful 
 family of Rome in the X and XI centuries. On the 
 road to the left which is the ancient Via Aurelia 
 is the villa Torlonia and beyond the arch of the 
 Paolina aqueduct 
 
 THE ritlA PAMFIir DORIA. 
 
 This villa, one of the most magnificent of 
 Rome , was built by Prince Pamfili at the time 
 of Innocent X under the direction of Algardl , 
 it is about five miles in circumference and con- 
 tains spacious alleys, woods, gardens, fountains 
 and a lake in which there are various water 
 falls. In the centre of an bemicycle around which 
 are niches with fountains , statues and antique 
 has reliefs , is a round chamber containing a 
 Faun who plays on the flute by means of wa- 
 ter set in motion by a kind of organ. The casino 
 is adorned with statues, busts and bas reliefs^ 
 
Seventh day 381 
 
 it was built by Algardi who executed the bust 
 of Donna Olimpia, the niece of Innocent X. 
 
 Near the entrance to the right several co- 
 lombarj were discovered in 1818 containing many 
 inscriptions; these tombs indicate the direction 
 of the Aurelian way and are interesting from 
 their style of construction and the funeral cus- 
 toms of the ancients. Near the porta S. Pan- 
 crazio , at the foot of the Janicule is the porta 
 Settimiana so called from the Emperor Septimius 
 Severus ; it was rebuilt by Alexander VI, but was 
 closed when Urban VIII united the walls of Tra- 
 stevcre to those of the Vatican. In the long 
 spacious street called the Lungara is the 
 
 PALAZZO CORSINI. 
 
 This magnificent palace, which once belong>^ 
 ed to the Riario family , was the residence of 
 Queen Christina of Sweden who died in 1689. 
 It was purchased and considerably encreased 
 on the designs of Fuga, by Pope Clement XII, 
 it contains a gallery of paintings , many by the 
 great masters. 
 
 In the second antechamber an antique mo- 
 saic, a copy in mosaic of a picture by Guido, 
 a sarcophagus with has reliefs of Tritons and 
 Nereids. 
 
 In the gallery the celebrated « Ecce Homo » 
 by Guercino, a female by Turini , S- Peter in 
 prison,Lanfranc; a nativity, school of the Caracci; 
 a holy family, Barocci; S. Jerome, Guercino; 
 S. Peter, Mola ; the Virgin, Caravaggio ; sun 
 rise, Berghem; portraits said to be of Luther and 
 his wife, Holbein; two small landscapes, Pous- 
 
382 Seventh day 
 
 sin ; a holy family, fra Bartolomeo ; llie Sama- 
 ritan , Guercino ; the toilette of Venus, Albano; 
 a holy family, Garofalo; the presentation at the 
 temple, Paul Veronese; two Teuiers; portrait of 
 Julius II , a copy from Eaphael , that of Philip 
 JI king of Spain by Titian. In the centre of the 
 room a marble seat with has reliefs found at 
 S. John Lateran. 
 
 la the adjoining room a small picture re- 
 presenting a rabbit by Albert Durer ; Christ car- 
 ried to the tomb , Lodovico Caracci ; S. Fran- 
 cis by Benefiale; some players by Cigoli; a soldier's 
 life in 12 pictures by Callot ; eight in crayon 
 by Lnti ; the Madonna and child , Sassoferrata; 
 the same subject by Andrea del Sarto ; a coun- 
 try festival , Breughel ; two small Vandeverlt ; 
 two gothic perspectives Peter Neff; portrait of 
 a female , Julib Romano; the Annunziala , school 
 of Buonaroli ; some studies by Parmigianino ; 
 Venus with Cupid and the graces, Albano; the 
 Madonna, child and S. Joseph, Pierin del Vaga; 
 a study by Bubens ; portrait of Paul HI when 
 a Cardinal; S. Jerome, both by Titian; a noW 
 me tangere, Baroccio ; the crucifixion of S. Pe- 
 ter, S. John Baptist , both by Guido ; the An- 
 nunciation in two small pictures, Guercino; the 
 celebrated painting of Herodias by Guido , Christ 
 in presence of Pilate , Vandyk ; a hunt of wild 
 beasts, Rubens. ; 
 
 In the following room S. Peter by Luca 
 Giordano ; Justice by Gennari , Christ by Dol- 
 ci; a round picture, Dolci ; two Madonnas, Sas- 
 soferrata ; a holy family , Schidone ; the Mag- 
 dalen , Carlo Maratta ; the Virgin, Vincenzo da 
 Imola ; a painting, school of Buonaroti : an Ecce 
 
Seventh day 383 
 
 Homo , a S. John and the Virgin both by Gui- 
 de. The next room is filled with portraits: Ful- 
 vio Testi bjMola; a jouug rnan, Holbein, three 
 by Vandyck; a Doge of Venice , Tintoretto ; a 
 Cardinal by Albert Durer ; three cardinals , one 
 by Scipio Gaetani , two by Domenichino; Inno- 
 cent X , Valasquez ; one by Giorgione. 
 
 In another chamber a view of the Borro- 
 mean islands by VanvJlelli; a battle piece , Ru- 
 bens ; a portrait Domenichino ; the dispute with 
 the doctors , Luca Giordano ; a landscape , Oriz- 
 xonte ; a Gaspar Poussin ; S. Sebastian hy Ru- 
 bens ; Seneca in the bath , Caravaggio ; the Mag- 
 dalen by Murillo ; two battle pieces by Borgog- 
 none. In the last room a celebrated picture by 
 Salvator Rosa. 
 
 The library, occupying eight large rooms , 
 contains a collection of books and engravings 
 of the XV century forming four hundred volu- 
 mes. Annexed to the palace is a villa situated 
 on the declivity of the Janicule which com- 
 mands an extensive view over the city, it is sup- 
 posed to occupy the site of the villa of Martial 
 in speaking of which the poet says; Hinc seplem 
 dominos videre monies , et totam licet wstimare 
 Romam. This spot was selected by Giuseppe Vasi 
 the celebrated engraver, for his design of the 
 general view of Rome which he engraved in 12 
 plates. It communicates with the 
 
 yiLLA LjtNTE 
 
 Built about 1 524 by Julio Romano for Bal- 
 dassar Turrini, the datario of Leo X, and one 
 of the most distinguished prelates of the court 
 
384 Seventh day 
 
 of Clement VII. Turrini was ihe intimate friend 
 of Raphael and his testamentary executor as 
 seen by the inscription in the Pantheon. The 
 villa was remarkable not only for its delightful 
 situation but for the fine stucco ornaments and 
 beautiful frescoes of Julio Romano or of his 
 scholars. The subjects alluded principally to the 
 life of Numa from the tradition that he was 
 buried on the sides of this hill. It contained 
 also paintings of the history of Venus and Cu- 
 pid , of Apollo and Hyacinth, by Julio Romano, 
 which have been frequently engraved and par- 
 ticularly by Marcantonio Raimondi and Agostino 
 of Venice, celebrated artists of the XVI century; 
 It suffered considerably from the troops of 
 the Emperor Charles V, and at. the death of 
 Turrini pstssed into other hands. In the last cen- 
 tury it belonged to the Lante family, in 1824 
 to Prince Borghese who removed the paintings 
 to his Pincian villa , and is now the property 
 of the institution of the Sacr6 Cseur. 
 
 THE FARNESINA, 
 
 This casino was built , under the direction 
 of Baldassar Peruzzi , by Agostino Chigi, at the 
 time of Leo X, who accepted in it a solemn 
 banquet offered to him by the proprietor. 
 
 Having formed part of the Farnese property 
 it now belongs to the king of Naples and is par- 
 ticularly interesting by the fresco paintings it 
 contains , the work of Raphael, and of his scho- 
 lars, under the immediate direction of that great 
 artist. 
 
Seventh day 385 
 
 The frescoes in the saloon allude to the 
 fable of Cupid and Psiche, the principal subjects 
 being represented in the sqares at the top of 
 the cieling. In the first Venus and Cupid state 
 their reasons to Jupiter in presence of the Gods; 
 in the second the nuptials of Cupid and Psiche 
 are celebrated in heaven. 
 
 The accessories of the fable are represented 
 in the following subjects : Venus giving orders 
 to Cupid to inflame Psiche with a passion for 
 the vilest of mortals in order to avenge the 
 insult she had received; Cupid soliciting the three 
 graces , the companions of Venus, in favour of 
 the beautiful girl ; this part is in a great mea- 
 sure by the hand of Raphael , particularly the 
 back of one of the graces which is admirably 
 painted. In the third painting Venus separates 
 in anger from Juno and Ceres who speak in fa- 
 vour of the unhappy Psiche ; mounted on her 
 car drawn by four doves , she directs her course 
 towards Jupiter to supplicate him to send Mer- 
 cury in pursuit of the fugitive; on her return 
 from the regions below Psiche, borne Ihrough 
 the air by three Cupids , holds (he vase of paint 
 given her by Proserpine to appease the anger 
 of Venus , Cupid complaining to Jupiter of his 
 mother's cruelty and soliciting his marriage with 
 Psiche; Psiche conducted into heaven by order 
 of Jupiter. 
 
 These subjects are intermixed with fourteen 
 Iriangular pictures representing the genii of all 
 the gods , or rather young Cupids , bearing in 
 triumph their attributes in the form of spoils, 
 in allusion to the mighty power of love. 
 
 30 
 
386 Seventh day 
 
 la tlie cliamber contiguous is the Galatea 
 by the liaud of Raphael. The nymph stands on 
 a sea shell drawn by two dolphius , preceded 
 and followed by a ncreid carried by tritons. 
 Diana on her car drawn by two osen and the fa- 
 ble of Medusa on the ceiling , are by Daniel 
 da Volterra and Sebastian del Piombo; the figu- 
 res in chiaroscuro, which appear real bas re- 
 liefs , are by Baldassar Peruzzi; the fine head 
 drawn with charcoal on one side of this room 
 is by Buonaroli ; it was not intended as a re- 
 proach to Raphael for the lightness of his figu- 
 res , but served as a pastime while waiting for 
 Daniel his scholar whose works he had come to 
 see. Two rooms of the upper apartment arc 
 painted in fresco; the architectural parts of the 
 first by Peruzzi ; the workshop of Vulcan over 
 the chimney and the friezes by the scholars of 
 Raphael. In the second room , Alexander the 
 great presents a crown to Roxana; the frescoes 
 of the middle facade arc by Sodoma, the others 
 by scholars of Raphael. 
 
 In the Lungara are the churches of S. 
 Giacomo , the Madonna , S. Francois dc Sales , 
 S. Maria Regina Cseli, S. Joseph. 
 
 In the palazzo Salviati , built on the de- 
 signs of Nanno Bigio , is the Botanic garden : 
 niter the caster holidays, lectures on this science 
 are delivered by Sig. Donarelii one of the most 
 distinguished professors of the Roman university 
 and director of the establishment, A street near 
 the Salviati palace leads to the Janicuk on 
 which is the church of 
 
Sioenth day 33? 
 
 S, ONOFRiO 
 
 This church was built in i 439 by the Bles- 
 sed Niccolo da Forca Palena , in the diocese of 
 Sulmona , as a refuge for the hermits of the 
 congregation of S. Jerome. The frescoes relating 
 to that saint , the beautiful Madonna and child 
 over the outward entrance door, are by the ce- 
 lebrated Domcnichino, The two Sybils are by 
 Baglioni , the interior is ornamented with mar- 
 bles ; over the high altar is a picture by Fran- 
 cesco Bassano representing the birth of the Re- 
 deemer; the sepulchral monument of the founder 
 of the order , who died in 1499, is a fine work 
 of that period. 
 
 In the chapels to the right are a Madonna 
 di Loreto by Annibal Caracci, and a S. Jerome 
 by Ghezzi; the pamtings beneath the high altar 
 are by Peruzzi, those above by Pinluricchio. 
 
 The remains of two celebrated Italian poets 
 Torquato TaSso and Alessandro Guidi, are pre- 
 served in this church ; the tomlj of Tasso, who 
 died in 1595 in the convent annexed, is near 
 the left entrance , that of Guidi in the first 
 chapel to the left. In the gallery oyer the por- 
 tico within the convent is a Madonna in fresco 
 said to be by Leonardo da Yinci. 
 
 PORTA S. SPIRITO 
 
 This gate , deriving its name from the 
 church , was built in 850 by S. Leo. IV when 
 he enclosed the Vatican within the walls. In their 
 reconstruction under Paul III, it was rebuilt by 
 Sangallo, and when Urban VIII cnL-losed the Ja- 
 
388 Seventh day 
 
 nicuic, both ibis aud ihe Seltimiana gate remained 
 useless. Near it is the hospital for the insane esta- 
 blished under Benedict XIII. 
 
 S- SOROTEA 
 
 This church was built by Nolii who pu- 
 blished the large plan of modern Rome about 
 the middle of last century. In the interior are 
 the following paintings: S. Niccola di Tolentino 
 over the first altar to the left , by Vincenzo 
 Meucei ; S. Francis by Memorelli; over the high 
 altar S. Silvester and S. Dorothea by Bucci; S. 
 Antonio by Gramiccia ; SS; Gaetano e Giuseppe 
 Calasanzio by Martorana. 
 
 FONTS SISTO 
 
 The origin of this bridge is unknown but 
 from its proximity to the Janicule it was called 
 the aJanicular» bridge under the Emperors, the 
 » Antonine » at a later period from restorations 
 made by one of the Augusti. It is mentioned by 
 Yictor and in the acts of the martyrs. Having 
 been rebuilt in 1474 by Sixlus lY on the de- 
 signs of Piatelli it assumed its present appellation. 
 
 FONTANA DI PONTE SISTO 
 
 This fountain , which faces the strada Giu- 
 lia , was made by order of Paul V on the de- 
 signs of Giovanni Fontana. It is supplied from 
 the Paolina fountain on the Janicule which is 
 carried through the ponte Sisto, and is decorated 
 with two doric columns sustaining an attic; from 
 
Seventh day 389 
 
 an aperture in the niches issues a body of tli6 
 Paolina water falling into a cup and basin. 
 
 The street opposite the slrada Giulia was 
 opened by Julius 11, the one facing the Ponte 
 Sisto leads to the 
 
 TRINITA DE PElLEGRINt. 
 
 This church was built in ■i6<4 by Paolo 
 Maggi over the little church of S. Benedetto in 
 Arenula ; the facade desigaed by de Sanctis Avas 
 added by de Rossi ^ it is in travertine, and adorn- 
 ed with Corinthian and composite columns and 
 statues of the four evangelists by Ludovisi. 
 
 In (he first chapel are figures of the school 
 of do Vecchi ; the second is dedicated to S. Fi- 
 lippo Neri; the following chapels contain: the 
 annunciation and frescoes by Ricci , and a statue 
 of S. Matthew by Cope. Over the high altar the 
 most holy Trinity , a beautiful painting by Guido 
 Reni ; the prophets in the angles of tlie cupola , 
 and the angels around God the father , S. Jo-^ 
 seph and S. Benedict in the first chapel on the 
 left of the high altar, by Ricci; the toriib of Pie- 
 riiii by Lorenzetto. II chapel S. Gregory with 
 other figures and the souls in purgatory by Croce. 
 Ill; the Madonna with the infant , S. Augustin 
 and S. Francis by d'Arpino. IV; S. Carlo Bor- 
 romeo and S. Filippo Neri by Gortesi , the fres- 
 coes by Ferrari a scholar of JViaratte. 
 
 The church and hospital are denominated 
 of the a Pellegrini »: poor pilgrims who come 
 to Rome are received and maintained for some 
 days , as also the convalescents after f|uilting the 
 hosnitals. Opposite is the mont de Picjle esta- 
 
 30 * 
 
390 Seventh day 
 
 blished iQ 1 539; the chapel contains worts By 
 Guidi, Legros and Tendon. 
 
 S. CARLO / CATENAHI. 
 
 This church was built in 1612 by Cardinal 
 Leni on the designs of Rosati except the facade 
 by Soria who added the corinthian and compo- 
 site columns. 
 
 It contains some fine pictures r the annun- 
 ciation in the fi^rst chapel to the right by Lan- 
 franc; the S. Biagio over the altar of the cross 
 byBrandi; on the high altar designed by Mar- 
 tin Lunghi and adorned with four porphyry co- 
 lumns, a picture by Pietro di Corlona repre 
 senling the procession of penitence ordered by 
 S. Carlo Borromeo on the occasion of the pla- 
 gue at Milcin; behind this altar a fresco of 
 S. Charles by Guido Reni, 
 
 In the tribune is a painting by Lanfranc ^ 
 representing the Madonna kneeling on clouds 
 who carries the soul of S. Charles before the 
 throne of the most holy Trinity which is borne 
 by angels ; around her are the apostles Peter and 
 Paul with other sainls, above a chorus of vir- 
 gins and martyrs and a luminous abyss filled with 
 sainls ; near the upper arch the three theo- 
 logal virtues seated upon the clouds, over the 
 doors are two paintings allusive to S. Charles 
 by Calabrese ; the four cardinal virtues in th& 
 angles of (he cupola are beautiful works of Do- 
 nienichino. In the first chapel near (he sacristy 
 is th»« martyrdom of S. Mario by Romanelli ; 
 the death of S. Anne on the next chapel is a 
 master piece- of Andrea Sacchi;, to Ike rj^ht is 
 
Seventh day 391 
 
 llie sepulchral monument of Cardinal Gerdi} the 
 author of many works on Christianity ; opposite 
 that of Cardinal Fontaua , near the door that 
 ofGherardo de'Rossi a literary character of the last 
 century. Near the piazza « Campo di fiori , r> oc- 
 cupying the site of the gardens of Pompey,is the 
 
 FJIAZZO DELIA CANCELLERtJ. 
 
 This palace was commenced by Cardinal Ria- 
 rio in the times of Sixtus IV and finished on 
 the designs of Bramante by his executor Anto- 
 nio Montecavallo. The external facade is by these 
 two architects , save the door of S. Lorenzo in 
 Damaso which is by Vignola , and the palace gate 
 by Domenico Foutana. The travertine materials 
 were taken from the Colosseum , the marbles 
 from the Gordian arch found near S. Maria in 
 via Lata. The palace is composed of two stories 
 the first decorated with binary corinthian co- 
 lumns and arched windows ; on the second, de- 
 corated in the same manner , the windows are 
 arched and rectangular; the quadrangular court y 
 of fine proportions , is surrounded by a double 
 row of arches resting upon doric columns both 
 in the ground porticoes and in the galleries of 
 the grand apartment; the granite columns of the 
 portico are said to have formed part of the por- 
 tico of Pompey which was composed of a hun- 
 dred columns. The grand saloon 1 00 palms long, 
 50 broad and 50 high contains the history of 
 Paul III painted by Vasarl. 
 
392 Seventh day 
 
 S, LORENZO Ilf DAMJSOt 
 
 This church was built by Pope S. Damaso 
 in 380 in honour of S. Lorenzo , and a fund was 
 provided for tlie support of a chapter of ca- 
 nons which is one of the most ancient of Rome. 
 It is said lo have been rebuilt by Cardinal Ria- 
 rio under Paul HI and has been restored of 
 late years. 
 
 The interior , of a square form , is divided 
 by three naves; the chapel to the right of the 
 vestibule covered with fine marble was designed 
 by Salvi ; the Madonna with S. Wiecolo di Bari 
 and S. Filippo Ncri, is by Conca. In the chapel 
 of the choir is the holy Crucifix, which , accor- 
 ding to a pious tradition, spoke to S. Brigida 
 and the metal bust of Benedict XIH by Gior- 
 dani; in the adjoining chapel a statue of S. Char- 
 les Borroraeo by Stefano Maderno; in the sacristy 
 a fine picture of the Virgin by Pomarancio, and 
 silver statues of S. Lorenzo and S. Damaso by 
 Giro Ferri. la the chapel sacred to the archan- 
 gel Michael and to the apostle S, Andrew is the 
 statue of S. Ilippolylus from the original in the 
 Vatican library. Over the high altar designed by 
 Bernini , is a painting by Frederick Zuccari. In 
 that of the conception the Virgin is of the greek 
 style , the cieling by Pietro da Cortona ; the 
 S. Doraenick restored by Conca; the Madonna 
 and two angels in the act of adoration by Feti; 
 the last chapel belonging to the confraternity of 
 the Sacrament is ornamented with marble and 
 gilt stuccoes; the principal tombs arc those of 
 Cardinal Savoletto, of Vallini by Bernini, of the 
 painter Gaccianiga and of Gaprara a general of 
 
Seventh day 393 
 
 the papal Iroops under Pius VI of Annibal Caro 
 the translator of Virgil. In the lane nearly op- 
 posite is a small palace called the Farnesina which 
 is admired by connaisscurs. It was built by Bra- 
 mante with the travertine blocks of the Colos- 
 seum that remained after the completion of the 
 Cancelleria palace. 
 
 To the right is the piazza Farnese decora- 
 ted with two fountains consisting of large oval 
 basins of egyptian granite said to have been 
 found in Caracalla's baths. They are 25 palms 
 long , and 6 deep. On this piazza is the prin- 
 cipal fagade of the 
 
 FJRNESE PALACE. 
 
 By its style of architecture and extent, this 
 palace may be considered as the finest of Rome. 
 It was begun by Paul HI, when a cardinal, on 
 the designs of Sangallo , and finished by Cardi- 
 nal Alessandro Farnese the nephew of that pon- 
 tier under the direction of Buonaroti and Gia- 
 como della Porta ; the latter built the facade 
 on the side of the via Giulia. The materials are 
 travertine blocks taken from the Colosseum ; to 
 each of the four facades is a treble row of win- 
 dows; the portico leads to a vestibule of 12 egy- 
 ptian granite columns of the jouic order. The 
 court forming a perfect square is decorated with 
 three orders of architecture , superimposed, the 
 two first doric and jonic composed of sundry 
 arches which give light to the porticoes , the 
 third Corinthian with pilasters between which 
 are the windows. 
 
 This court was formerly decorated with the 
 
394 Seventh day 
 
 celebrated statues tlie « Hercules » by GlycOQ 
 the Athenian , the Flora , ihe group of Dirce 
 known as the Farnese bull , and many other fine 
 works all which are now in Naples ; the only 
 monument remaining is the sarcophagus- of Ce- 
 cilia Metella. 
 
 On the first story is the gallery painted in 
 fresco by Anuibal Caracci ; the central pictu- 
 re on the cieling presents the triumph of Bac- 
 chus and Ariadne seated on two cars ; that of 
 Bacchus in gold drawn by two tigers , that of 
 Ariadne , in silver , by two white goats; around 
 the cars are satyrs , fauns , bacchantes preceded 
 by Silenus who forms a pleasing episode in the 
 picture. The side paintings represent Pan oflering 
 lo Diana the wool of his goats and Mercury 
 bearing the golden apple to Venus; the four large 
 paintings on the cieling relate to the following 
 subjects: Galatea seated on a sea monster gli" 
 ding over the waters in the midst of nymphs , 
 eupids and Iriions; Aurora carrying away Ge- 
 phalus ; Polyphemus playing on the bag pipes to 
 attract the notice of Galatea , and throwing a 
 rock at Acis with whom she elopes. 
 
 The paintings in the centre represent Ju- 
 piter and Juno ; Diana and Endymion , and two 
 eupids hid in the bush seeming to enjoy their 
 victory over the goddess; Hercules and lole. Her- 
 cules dressed as a feiaale and playing on the 
 cymbals , lole wearing t]»e lion's skin and hold- 
 ing the club ; Anchjses taking the buskin from 
 t'he foot of Venus ■ the two small pictures over 
 the figures of Polyphemus represent Apollo and 
 Hyacinthus, and Ganymede carriedaway by Jupiter 
 jU;)dcr the form of an eagle^ '' 
 
Seventh day 3#3 
 
 I'he eight medallions resembling bronze re-» 
 pfesent Leander drowning in the Hellespont , 
 Siringa changed into a cane,Hermapbrodilus taken 
 by surprize by Salmaces , Cupid binding a satyr 
 to a tree, Apollo flaying Marsyas , Boreas car-" 
 rying away Orizia, Eurydice called badk to th«J 
 regions below, Jupiler carrying away Europa; ihei 
 four small round pictures allude to the four 
 Tirtues. 
 
 The eight paintings over the niches and 
 windows represent Arion crossing the sea on a dol- 
 phin; Prometheus animating a statue; Hercules 
 killing the dragon of the garden of the Hespe- 
 rides ; Hercules liberating PromelhRus from his 
 chains on mount Caucasus and killing with a 
 dart the vulture that devoured his heart ; Icarus 
 falling into the sea , Calisto discovered to be 
 pregnant in the balh , and changed into a bear ; 
 Phsebus receiving the lyre from Mercury, The 
 painting over the door facing the middle win- 
 dow is by Domenichino and represenis a young 
 girl embracing an unicorn , the arras of the Fau- 
 ncse family; on ihe side walls of this gallery are 
 two large paintings, one of Andromeda bound 
 to the rock, her parents in despair and Perseus 
 combating the sea monster ; the other Perscus 
 with the head of Medusa changing Phineus and 
 his companions into stone. In an adjoining room 
 are fresco paintings by Domenichino which once 
 existed in a house near the palace and having 
 greatly suffered were carefully transferred on 
 canvas and restored by Palmaroli. 
 
 In another room painted by Annibal Ca- 
 racci was a picture in oil of Hercules, hesita- 
 ting between vice and virtue, which has been 
 
396 Seventh dai/ 
 
 taken away and a copy substiluled in its place; 
 the other subjects are Hercules sustaining the 
 celestial globe, Ulysses liberating his companions 
 from the snares of Circe and of the Syrens and 
 having himself bound to the mast of his ship 
 during his passage through the islands of the 
 syrens ; Anopus and Anphinomus saving their fa- 
 thers from the flames of Etna ; Perseus culling 
 off Medusa's head, and Hercules with the lion. 
 The chiaroscuro ornaments are also by Annibal 
 Caracci and are so finely executed that they 
 appear to be in higli relief. 
 
 In the three following rooms are friezes by 
 Daniel da Volterra ; the frescoes in the large 
 hall are by Salviati , Taddeo ZuCcari and Va- 
 sari. On the facade are exprcsfed the peace 
 between Charles V and Francis I, and Luther 
 debating with Monsignor Caelani; on the other 
 facade the expedition of Paul III against the 
 Lutherans , the union of the catholic arms aga- 
 inst the Reformers. In the large saloon is a tine 
 cast of the Hercules of Glycon. 
 
 S. GIROLAMO DELIA CARITa'. 
 
 According to an ancient tradition this church 
 is built on the house of S. Paoia, a roman ma- 
 tron, in which S. Jerome resided in 382. After 
 having belonged to various religious orders it 
 was granted by Clement VII to a congregation 
 of secular priests with whom S. Filippo Neri 
 lived during 33 years and founded his institu- 
 tion in 1558. The church was rebuilt in 1660 on 
 the designs of Casielli, the altar piece represent- 
 ing the communion of S. Jerome is a copy by 
 
Seventh day 397 
 
 Claniilcciui of the celebrated picture by Dome- 
 nichino now in the Vatican; the Spada chapel 
 designed by Borrromini, the recumbent statue 
 and other works arc by Ercole Ferrata; those 
 opposite by Fancelli , the paintings in the chapol 
 near the high altar by Alberti ; the tomb of 
 Montauti by Pietro di Gortona , the statue of 
 S. Philip by Legros; tiie S- Charles by Pietro 
 Barbieri ; the Saviour in the last chapel by Mu- 
 ziauo. 
 
 PALAZZO SPADA 
 
 This palace was built by Paul III on the 
 designs &f Mazzani , a scholar of Daniel da Vol- 
 lerra. The facade and walls in the yard are 
 covered with stuccoes and bas reliefs, the apart- 
 ments filled with pictures and ancient marble 
 works. 
 
 I. chamber: Ten frescoes of subjects taken 
 from the metamorphoses of Ovid, by the school 
 of Giulio Bomano. In this chamber stands the 
 colossal statue of Pompey at the base of which 
 Caesar fell ; it was found about the middle of 
 last century in the via Leutari near the Can- 
 celleria , was purchased by CardinalXapodiferro 
 and passed , together with his property , into 
 the Spada family. 
 
 II. Room: To the right are several pictures 
 and a festival scene by Cerquozzi; David holding 
 the head of Goliath , Guercino ; a woman hol- 
 ding a compass , Caravaggio ; a portrait by TL- 
 lian ; a sacrifice , by Bassano ; a Pietro Testa 
 a"d a roman charity by Annibal Caracci. 
 
 31 
 
393 Seventh day 
 
 HI. Room: Two porlraits by Caravaggio , 
 ludilh by Guide ; Lucretia , Guido; Christ dis- 
 puting with the doctors , Leonardo da Vinci ; 
 a landscape with cupids, Albano; a caricature, 
 Caravaggio ; the market of Naples , the insur- 
 rection of Masaniello , both by Michel Angelo 
 delle Bambocciate; the visitation of S. Elisabeth 
 by Andrea del Sarto. 
 
 ly. Room or gallery: S. Anne and the Vir- 
 gin by Caravaggio ; Christ in presence of Cai- 
 phas, Gherardo delle Notti; the Magdalen, Guido 
 Cagnacci ; S. John , a copy by Julio Romano , 
 the banquet of Mark Anthony and Cleopatra 
 by Trevisani ; Dido on the funeral pile, Guer- 
 tino ; the Magdalen by Cambiasi ; two small 
 landscapes by Salvator Rosa ; portraits by Ti- 
 tian, Vandyck, Tintoretto; Christ bearing the 
 cross , Mantegna ; S. Jerome , Spagnoletto; the 
 same subject by Albert Durer. 
 
 V. Room: A perspective by Pannini ; the 
 sacrifice of Iphigenia, Testa; two heads of che- 
 rubims said to be by Correggio ; two landsca- 
 pes , Ca»"acci school ; two festival scenes , Cer- 
 quozzi ; Christ by Annibal Caracci ; portrait of 
 Paul III , by Titian ; that of Cardinal Spada , 
 Guido ; a snow storm , by a flemish author; the 
 Madonna and child , Piotro Perugino; the Mag- 
 dalen, Guercino; a female musician, Caravaggio. 
 
 Amongst several valuable works of anti- 
 quity united in this palace is a statue , called 
 of Aristides , but which in reality is that of 
 Aristotle , the celebrated Greek philosopher. On 
 the statue is a fragment of his name in greek; 
 it bears a strong resemblance to the features 
 of Aristotle in other well known portraits and 
 
Seventh day 399 
 
 hone whatever to those of Arisiides; he is seated, 
 his head reclines on his rigbt hand as if in the 
 act of meditation. In the same room are eight 
 has reliefs found in the XVI century at S. Agnese 
 without the walls , and in the yard is a portico 
 huilt by Borromini sustained by doric columns 
 which in their gradations make it appear larger 
 than its real size ; this portico has been imita- 
 ted by Bernini in the grand stair case at the 
 Vatican. 
 
 In the slrada Giulia is the church of S. 
 Maria doll' orazione or of Za morte^ built under 
 Clement XII by Fuga ; the chapels contain a 
 holy family by Masucci ; S. Michael Archangel, 
 school of Raphael ; the cruciGxion by Giro Ferri 
 and a very ancient image of the Madonna; near 
 the high altar is the tomb of Gerosb the founder 
 of the hospital now transferred to S. Midhele ; 
 S. Giulia Falconieri by Ghezzi , the paintings 
 over the entrance door and that of the interior 
 part of the oratory are by Lanfranc. 
 
 J. OATERINJ Dl SIENJ 
 
 This church , situated near the Falconieri 
 palace in the via Giulia , was built in 1526 by 
 the confraternity of Sienesi and adorned with 
 fresco paintings by Timotco della Vite a scholar 
 of Raphael and by Grammatiea. The frescoes of 
 the tribune by Pocheux , a distinguished artist 
 'if the close of the last century , represent the 
 return of the holy see to Rome to which S, 
 Catherine greatly contributed. Over the high 
 altar is the picture of the spiritual marriage of 
 this saint by Lapis , in the ovals of the nave 
 
400 Seventh day 
 
 acts of her life by Lapis and Pietro Angeletll; 
 the painting to the left entrance by Gonca; to 
 the right by Morla ; over the altars on the left 
 a picture by Corbi much praised by Lanzi. Ano- 
 ther by Gonca , the one opposite by Lapiccola, 
 the last by Monosilio. 
 
 S, ELIGIO 
 
 This church was built by the goldsmith 
 company in 1 507 on the designs of Bramante , 
 and rebuilt on the same model in 1601. The 
 adoration of the Magi and the two figures over 
 the arch are by Romanelli, the frescoes by Tad- 
 deo Zuccari ; the altar piece by Matteo di Lec-^ 
 cio ; the nativity of Christ by Giovanni de Vec- 
 chi , S. Andronicus and S. Anaslasia by Zuc- 
 chelli. 
 
 The church of the holy Ghost in the via 
 Giulia belonging to the Neapolitans was built 
 by Garlo Fontana; over the altars are: an image 
 of the Madonna celebrated by its miracles ; a 
 painting of a miracle operated by S. Francois 
 de Paule, by Lamherti, the holy ghost by Ghezzi; 
 the tomb of Cardinal de Luca , by Guidi. A 
 celebrated painting by Luca Giordano , S. Tho~ 
 mas Aquinas by Domenico Muratori. 
 
 Along the via Giulia are the palazzo Ricci 
 by Baccio d' Agnolo; the Ghislieri college, the 
 little church of S. Filippo Neri, the only one 
 dedicated to that saint in Rome, the public pris- 
 ons built, by Innocent X and augmented by Alex- 
 ander VII and Leo XII ; the churches of the 
 Gonfalone , of the Suffragio , of (he Brescians , 
 S. Biagio degli Armeni, and finally 
 
Seventh day 401 
 
 S. GlorANNI De" FIORENTIM 
 
 This church was built in 1488 by a com- 
 pauy of Florentines on the designs of Giacomo 
 ilella Porta; the facade and corinlhian columns 
 were added by Alessandro Galilei under Clement 
 XII. The interior consists of three naves , Iho 
 chapels are adorned with marbles and paintings. 
 Over the altar to the right is a fine picture by 
 Salvator Rosa representing SS. Cosmo and Da- 
 miano condemned to the tlames. 
 
 The splendid high altar decorated with fine 
 marbles was built by Pictro da Cortona at the 
 expense of the Falconieri family ; the group of 
 S. John baptizing Christ is by Raggi, Ihe stata,e> 
 of faith by Ferrata , that of charily by G.aidi. 
 The chapel of the Grucifis.ion , belonginsto the 
 Sacchelli family , was painted by Lanf^anc; thft 
 figure of Christ ascending to heaven is muck 
 admired; the S. Mary Magdalen is, by Baccio, 
 Ciarpi. To the left of this chiijFch is the. 
 
 VATIC AN ItRlD&E: 
 
 1:he period of Ihe construction of this bridge 
 js unkuowa ; it may have been under Caligula 
 or Nero to afford a communication with iheir 
 Vatican gardens, but the assertion is not sup- 
 ported by any classic document. It seems to have 
 been in a state of ruin in the V century when 
 called the Vatican bridge by Victor , the only 
 author by whom it is mentioned. By the mo--, 
 derns it has arbitrarily been named the trium- 
 phal bridge from the opinion , altogether ua- 
 
 31 * 
 
402 Seventh day 
 
 founded , that the generals who aspired to the 
 triumph camped their troops in the Vatican 
 fields and crossed by this bridge to the left bank 
 of the Tiber. The remains of walls of the lower 
 ages , built on fallen masses which are seen in 
 the river were partly destroyed in 1813, in 
 order to ameliorate the navigation. 
 
403 
 
 GUIDE OF ROME 
 
 f£9i ^issfais^ 
 
 FROM THE EUAN BRIDGE 
 
 TO MONTE MARIO 
 
 JL o complete our tour of Rome the Va- 
 tican quarter alone remains. The Vatican hill 
 forms part of the chain running along the 
 right banks of the Tiber which it approaches 
 more or less in its sinuosities. Its appellation was 
 derived by the ancients from the Vaticini , or 
 prophecies , rendered on the spot when^ it be- 
 longed to the Utruscan Veientes from whom it 
 was captured by Romulus , but it always re- 
 inained without the walls of Rome until 84S 
 when it was enclosed by S. Leo IV in order to 
 protect the Vatican basilic from the incursions 
 of the Saracens and called Civitas Leonina. It 
 was however considered as not being within the 
 
404 ISighth day 
 
 city till tlie lattifer period of the XV century 
 when Alexander VI cut the walls of separation. 
 It now forms a lUone called the « Borgo » , 
 established by Sixtus Y as the XIV of Rome. 
 
 TBE ELIAN BRIDGE OR PONTE S. ANGELO 
 
 This bridge was built by ihe Emperor Adrian 
 to form an entrance to his mausoleum , to the 
 Doaiilia gardens and to bis circus,. some re- 
 mains of which were found in the middle of 
 last century. From the name of the founder it 
 was called the ^lian and Adrian bridge; in the 
 lower ages the Ponte S. Pletro from its leading 
 to the basilic, and now S. Angelo from the castle . 
 With the exception of the parapets, some slight 
 repairs and a small arch near the castle , the 
 remainder is antique. It is composed of three 
 large arches with two small buttresses between 
 them serving as a support to statues , and was 
 restored by Nicolas V in 1 450 ; Clement VII 
 raised on it the statue of S. Peter executed by 
 Lorenzetto, and that of S. Paul by Paolo Ro- 
 mano. Under Clement IX the parapet was made 
 by Bernini who placed on the buttresses the 
 ten figures of angels holding the instruments of 
 Christ's passion, the one with the cross by Ber- 
 nini , the other by his scholars. 
 
 UAVSOLEUU OF ADRIJX 
 
 This monument was constructed by the Em- 
 peror Adrian in the Domitia gardens to serve 
 for his own sepulchre and that of his descend- 
 ents. As Adrian had travelled through all tha 
 
Eighth day 403 
 
 provinces of llie empire , it is probable that lie 
 imitated in this construction the models of the 
 most splendid monuments he had seen. The square 
 base of the building , originally 253 feet on each 
 side , sustained a round edifice now reduced to 
 18S feet in diameter. It appears from Procopius 
 that the exterior was covered with quadrilateral 
 blocks of Parian marble, (he base ornamented 
 with leaves and festoons , and that on the walls 
 were inscriptions to the Emperors buried within 
 the monument; the round edifice was pro- 
 bably decorated with pilasters. When the en- 
 trance door on the side opposite the bridge was 
 reopened, a great part of the way was found 
 which led to the summit and to the sepulchral 
 chambers; this spiral ascent is a commodious in^ 
 clined plane with a mosaic pavement on a while 
 ground , still partly existing. It is further stated 
 by Procopius that at the four angles of the base 
 were groups of men and horses , and statues on 
 the cornice of the round mole which were de- 
 stroyed and used as offensive weapons by the 
 Romans when defending the mole against the 
 Goths. To form an idea of the loss thus occa- 
 sioned , it is sufficient to bear in mind that the 
 arts of sculpture were in their most flourishing 
 state under Adrian , and that the celebrated Bar- 
 berini Faun , now in Bavaria , was one of the 
 statues that was hurled against the Goths, having 
 been found under Urban VIII in excavating the dit- 
 ches of the castle ; it is asserted by modern 
 writers that the 24 fine Phrygian columns of the 
 basilic of S. Paul on the Ostia road, which have 
 also perished, belonged to this mausoleum, but 
 their proportions do not in any respect coincide 
 
406 Eighth day 
 
 wilh ihosc of the mausoleum , nor is lliis Ira-- 
 dilioa based on any good authority. Procopius 
 describing the state of the monument in the VI 
 century before it had suffered any injury, speaks 
 of it in a manner to suppose that no columns 
 ever existed on the exterior. 
 
 At the period of the extension of the walls 
 under Honorius in 402 this monument was unin- 
 jured, but it was fortified prior to the Gothic 
 war. la the X century it was converted into a 
 fortress by Crescentius , a noble Roman, and 
 called Castro di Crescenzio; the fortifications were 
 cncreased hy Boniface IX, Nicholas V, Alexan- 
 der VI and Urban VIII who added the outworks. 
 It assumed the appellation of Castle S. Angcio 
 from I he statue of the Archangel S. Michael 
 placed on the summit, executed in marble by 
 kaffaello da Monielupo, to which has been substi- 
 tuted one in bronze by Vanchefeld under Be- 
 nedict XIV. The fortress communicates with the 
 Vatican palace by means of a covered way sust- 
 ained by arches made by Alexander VI. 
 
 Behind the castle was the circus of Adrian; 
 in an excavation under Benedict XIV at a deptli 
 of 1 4 palms underground , the internal arcades 
 and the vaults susfaining the steps for the specl-> 
 ators were discovered ; the part of the edifice 
 found was 340 feet in length, and 202 in breadth. 
 
 HOSPITAL OP S. SPIRITO 
 
 This hospital, the largest of the city , re- 
 ceives patients of every nation; there are sepa- 
 rate establishements for the insane and orphan 
 children; it was founded in 1198 bv Innocent 
 
Mighlh day 407 
 
 111, has been restored and augmented by Popes 
 Alexander VII, Benedict XIV and Pius VI, and 
 contains a cabinet of anatomy , a collection of 
 instruments of physic and a medical library. 
 
 S. SPIRITO IN SASSIA. 
 
 This church, which is annexed to the hos- 
 pital , was rebuilt in 1585 by the architect San- 
 galio and the facade added by Mascherino; in the 
 interior are corinlhian and doric pilasters , and 
 in the chapels commencing by the right are pict- 
 ures which represent : the coming of the holy 
 Ghost by Fuga , placed between two alabaster 
 columns ; the assumption by Agresli , the nati- 
 vity, Montani; the circumcision, Nogari.; the 
 most holy Trinity , and the two miracles wor- 
 ked by Christ , Agrcsti. la the fourth chapel a 
 painting by Capellucci , one on the tribune by 
 Zueca, a contemporary of Sixtus V, in which 
 he has introduced the portraits of many artists 
 and other persons of his day; the ciborium of 
 the high altar is supposed to be by Palladio; thy 
 angels carved in wood, h^ Lorenzo, 
 
 la the chapels to the left of the high aliar 
 are the following works : The Madonna and S. 
 Johu the Evangelist by Venusti,- the dead Christ 
 and the others by Agresti ; the deposition from 
 the cross , Pompco dell' Aquila ; the four Evan- 
 gelists over the pilasters by Sitio ; the Redeemer 
 with the Blessed Virgin and saints, the cieling 
 and the remainder of the fourth chapel by Ce- 
 sare Nebbia. The facade over the great door by 
 Zucca ; the subjects in the sacristy and ciuliug 
 arc painted in chiaro scuro with ^nclj ability 
 
408 Eighth day 
 
 that they appear to be bas reliefs ; the coming 
 of the bolj Ghost placed over the altar is by 
 Lante da Sermonela^ in the street opposite cal- 
 led via di Borgo Nuovo , is 
 
 S, MARIA BELLA TRASPONTINA. 
 
 This church was built on the designs of Pa- 
 parcUi and Mascherino , the facade by Giovanni 
 Periizzi. In the twelve chapels composing the 
 interior are the following pictures, beginning from 
 the first chapel on the right : S. Barbara by 
 d' Arpino , the cieling, and her martyrdom by 
 Rosetli. S. Canut by Daniel ; the conception, Mu- 
 ziano ; the chapel of the Passion by Gagliardi. 
 On the side of the Crucifix a Madonna and S. 
 John , author unknown ; the fifth chapel by Po- 
 rn arancio ; the altar piece representing the Vir- 
 gin, the child , S. Magdalen de' Pazzi by Do- 
 roenico Cerrini , a scholar of Guido Reni. The 
 high altar is decorated with marbles gilt me- 
 tals and a fine tabernacle , under which is an 
 image of the Madonna , made on the designs of 
 Carlo Fontana ; the two angels in marble are by 
 an unknown author ; the four statues of saints 
 by Ratti. 
 
 In the chapels on (he left side , the painting 
 of S. Andrea Corsiui by Paolo Melchiorri ; S. 
 Angelu a Carmelite , and the cieling by Ricci 
 da Novera; S. Theresa by Calandrucci; SS. Peter 
 and Paul by Ricci; it is a pious belief that these 
 princes of the apostles were bound to the two 
 columns placed near this picture and beaten be- 
 fore their execution. The chapel of S. Antonio 
 Abbiilc , S. EUas , and the Blessed Carmelite 
 
Eighth day 409 
 
 Francesco were painted by Pietro da Cortona, 
 the last chapel contains an ancient and miracu' 
 Ions image of the Madonna of a good st}^le but 
 by an unknown author. Niccola Zabaglia, a per- 
 son celebrated for his abilities in mechanics who 
 died in 1750 was buried in this church. Near 
 the site of the present chapel of the font once 
 stood a pyramid which in the lower ages , was 
 called the tomb of Romulus; it is however sup- 
 posed to have been that of the younger Afri- 
 canus the destroyer of Carthage; Pope Donus I 
 stript it of its square blocks to pave the atrium 
 of S. Peter's and Alexander VI destroyed it al- 
 together in the XV century. 
 
 In the same street is a piazza decorated 
 with a fountain , and the palazzo Giraud now 
 the property of Don Carlo Torlonia , the archi- 
 tecture h^ Bramante ; and beyond the piazza 
 Scossacavalli the palazzo de' Convertendi , not 
 the one built by Bramante , which was the re- 
 sidence of Charlotte queen of Cyprus in the 
 times of Innocent VIII and where the great 
 Raphael finished his days the 6 april 1 520. Oppo- 
 site at the end of the street is a house of a 
 style of architecture said to be by Raphael; adjoin- 
 ing it is the entrance to the 
 
 PIAZZA DI S, PIETRO. 
 
 This piazza forming a magnificent access to 
 the Vatican Basilic is surrounded by a sumptuous 
 portico of four rows of columns raised by or- 
 der of Alexander VII under the direction of 
 Bernini , with the obelisk in the centre , and 
 
 32 
 
410 Eighth day 
 
 the two fountains on each side; the whole presents 
 an imposing aspect. 
 
 The piazza is of an oval shape ; its smal- 
 lest diameter , taken from the external circum- 
 ference , is 768 palms; its largest , without in- 
 cluding the colonnade 810 palms. It is between 
 two other piazze , one 360 palms long and 304 
 wide; the other forming an irregular square from 
 the end of the colonnade to the facade of the 
 temple is 433 palms long and 532 broad. Thus 
 the total length of the three piazze is 1561 palms. 
 
 The portico , formed by two semicircles , 
 is composed of 284 large travertine columns mixed 
 with 88 pilasters and three semicircular ways, 
 the middle one affording a convenient pa.ssage 
 for two carriages abreast ; the colonnade is of 
 the mixed order , the base Tuscan , the column 
 doric, the cornice jonic, 82 palms wide, 80 high, 
 terminated by a balustrade on which are placed 
 192 travertine statues of divers saints , each 14 
 palms high , executed by various sculptors under 
 the direction of Bernini. The finest ornament of 
 this piazza is 
 
 THE VATICAN OBELISK, 
 
 This superb obelisk was erected in the mid- 
 dle of the piazza by Sixtus V; though not the 
 largest and without hieroglyphics , it is the only 
 one Ihat has remained unbroken. According to 
 Pliny it was raised by Nuncores king of Egypt, 
 the son of Sesostris , in Heliopolis , and by the 
 inlerpretation of Ardouin it was made in imi. 
 talion of the obelisk of Nuncoreus. As it is 
 beyond a doubt that the obelisks erected by the 
 
Eighth day 411 
 
 Pharaohs were never without hieroglyphics , the 
 present one may be considered as an imitation 
 by the Romans. It was sent to Rome by the 
 Emperor Caius Caligula in a vessel, which was 
 afterwards sunt by Claudius , and served to build 
 the light house at Ostia. Caligula ordered it to 
 be placed in his Vatican circus where it re- 
 mained on 'the spot where it had been raised , 
 the site of the present sacristy of S. Peter 's , 
 until transferred in 1586 to the centre of the 
 piazza by order of Sixtus V, and erected under 
 the superintedence of Domenico Fontana. Its 
 height without the pedestal, is 1 1 3 palms , 1 2 in 
 its largest breadth , from the ground to the 
 top of cross 1 8C palms. On two sides is the 
 dedication made by Caius to Augustus and Ti- 
 berius. The fountains on the sides of the obe- 
 lisk are each 60 palms in height, and raise the 
 water 14 palms, which falls into around vase 
 of a single piece of oriental granite 72 palms 
 in circumference , and thence into a travertine 
 vase 120 palms round. 
 
 On the quadrilateral piazza before the tem- 
 ple are two covered corridors each 524 palms 
 long and 32 broad which terminate at the ves- 
 tibules of ihi portico ; between the windows 
 are 22 pilasters supporting the same number of 
 colossal statues; in the middle a flight of mar- 
 ble steps leads to the basilic ; at the two an- 
 gles of its base are statues of S. Peter and S. Paul. 
 
 THE BASlllC. 
 
 A more celebrated or more sacred spot could 
 not have been selected for the erecting this sum - 
 
412 Eighth day 
 
 plaous temple. It is situated ia the Vatican fields, 
 on the circus and gardens of Nero where , ac- 
 cording to Tacitus , many Christians were put 
 to death, whose remains were interred in a grotto 
 near the circus. The apostle S. Peter having 
 soon after obtained the palm of martyrdom, his 
 venerable body was carried to Ibis cemetery over 
 which an oratory was built by Pope S. Ana- 
 cletus. In 306 Constantine the great, at the ins- 
 tance of Pope S. Silvester, raised on the spot 
 a temple in the form of a basilic , consisting of ^ 
 five naves, 92 large marble columns, 41 Q palms 
 in length , 285 in breadth, which edifice threat- 
 ened ruin at the end of eleven centuries , though 
 it had been frequently restored. In 1450 Ni- 
 cholas V commenced the new fabric, beginning 
 ]iy the tribune, on the designs of the architects 
 Rosellini and Albert! j but the work was inter- 
 rupted by the Pope 's death and remained only 
 three cubits above the pavement till it was re- 
 sumed by Paul II. In 1503 Julius II ascended 
 the papal throne , and to him was reserved the 
 merit of continuing this arduous enterprize. He 
 examined the designs of various architects , se- 
 lected those of Bramante Lazzari, who conceived 
 the idea of placing a large cupola in the mid- 
 dle and with this view raised four large pilasters 
 to sustain it. At the death of Julius II and of 
 Bramante, Leo X confided the works to Giuliano 
 Sangallo , ivh Giocondo and Raphael d'Urbino, 
 who strengthened the foundations round the pi- 
 lasters judging them too weak to support a cu- 
 pola of such a mass. At the death of these ar- 
 chitects Baldassar Peruzzi of Siena , was named 
 director of the work ; Peruzzi , without intro- 
 
Eighth day 41 y- 
 
 duchtg any alteration in the constructions, chan- 
 ged the plan of the basilic into that of a greek 
 cross , that of Bramante being a latin cross, the 
 execution of which would have been attended 
 with an immense expense , and under Adrian VI 
 and Clement VII he finished the tribune begun 
 by Bramante. On the accession of Paul III An- 
 tonio di Sangailo was chosen as the architect; 
 he followed the first design of Bramante by a- 
 dopting the latin cross ;; at his demise Paul III 
 entrusted the works to Michael Angelo Buona- 
 roti who changed the plan into that of a greelt 
 cross , extended the tribune , the two arms of 
 the transversal nave , and made a new design 
 for the cupola which he commenced and which 
 was followed by his successors. It was the pro- 
 ject of Buonaroti to form the facade of four 
 isolated columns on the style of the Pantheon 
 of Agrippa , as appears by the painting in the 
 Vatican library and by a model in the ponti- 
 fical palace , but this plan was interrupted by 
 his death. Under Pius Y , Vignola and Pietro 
 Ligorio. were selected as architects, with injun- 
 ctions to follow , in every respect , the designs 
 of Buonaroti, Vignola raised the two kterail cu- 
 polas ; Giacomo della Porta was selected by Gre- 
 gory XIII and completed the large cupola which 
 Clement VIII adorned with mosaics and gilt stue— 
 eoes. Under this pontiff the pavement was co- 
 vered with different marbles. This majestic tem- 
 ple was finally completed under Paul V by Carlo 
 Maderno who abandoned the plan of Buonaroti, 
 reduced it into the form' of a latin cross on the 
 primitive designs of Bramante , and made the 
 portico and the facade. Under Alexander VII, Bee- 
 Si • 
 
414 Eighth daxf 
 
 nini , having Hnished the colonnade, added a 
 belfry 177 palms high which was taken down 
 under Innocent X. Pius VI built the sacristy on 
 ♦he designs of Marchionni and restored the gil- 
 dings in the interior of the basilic. 
 
 By the enumeration of the Pontiffs and ar~ 
 chitects who have been occupied with this im- 
 mense fabric in the space of three centuries and 
 a half employed in its construction , a conjec- 
 ture may be formed of the expense that it oc- 
 casioned from the calculation made by Carlo Fon- 
 tana; this expense, up to the year 1 694, amounted 
 to about forty seven millions of dollars. Since 
 then large sums have been spent for repairs , 
 new gildings , mosaic pictures for altar pieces , 
 copied from the paintings belonging to the ba- 
 silic. Every art has contributed to the decora- 
 tion of this superb edifice , the most splendid 
 monument of modern Rome , on which the most 
 celebrated painters, sculptors, and architects hare 
 employed their talent, 
 
 THE FAgADE. 
 
 Is composed of eight columns, four Corinth- 
 ian pilasters , five doors , seven loggie , six ni- 
 ches and an attic , terminating in a balustrade , 
 on which are colossal statues of Christ and of 
 the twelve Aposlles. The whole of the facade is 
 in travertine stone, and as stated in the inscrip- 
 tion on the frieze, was erected in 1612 in ho- 
 nour of the prince of the Aposlles ; its breadth 
 is 540 and height 216 palms; the diameter of 
 the columns 12, height 128 comprizing base 
 and capital; the statues 1 5 i/a palms each in height. 
 
Eighth day 415 
 
 The great cupola of Buonaroti , the two la- 
 teral ones bj Vignola form , witli the facade, a 
 pyramid. In the bail of the great cupola there 
 is room for 16 persons; the cross is 616 palms 
 above the level of the pavement ; when illami- 
 nated at the festivals of Easter and S. Peter by 
 4400 large lamps , and 784 torches the facade 
 produces a magic effect. 
 
 The portico is 54 palms wide , 638 long 
 comprizing the vestibules, at the extremities of 
 which are the equestrian statues of Gonstantine 
 and Charlemagne ; the former to the right by 
 Bernini , the second by Gornacchini. At each en- 
 trance are marble columns ; the portico is de- 
 corated with pilasters that sustain the cornice 
 carved with gilt stuccoes ; the cornice and the 
 figures are by Algardi. Opposite the principal door 
 is a celebrated mosaic representing the barque 
 of S. Peter tossed about in a stormy sea , the 
 work of Giotto di Bordone in 1298. 
 
 The walled door marked with a cross is 
 opened on the day of the great Jubilee and cal- 
 led for that reason the Porta santa. The bronze 
 door in the centre, ornamented with bas reliefs, 
 was made by order of Eugenius IV for the an- 
 cient church, by Philaretes and Simone the bro- 
 ther of Donato. The bas reliefs represent the 
 martyrdom of SS. Peter and Paul, the corona- 
 tion by Eugenius, of the Emperor Sigismond , 
 the audience of the Pope to sundry deputations 
 from the East; the mythological subjects are to 
 be attributed to the ignorance of the artists who 
 took them from the antique, without considering 
 how little they were adapted to the spot. In the 
 bas relief over this door Bernini has represented 
 
4t6 Eighth day 
 
 the Saviour committing the care of Vk flock to 
 S- Peter; at three of these doors are pavonaz- 
 zetto columns , at the Porta saiita an antique 
 breccia called for this reason porta santa, 
 
 THE INTERIOR^ 
 
 So great an idea has been formed of this 
 basilic that in entering it , for the first time , 
 it seems smaller than it is in reality; this arises 
 from its proportions and the continual inter- 
 ruption of the lines , nor is its sire judged of 
 till after having been examined in detail, when 
 all the objects are found to be much larger than 
 at first they appeared to be; the angels for in- 
 stance , at the two fonts of holy water, seem at 
 first sight to be little children ^ but on a nearer 
 approach they appear of a colossal size. 
 
 It being believed by some that this church 
 is smaller than S. Paul's of London and the 
 dome of Milan, we add their respective dimen- 
 sions. S. Paul's: length 7JQ, breadth 400 palms 
 Dome of Milan, d. 589 — d. 465 — » — 
 S. Peter's d. 830 — « 606 •— - — 
 
 The breadth of ihe middle nave is ■t23f , the 
 height 286 palms; each of the lateral naves 30 
 palms in bread(h. In the whole extension of the 
 middle nave are four large arches leading to the 
 same number of chapels ; on the ialermediary 
 wall are two arches of fluted Corinthian pilas- 
 ters 112 palms high including base and capital, 
 and sustaining a large eornifie which encircles 
 the church; betw^een the pilasters are niches one 
 over the other, in the lower ones marble statuos 
 19 palms high, of founders ofreligious orders ,, 
 
Eighth day 417 
 
 in those above the arches two stucco figures 
 37 palms high representing virtues, the sides of 
 these pilasters are lined with tine marbles ; in 
 each are medallions of popes supported by two 
 little boys , while others placed around hold mi- 
 tres , keys , the triple crown and other ponti- 
 fical attributes ; these has reliefs were designed 
 by Bernini, by order of Innocent X, to whose 
 arms belongs the dove placed over each pedestal; 
 on the cieling of the nave are large roses in 
 compartments of gilt stucco ; the pavement is 
 formed of Gne marble. 
 
 The four angels at the fonts are by Livoni 
 and Moderati; the statues of saints vvho founded 
 religious orders by the following artists: S. The- 
 resa , by Valle; S. Pietro Alcantara by Vergaraj 
 S. Vincent de Paule , Bracci ; S. Gamillo de 
 Lellis , Pacilli ; S. Filippo Neri , Maini; S. Igna- 
 tius , Rusconi. At the end of the principal nave, 
 placed under a baldacchino and on an alabaster 
 pedestal , is a slaiue of S. Peter in a sitting 
 posture ; the statue of S. Francesco di Paola in 
 the opposite niche is by Maini. 
 
 TBB CONFESSIONS DI S. PIETRO 
 
 Under the high altar and the great cupola is 
 the tomb called the « confessione di S. Pietro », 
 the prince of the aposlies. It is lighted perpe- 
 tually by 1 1 2 lamps in cornucopia of gill brass 
 disposed round a circular baluslradc. At the 
 bottom of the steps is a statue by Ganova of 
 Pius YI in the act of prayer placed near his 
 tomb; this spot was decorated by Carlo Maderno 
 with choice marbles , angels, festoons and with 
 
418 Eighth day 
 
 the statues of S. Peter and S. Paul situated on 
 the sides of a gilt bronze gate. Al the end of 
 the long niche called the « Confessione,. » is an 
 ancient image of ihe Saviour in mosaic; ihis ni- 
 che , above the oratory built by S. Anaclete 
 covered with gilt bronze, is the spot where the 
 body of S. Peter reposes; within a silver gilt 
 box placed on the tomb are deposited the falli 
 whick Ihe supreme Pontiffs transmit to the arch- 
 bishops and patriarchs of the Catholic chniirchi 
 
 THE SIGH AtTAR 
 
 This altar placed under a magnificent bal* 
 dacebino in the centre of the cupola over the 
 «t Confessione » is isolated , and turned towards 
 the east as was customary in dhe early times of 
 Chrislianiity. The supreme pontiff alone officiates 
 at this altar. The baldacchino is sustained by 
 four bronze gilt spiral columns of the compo- 
 site &rder , made by Bernini under Urban YlII 
 in 1633; these columns support a cornice; at 
 the angles four spiral branches unite in the cen- 
 tre and sustain a globe which is surmounted 
 by a cross. This large mass is 124 palms high; 
 the bronze employed in its construction was , 
 as already slated , tatken from the Pantheon. 
 
 THE CUPOLA 
 
 Tbe first idea of Bramante being to erect 
 a cupola on larger dimensions than any known, 
 he commenced the foundations by four enor- 
 mous pilasters of a circumference of 304 palms. 
 Michael Augelo pretended in his designs to sur- 
 
Eighth day 419 
 
 pass (lie ancients by raising ihe Pantheon of 
 Agrippa in the air to a height of 242 palms. 
 
 The internal diameter is 190 pahns , two 
 less than that of the Pantheon , from the pa- 
 vement to the summit the height is 616 palms. 
 Around it are 32 double corintbian pilasters 
 sustaining a cornice from which the concavity 
 of the cupola commences; it is decorated with 
 gilt stuccoes , and mosaic works representing 
 the Madonna , Angels , saints and the apostles. 
 
 On the frieze over the four large pillars are 
 the words of our Saviour to S. Peter : Tu es 
 Pelrus , et super hanc petram wdificabo ecch-r 
 siam meam , et tibi dabo claves regni cmlorum. 
 
 On each principal facade of the cupola are 
 two large niches , the upper ones in the form 
 of balustrades with spiral columns at the sides, 
 supposed , without any foundation , to have 
 belonged to the temple of Solomon; these with 
 four others , formed the ancient baldacchino of 
 the « Confessione ». In these niches many relics 
 are preserved especially in the loggia over the 
 statue of Veronica, three of which are in high 
 veneration: a part of the holy cross, the lance 
 which pierced the sides of Christ , the impres- 
 sion of the holy face; these relics are exhibited 
 to the public on the thursday and friday of the 
 holy week. In the niches beneath are four mar- 
 ble statues 22 palms high, representing S. Lon- 
 ginus by Bernini ; S. Helena , Borghi ; Vero- 
 nica, Mochi; S. Andrew by the Fleming. Under 
 these statues is a balustrade and a stair case 
 which leads to the subterranean parts of the 
 church. 
 
420 Eighth day 
 
 THE TRIBUSE AND CATTEDRA 
 
 lu the upper part of the large iiave, ter- 
 minating in a semicircle , is the magnificent tri- 
 buue which was decorated on the designs of Mi- 
 chael Angelo; before it are two porphyry steps, 
 at the end a majestic allar composed of fine 
 marbles 253 palms distant from the altar of 
 the « coufessione » ; this part is called the « Gat- 
 tedra di S. Pietro ». The four gigantic figures 
 support a large chair in which is enclosed one 
 that was used by S. Peter and his successors 
 in the celebration of the holy ceremonies. 
 
 These figures 27 i/a palms high, represent 
 on the front side two doctors of the latin church 
 S. Ambrogio and S. Augustin , two of the greek 
 S. Anastasius and S. John Ghrysostome, over the 
 chair two angels holding the triple crown and 
 two on the sides ; besides these ornaments the 
 majesty of the cattedra is augmented by groups 
 of angels and numerous raysof gold around which, 
 on a transparent ground of coloured glass, imi- 
 tating the light , is an image of the holy Ghost; 
 the bronze employed ia these works was taken 
 from the Pantheon. 
 
 On the sides of the « cattedra » are two 
 fine tombs ; that of Paul III Farnese , a highly 
 esteemed work of Guglielmo della Porta under, 
 the direction of Baonarotti; the statue of the Pope 
 is in bronze , those of Prudence and Justice in 
 marble ; the latter was originally naked and was 
 covered by Bernini with copper, coloured like 
 marble ; the other tomb is that of Urban VIII 
 Barberini who is represented also in bronze with 
 (he figures of Justice and Charity in marble, all 
 
Eighth day 421 
 
 executed by Bernini. la the four niches round 
 the tribune are statues of founders of religious 
 orders ^ S. Dominick by Legros , S. Francis of 
 Assisi , Monaldi , S. Elias , Cornacchini ; S. Be- 
 nedict, Montauti; the cieling of the tribune is 
 embellished with gilt stuccoes and three stucco 
 bas relief. 
 
 Besides the great cupola there are ten others 
 in the small naves, four round and six oval ; 
 the columns serving as an ornament to the al- 
 tars or as a support to the arches amount in 
 number to 96 all of fine marble ; the pictures 
 29 in all are in mosaic , copied from works by 
 the great masters, each picture of a value of 
 twenty thousand dollars and 19 tombs valued 
 at twenty three thousand dollars each. 
 
 THE RIGHT NAVE 
 
 The first altar to the left on the pilasters 
 of the great cupola has two columns of black 
 oriental granite ; the mosaic, representing S. Pe- 
 ter curing the lame man , is from the original 
 by Mancini; opposite is the tomb of Ottoboni , 
 Pope Alexander YIII who died in 1691 ; his 
 statue in bronze , the side ones of religion and 
 prudence in marble are by de-Bossi; the bas relief 
 of a canonization by the pontiff is by the same 
 artist. 
 
 On the following altar, that of S. Leo the 
 great, under which he reposes, are two columns of 
 oriental granite ; the bas relief by Algardi re- 
 presents S. Leo ordering Attila not to approach 
 Rome, and showing the protecting figures of S. 
 Peter and S. Paul. Before this altar is the se- 
 
 33 
 
422 Eighth day 
 
 pulchrc of Leo XII ; Its modest inscription was 
 composed by himself a few days before his 
 death. 
 
 On the next altar is an ancient image of 
 the Madonna , called of the Colonna , having 
 been painted on one of the columns that deco- 
 rated the altar of the sacrament in the ancient 
 Vatican basilic. The mosaics on the cupola and 
 the angels are by Lanfranco , Sacchi and Bo- 
 manclli. 
 
 A little further on is the tomb of Alexan- 
 der VII, Chigi , who died in 1657; though the 
 last work of Bernini it recalls to mind the spirit 
 and execution of his early days; the door which 
 he was obliged to preserve at the base of the 
 tomb , to which it seems to lead , is covered 
 with a large marble cloth containing a figure 
 of death showing the tomb , in the other hand 
 a clock, indicating that the hour was come. Oa 
 the sides of the pontiff are figures of Justice 
 and Prudence , of Charity and Truth. Over the 
 altar opposite is represented on slate the fall of 
 Simon Magus by Vauni. 
 
 THE SOVTH CROCIATA' 
 
 Is a semicircle in the form of a tribune 
 and of the same dimensions as that of the «cat- 
 tedra »; it was built by Buonaroti; the has reliefs 
 in gilt stucco on the cieling are by Maini. The 
 monument to Pius VII who is sealed between the 
 statues of wisdom and force, is byThorwaldsen; the 
 three allars of this tribune have four fine black 
 granite and two fluted giallo anlico columns ; over 
 the central one is the crucifixion of S. Peter , 
 
Eighth day 423 
 
 from tlie original by Guido now in the Valican 
 gallery ; ihe altar piece to the left by Spadarino 
 represents S. Martial and S. Valeria and the 
 miracle related in the legend of this saint, that 
 after her decapitation she carried her head to 
 the bishop while he was celebrating mass. The 
 S.' Thomas over the third aliar is a mosaic copy 
 of a painting by Camuccini ; in the niches are 
 statues of S. Norberto by Bracci, S. Giuliana 
 ^alconieri and S. Pietro Nolasco by Gampi, and 
 S. Giovanni di Dio by Valie. 
 
 To the left an altar piece in mosaic from 
 the original by Roncalli , of Ananias and Zaf6- 
 ra ; opposite is the new sacristy; the painting 
 over the door representing the demoniac libe- 
 rated by S. Peter is by Romanelli. 
 
 CAPPELLA CLEMENTINA. 
 
 Built by Clement VIII in a style of archi- 
 tecture similar to the one opposite; the mosaic 
 from the picture by Sacchi , represents a miracle 
 by S. Gregory the great, who was interred un- 
 der the altar. The mosaics of the cupola are taken 
 from Roncalli. Ou a pilaster of the great cu- 
 pola in the small nave is the Transfiguration from 
 the original in the Vatican; under the arcade 
 the tomb of Leo XI and the has relief on the 
 sarcophagus representing the abjuration of Henry 
 IV of France by Algardi; opposite is that of In- 
 nocent XI Odescalchi decorated with statues of 
 religion and justice , and a has relief of the li- 
 beration of Vienna , all by Monot, 
 
424 Eighth day 
 
 CAPPELLA DEL CORO. 
 
 It is here that the canons of S. Peter's cele- 
 brate daily the holy offices; the chaptor consists of 
 a Cardinal archpriest , 30 canons, 25 benefi- 
 ciaries, 4 chaplains and 36 beneficed priests. The 
 cupola is decorated with mosaics from paintings 
 by Ferri and Carlo Maratta , the bas reliefs and 
 ornaments of the chapel are by Giacomo della 
 Porta , the altar piece in mosaic from a picture 
 by Bianchi of the conception of the Madonna; 
 S. Francis , S. Antonio of Padua and S. John 
 Chrysostom who was buried under the altar; in 
 the following arch is the tomb of Innocent VJII 
 in bronze by Pollajolo,andtwo statues of thispope 
 who died in 1492; in one he is in the act of 
 giving the benediction, in the other recumbent 
 on a sepulchral urn; over the opposite door is 
 the tomb of Pius VIII. It is customary when the 
 remains of the preceding Pope are transferred 
 elsewhere that those of his successor should be 
 deposited here provisionally. 
 
 CAPPELLA DELLA PRESENT AZIONE. 
 
 The mosaic altar piece , placed between two 
 fine porta santa columns representing the pre- 
 sentation of the Virgin at the temple , is from a 
 picture by Romanclli; those on the cupola from 
 works of Carlo Maratte. 
 
 Under the arch is the tomb of Maria Cle- 
 mentina Sobieski Sluard, Queen of England, raised 
 by the chapter of S. Peter's, and executed by 
 Bracci; the sepulchral porphyry urn decorated 
 with gilt bronze is covered with alabaster, Ove; 
 
Eisfhth day 425 
 
 it is a statue of cKarity, and an angel holding a 
 medallion with a portrait in mosaic; the door 
 opposite leads to the upper part of the cupola; 
 facing this tomb is that of James III her hus- 
 baad and of their two sous, by Canova. 
 
 CJPPELLA DEL FONTEt 
 
 The baptismal font is a Gne porphyry uru 
 il palms long, 81/2 broad, adorned with gilt 
 metal festoons once the tomb of Otho II who 
 died at Rome in 984, and was placed in the 
 atrium of the ancient basilica; the mosaics in this 
 chapel represent the baptism of Christ by Carlo 
 Maratte ; SS. Processus and Martinianus , the 
 keepers of the Mammerline prison, by Passed , 
 Cornelius the centurion by Proeaccini, those on 
 the cupola are copied from Trevisani , Passeri, 
 Ricciolini. On the right entrance by the great 
 door is the 
 
 CAfPELLA DELIA PIETA 
 
 The chapel is so named from the group of 
 the « Pieta » by Michael Angelo. In one of the 
 inside chapels is an ancient crucifix by Caval- 
 lini and a mosaic representing S. Niccola di Bari. 
 In another a column on which our Saviour is 
 said to hare leaned while disputing with the doct- 
 ors , and an antique marble urn with has re- 
 liefs , once the tomb of Probus Anicius, Prefect 
 of Rome , and afterwards a baptismal font in 
 this Basilic; the cieling of this chapal was painted 
 by Lanfranc , the mosaics of the cupola are co- 
 pied from pictures by Ferri and Pielro di Cor- 
 
426 Eighth day 
 
 tona ; over the » porta Saata » is a mosaic of 
 S. Peter from the original by d' Arpino. 
 
 Under the arch leading to the second cha- 
 pel on this nave which, like the others, is de- 
 corated with four cottanello columns, is the tomb 
 of Leo XIl , by Fabris , erected by the present 
 Pope. Opposite is that of Christina , queen of 
 Sweden, who died at Rome in 16S9, erected by 
 Innocent XII on the designs of Carlo Fontana-, 
 the bas relief, by Teudon, represents her abju« 
 ration of Lutherauism at Innsprack in 1665. 
 
 CAPSELLA Dl S. SESASTIANO. 
 
 The martyrdom of S. Sebastian in mosaic 
 represented over the altar between two porta 
 santa columns, is taken from the celebrated pict- 
 ure of Doraenichino now at S. Maria degli An- 
 gioli , and the mosaics of the cupola from works 
 of Pietro di Cortona. 
 
 At the adjoining arch is the tomb of In- 
 nocent XII who died in 1 700; the statue of the 
 pope , with those of justice and charity , are by 
 Yaile. Opposite is situated the tomb of the Count- 
 ess Mathilda whose remains were brought from 
 the Benedictine convent near Mantua , and pla- 
 ced in this tomb by order of Urban VIII; the 
 design and the bust are by Bernini ; the bas re- 
 lief by Speranza represents the absolution in 
 presence of Mathilda, of Henry IV, who had been 
 excommunicated by Gregory VII. 
 
Eighth day 427 
 
 CHAPEL OF THE SJCRJMENT. 
 
 The cieling of this splendid chapel is de- 
 corated with ornaments and gilt stucco has re- 
 liefs , and with a mosaic in the centre of the 
 marble pavement. Over the altar is a ciborium 
 of gilt bronze inlaid with lapis lazzuli ia the 
 form of a round temple and cupola , in imi- 
 tation of the one by Bramante in the cloister 
 of S. Pietro in Montorio. It is 23 1/2 palms high, 
 has two bronze angels on the sides , and was 
 made on the designs of Bernini; the fresco of 
 the most holy Trinity over the altar is by Pie- 
 Iro da Cortona. 
 
 On the left side of the chapel is another 
 altar with two columns from the ancient con- 
 fessione ofS, Peter; over it a S. Maurice paint- 
 ed by Bernini. Near it the tomb of Sixtus IV 
 in bronze with has reliefs by Poliaioli : here also 
 Julius II is interred whose tomb by Buonaroti 
 at S. Pietro in Vincoli has been described; the 
 mosaics of the cupola are copied from Pietro 
 da Cortona. 
 
 Under the following arch are: the tomb of 
 Gregory XII by Rusconi , the statue is placed 
 between figures representing religion and force; 
 the has relief alludes to the reform of the ca- 
 lendar under this pope who died in 1 585; the 
 second is the tomb of Gregory XIV. At the end 
 of this nave is a mosaic copy of the celebrated 
 communion of S. Jerome by Domenichino now 
 in the Vatican. 
 
428 Eighth day 
 
 CAPPELLA BELLA HADOSNA. 
 
 It was erected by Gregory XIII on the de- 
 signs of Buonaroti. On the altar , decorated with 
 fine marble, is an ancient image of the Madonna 
 called « del Soccorso » Under the altar a gra- 
 nite urn containing the remains of Gregory Na- 
 zianensis , the mosaics of the cupola are copies 
 from Muziano. On the right the tomb of Be- 
 nedict XIV, Lamberlini; the statue of the pope is 
 by Bracci, those of Wisdom by the same artist; Di- 
 sinterestedness by Sibilla ; the mosaic over Ihe 
 altar of S. Basil is taken from a picture by 
 Subleyras, now at S. Maria d-igli angioli. 
 
 TUB moRTH CROCIATA. 
 
 Is in the form of a tribune and has three 
 altars decorated with columns; on the first, de- 
 dicated to S. Wenceslaus, is a mosaic of this 
 saint from a painting by Garoselli; the mosaic 
 over the second altar of SS. Processo and Mar- 
 tinianus , from Valentin ; the one representing 
 &. Erasmus, from Nicholas Poussin; ibe origi- 
 nals of the two last pictures are in the Vatican. 
 In the niches are statues of S. Joseph Calasan- 
 zio by Spinazzi , of S. Bruno by Stode , of 
 S. Jerome by Emiliani, S. Gaetano, Monaldi. 
 
 Over the left altar is a mosaic from Lanfraneo 
 of S, Peter walking on the waves at the call of 
 his divine master. Opposite is the tomb of Rez- 
 zonico, Clement XllI, a celebrated work by Ga- 
 nova, consisting of three large figures : the Pope 
 kneeling in prayer, Religion leaning on the cross, 
 a figure full of majesty; the genius of death , 
 
Eighth day 429 
 
 seated near the urn holding a torch downwards; 
 the has relief on the urn represents Force and 
 Charity , at the base are two lions, symbolic of the 
 pope's strength of mind; they are the finest works 
 of the kind that have been produced in modern 
 times. In the chapel of S. Michael Archangel is 
 a mosaic copy of Guido's original in the Capu- 
 chin church; the cupola, like those of all the 
 other chapels , is also adorned with mosaic from 
 the original paintings by Sacchi , Romanelli and 
 Beneliale. In this chapel is another mosaic by 
 Cristofori , the finest of all those in S. Peter's, 
 a copy of the celebrated S. Petronilla of Guer- 
 cino in the Capitoline gallery. The tomb of Cle- 
 ment X, the statues of clemency and goodness, 
 are by Mattia de' Rossi ; the has relief repre- 
 senting the opening of the porta santa is by Reli. 
 The mosaic ofS. Peter ressuscitating Tabita is 
 a copy from Placido Costanzi. 
 
 Near the statue of Veronica a small stair 
 ease leads to the 
 
 GROTTlS VATICASE^ 
 
 As the basilic erected by Constantine co- 
 yered the site occupied by the Vatican grottoes, 
 or the cemetery of the Christians put to death 
 by order of Nero , and particularly the spot 
 where S. Peter was interred , the sovereign pon- 
 tiffs, when building the new temple, ordered the 
 architects to leave the portion of the pavement 
 that covered the ancient grottoes; a new pave- 
 ment was made over the ancient basilic, 1 6 palms 
 high , sustained by means of arches and pilast- 
 
430 Eighth day 
 
 ers , and ia this manner the grottoes were pla- 
 ced between the two pavements. 
 
 At the pilasters of the great cupola are four 
 altars designed by Bernini , with mosaic pictu- 
 res from the originals of Andrea Sacchi. In the 
 circular gallery is the chapel of the « confes- 
 sione » placed under the altar of the new ba- 
 silic , and decorated by Clement VIII with fine 
 marbles , gilt stuccoes and has reliefs in bronze, 
 allusive to divers acts of SS. Peter and Paul. 
 The ancient images of these saints, painted on 
 silver , are placed on this altar , which is held 
 in high veneration from its proximity to the 
 niche containing the body of the prince of the 
 apostles. 
 
 These sacred grottoes contain the tombs and 
 sepulchral urns of Charlotte , queen of Cyprus 
 and Jerusalem ; of queen Christina of Sweden; 
 of the Emperor Olho II, of Adrian IV, of a grand 
 master of Malta , of Boniface V!II, Nicholas V, 
 Urban VI, Paul II, and Pius VI, together with 
 has reliefs of the universal judgment , of the 
 creation of Eve, the resurrexion of Christ, 
 and a large sepulchral urn of greek marble with 
 bas reliefs of subjects taken from the old and 
 new testament ; this urn was once the sepul- 
 chre of Junius Bassus , prefect of Rome; por- 
 tions of a bull of Gregory III carved on mar- 
 ble , and of a council held by that pope. On 
 all sides ancient inscriptions , mosaics , (paint- 
 ings , marble figures , bas reliefs and other sa- 
 cred monuments that formed part of the an- 
 cient basilic and which now give a religious and 
 historical interest to these grottoes. 
 
Eighth day 431 
 
 THE SACRISTT 
 
 Was built under Pius VI by Carlo Mar- 
 chionni ; in the vestibule is a statue of the apost- 
 le S. Andrew placed between four fine co- 
 lumns and pilasters of red oriental granite. In 
 the gallery are several others of grey antique 
 marble and pilasters of verde africano , many 
 ancient and modern inscriptions and various busts 
 of popes. 
 
 The central sacristy , wbich communicates 
 whith that of the canons and of (he beneficia- 
 ries , is of an octagon form 70 palms in dia- 
 meter and is decorated with eight fluted pillars 
 of grey antique marble; under the four arches 
 are eight giajlo antico pilasters at the angles , 
 a large and small cupola covered with stuccoes, 
 at the chapel four fluted bardiglio columns. 
 
 In the chapel of the canons are several 
 carved chests of fine Brazilian wood , on the 
 altar two alabaster columns, and a picture re- 
 presenting the Madonna , child, S. Anne , SS. 
 Peter and Paul, a highly esteemed work by (he 
 Faltore , a scholar of Raphael ; another oppo- 
 site of the Madonna, child and S. John by Giu- 
 lio Romano, and two over the windows hy Ca- 
 vallucci , a distinguished painter of last century. 
 In the chapter room is a large marble sta- 
 tue of S. Peter placed in a niche made of Brazil 
 wood; to Ihe rifht a deposition from the cross 
 hy Sabatini on the designs of Buouaroti. On the 
 left three pictures representing Pope S. Clement 
 and his martyrdom , by Ghezzi. 
 
 The sacristy of the beneficiaries possesses 
 a fine painting by Aluziano, of Christ delivering 
 
432 Eighth day 
 
 the keys to S. Peter ; an ancient image of the 
 Madonna called « della febbrc » ; two by Ca- 
 vallacci. The vases used in the celebration of 
 the ceremonies are preserved in "the adjoining 
 chapel. 
 
 On the upper part of the stairs leading to 
 the street , is the statue of Pius IV by Penna, 
 and within the church , near the tomb of the 
 Stuarts, is the ascent to the 
 
 UPP^R PART OF THE T EXP LB 
 
 An ascent to the summit conveys a real 
 idea of the vastness of the Vatican temple, and 
 is easily made by a convenient winding stair 
 case consisting of 1 41 steps; at the top are se- 
 veral inscriptions in honour of those sovereigns 
 who have visited the spot in latter times; over 
 the church are six oval and four octangular 
 cupolas besides the large one which, from this 
 base to the extremity of the cross, is 420 palms 
 high. Around this extensive site which appears 
 to be a piazza , is a balustrade with statues on 
 the part towards the facade; these statues seem, 
 from the piazza , of the natural size, but near 
 they excite surprize by their extraordinary size. 
 A stair case of 28 steps leads to the cor- 
 nice of the great cupola, the external part of 
 which is surrounded by a double line of tra- 
 vertine columns; from a gallery round the cu- 
 pola its interior can be approached , when the 
 pavement of the church appears very distant. 
 Other steps lead to the little cupola and to the 
 bronze ball which can contain sixteen persons. 
 
Eighth day 433 
 
 Aa iron slair case on the outside of the ball 
 leads to the top of the cross. 
 
 Having considered all that relates to the 
 finest basilic of the universe we will now pass to 
 
 THE VATICAN PALACE 
 
 It is asserted by some writers that Gons- 
 tautine, after erecting the ancient basilic, added 
 a palace for the residence of the supreme pon- 
 tifls , while others attribute its foundation to 
 S. Liberius or to S. Simmacus about the year 
 498. It is certain that it existed at the time of 
 Charlemagne since it served as his residence 
 when he was crowned Emperor by S. Leo III. 
 The restorations were commenced by Cclestinus 
 III, continued by Innocent 111 who enlarged the 
 building and by Nicholas III in 1278. The apos'= 
 tolic see having returned from Avignon to Rome 
 iu 1378, the palace was inhabited by Gregory 
 XI and a conclave was held in it, for the first 
 lime , at his death. Amongst the popes who suc- 
 cessively enlarged and embellished it, Julius II 
 deserves particular mention from having brought 
 from Florence Raphael of Urbino whom he com- 
 misioned to paint the four chambers known by 
 the name of that immortal artist. Leo X buift 
 the triple porticoes of the court of S. Damaso 
 on the architectural designs of Raphael and fur- 
 nished those of the admirable paintings on the 
 second story called the loggie which were exe- 
 cuted by his scholars under his direction. 
 Paul III and Pius IV made many improvements; 
 Sixtus Y built another palace on the east side 
 of the S. Damaso court; various embellishments 
 
434 , Eighlh day 
 
 liave been made by otiier Pontiffs, in particular 
 by Pius YI in the Pio Clementinn, and by Pius 
 VII in the Chiaramonli , museums. 
 
 The circumference of this extensive edifice, 
 formed of several palaces with gardens, is 809600 
 palihs, about 24 rubbia of ground. Its archite- 
 cture is neither symmetrical nor regular, having 
 been built at different periods , but it is the 
 production of the celebrated architects,Bramante, 
 Raphael, Sangallo, Ligorio, Domenico Fontana , 
 Carlo Maderno and Bernini. It consists of three 
 stories containing numerous apartments , large 
 walls , splendid galleries and chapels , a fine 
 library ,: a vast museum and an extensive gar- 
 den , of twenty principal court yards, eight large 
 and two hundred, small staircases. 
 
 The principal of these , forming the en- 
 trance to the palace , is in the vestibule of the 
 portico near the equestrian statue of Constan- 
 tine , and is decorated with ionic columns by 
 Bernini. It leads to the sala Regia erected by 
 Paul in on the designs of Sangallo , the orna- 
 mental parts are by Pierin del Vaga and Daniel 
 da Yolterra ; the paintings , representing the 
 acts of various popes by Giorgio Vasari , Somr- 
 rnacbini , Taddeo Zuccari , Salviati and Sermo- 
 nela. At the top of the great stair case arc the 
 Sixliue and Paolina chapels. 
 
 TffE SIXTINE CHAPEL 
 
 Was built by Sixlus IV on the designs of 
 Bacco Pintetfi , and is dedicated to the cele- 
 bration of the ceremonies in the holy week. It 
 is in this chapel that Michael Angelo Buonaroti 
 
Eighth day 435 
 
 painted the last judgeaient , a master piece of 
 the pictorial art. Christ with the Virgin at his 
 right , and surrounded by the Apostles and a 
 multitude of saints , is represented at the mo- 
 ment when various angels bear in triumph the 
 instruments of his passion ; in the middle of 
 the painting a group of angels sounds the last 
 trumpet to awake the dead and call them to 
 judgment ; to the left are various persons re- 
 suming their flesh , some e&erting themselves to 
 quit the earth , others rising in the air to re- 
 ceive judgment. But what adds greater force and 
 expression to the work are the angels assisting 
 the dead in their ascent to heaven, the demons 
 who drag thein down to hell, and particularly 
 the combat which arises on the occasion. At the 
 right is the poetic episode of Charon receiving 
 the condemned into his boat in order to carry 
 them to the infernal regions, in the manner 
 expressed by Dante in his «divina commedia». 
 This stupendous painting has suffered through 
 damp and neglect. Before commencing this work 
 Buonaroti , by order of Julius II, had , in the 
 space of only twenty months and without any 
 assistance, painted on the cieling the creation of 
 the world, various passages of the old testa- 
 ment , prophets , sybils and other subjects, all 
 of beautiful invention and of an incomparable 
 perfection of design. The twelve works on the 
 cornice are by Signorelli , Filippi, Roselli, Pie- 
 tro Perugiiio and other artists. 
 
436 Eighth day 
 
 THE P JOHN J CHAPEL 
 
 This chapel , built by Paul III on the de-- 
 &igQS of Sangallo , serves in the holy week for 
 the fuDclion called the ^ 40 ore » and the expo« 
 iition of the hdly sepulchre. On the altar is a 
 splendid crystal tabernacle with gilt ornaments. 
 Ga the walls are three large fresco paintings 
 separated by pilasters, the first and third from 
 the right entrance by Frederick Zuccari , the 
 Grucifis-ion of S. Peter in the centre by Buona- 
 Soti, the side ones by Lorenzino, Ffae cieling and 
 friezes by Zuccari ; these paintings are nearly 
 destroyed by the smoke of the was candles usea 
 during the ceremonies above stated. 
 
 The door opposite the Sixtine chapel leads 
 to the ducal hall in which are arabesque pain- 
 tings by Lorenzino and RafTaellino. The steps 
 feading to the library communicate with 
 
 THE LOGGIE OP RAPHAEL 
 
 These loggie , built by Leo X under the 
 direction of Raphael , consist of three stories 
 each of three sides , the two first arched 
 and decorated with pilasters , the third having 
 columns which sustain a wooden architrave. The 
 arabesques of the first story are by Giovanni da 
 Udine , a scholar of Raphael; the other sides 
 subsequently added by Gregory XIII and Sixtus 
 V were painted by the younger Pomarancio. 
 
Eighth day 437 
 
 THE BORGIJ CHAMBERS 
 
 Are so called from havlDg been built bj 
 Alexander VI , who couimcnced the paintings 
 which were completed under Leo X. These rooms 
 have of late years been filled with antique frag- 
 ments and other sculptures. 
 
 I. Chamber^ The length of this room is 56 
 feet , the breadth 36 ; on the cieling are gra- 
 ceful stuccoes and fine paintings by Giovanni da 
 Udine and Pieria del Vaga , representing the 
 seven planets. Jupiter seated in a car drawn by 
 eagles, Venus by doves , Mercury by cocks, the 
 Sun by horses, Saturn by dragons, the Moon by 
 females , Mars by wolves; the constellations re- 
 presented are the great bear , the dog star, and 
 other stars. In the centre of the room is a fine 
 cup of Phrygian marble, around it various ca- 
 pitals , antique fragments of sculpture and ar- 
 chitecture , and a fine chimney piece of the XVI 
 century. On the walls are two fine bas reliefs, 
 one of Trajan surrounded by lictors and other 
 personages which was found in his forum ; the 
 second representing the gladiators^ Daretas and 
 Extellus was found near the arch of Gal- 
 ienus in the early part of the XVI century; these 
 figures were copied by Raphael and engravfed 
 bj Marc' Antonio. Opposite are two pieces of 
 the frieze of the Ulpian library of a splendid 
 eomposilion and admirable execution represen- 
 ting arabesques, Cupids and Chimeras. 
 
 II. Chamber.. The cieting, in the middle of 
 wbich are the Borgia arms, was painted by Pin- 
 turicchio with representations of prophets , of 
 the ascension of Christ, the resurrection in which 
 
 3.4 • 
 
433 Eiffhth day 
 
 he has introdaced Alexander "VT; the other sub- 
 jects by the same artist are the annunciation of 
 the Virgin , the assumption and the descent of 
 the holy Ghost. The sculptures in this chamber 
 are a large round ara called the Giustiniani 
 well , round which is a Bacchanalian festival. 
 On the walls are has reliefs of Hippolytus taking 
 leave of Phaedra, by some called Telephus and 
 Augias , Mars and Rhea Silvia, Diana and En- 
 dymion , another fragment of a frieze from the 
 Trajan forum , a has relief of the education of 
 Jupiter , and two small busts of childrea one 
 playing , the other stealing grapes. 
 
 111. Chamber. The paintings by Pinturicchio 
 on the cieling represent the martyrdom of 
 Sebastian , ihe visitation of S. Elisabeth, S. Eli- 
 sabeth , S. Antonio abbate visiting S. Paul the 
 first hermit , S. Catherine in presence of Max- 
 imian , S. Barbara , S. Julian of Nicomedia , 
 the Virgin and child. In the middle of the room 
 is a fine antique tripod but the chief ornament 
 is the celebrated antique painting known as the 
 trnozze Aldobrandine» supposed to represent the 
 nuptials of Peleus and Thetis, which was found 
 in 1606 on the Esquiline near the archof Gal- 
 ienus ; it was formerly in the possession of the 
 Aldobrandini family. When discovered this pain- 
 ting was reputed the finest that remained of an- 
 tiquity , a rank it preserved until the discovery 
 of Pompeia and Herculanum. It had been badly 
 restored but has been recently cleaned , and 
 although it has suffered in its colouring the 
 drawing is the same as when it came out of 
 the artist's hands. Owing to these restorations 
 the copy by Nicholas Poussin in the Doria gal- 
 
Eighth day 439 
 
 lerj^, and the engravings previous to the last 
 restoration , do not in many parts resemble the 
 original. It is supposed to represent the nuptials 
 of Peleus and Thetis a subject celebrated in the 
 greek mytology ; by others those of Stella and 
 Yiolantilla celebrated by Statins, or of Manlius 
 and Julia recorded by Catullus, but these sub- 
 jects , essentially roman , bear no affinity to 
 the greek costume of this painting. Other anti- 
 que paintings of an inferior style were found in 
 1810 near the via Nomentana in the S. Basilio 
 farm ; the line well known figures of Grecian 
 mythology, Pasiphae, Sciila, Phaedra, Mirra, Ca- 
 naces , were discovered each with the inscri- 
 ption of their name on the walls of the villa 
 of Proculus near the Ardea way , in the farm 
 of Tor Marancio , two miles beyond the S. Se- 
 bastiano gate. 
 
 In the IV and last chamber are frescoes by 
 Pinturicchio relative to the virtues , arts and 
 sciences. It contains also, several fragments , 
 terra cotla works , presented to the Museum 
 by d'Agincourt and hy Canova. To the left is 
 the corridor of Bramante the first part of which 
 is called the 
 
 CORRIDOS OF TOMBS. 
 
 This collection of ancient tombs was clas- 
 sified by Monsignor Marini by order of Pius VII. 
 On the right side are inscriptions of the ancients, 
 excepting those on isolated monuments which are 
 generally of the same character but covered with 
 christian tombs, taken in great patt from the 
 catacombs. These inscriptions are highly impor- 
 
440 Eighth day 
 
 tant by llie Christian symbols they present, such 
 as the monogram, the vine, grapes, fish, Noah's, 
 ark , the dove , the anchor , the good shepherd, 
 and still more by the rites , the sepulcWal; £ar- 
 mulas of the early Christians , the consular fasti 
 of the IV and V centuries of the present era , 
 the errors of orthography and m-utations of the 
 final letters, an indication of the indistinct pro- 
 nunciation of some letters and of the corrup- 
 tion of the lalin language. The first inscriptions 
 relative to the ancients are those of priests , 
 emperors , civil and military officers , the arts, 
 trades , and persons of minor importance;, along 
 the walls arc numerous tombs , sarcophagi, fu- 
 nerary ara , cippi and cinerary urns , archite- 
 olural fragments of a fine style found chiefly in 
 excavations at Ostia; the niche with emblems al- 
 lusive to Neptune was discovered at Todi; over 
 it is the small facade of an edicola found in the 
 Prelorian camp which was dedicated to the gen- 
 ius of the centuria in the third consulship of 
 Gommodus and Burrlius in the year 1 81 of Christ. 
 The has reliefs on the cippus of Lucius Atimetus 
 represent, on one side a cutler's shop , on the 
 other a manufactory; one of the partitions unites 
 all the monuments with the epigraphs found at 
 Ostia in the beginning of the present century ; 
 several of these relate to the MLthriac worship. 
 
 THE. VATICAN LIBRARY. 
 
 This library is one of the most celebrated 
 o,f Europe by the number of greek, latin, italian, 
 oriental works and by the rare works and editions, 
 of the XY century which it contains; the. foua- 
 
Eighth day 441 
 
 dation is atlribuled to Pope S. Uario in the year 
 465 who placed it at S. John Lateran; it was 
 augmented by several popes and transferred by 
 Nicholas V to the Vatican where a larger build- 
 ding for it was erected by Sixtus V. i 
 
 The first room contains works in the la- 
 tin, greek, hebrew, arable, siro-caldaic languages; 
 the hall, forming the principal body of the li- 
 brary, designed by Domenico Fontana, is 317 
 palms long and 69 broad, divided into two na- 
 ves by six pilasters ; the paintings are by Vi- 
 viani , Baglioni, Salviati , Salimbeni , Guidotti, 
 Nogari, Nebbia and Nucci.*^ 
 
 On the right entrance is a portrait of Six- 
 tus V by Gaetani receiving from Fontana the 
 plan of the library; over the cornice the prin- 
 cipal works of that pope ; beneath, views of the 
 most celel)rated libraries. On the pilasters are 
 the portraits of the inventors of printing cha- 
 racters in various languages with their respect- 
 ive inscriptions ; on the wall various general 
 councils. Near the pilasters are forty six chests 
 which contain the rarest codes on several ofwhich 
 are fine miniature paintings; above are the vases 
 forming, with those in other rooms, the Vatican 
 collectioa of the Italo greek or Etruscan works; 
 a magnificent Italo greek vase between the pi- 
 lasters represents the fable of Geres and Tripto- 
 lemus ; another Achilles and Ajax playing at dice 
 which was found in 1834 at Vulci. 
 
 On the last pilaster is the Russian calendar 
 in the form of a cross painted on wood , pre- 
 sented by the Marquis Gapponi , and behiad the 
 pilaster a marble sarcophagus found bejond the 
 porta Maggiore containing a sheet of amianthus , 
 
442 EigJith day 
 
 now in pieces, in which the dead bodies were 
 burnt and their ashes collected, the cinerary urns 
 are ornamented with bas reliefs; the spiral co- 
 lumn of oriental alabaster was found near S. Eu- 
 sebius. 
 
 The two transversal galleries 400 paces long 
 at the end of this hall, contain manuscripts from 
 the libraries of the Elector Palatine, of the dukes 
 of Urbino, Queen Christina, of the Gapponi fa- 
 mily which have been successively united to that 
 of the Vatican. 
 
 Amongst various paintings in the left wing 
 relative to Sixlus V two are deserving of no- 
 lice ; the fagade of the Vatican as projected by 
 Micliael Angelo; the machinery invented by Fou- 
 tana to erect the Valican Obelisk. At the bot- 
 tom of the third room are two sitting statues; 
 the one to the left repreienls Aristides of Smyrna 
 (not the Athenian) a celebrated sophist whose 
 name is at the base; the second S. Hippolytus, 
 Bishop of Porto, on whose episcopal chair is 
 engraved the celebrated Paschal calendar-, this 
 statue was found in the catacombs of S. Lorenzo. 
 In the fourth chamber is a collection of Chris- 
 tian antiquities. On the walls are sacred inscrip- 
 tions, various has rcliefj; mis.cd with Christian 
 sarcophagi found in the cemeteries; and in the 
 light wood cases, croises, sacred vases, paintings 
 and many other monuments; the subject on the 
 cieling is the church and religion by Stefano 
 PoEzi. 
 
 The « papyri » room is decorated with 
 while, red and black granite, a porphyry frieze, 
 and a fine marble pavement. The painting ou 
 the cieling is by Mengs ; the central subject ia 
 
Eighth day 443 
 
 liislory writing on the wings of time , and fame 
 blowing the trumpet; the two seated figures op- 
 posite the door representing Moses and S. Peter 
 were also painted by Mengs; the four genii near 
 these figures, those in the lunettes are gieatly 
 admired. In the cabinet are the medals, in oth- 
 er rooms unling with the Borgia chambers , 
 the printed works. Near that of the papyri the 
 subjects relative to Samson were painted by Gui- 
 do, and it contains the rare and extensive col- 
 lection of engravings formed by Pius VI. 
 
 The right wing of the library is composed 
 of five rooms separated by arches and columns, 
 six of which are of porphyry. In the two first 
 are paintings by the school of d' Arpino , the 
 cases are filled with the Italo greek vases. On 
 the two porphyry columns are two statues of 
 emperors of the period of decline. In the last 
 room are numerous camei, small statues, bronze 
 utensils and other rare objects, amongst which 
 heads of Nero, of Balbinus and of a child with 
 an Etruscan inscription ; the door in the iron 
 railing communicates with the principal staircase 
 of the Pio Clementino Museum. 
 
 uuseo cHunjMoyTt. 
 
 This collection of statues and monuments 
 of antiquity was formed by Pius VII as an ap- 
 pendix to the Pio Clemenlino Museum; it may 
 be divided into three parts , the Chiaramonli 
 corridor , that of the inscriptions or the nnovo 
 braccio , the hemicicle flf ihe Belvedere. 
 
444 Eighth datf 
 
 THE CHIARdltOKTI CORRIDOX. 
 FIRST PART. 
 
 As a complete catalogue of these monuments 
 would extend to too great a length , it will be 
 sufficient to point out the most interesting ones. 
 The entrance is between two marble columas 
 found at Oslia ; the corridor is divided into sun- 
 dry compartments •, the first to the right reprer 
 presents a sealed Apollo found in the last exr 
 cavations of ihe Cotosseum ; the female recum- 
 bent statue with the attributes of autumn, ap- 
 pears to have been the lid of a sarcophagus; it 
 was found near Pratica; on the front of the sar- 
 cophagus is a bas relief with the busts of a hus- 
 band, wife and child and deserves notice from 
 the bulla which is suspended to the neck; this 
 monument was found at acqua traversa on the 
 Yia cassia three miles from Rome; opposite is a 
 bas relief representing the games of the circus 
 of an inferior style of sculpture but iuteresling 
 by the subject. 5}ear this fragment is one in th« 
 early greek style of Minerva preceded by. a 
 male divinity; a bas relief with several figures of 
 gladiators; a recumbent statue with the attri- 
 butes of winter probably the lid of a sarcoph*- 
 gus ; these two monuments seem to be posterior 
 to the times of Adrian. 
 
 In the second compartment to the right tlie 
 male statue wearing the toga is of the Antonin* 
 period; it stands on a square ara dedicated, as 
 appears by the greek inscription , to the God&; 
 that on the opposite side by Cains Poniponins 
 Turpillianus, the provider of oil to the granaries 
 
Eighth day 445 
 
 of Galba, erected to Isis , Serapis and the house- 
 hold gods for the safe return of Antoninus Pius 
 and of his family. In the third compartment to 
 the ri^t is the fragment of an elegant arabesque 
 ornament ; a bust of Septimius , of Antoninus 
 Pius, of Marcus Aurelius in his youth , a hermcs 
 of those called Plato , of Sleep, and of Bacchus 
 but which is the portrait of a personage un- 
 known, the hair being arranged in a particular 
 mode; opposite is, a has relief with genii riding 
 on a sea monster holding the trident , of a gra- 
 ceful composition, the small double headed her- 
 mes is interesting as being the sole monument 
 uniting Bacchus in his youth and old age known 
 in the orgies under the names of Zagreus and 
 Pionysius, the former having bull's horns ; the 
 bust said to be that of Agrippa bears no resem- 
 blance to the portraits existing on medals. In 
 the fourth compartment is the statue of a Muse, 
 opposite is the door of the 
 
 BBACcio Nuoro. 
 
 This gallery which by its magnificence may 
 emulate the pinacotechae of the ancient palaces, 
 was erected in 1 81 7 by Pius VII on the designs of 
 the architect Raffaelle Stern who died before it 
 was finished; it was opened for the first time to 
 the public in 1822 , and is 313 palms long, and 
 93 1/2 broad ; the cieling is ornamented with 
 stuccoes, the gallery decorated with eight fine 
 caryslian columns , two of a rare black egyptian 
 granite taken from the portico of the church of 
 S. Sabina , two numidian or giallo antico found 
 near Cecilia Metella 's tomb; at the entrance 
 
 35 
 
446 Eighth day 
 
 and at the lieniicycle are otter fine columns sus- 
 taining busts; all the busts in the gallery are 
 on fine red sienile granite columns ; the walls 
 are lined with stucco bas reliefs copied from 
 those of the Trajan and Anlonine pillars or from 
 IriuTmphal arches; at the left entrance are the 
 following monuments : a hermes with a greek 
 inscription relative to the sculptor Zeno publish- 
 ed by Winckelman, and illustrated by Nibby in 
 1819; a bust unknown but without any resem- 
 blance to Julia , the wife of Septimius Severus 
 to whom it had been attributed ; a statue of 
 Mercury found in the Quirinal gardens, one of 
 Domitian formerly in the Giustiniani palace; the 
 mosaic on the pavement was discovered in the 
 villa of Proculus out of the S. Sebastian gate; 
 a line bust in the egyptianstyici, a colossal head 
 of a barbarian of the period of Trajan , found 
 in his forum ; in the following niche the statue 
 of a Discobolus , above a bust of Apollo , a 
 portrait with the gabinc belt, attributed to the 
 Emperor Philip, bears no resemblane to his me- 
 dals , a fine statue of Lucius Varus ; on the pa- 
 vement a mosaic of Ulysses escaping from Scilla 
 and the Syrens , a bust of Commodus found at 
 Ostia ; a Faun imitating the attitude of the Kos- 
 pigliosi statue by Praxiteles, in the niche a Clau- 
 dius; the mosaic on the pavement, like those of a 
 similar design , is from the Proeula yilia at Tor 
 Maraiicio; an anonymous bust, erroneously called 
 a Titus, totally unlike his medals ; the statue of 
 Minerva Medica in parian marble found in the 
 ruins of the temple so called ; bj the compo- 
 sition and beauty of the proportions , the de- 
 licacy of the contours and of the drapery, it may 
 
Eighth day Ail 
 
 without exaggeration be considered as one of 
 the finest statues of ancient sculpture. Its appel- 
 lation of Medica is derived from the serpent at 
 its feet, but it is known that this reptile was 
 the attribute of Minerva, as the eagle of Jove, 
 the dog of Diana, the panther of Bacchus ; the 
 celebrated Minerva of Phidias in the Parthenon, 
 which had no direct relation to medicine, had 
 also a serpent at its feet , and it is very pro- 
 bable that this statue, which is altogether of a 
 greek type, is either by Phidias himself or by one 
 of his best imitators. 
 
 In the adjoining niche is a fine statue of 
 Julia, the daughter of Titus, found in 1828 with 
 that of her father near the Lateran baptistery; 
 in the middle of the gallery is a basaltic vase of 
 an elegant style and finished execution. At the 
 entrance to the semicircular exedra , near the 
 two black granite columns which were formerly 
 at S. Sabina , is the colossal statue of the Nile 
 ou which are sixteen children, symbolic of the 
 sixteen cubits , the requisite height of the river 
 to inundate the lands of Egypt ; on the plinth 
 are has reliefs of the plants that grow on its 
 banks, and of the animals that inhabit its waters; 
 - this statue , indicating by its style and fine fi- 
 nish , the period of Adrian was found near 
 the church of S. Stefano del Gacco , the site of 
 the temple of Serapis; the composition records 
 the similar subject described by the elder Pliny 
 as existing in the temple of Peace, with the sole 
 difference of the materials , the latter being of 
 hard basalt : at the angles of this exedra are 
 four granite pillars sustaining colossal masques 
 of Medusa of a grand and correct style ; the 
 
448 Eighth day 
 
 two in marble were found in excavating the 
 temple of Venus and Rome , the other two are 
 casts. In the niches of the hemicycle are five 
 statues of gladiators, the two first were found in 
 the villa of Quintilius Varus at Tivoli ; the third 
 at Circeii in a villa of Lucullus ; the fourth at 
 Tivoli ; the last was in the Ruspoli palace ; at 
 the left end of the hemicycle is a statue crowned 
 with sheafs of corn which , from the character 
 and costume, may be recognized as one of the 
 hours or seasons, probably summer ; the portrait 
 of Pius VII is by Canova ; the mosaic on the 
 pavement with a figure of Diana of Ephesus , 
 was found in the Sabine territory. 
 
 Returning to the long gallery there is a 
 graceful statue of Venus ; in the niches one of 
 a greek philosopher resembling Homer ; busts 
 of Lucius Antonius brother of the Triumvir , of 
 Sallust , a female statue of Fortune discovered 
 at Ostia , one of Diana of inferior composition; 
 above are busts ofPallas,of Adrian,of a female sta- 
 tue finely draped, two fine portraits unknown; in 
 the niche a statue of Antonina, the mother of Clau- 
 dius , found by Prince Canino in the ruins of 
 Tusculum ; the statue of Mercy is one of the 
 best in the nuovo braccio , two busts one re- 
 sembling Ptolemy the son of Juba', an Amazon 
 in the act of unbending the ark ; Caracalla in 
 his youth, statues of Demosthenes and of Abun- 
 dance though the latter more properly re- 
 presents Fortune the attributes of the globe 
 and rudder being lost ; a roman lady sup- 
 posed to be Julia the daughter of Titus; the 
 Euripides of the following niche is a beautiful 
 greet work and full of character; a fine Diana 
 
Eighth day 449 
 
 contemplating Endymioa , a bust of Trajan , a 
 Caryatides of pentelic marble formerly in the 
 villa of Slxlus V. The Amazon in ih« following 
 niche is of a grand expression and well execu- 
 ted,' the Faun was found near the lake ofCir- 
 ceii. In this arch is a recumbent Faun between 
 two hippocampi each rode by a Nereid , and 
 tvYO silting Fauns used as ornaments to fountains, 
 found in the ruins of the villa of Varus at Ti- 
 voli ; in the niches an Isis, two Fauns, Silenus, a 
 graceful statue of Ganymede with the name of 
 the greek sculptor Phenimos , found at Oslia. 
 
 In the long gallery is a superb statue of 
 Titus wearing the toga , found in 1828 near the 
 Lateran , a Pallas discovered at Velletri,not to 
 be mistaken for the Pallas Veliterna now at Paris; 
 the Emperor Nerva , a statue finely draped and 
 executed, a nymph and a bust of Claudius dis- 
 covered at Pipernoi the Esculapius is evidently 
 a copy of some bronze statue ; in the following 
 niche Antinous under the form of Vertumnus ; 
 Silenus crowned with ivy and holding Bacchus 
 in his arms ; the bust of a Dacian captive , a 
 statue of Commodus, and a caryatides taken from 
 the Pandrosium at Athens.^ 
 
 CORRIDOR CHIARAMONTI,' 
 SECOND PAKT, 
 
 In the fifth compartment to the right is a 
 fragment representing the carceres of a circus, 
 and opposite a has relief with masques; a statue 
 of Clio , a large pedestal with an inscription to 
 Aurelius Bassus, found at Laraenlana; in the se- 
 
 35 * 
 
450 Eighth day 
 
 venth compartmeat fragmeats of has reliefs, one 
 represealLng a rural subject , another the nuptial 
 banquet of the LeucLppides to which Castor and 
 Pollux, were invited. These fragments , though 
 of an indifferent work , are interesting in 'point 
 of erudition. Amongst the busts that of Rome de- 
 serves notice , the haughty character of the head 
 distinguishing it from that of Minerva who al- 
 ways appears serious; the fragment of a statue 
 of Pallas of the early greek style ;, the female 
 statue without the head attributed to Diana , 
 to Ariadne and Niobe, probably the latter ,, was 
 in the villa Adriana; opposite is a Marcus Aure- 
 lius. In the ninth compartment there are several 
 interesting fragments: on the wall; a has relief re- 
 lating to Perseus, another to the combat of Her- 
 cules, with the Amazons , the semicolossaL' bust 
 of Pallas in greek marble found at Pratica , 
 seems to have once been painted; opposite is the 
 large sepulchral cippus of Telesina , the daughter 
 of Cajus ; the statue of a greek philosopher with 
 the name of Lysias but without foundation; a frag- 
 ment of Apollo on a square sepulchral ara of 
 the flourishing period of sculpture; a hue masque 
 of the Ocean placed on a votive altar of Dio- 
 medes, adjoining, it a small well draped statue 
 of Polymnia. 
 
 Amongst the monuments collected in the 
 XI compartment is a head of Niobe or of 
 Sappho; the figure of a boy , though broken , 
 calls to mind the same graceful subject in the 
 Capitoline gallery lifting up a masque , but it is 
 not a Silenus as supposed. Opposite a small male 
 statue wearing: the diadem ; Alcibiades ; the 
 Hercules was found in 1802 at Oriolo; a statue 
 
Eighth day 451 
 
 of Tiberius holding the cornucopeia. In the Xlll 
 compartment are fragments of a good style re- 
 lating to the battles against the Amazons, be- 
 neath is. a leopard found in the villa Adriana; 
 a gladiator fighting with wild beasts and falling 
 after having thrust his sword into the body of a 
 lion ; a recumbent tiger; a half colossal figure 
 of phrygian marble representing a barbarian. In 
 the XV compartment two fragments, one with 
 roman soldiers wearing cuirasses , the other an 
 early greek work; the figures of the following 
 has relief are of a good style; a bust of Annia 
 Faustina the wife of Heliogabalus, a sitting statue 
 of Tiberius , his colossal bust and that of Au- 
 gustus excavated at Veii in 1818. In the XVII 
 compartment the fragment of a has relief with a 
 four wheeled car; a bust of Augustus in his 
 youth, one of the finest at the Vatican for ex- 
 pression, design, and delicacy of work; it is said 
 to have been found at Ostia. Near it is a very 
 rare bust of Cicero ,, the only authentic one in 
 Rome , bearing a perfect resemblance to the me- 
 dals of Magnesia and agreeing with the parti- 
 culars preserved by ancient authors , in his own 
 writings, and ia those of Dio; thesix fragments 
 opposite are of a good style and execution; near 
 them are the busts of Alcibiades and of Clodius Al- 
 binus the rival of SeptimiusSeverus; stataes. of 
 a warrior and of Esculapius. In the XIX com- 
 partment a fragment in «. alabastro fiorito » , a 
 pig in nero aalico , a mythriac group , a swan 
 of very fine execution , a phaenix , a dog , and 
 other animals , two satyrs and other figures. 
 Amongst the chief objects of the XX compart- 
 ment are a slatae of Cupid in fragments , and a 
 
452 Eighlh day 
 
 semicolossal one of Tiberius found at Piperno; 
 the resemblauce, tlie grandeur and tranquillity 
 of the pose, the drapery, the folds, render it one 
 of the finest monuments of romaa sculpture; the 
 sarcophagus was found in the Ameudola villa on 
 the via Appia, it is placed on a sepulchral mo- 
 nument representing the process of the ancients 
 in making oil; to the left a statue of Atropos, 
 one of the Parcse, from the villa Albani. In the 
 compartment are busts of Niobe , Antoninus Pius 
 crowned with oak , of Meleager , Adrian , of 
 Venus in marble of Paros from Diocletian's baths. 
 In the XXIi Silenus , a colossal bust of Isis from 
 IheQuirinal gardens, a statue of Sabia the wife 
 of Adrian represented as Venus genitrix; one of 
 Diana Lucifera. In the XXIII an architectural 
 ornament , a bust with the names of Pompey 
 and of Nerba but unknown ; Pallas , a beau- 
 tiful bust supposed to be Trajan's father, Au- 
 gustus; one unknown though resembling Aris- 
 totle. On the wall opposite a has relief of a 
 figure supposed to represent Eos , a gnostic di- 
 vinity ; on the sides a mitbriac has relief. In the 
 XXIV, a slaiue of Venus and one of Mercury 
 found near the monte di Pieta ; a Claudius pla- 
 ced between a statue of the genius of death found 
 in the villa of Cassius at Tivali and that of Sal- 
 luslia Ortiana represented as Venus, from the 
 forum of Preneste. In the following compartment 
 a fine head of Faun , one of Sylvanus crowned 
 with pines , a Neptune and the younger Agrip- 
 pina; busts of Marcus Brutas, of the elder Agrip- 
 pina and a small statue of Typhon in the roman 
 egyplian style; in the XXVI compartment a Ce- 
 res finely draped placed on an ara formerly in 
 
Eighth day 453 
 
 the villa Aldobrandini; on the sides , Apollo and 
 Diana ; Mars and Mercury ; Fortune and Hope; 
 Hercules and Sylvanus; the fragment of a has 
 relief said to represent Juno and Thetis and two 
 other has reliefs of the most perfect style , a 
 small statue of Atys, beloved by Cybele; the in- 
 fant Hercules strangling the dragons; two small 
 Ganymedes with the eagle ; the bas relief repre- 
 sents a city surrounded with walls near the sea. 
 or a river. In the XXVIU compartment a well 
 draped statue of Rome , Hygeia in pentelic mar- 
 ble and part of a group of an unknown subject; 
 an Esculapins , Venus, and a young girl carrying 
 the mystic sift used in the mysteries of Bacchus. 
 In the XXIX compartment a fine head unknown 
 found in the ruins called Roma vecchia ; a child 
 carrying a vase on his shoulder ; a colossal head 
 of Antoninus Pius from Ostia ; a small rare sta- 
 tue of Ulysses as he is represented on the me- 
 dals of the Mamilia family; a fragment of a dan- 
 cing Faun , a bust of Sabina ; fragments of a 
 Faun in black basalt ; a hermes of Jupiter Ter- 
 minus , the busts of Julia , of Isis, of a Centaur 
 srowned with vine leaves , of Bacchus in giallo 
 antico , a semicolossal recumbent statue of Her- 
 cules , two hermes, one unknown, the other with 
 the name of Solon; the grotesques on the cieling 
 of the stairs are by Daniel da VoUerra. 
 
 REMlcrCLE OF BEiyEDERE. 
 
 The monuments in the first five rooms most 
 worthy of observation are the busts no. 788 , 789 
 and 791 placed on the left side of the second room 
 and representing Manilla, Lucius Manilius, and 
 
434 Eighth day 
 
 Manilius Faustus which were discovered on the via 
 Appia within the S. Sebastian gate; the bust 790 
 is of the same style but without any name; they 
 are not anterior to the third century of the 
 present era. 
 
 In the semicircle adjoining the fifth room 
 is a collection of the egyplian monuments pur- 
 chased by Pius VII. It consists of ten sitting 
 black granite statues representing Isis or Athor, 
 the primitive Venus of the greeks; in the centre 
 a naale mummy, on the walls several hieroglyphs 
 and a copthic epitaph stating, after an invoca- 
 tion to God , that it belonged to the tomb of 
 Chalaf, the son of Hossein, nephew of Ibrahim 
 and grand nephew of Ahmed, named Rum, who 
 died on the seventh of the month of sceval 454 
 of the Hegira or 1 4 October 1 062. Opposite arc 
 many figures in bronze , wood and porcelaine ; 
 utensils, mummies of sacred animals and objects 
 used by the ancient Egyptians. These monuments 
 were discovered prior to 1819 in the ruins of 
 Thebes and in the tombs of Gournah on the right 
 bank of the Nile. The three last chambers cont- 
 ain the casts from the Parthenon; in the first 
 those of the frieze, on the north side of the cella, 
 allude to the celebrated Panalhea procession at 
 Athens, the subjects are explained by the follow- 
 ing letters : A the Ilissus a river near Athens ; 
 B Hercules in his youth; G Cupid; D the upper 
 part of a figure of Neptune; Geres and Proser- 
 pine; F the head cf a horse in the car of the 
 setting sun, the high reliefs of the metopes in 
 the third room represent the fight between the 
 Lapithae and the Centaurs, the letter H is sup- 
 posed to represent the rising sun or the Ocean, 
 
Eighth day 455 
 
 to this subject belong the heads of horses of the 
 letter I; the subject of the central group is un- 
 known. With the exception of the Cupid in the 
 first room , which is believed to be of the lime 
 of Alexander, the other subjects were all desi- 
 gned by Phidias, and executed by his own hand, 
 or under his direction. It is needless to add that 
 they are the finest pieces of greek sculpture. 
 
 IIUSEO no CLEMENTLNO 
 
 Some of the principal statues of Rome, the 
 Apollo , the Laocoon , the Mercury and other 
 works of sculpture had been united in the Va- 
 tican in the Belvedere court , but the museum 
 owes its origin chiefly to Clement XIII, Clement 
 XIV and Pius VI who formed the immense col- 
 lection now called the Pio Clemenlino Museum. 
 It was greatly augmented by Pius VI, not only 
 by the acquisition of a great number of monu- 
 ments , but by the construction of magnificent 
 halls which emulate the splendid edifices of an- 
 tiquity. To this Pontiff we are indebted for the 
 hall of animals , a part of the gallery , the ca- 
 binet, the hall of the muses , the round hall , 
 the vestibule in the form of a greek cross, the 
 hall of the biga , and the magnificent staircase; 
 the architecture of these parts added by Pius 
 VI is of a pure style , and the collection con- 
 tains objects that offer a high degree of interest 
 to artists , connaisseurs and archaeologists. 
 
456 Eighth day 
 
 THE SQUARE rESTIBULE 
 
 On the right side is a recumbent sepulchral 
 statue of a matron of the natural size with two 
 genii, one at her feet preparing the quiver, the 
 other holding a wreath of flowers near her head. 
 Opposite are the monuments discovered in 1780 
 in the tomb of the Scipios which consist of a 
 peperino sarcophagus , ornamented with imita- 
 tions of roses and triglyphs of a fine design, the 
 inscription in very old latin states « that this 
 » is the tomb of Cornelius Lucius Scipio Bar- 
 » batus, Consul in the year of Rome 456; Censor 
 » and Edile who took Samnium and Taurasia 
 » Cisauna and subjugated all Lucania» Over 
 this sarcophagus is the bust of a young man 
 with a laurel wreath said to he Ennius whose 
 portrait was placed , according to Cicero , in 
 the tomb of the Scipios, but it is more proba- 
 bly one of the family, relating to which several 
 inscriptions line the wall. In the centre of this 
 hall is the celebrated fragment of a statue of 
 Hercules called the « Torso di Belvedere » , of 
 such beauty and perfection that it has always 
 excited admiration ; it contributed to form the 
 grandiose style of Michael Angelo. By its greek 
 inscription it was the work of ApoUonius , the 
 son of Nestor an Athenian , and was found in 
 the baths of Caracalla. 
 
 THE ROUND yESTIBULE 
 
 In the centre is a marble cup of excellent 
 taste; in the right niche a fragment of a male 
 statue , one of a female finely draped. Outside 
 
Eighth day 457 
 
 of the window is an antique Anemoscopium 
 found in 1779 near the Colosseum, having the 
 names of the winds in greek and latin. The 
 extensive view from the balcony over Rome and 
 its vicinity has given to this spot the appellation 
 of Belvedere. 
 
 CHAMBER OF MELEAGER 
 
 The chief ornament of this room is the 
 celebrated statue of Meleager found , in the 
 opinion of some antiquaries, on the Esquiline , 
 according to others out of the Portese gate; though 
 the drapery is mannered it is one of the finest 
 statues that has come down to us. On its right 
 is a has relief representing the apotheosis of 
 Homer by the Muses. Another opposite is inte- 
 resting by the subject, as it represents a sea 
 port, and was found on the via Appia in the 
 Moiraga villa. Beneath in high relief the frag- 
 ment of a reman bireme vessel with soldiers in 
 the act of combating , and a colossal bust of 
 Trajan. Behind the Meleager is an antique tra- 
 vertine inscription recording the deeds of Mum- 
 mius , the conqueror of Corinth , a monument 
 of importance in the latin paleography, and ser- 
 ving as a link to the inscriptions of the Scipios. 
 
 PORTICO IN THE YARD 
 
 This portico , of an octagon form , is sus- 
 tained by 16 granite columns and ^various pi- 
 lasters alternating with the same number of plain 
 and round arches. In the yard are some mo- 
 numents of little interest. 
 
 36 
 
458 Eighth day 
 
 To tlie right withia the portico is a large 
 ^hile marble sarcophagus with sculptiires in 
 high relief , representing a dance of Satyrs and 
 Bacchantes; it was discoveired in laying the foiin- 
 datipns of the Vatican sacristy. A sarcophagus 
 with a greek and latin inscription, stating that 
 it is the sepulchre of Sextus Varus Marcelius, the 
 father of the Emperor Heliogabalus. Opposite 
 the sarcophagus of the Bacchantes is a superb 
 basaltic urn used for bathing , found in the 
 last century, near the thermae of Caracalla. 
 
 The first cabinet is decorated with the sta- 
 tues of Perseus, and of the gladiators Creugnan- 
 tcs and Damossenus , by Canova. In the niches 
 under the opposite arch are statues of Mercury 
 and Pallas. To the right in the open space a 
 sarcophagus representing Bacchus and his at- 
 tendants meeting Ariadne in the island of Naxos; 
 on the bas relief of another sarcophagus is the 
 figure of an old man in the barbarian costume 
 who , with other captives , implores the cle-^ 
 mency o-f the conqueror. In the following niche 
 a statue larger than life of SallustiaBarbiaOr- 
 biana the wife of Alexander Severus, under the 
 form of Venus with Cupid , and inscribed on 
 the base 
 
 « VENERI FELICI SACRVM SALLVSTIA 
 HELPIDVS D. D. » 
 
 This group was found near S. Grocc in Ge- 
 rusalemme. Near it is a large sarcophagus with 
 the figure of Achilles supporting Penthesilea, 
 Queen of the Amazons, whom he had wounded. 
 
 In the niche of the II cabinet the statue 
 
Eighth day 459 
 
 t)f Mercury known as tlie Anlinous of the Bel- 
 vedere ; on the walls a has relief with a repe- 
 tition of Achilles and Penthesilea ; to the left 
 an Isiac pomp formerly in the Mattel palace, 
 under the arch slatues of the god of gardens , 
 of an infant Hercules holding a cornucopeia; 
 sarcophagi. with the genii of the seasons , and 
 Nereids bearing the arms of Achilles, a has re- 
 lief representing the gate of Aides half open, an 
 allusion to death. 
 
 On the sides of the arch are two verd' 
 antico columns with composite base and capi- 
 tals , and two bull dogs of a fine stjle of scul- 
 pture; around the portico are other sarcophagi 
 with has reliefs representing the battle of the 
 Amazons, the Bacchanalian genii , and on the 
 lid of an ancient sepulchre a female deceased 
 holding a serpent, the symbol of immortality; 
 near the arches are two thermal urns of granite. 
 
 The following cabinet contains the celebra- 
 ted group of Laocoon and his sons found under 
 Julius linear the SetteSale, between the churches 
 of S. Martino and S. Pietro in Vincoli. This 
 group is unrivalled in the delicacy of forms, the 
 expression of pain, in the countenances, and the 
 coatorsions of body occasioned by the two large 
 serpents sent by Minerva. According to Pliny 
 this admirable group was executed by three 
 sculptors of Rhodes , Agesarider , Polidorus and 
 Athenodorus. The has reliefs on the walls re- 
 present a Bacchanalian festival and the triumph 
 of Bacchus after his conquest of the Indies, In 
 the niches statues of Polymnia and of a Nymph 
 ifound near the pretended temple of Peace. 
 
 J^mongst the monuments at the end of llVc 
 
460 Eighth day 
 
 portico are bas reliefs of Hercules and Bac- 
 chus with their attributes ; a sarcophagus with 
 genii bearing arms , a large granite urn and a 
 bas relief of Augustus preparing for the sacrifice. 
 
 In the niche a statue of Hygeia; a bas re- 
 lief with the figure of Rome following a victo- 
 rious general prol)ably the fragment of a triump- 
 hal arch ; a large granite urn and a sarcophagus 
 with Nereids and Tritons, and two large blocks 
 of « pecorella » alabaster, found at Porto in 1 825. 
 
 The last cabinet contains the « Apollo of 
 the Belvedere » the most perfect work of the 
 sculptural art, uniting the « beau ideal » a no- 
 ble altitude , and the majestic aspect of a deity. 
 It was found at Antium in the latter part of 
 the XV century; the bas reliefs on the wall re- 
 present a chase, and Pasiphae with the bull; in the 
 niches are statues of Pallas and of Venus Vin- 
 citrix. 
 
 At the first entrance to the portico arc two 
 sarcophagi, one with a figure of Ganymede, the 
 other of Bacchus with a Faun and a Bacchante; 
 a thermal urn of green basalt found also in the 
 baths of Caracalla; the marble columns with lea- 
 ves and arabesques are from the villa Adriana. 
 
 ajlL OF ANIMALS, 
 
 This hall, divided into two parts by pilas- 
 ters and four granite pillars is paved with an- 
 tique mosaics. It contains marble works of 
 sundry animals; at the entrance a wolf, in the 
 centre , between various birds and arabesques , 
 an eagle devouring a hare, and a tiger. 
 
Eighth day 461 
 
 The monuments in this important collection 
 are placed on marble slabs and antique pedes- 
 tals ; to the left a group representing a Triton 
 carrying away a nymph; Hercules wiih Cerberus 
 in chains ; a horse , a naked colossal statue uur 
 known; Hercules killing Geryon , found with the 
 Cerberus at Ostia ; the group of a lion devour- 
 ing a horse ; a mithriac group, a stag in « ala- 
 bastro fiorito » a small lion in porta santa mar- 
 ble ; Hercules and the Nemean lion, the group 
 of Hercules and Diomed king of Thrace bpth 
 excavated at Ostia ; a Centaur ; Commodus on 
 horseback in the act of throwing the javelin re- 
 markable by the horse being shoed; a tigress, 
 a lion in yellow breccia , a large lion of grey 
 marble , a griffin of alabastro fiorito. 
 
 THE GALLERY OF STATUES. 
 
 Beginning by the right the most remarkable 
 statues composing this splendid gallery are the 
 following: Clodius Albinus clothed in mail; a half 
 sized Cupid of Parian marble ; a naked flgure 
 unknown; Paris; Minerva pacifera, a bronze hel- 
 met in the right, an olive branch in the left 
 hand; a rare statue of Caligula found at Otri- 
 coli; a superb figure of an Amazon in the act 
 of drawing the bow, a female holding a patera, 
 perhaps Juno, and a. Diana in has relief on the 
 pedestal. A small statue of Urania ; at the left 
 of the entrance two very fine sitting statues of 
 Menander and Posidippus , greek comic poets , 
 found near S. Vitale in the Quirinal valley, a sea- 
 ted Apollo, the portrait of Nero, Septimius Se- 
 vcrus, Neptune, Adonis wounded ; Bacchus , the 
 
 36 * 
 
462 Eighth day 
 
 graceful group of Esculapius and Hygeia, Venus 
 with a vase at her feet supposed to be a copy 
 of the celebrated Gnidian Venus of Praxiteles^! 
 being in the same attitude as on the medals of 
 Gnidus; a recumbent statue with the inscription 
 « Phenias Nicopolis : « a Danaid with a cup , 
 the symbol of her punishment; Diana as a hun- 
 tress with her dog. 
 
 In the small vestibule is a vase of alabaster 
 cotognino, rare by its size, which contained the 
 ashes of the children of Germanicus; it was found 
 near the mausoleum of Augustus; a fine recum- 
 bent statue of Adriadne abandoned by These as 
 in the isle of Naxos ; on the pedestal a has re- 
 lief representing the battle of the Titans with 
 Jupiter and the other Gods; two fine candelatfri 
 from the villa Adriana, the statues of Mercury 
 and of Lucius Verus. 
 
 HALL OF BUSTS. 
 
 This hall forms three divisions separated 
 by arches and sustained by columns lined with 
 giallo antico and fine breccia pilasters. In the 
 first part a Domitia, Titus, Marcus Aurelius An- 
 toninus , Julia Mammaea f a female head on a 
 bust of alabaster, Alesandef Severus, Augustus; 
 a head of Mcnelaus, the younger Philip, in por- 
 phyry , an old woman of a very fine style ; a 
 group of Nymphs, probably the hours, •dancing 
 round a column. 
 
 In the second division, busts of Septimius 
 Severus, Antoninus Pius, Jupiter Serapis , Ti- 
 berius, Nerva,Glaudius, Antinous, Sabina, Adrian, 
 Didius Julianus. 
 
Eighth day 463 
 
 In the third a veiled Isis crowned with ser- 
 pents ; Silenus , Faun; in the niche a statue of 
 Jupiter with the eagle at his feet holding the 
 sceptre and the thunderbohi au antique celestial 
 globe presented to the Pope by Cardinal Zac- 
 chia; a bust of Marcia Otailia, wife of the elder 
 Philip; a Flamcn priest, the bust of a Barbarian 
 captive found near the arch of Gonstantine. Bey- 
 ond a loggia containing several antique busts 
 and statues is 
 
 TSE CABINET. 
 
 It is decorated with eight marble columns 
 and pilasters of alabaster from Monte Circcio, a 
 frieze with has reliefs of children in festoons , 
 and four seats of large entire slabs of porphyry 
 witb bronze gilt stands. The pavenient consists 
 of fine mosaics found in the villa Adriana sur- 
 rounded with a frieze of vine leaves, fruits, and 
 garlands admirably executed; the mosaics form 
 four squares separated by graceful ornaments , 
 three representing various antique masques, one 
 a landscape with goats and shepherds, the paint- 
 ings by de Angelis relate to the five following 
 subjects : Ariadne and Bacchus, Paris presenting 
 the apple-lo Venus; Paris refusing it to Minerva, 
 Veniis and Cupid, Diana and Endvmion. 
 
 Over the door a has relief of four of the 
 labours of Hercules ; in a niche a faun in rosso 
 antico from the villa Adriana ; a priest of Mithra, 
 restored as Paris, on the wall a has relief with 
 arches and columns, representing various deeds 
 of Hercules ; a statue of Pallas found with those 
 of the Muses in the villa of Cassius at Tivoli, a 
 
464 Eighth day 
 
 superb quadrangular cup and seat of rosso an- 
 lico. Between the columns a statue of Ganymede 
 wearing the Phrygian cap with the eagle at his 
 side , well preserved and executed; a has relief 
 with deeds of Hercules; in the niche a very fine 
 statue of Cupid or Adonis, another has relief of 
 the labours of Hercules ; a statue of one of the 
 hours in the act of dancing, placed on a cippus 
 inscribed Licinice Crassi etc. A bas relief repre- 
 senting the sun and fortune , the capitolinc and 
 other divinities. In the niche a superb statue of 
 Venus in the bath found near the springs of the 
 acqua vcrgine, and on the wall a bas relief of 
 the apostheosis of Adrian; between the columns 
 a statue of Diana ; on the wall another has re- 
 lief with one of the hours. 
 
 Beyond the iron gate opposite the one at 
 the entrance, a statue of Diana, a bas relief re- 
 presenting three conquerors in the games with 
 palms, vases, and their names; in a niche a sta- 
 tue of a dancing Faun. 
 
 Hjllt, OF THE MUSES. 
 
 This hall forming an octagon contains 1 6 Luni 
 columns with their antique capitals; the mosaic 
 pavement found at Lorium relates to theatrical 
 representations, in the centre is a head of Medusa. 
 
 At the. right entrance a hermes ofClcobu- 
 Iqs, a Diogenes, a statue of Silenug; on the bas 
 relief the dance of the Corybantes , a rare her- 
 mes of Sophocles , one of Epicurus. 
 
 Around the hall are several hermes and the 
 statues of the muses found with the hermes of 
 the seven sages of Greece in the villa of Cassius 
 
Eighth day 465 
 
 at Tivoli. The first, Melpomene, her head wWch 
 is of a beautiful style, crowned with vine leaves, 
 the masque and dagger distinguish her as the 
 tragic muse; a herraes of Zeno the philosopher; 
 Thalia with the masque and pastoral stick, the 
 symbols of comedy and of pastoral scenes; the her- 
 mes of Eschineswith his name written in greek 
 the only portrait known of this orator; Urania 
 the muse of science and of astronomy; a bas re- 
 lief of the combat between the Lapilhse and the 
 Centaurs ; a hermes of Demosthenes, the orator; 
 a statue of Calliope, the epic muse ; the hermca 
 of Antisthencs with a greek inscription to the 
 founder of the cynics ; Polymnia crowned with 
 flowers and envclopped in a mantle, the muse of 
 memory , fable and pantomime. 
 
 A hermes of Aspasia, with a greek inscrip- 
 tion at the base of the pilaster, the only por- 
 trait of her that is known; a sitting statue said 
 to be Sappho, a very rare hermes of Pericles with 
 a helmet on his head and a greek inscription 
 on the breast, the first that has made us acquaint- 
 ed with the physiognomy of this celebrated 
 Athenian ; it was found in the villa of Cassius at 
 Tivoli. Under the architrave an armed statue of 
 Minerva, in the niche opposite that of Mnemos- 
 yne, the mother of the muses, with a greek in- 
 scription at the base. 
 
 Near the door , are hermes with the greek 
 names of Pitthacus of Mitylene, and Binntes of 
 Priene, two of the seven sages of Greece; a sta- 
 tue of Lycurgus, the legislator, a hermes of Pe- 
 riandcr of Corinth , another of the Sages ; the 
 bust of Alcibiades, the statue of Erato the muse 
 of lyric poetry, and a hermes with the eyes do- 
 
466 Eighth day 
 
 sed, supposed to be Epimenides. A statue of Clio 
 the muse of poetry , a hermes of Socrates with 
 the name in greek, a beautiful statue of Apollo 
 Gilheriades in long robes, crowned with laurel 
 and the cetra on which is a bas relief of Marsyas.. 
 On the wall the battle of the Centaurs, a her- 
 mes of Themistocles, a statue of Terpsichore the 
 muse of the dance, ahermes of Zeno of the sect 
 of Epicurus , a statue of Euterpe holding the 
 tibia, a hermes of Euripides the tragic poet, and 
 a statue of Bacchus under the disguise of Diana. 
 On the wall a dance of the Gorybantes , a bas, 
 relief of Mercury recieving . Bacchus from the. 
 thigh of Jupiter, a hermes of Thales with the 
 greek motto found in the Tiburtine villa of Gassiuj. 
 
 SALA ROTONDA. 
 
 This hall, 80 palms in diameter, is sustained 
 by ten fluted pilasters of Luni marble, the por- 
 phyry columns support colossal busts , the 
 mosaic on the pavement , one of the largest 
 known , was found at Otricoli , the one of a 
 black and white ground at Scrofano. The Otri- 
 eoli mosaic of various colours is divided into 
 compartments by beautiful meandering festoons 
 and contains in the centre a head of Medusa , 
 on the sides the combat of the LapithiB and 
 Centaurs, sea monsters and Tritons. In the middle 
 of this hall is a magnificent cup of porphyry 
 62 palms in circumference placed on four gilt 
 feet made in the antique style. 
 
 Near the entrance are two large hermes 
 from the theatre of the villa Adriana , the one 
 to the right Comedy , the other Tragedy. Before 
 
Eighth day 467 
 
 the first right pilaster a beauliful head of Ju- 
 piter fouud at Otricoli; in the niche a colossal 
 statue of Gommodus represented as Hercules. 
 II pilaster a bust of the elder Faustina the wife 
 of Antoninus Pius , in the niche Augustus , or 
 his protecting genius. Ill pilaster , a colossal 
 head of Adrian from his mausoleum. In the niche 
 a statue of Antoninus Pius on a pedestal with 
 a has relief of the games of the circus. IV pi- 
 laster, a colossal head of Ocean, the heard com- 
 posed of dolphins , the breast is covered with 
 waves , the face with shells. In the niche a sta- 
 tue of Nerva. V pilaster , a colossal bust of 
 Jupiter Serapis from which seven rays emanated; 
 a statue of Juno found on the Viminal. VI pi- 
 laster, a bust of the Emperor Claudius , from 
 Otricoli , wearing a civic crown of oak leaves; 
 a Juno Sospita or Lanuvia armed and covered 
 with a goat's skin. VII pilaster, the bust of Ju- 
 lia Pia , in the niche a statue of Bacchus. VIII 
 pilaster a "splossal bust of Pertinax. 
 
 ItJLL OP THE GREEK CROSS 
 
 This hall was also erected by Pius VI to 
 form the chief vestibule to the Museum ; the 
 door is 26 palms high, the breadth 13, the jambs 
 and columns on the sides are of red oriental 
 granite. On these are two Egyptian images of 
 red granite with vases on the heads in the form 
 of caryatides which sustain the architrave. On 
 -the granite frieze in letters of gilt bronze are 
 the words museum pium. On the cornice cor- 
 responding to the two Caryatides are two large 
 granite, vases and in the centre a has relief of 
 
463 Eighth da^ 
 
 gladiators fighting with wild beasts ; the pave- 
 ment is of antiqae mosaic , the part near ihe 
 door was found at Fallerone , and the central 
 part at Tusculum. 
 
 In the niche to the right is a statue of 
 Augustus , and on an antique table resting on 
 two swans an Egyptian statue in black marble 
 found , with that of Lucius Verus , at Tivoli ; 
 near the window is the large porphyry urn of 
 a single piece with a has relief of boj's gather- 
 ing bunches of grapes ; it contained the ashes 
 of Conslantia , or Gonstantiua the wife of Gal- 
 lus, and was found in the monument of the Cjon- 
 stautine family near S. Agnese; in the niche a 
 muse which probably decorated the theatre at 
 Otricoli. On ihe pilaster an Egyptian statue of 
 black marble from Tivoli , beneath a sphinx in 
 red granite ; on a cippus a statue of Venus a 
 repetition of the celebrated Cnidian Venus of 
 Praxiteles. On the wall a has relief of three 
 muses , before the door a large sphinx in white 
 and black granite ; a bas relief of two boys 
 and two lion's heads, a bacchanalian scene with 
 three figures ; another colossal sphinx ; Erato 
 holding the lyre, three muses, an Egyptian sta- 
 tue found at Tivoli, a muse seated on a cippus. 
 Under an inscription relative to the ihermie of 
 S. Helena is the other large porphyry urn found 
 in the monument of the Constantine family on 
 the Nomentano way ; the sculptures represent 
 horse soldiers and captives; the lid, festoons and 
 lions in repose. A statue in the act of haran- 
 guing found at Otricoli ; in the angle, an Egy- 
 ptian statue in black granite found also at Ti- 
 , voli; one veiled and wearing the toga, at Otricoli. 
 
Eighth day 469 
 
 THE PRINCIPAL STJIR CJSE 
 
 Is sustuiaed by 22 columns of orienlal gra- 
 nite ; the steps formed of white marbJe, the ba- 
 lustrades, the ar,chilraye and cornice of intaglios; 
 on the first steps are two recumbent statues of 
 rivers , one unknown , tlie second in grey mar- 
 ble represents the Nile; in a niche Geres holding 
 sheafs of corn ; the principal door decorated 
 with two cippllino columns communicates by four 
 internal arches with the Museum, garden, street 
 and the gallery of archives. 
 
 CAMERA DELLA BIGA. 
 
 This hall of a round form is decorated with 
 eight marble fluted columns ; in the centre is an 
 antique marble biga, on the right a statue of Per- 
 seus , in the niche one with the name of Sar- 
 danapalus though more probably a Bacchus; an 
 Alcibiadcs , the foot reposing on a helmet , a 
 veiled statue finely draped in the act of offering 
 a sacrifice ; Apollo with the lyre, a Discobulus, 
 a greek warrior and a sarcophagus representing 
 the games of the circus. The statue near the Dis- 
 cobulus is a copy of the one by Miro found on 
 the Appian way ; the statue of a charioteer in the 
 games of the circus, a greek philosopher resem- 
 bling Apollonius ofTeane, the tripod with figu- 
 res in high relief alluding to the mystic Her- 
 cules was discovered on the via Appia. 
 
 37 
 
470 mghth day 
 
 GALLERIJ V^ CANDEtABKI 
 
 This gaUery , divided by arclies whict are 
 sustained by marble columns , coalains a largef 
 collection of vases , cups, candelabri and ba* 
 reliefs. In tlie third part are deposited the objects 
 found in the ProcwZa villa on the Ardea way, 
 which were presented to the museum by the 
 Duchess de Chablais. In the niches are four sta- 
 tues; two of Bacchus, one of a Bacchante and 
 the other unknown; the mqsaic on the floor pro- 
 bably belonged to a triclinium or to a kitchea 
 as fish , fowl , dates and asparagus are repre- 
 sented on it ; the Bacchic hermes with a triple 
 liead is curious by the subject. On the walls are 
 eight paintings of a good style of Fauns and 
 Bacchantes, 
 
 UUSEO GREGORIAyO 
 
 This Museum lias been formed by the pre- 
 sent Pope Gregory XVI to contain the numeroHS 
 monuments of art found of late years in the an- 
 cient cities of Vulci, Tarqainii, Cere, Toscanella 
 and in other spots scattered over that part of 
 ancient Etruria which extends from the Tiber 
 to the river Flora. To these monuments have 
 been added those of Egypt which were hitherto 
 in the Capitol or in other public mnscums. 
 
 In the first vestibule are three reclining fi- 
 gures , two male and one female , originally pla- 
 ced over tombs, which are remarkable by the 
 ornaments with which they are adorned. 
 
 The horses' heads of a good style of scul- 
 pture were found over a sepulchral door at Vulci. 
 
Eighth day 47 i 
 
 Several cinerary urns made of alabaster of 
 VoUerra and votive offerings were discovered at 
 Gere. 
 
 The adjoining room contains a large sar- 
 cophagus on which are represented the funeral 
 rites of the Etruscans j and urns found at Ga- 
 stel Gandolfo of a style similar to those of Etruria. 
 
 The works in terra cotla are united in the 
 hall of Mercury, so called from the highly finished 
 statue of that god found at Tivoli. 
 
 The following room contains the vases with 
 black figures on a yellow ground of the most 
 ancient style. The vase of Bacchus is particularly 
 admired for its execution ; the figures are not 
 iBere outlines but painted , the different coloui's 
 imitating the flesh , the vestments and accesso- 
 ries; the subject represents Mercury consigning 
 to Silenus the infant Bacchus; three nymphs em- 
 blematic of the seasons , which formerly were 
 three in number, are celebrating with their songs 
 the birth of the son of Jove. 
 
 The chamber of Apollo is so called from 
 the vase in high preservation, representing Apollo 
 sealed on the tripod , singing to the sound of 
 the lyre; this urn is perfect both for its com- 
 position and its workmanship. It is placed in the 
 midst of several others which are highly inte- 
 resting. 
 
 In the hall of the bronzes is the military 
 statue discovered at Todi , a monument unrival- 
 led as offering a type of the national art, the 
 celebrity of which is encreased by the epigraphs 
 engraved on it to which various interpretations 
 have been given. In this, room are domestic uten- 
 sjls differing in form , style and size , chandeliers 
 
472 Eighth day 
 
 used also in the sacred riles , the tripod and 
 casket , beautiful bronzes found at Vulci , mi- 
 litary weapons at Bomarzo , fragments of figu- 
 res larger than life at Ghiusi , the colossal arm 
 in the pdrt of Givitavecehia : the etruscan car 
 so singular for its ornaments and style , the chest 
 engraived with athletic combats are worthy of 
 observation : the walls and tables ate covered 
 with inirrors aild inscriptions useful in advancing 
 the knowledge of the etruscan language. In two 
 closets are deposited a great number of small 
 Utensils ^ light fragments and. vases ; the large 
 vessels, utensils aiid arms on the walls; the mask 
 used in scenic representations and crowned with 
 ivy, are finely executed. 
 
 The works in gold arc beautiful and ele- 
 gant whether we consider the invent-iou, the form 
 or their stat6 of preservation : the ornaments of 
 men are the dis^iinctive signs of dignities , the 
 premiums of victory , the gifts of athletic com- 
 bats , the civic and triumphal crowns of ivy and 
 Biyrlle, the gold works cut with the chisel, not 
 only manifest the taste of the artists but convey 
 an idea of the scientific knowledge of the nation. 
 From all these objects an idea Inay be formed 
 of the riches , the flourishing state , and the 
 degree of splendo^Ur attained by the Etruscans 
 when objects of such value were buried with the 
 owners. 
 
 A passage , the walls of which are lined 
 with etruscan inscriptions , leads to a large room 
 round which arc copies perfectly resembling the 
 original paintings existing on the tombs of Vulci 
 and Tarquittii , monuments of the highest im- 
 portance in the history of national art as Ihej 
 
Eighth day 473 
 
 represent the public games and banquets which 
 took place at the funerals of illustrious indivi- 
 duals ; the vases and sculptures of this room are 
 marked with elruscan inscriptions. 
 
 Near the passage to the cinerary urns of 
 alabaster of Volterra is an imitation of a small 
 elruscaa cemetery and tomb brought from Vulci, 
 the door of which is guarded by two lions pla- 
 ced as in their original position. In the interior 
 are disposed the funeral beds and vases which 
 are usually found in these tombs. 
 
 THE GALLERY. 
 
 Is filled with cups of the most delicate work- 
 manship that has come down to us from the 
 ancient schools. Of various and beautiful shapes 
 the design is generally of the lightest character; 
 the artists , pleased no doubt with the elegance 
 of their compositions , have frequently inscribed 
 their names on the vases with short and witty 
 jests expressive of joy, happiness, invitations to 
 drink , to pass life merrily , expressions which 
 may appear to be discordant with the figures 
 represented , but for which there exists a reason 
 which it is not always easy to penetrate as they 
 afford a field for extensive research. These ar- 
 guments may be particularly applied to the ar- 
 cheology of the fine series of argonautic vases 
 found in the necropolis of Agilla and in that of 
 Cere which are united in this museum. 
 
 This celebrated maritime expedition of the 
 heroic ages was hitherto considered as having 
 afforded a subject of fiction amongst the greek 
 and latin poets, nor did any monuments exist in 
 
 37 * 
 
474 Eighth day 
 
 support of their assertions , but in this collection 
 is an ample development of the Thessalian story 
 ■which gives a new , a better and a different idea 
 of that celebrated event. On one of the vases 
 the principal chiefs who partook of the dangers 
 and glory of the enterprise are preparing for their 
 departure and putting on their armour ; the at- 
 tendants obliged to serve and follow their lords 
 prepare the shields each of which is distinguished 
 by an emblem ; on one a lion , on another a 
 bull , on others a throne or a branch full of 
 leaves ; not only does this vase prove the an- 
 tiquity of heraldry but the mantles worn by the 
 personages show their degrees of rank, and the 
 same ornaments that cover the mantle of the 
 chief appear on those of his attendant. 
 
 On other vases are represented the calami- 
 lies which befel the royal house of ^son and 
 Pelias ; the lamentations of Lemnos , the ven- 
 geance of Medea, are expressed in a manner dif- 
 fering altogether from the accounts of the greek 
 and latin stage , or from the epic poetry of those 
 nations. The hand of these ancient artists was 
 guided by narrations, now lost, as appears on a 
 vase placed in the centre of these described, on 
 which the final catastrophe of the conquest of 
 the golden fleece is expressed in a mode hitherto 
 unknown ; Jason, when nearly devoured by the 
 dragon, is drawn out of his jaws by Minerva; the 
 name written in clear purple letters near the 
 figure of the chief leaves no doubt on the subject. 
 
 After the argonautic vases come those which 
 represent the deeds of Hercules and the myste- 
 ries of Dionysias, forming a series of subjects. 
 
Eighth day 475 
 
 diflicult to explain , tlie traditions and opinions 
 of the learned being frequently at variance. 
 
 A design of Ihe utmost perfection and pu- 
 rity of style , with an expression suited to the 
 subject, is that of OEdipus in bis travelling dress 
 deeply meditating on the enigma proposed by Ihe 
 sphinx, who appears on the summit of a rock in 
 those mixed fantastic forms of a lion and a young 
 female under which she is represented in the 
 monuments of art. On another vase ihe artist 
 without regarding the design, ridiculed this sub* 
 ject by representing a man with an enormous 
 head in the same pensive attitude as OEdipus 
 and a monkey in lieu of the sphinx. 
 
 The vases relative to the ancient systems of 
 theogony, to the homeric descriptions, to the 
 public games, banquets and other usages of those 
 times open a wide field for research , whether 
 we consider the beauty and excellence of the 
 design which , in the gymnastic scenes often 
 reach perfection , or the light they throw on the 
 classic authors and other monuments of antiquity. 
 
 In one of the closets are vases of a smaller 
 size but highly interesting from the variety of 
 their forms and caprice of invention , particu- 
 larly in those used for drinking; some have the 
 form of a ram , others of the humble animal 
 that carried Silenus , the face of an Ethiopian 
 and of Silenus who expresses joy on receiving 
 the gifts of bis disciple. This closet also contains, 
 bowls and vases of various farms of the most 
 finished workmanship. 
 
45 S Srjhth day 
 
 THE EGTPTIJK HUSEUM. 
 
 Several statues and colossal figures contem- 
 poraneous with their prototypes are united in this 
 museuin. The colossus of queen Twea, the small 
 statue of Menephtah I seated on a throne , the 
 fragment of the throne of Rhamses III are of the 
 period of the dynasty that reigned between the 
 year 1822 and 1274 before the christian era. 
 Without entering into a detail of all the monu- 
 ments representing the human form, animals, va- 
 ses or other objects, we shall arrest our attention 
 on the most remarkable; the two lions next to 
 the colossus of Twea, though the last of the works 
 executed under the Pharaohs which are known 
 to us, bear testimony to the talent of the egy- 
 plian sculptors even at the decline of that empire. 
 
 The torso of king Nectanebo placed in the 
 hall of lions is not less worthy of attention for 
 t"he beauty of its form, nor can we avoid no- 
 ticing another torso in the same hall represent- 
 ing one of the ministers of state ; it is executed 
 in alabaster of Gournah. 
 
 Continuing our review of this museum we 
 shall find a new, though indirect, proof of the 
 errors hitherto committed in judging of egyptian 
 art when it represented the human form. In the 
 large hall, contiguous to that of the lions, fitted 
 up in the egyptian style, are the monuments of 
 imitation or those produced in Rome in the egy- 
 ptian manner at the period of the emperors^ the 
 greater part of which were found in the viHa 
 Adriana near Tivoli. To an imitation of the works, 
 executed under the Pharaohs and without at- 
 tempting to correct the original taste prevailing 
 
Eighth day 477 
 
 during so many centuries in Egypt, these artists 
 added the softness and finish which distinguished 
 the greek school at Rome. An example is obser- 
 ved in the Anlinous, a statue placed in this hall, 
 which from the beauty of its form has been na- 
 med, by artists, the egyptian Apollo. If imitation 
 has produced a work of such merit how can we 
 doubt of the perfection which sculpture had at- 
 tained in Egypt ? not that all egyptian statues 
 could serve as models , but several dispersed 
 throughout Europe are equal in beauty to the 
 Antiuous. The works of imitation representing 
 animals are not less useful in judging of egyptian 
 art; in comparing the works of the Egyptian and 
 Roman artist, if the former is not superior he 
 certainly is not inferior ; the egyptian , in the 
 representation of animals always possessed the 
 greatest degree of skill as is evidently proved 
 by the lions of king Nectanebo, by the prodi- 
 gious quantity of volatiles, quadrupeds, reptiles 
 and scarabaei abounding in this museum, whose 
 resemblance to nature is so perfect that they 
 might serve for the study of naturalists. 
 
 JRCUITECTURE, 
 
 la order to complete the egyptian collcc- 
 tioa in the Vatican of works of art in its pri- 
 mitive state, the only monuments M^anting were 
 those of architecture; the works preserved till 
 the present day in Egypt attest the boldness of 
 imagination and power of execution shown by 
 that nation in this art, and excite a sentiment of 
 regret ift those who have not had an opportu- 
 
4; 8 JSighth daxj 
 
 nity of observing the monuments spread along 
 the banks of the Nile. 
 
 The Vatican museum posssesses a small but 
 valuable remnant of this nature: a capital from 
 Thebes of the second order of architecture, for- 
 med of sand stone in the shape of an expanded 
 lotus; that it is genuine is att^jsted by the vest- 
 iges of yellow colour which originally covered 
 it, as it was customary amongst the Egyptians 
 to paint those species of stone which did not 
 admit of polish. This small remnant placed in 
 the gallery of mummies may be found useful 
 in comparing the greek, style with the original 
 egyptian. 
 
 We shall not dwell on the various product- 
 ions of the mechanical arts abounding in thiji 
 eollebtion, on the fabrication of papyri, the wreav- 
 iog of cotton in the bandages of mummies, nor 
 on the admirable art of preserving for thousands 
 of years the remains of the mortal frame, nor on 
 the sandals varying in shape , or the works in 
 bronze and sycamore wood on which are re^- 
 presented figures of the gods or of embalmed bo- 
 dies, or cases containing animals reduced to mum- 
 mies, and those in which writipgs have been de- 
 posited. One in the gallery of mummies is par- 
 ticularly interesting as it represents on its four 
 sides hieroglyphic inscriptions relative to the four 
 genii, the companions and assistants of Osiris in 
 the regions below, who appear in their respect- 
 ire characters. In this collection are numerous 
 small vessels of various substances , containing 
 the ointment used in painting the eyelids, others 
 were destined to preserve balsam or perfumes. 
 
Eighth day 4)9 
 
 Such is the valuable collection of monu- 
 ments bearing testimony to the knowledge of the 
 Egyptians, of that knowledge which Moses, hay-' 
 ing imbibed, became powerful in acts and words 
 (acts of the apostles chapter VII). Such are the 
 resources laid open to the learned in this ma- 
 seumby order of the reigning pontiff Gregory XYI, 
 and due to his incessant zeal to promote the 
 inierests of religion. Here the theologian will Gnd 
 the vestiges of the primitive traditions which pre- 
 ceded the revelation written by Moses and the 
 prophets ; here sacred philology derives informa- 
 tion for the explanation of oriental biblical texts; 
 how many points of contact exist between the 
 customs of the two nations, the people of God 
 and that of Egypt, whose history is so closely con- 
 nected; what a new light is shed on a multitude 
 of hebrew idioms and forms of language arising 
 from the similarity of a great number of scrip- 
 tural phrases with the forms of the ancient egy- 
 plian language preserved in the hieroglyphic in-* 
 scriptions. .>' 
 
 To the student of sacred writ it will be 
 gratifying to see the portrait of Ptolemy Phila- 
 delphus under whose auspices, and doubtless pro- 
 videntially , was undertaken the version of the 
 scriptures from hebrew into greek , called the 
 sepluaginl. The civilised nations of that time were 
 thus enabled to read the sacred code and pre- 
 pared to receive the first glimmerings of the doc- 
 trines of the unity of God and of the redemp- 
 tion which was approaching; the statues of Pto- 
 lemy and Arsinoe are placed near that part of 
 the library which contains the celebrated ma- 
 nuscript of this inestimable version. 
 
480 Eighth day 
 
 In llie .egypJLi;^.;! monuments collected in this 
 museum a distinct history is traced of sculpture 
 .9ud architecture -, wc shall now examine writing 
 and painting. 
 
 WRITING, 
 
 The primiAive state of the egyptijaa charact-^ 
 ers is proved by the vcstigps that rpmain pf 
 the earliest kind^ of writing; the first was that 
 of the simple representi^tion of the idea , the 
 second w<is at once symbolic and phonetic, the 
 third the plain alphabetic expression , al least 
 in greek and roman names ; the union of these 
 systems constitutes the beauty of the writing cal- 
 led hieroglyphic. 
 
 The written papyri, some in the hierogly- 
 phic , others in the hieratic and demotic (cha- 
 racters , amount to about thirty two ; these lino 
 the walls of the foiirlh room after the gallery 
 of mummies. 
 
 In the fifth are disposed inscriptions rela- 
 ting to history and in the left angle .that of 
 queen Amende illustraded by Boscllini near which 
 is the precious scaraba;us called that of Memnon, 
 or Amenoph III, engraved in honour of that 
 king to pelebrate his marriage with queen Taia 
 and the happy stoie of Egypt at that period. 
 On the fragment of a pilaster of brown stone 
 is an interesting inscription indicating that Egypt 
 was governed by a female in the absence oi a 
 male heir io the throne. 
 
 A valuable historic monument in the hall 
 of statues is that of a priest whose tunic is co- 
 vered with a long inscription purporting thai 
 
Eighth day 481 
 
 fire kings had reigned successively during his 
 minislrj; three egyptian, Apries, Amasis, Psam- 
 macherites and two persiau, Cambyses and Da- 
 rius. We shall not dwell on the numerous de- 
 dicatory and funeral inscriptions of other mo- 
 uumenls in granite , alabaster , basalt existing 
 in this collection, as several have not yet beea 
 illustrated. 
 
 The pure hieroglyphic characters are pre- 
 served in the inscriptions on the two lions of 
 king Nectanebo and in the sarcophagus of a 
 priest of the goddess Pascht , named Psamme- 
 ticus , in the hall of urns. In that of the lions 
 are other hieroglyphics in profile on the throne 
 of Ramses 111 , those on the cover of the sar- 
 cophagus of lm6tph in the gallery of mummies 
 and around the sarcophagus of Manes in the 
 hall of urns are of the most elegant execution. 
 Of the third class of plain outlines are the 
 hieroglyphics on ihe scaraboei , amulets and fu- 
 neral vases. Of the fourth called linear are the 
 inscriptions on the mummy cases. The fifth com- 
 prises those painted as on the monuments of 
 Ramses X and of Ihc daughter of Takellolhis. 
 The great advantage derived from the knowledge 
 of these characters is iheir application to chro- 
 nology and history , and whenever on the mo- 
 numents of Egypt any royal name is written , 
 it is easy to assign the period to which it he- 
 longs , as one of those names generally corres- 
 ponds to a certain date. The Vatican collection 
 embraces chronological dales indicated by royal 
 names twenty eight in number according to the 
 following series: 
 
 38 
 
482 Eighth day 
 
 1. Renoubka one of the most ancieDl kings 
 of the XVI dynasty who lived about the time 
 of Abraham. This monument was found in the 
 tombs of Gournah , the name is written on the 
 necklace or collar. 
 
 2. Amenoph I written on the mummy case 
 (hall, of urns) and unless this be the title of a 
 divinity its date would be the year 1 832 before 
 Christ. 
 
 3. 4. Amense and Amenenh^ the former 
 reigning queen of the XVIII dynasty, the latter 
 her husband ,1750 years before Christ. 
 
 5" Thutmes IV the fifth king of the pre- 
 ceding dynasty succeeded to his mother Amens6 
 and reigned from the year I 749 to 1 727 B. G. 
 
 6. 7. To the same dynasty belongs Amenoph 
 III the eighth king ; Ihe scarabcEus above men- 
 tioned bearing his name and that of his wife 
 Taia belongs to the year 1690 B. C. The six 
 colossi of the goddess Pasct , two of which are 
 in the hall of lions, the others in the hemicycle, 
 were executed under this king. 
 
 8. Menephtah I. The museum possesses in 
 the egyptian hail an elegant statue of this king 
 who reigned from 1604 lo 1579 before the pre- 
 sent era , and was father of the great Sesostris. 
 
 9. 10. Twea and Concheres ; the first the 
 wife of the above named king and the mother 
 of Sesostris, is represented in a colossus of black 
 breccia placed in the hall of lions ; the other 
 represented on the pilaster of the colpssus was 
 probably the wife of Sesostris. 
 
 1 1 . Ramses III, the Sesostris of the greek 
 writers who reigned from 1565 to 1494 B. C. 
 His name is frequently repeated on the fragment 
 
Eighth day 483 
 
 of his seated statue to the left in the hall of 
 lions and on the colossus of queen Twea. 
 
 12. Siphtah also belonged to the XVIII 
 dynasty but the period of bis reign is uncertain. 
 
 1 3. Ramses V second king of the XIX dy- 
 nasty , in the XV century B. G. is mentioned 
 in a hieratic papyrus XII, letter C. 
 
 14. Ramses X founder of the XX dynasty 
 belongs to the XIII century before the present 
 era , his name appears on a small painted sand 
 stone placed in the fifth chamber. 
 
 1 5. Osorchon the son of Takellothis who 
 reigned eight centuries before the christian era. 
 This prince is represented on painted wood in 
 the fifth room in the act of offering a sacrifice 
 to the god Phre. 
 
 16. Psammeticus I, fourth king of the XXVI 
 dynasty, who reigned between 654 and 609 B. 
 C. The museum possesses several monuments of 
 this king found at Sais his native place. His 
 name is inscribed on two statues in the hall of 
 egyptian figures , on a sarcophagus and on a 
 demotic papyrus XII, letter A, 
 
 17 Apries of the same dynasty 588 years 
 before the present era whose second name is 
 Ramesto. 
 
 18. Amasis his successor. 
 
 1 9. Psammacherites who succeeded Amasis. 
 
 20. Cambyses the persian king , oppressor 
 of Egypt 525 years B, C. His name appears on 
 the same statue. 
 
 21. Darius the successor of Cambyses. 
 
 22. Nectanebo of the XXIX dynasty three 
 centuries and a half B. C. and the last of the 
 Pharaohs. To this period belong the two lions. 
 
484 Eighth day 
 
 master pieces of art, and the beautiful: torso 
 which represents this king. 
 
 23. Ptolemy Pbiladelphas who reigned 284 
 years B. C. His colossal statue is in the centre 
 of th@ hall of lions. 
 
 24. Arsinoe , the wife of the above named 
 king , whose statue is on the right of that of 
 Ptolemy ; both statues bearing inscriptions on 
 their pilasters. 
 
 25. Ptolemy Philopator whose name is on 
 the papyrus in the demotic characters , dating 
 from the third year of his reign or the 219 B. 
 C. No. XI, letter E. 
 
 26j Arsinoe his sister and wife. 
 
 27. 28, Ptolemy Evergetes and Berenice 
 his wife , the parents of the preceding. 
 
 The numerous monuments, not included in 
 the above list, might furnish documents of the 
 reigns of the roman emperors. The space of six- 
 teen hundred centuries comprised within the 
 dates which have been already indicated and 
 inscribed on the monuments, the authenticity of 
 which reposes on the authority of historians and 
 chronicles, particularly on that of Eusebius, and 
 rectiGed on the armenian text which is far more ex- 
 act than the greek of Scaliger, is sufficient to show 
 the rich mine of historical knowledge opened 
 by the egyptian writing. Its material construc- 
 tion offers a large field for discussion on the 
 first essays of writing as an art , while it fur- 
 nishes also a means of advancing the progress 
 of oriental philology. 
 
Eighth day 485 
 
 PAINTING. 
 
 Although in remote times painting was not 
 distinct from writing, as several arguments attest 
 respecting Egypt , we sball consider them as 
 independent of each other in the monuments of 
 that country. Painting as it was thirty or forty 
 centuries ago, here exists in its original stale and 
 excites surprise. When judging of this art in 
 Egypt allowance must be made for the harsh- 
 ness of the lines and the want of perspective. 
 The facility of the inventions and the spirited 
 composition are the striking points of these mo- 
 numents. An example of these is seen in the 
 painting on the case placed in the hall of urns, 
 in which was preserved the mummy of Giot- 
 mut, the mother ofChousHierogrammateus priests 
 ofAmmon at Thebes; one side represents the fu- 
 neral procession moving towards the Theban 
 necropolis ; on the other the deceased supplica- 
 tes six of the gods in order to obtain a free 
 passage to the celestial regions ; these he has 
 finally attained as represented in the interior 
 part of the case , in company of his mother 
 whose inscription is on one of the paintings of 
 the interior. The colouring and the various sce- 
 nes possess a high degree of interest. It was an 
 establi.hed doctrine amongst the Egyptians that 
 the souls of the just enjoyed an unalterable re- 
 pose when they believed that assistance might 
 be derived from the remembrance of the living; 
 for this reason the mother is seated near her 
 son expressing joy at the offerings and prayers 
 of the surviving relatives ^ a remnant of the 
 primitive traditions of the human race relative 
 
 35 * 
 
486 Eighth day 
 
 to a future state and to the assistance the liv- 
 ing may render to the dead. Each of these re- 
 presentations is accompanied with analogous 
 hieroglyphic inscriptions. 
 
 Of the paintings on wood that of the son 
 of Takellothis is remarkable for the vivacity of 
 its colouring ; the figures and various scenes 
 which cover the papyri represent the rites and 
 circumstances that precede and follow the judg- 
 ment that Osiris is supposed to pass on souls ; 
 nor is the melancholy sight wanting of the pu- 
 nishments suffered from fire and the furies , so 
 accurately was the tradition preserved relative 
 to the destiny of souls when separated from 
 the body. The representation on paintings VII, 
 letter A , VIII and XIV relate to these subjects. 
 
 THe yjTICJN GjtLLERT. 
 
 The political events of 1815 having resto- 
 red to Rome the master pieces of ancient and 
 modern art , Pius Vll decided on forming a gal- 
 lery of classic pictures, which was completed 
 by the present Pope under the direction of Ca- 
 muccini. The collection at present consists of 
 the following works -• a Doge of Venice by Ti- 
 tian ; S. Gregory the great , Andrea Sacchi ; the 
 deposition from the cross Caravaggio, taken from 
 the chiesa nuova ; the Vision of S. Romuald by 
 Andrea Sacchi formerly in the church of that 
 name ; the Communion of S. Jerome by Dome- 
 nichino once the altar piece of S. Girolamo della 
 carila ; the martyrdom of Erasmus by Nicholas 
 Poussin formerly in S. Peter's ; the Madonna , 
 S. Thomas and S. Jerome by Guido Reni; the 
 
Eighth day 487 
 
 burial of our Saviour by Mantegna ; the Mag- 
 dalen by Guercino once in the church of that 
 name in the Corso ? S. Thomas also by Guercino; 
 the martyrdom of S. Peter , once in the Vati- 
 can basilic , by Guido Reni ; the coronation of 
 the Madonna , Pinluricchio ; the resurrexion of 
 Christ by Perugino , who has introduced his 
 own portrait and that of Rapha-el; the transfi- 
 guration by Raphael formerly at S. Pietro in 
 Monlorio % the nativity of Christ , by Perugino; 
 the coronation of the Virgin by Raphael ; the 
 Saviour in glory said to be by Covreggio , for- 
 merly in the Marescalchi palace at Bologna ; 
 the Madonna, SS. Sebastian, Francis, Anthony, 
 Peter , Amhrogio and S. Caterina by Titian , 
 purchased at Venice by Clement XIV ; the B. 
 Michelina painted by Raroccio for the church 
 of S. Francis at Pesaro ; S. Helena by Paul Ve- 
 ronese ; the three mysteries by Raphael ; S. Re- 
 nedict , S. Costanza and S. Placido by Perugino, 
 the Madonna di Foligno , and a picture in chia- 
 roscuro of the three theologal virtues , by Ra- 
 phael ; a landscape by Paul Potter , the Madon- 
 na and various saints , Perugino ; the miracles 
 of Niccola di Bari, by the B. Angelico da Fie- 
 sole , and the annunciation by Barocci ; oppo- 
 site the Madonna di Foligno is a fresco painting 
 of Sixtus IV giving an audience to several per- 
 sons , by Mezio Forti , detached from the wall 
 of the old Vatican library , the gallery commu- 
 nicates with the corridor of geographical maps 
 of various parts of Italy and leads to the cham- 
 bers of the « arazai » so called from having con- 
 tained the arazzi made at Arras on the cartoons 
 of Raphael; on the cieling is a painting by Guido 
 
488 Eighth day 
 
 Reni which represents Ihe coming of the holy 
 Ghost. 
 
 THE CHAMBERS OL RAPHAEL. 
 
 These chambers were already painted and 
 the works were being continued by Pietro del 
 Borgo , Bramante of Milan , Pielro della Fran- 
 cesca , Luca Signorelli , and by Pietro Perugino 
 when at the recommendation of Bramante of 
 Urbino, Julius II called Raphael from Florence 
 to paint the subject of theology or the dispute 
 of the holy sacrament. The Pope was so delighted 
 with this composition that he ordered the olher 
 works to be suspended , and those that were 
 already finished to be destroyed; had entrusted 
 the whole to Raphael who would not permit 
 any alteration in a cieling painted by Pietro 
 Perugino , the holy sacrament , the first pain- 
 ting of Raphael of these four chambers is in 
 the second , but for greater regularity we shall 
 begin with the first room representing the 
 
 ISCENDIO DEL BOSaO. 
 
 Or the fire that occurred in the boi-^o S. 
 Pietro under S. Leo IV in which Raphael seems 
 to have imitated the burning of Troy, various 
 episodes being introduced such as a group of 
 figures resembling ^neas carrying on his shoul- 
 ders Anchises and followed by Creusa, this group 
 was painted by Giulio Romano. 
 
 The painting opposite represents the justifi- 
 cation of S. Leo III in presence of Charlemagne, 
 the Cardinals and Archbishops; on the third fa- 
 
Eighth day 489 
 
 cade the victory of S. Leo IV ovor the Saracens 
 at Ostia by Giovanni da Udine ; the last the 
 coronation of Charlemagne by S. Leo III by Pie- 
 rin del Vaga. 
 
 The cieling is by Pietro Perugino, the base 
 of the room divided into 1 4 parts was painted 
 in chiaroscuro by Polidoro Garavaggio ; the six 
 figures are portraits of princes -wha liad deser- 
 ved well of the Holy See. 
 
 CAMERA DEL SS. S AGRA MEN TO 
 
 Tb« painting on the wall to the right of this 
 room represents the dispute of the holy Sacra-: 
 ment which is placed in an ostensorium over the 
 allaf . Above are the holy Trinity, the Virgin and 
 S. John Baptist; on each side the four doctors 
 of the church, various holy fathers and saints o£ 
 the old and new testament, discussing this pro- 
 found njystery; the poet Dante is introduced 
 amongst the theologians. 
 
 The finest painting in this room, aud one 
 of the grandest works of Raphael , is the school 
 of Athens, or of ancient philosophers; the scene 
 is in a portica decora ted with fine architecture; 
 on the steps Plato and Aristotle announce bj 
 their grave and majestic aspect the masters of 
 greek philosophy , their disciples form a circle 
 around them. On the other side of the steps 
 Socrates is reasoning with Alcibiades , beneath 
 Pythagoras is placed amidst his scholars, one of 
 whom holds a board on which the musical no- 
 tes are inscribed. On the second step is Dio- 
 genes a book in one hand and a bason near him. 
 Amongst the sages represented in this work Rap- 
 
490 Eighth day 
 
 hael has introduced tbe portraits of several per- 
 sons who flourished in his time. The one bent 
 towards the ground , representing Archimedes 
 describing a hexagon with the compass , is the 
 architect Bramante Lazzeri; the young man knee- 
 ling in the act of observation is Frederick 11 , 
 Duke of Mantua; the two on the left of Zoroas- 
 ter who holds a globe , are the portraits of Pie- 
 tro Perugino and of Raphael himself. In this su- 
 perb work, containing fifty two figures, the in- 
 comparable artist has. left a real painting which 
 has always been a subject of study and admiration. 
 
 The third picture represents Mount Par- 
 nassus , with the group of the nine muses and 
 Apollo placed in the centre ; the other groups 
 scattered over the mountain are those of ancient 
 and modern poets. Homer, Horace, Virgil, Ovid, 
 Ennius, TibuHus, Catullus , Propertius, Sappho, 
 Sanuazzar, Bocaccio and Tibaldeo. 
 
 Over the opposite window the artist has re- 
 presented Jurisprudence under the form of the 
 three virtues that accompany Justice; these are 
 prudence , force and temperance. On one side 
 Justinian delivers the Digests to Trebonianus; on 
 the other Gregory IV presents the decretals to 
 a concistorial advocate; these four paintings are 
 by the hand of Raphael. 
 
 The cieling of this room is divided into nine 
 squares with chiaro scuro ornaments on a gold 
 ground. In the middle several angels support the 
 arms of the church, the four rounds represent 
 philosophy, justice, theology and poetry; the other 
 four, fortune, the judgment of Solomon, Adam 
 and Eve tempted by the Devil, and Marsyas fla- 
 yed by Apollo; the four small pictures are by 
 
Eighth day 491 
 
 Poussin , the angels near the figure of Justice 
 by Masaccio. The base of this room is adorned 
 with chiaroscuro paintings divided into several 
 parts and executed on the designs of Raphael by 
 Polidoro Caravaggio, the other chiaroscuri are by 
 Giovanni da Udine. 
 
 CHAMBER OF HELtODORUS 
 
 The first picture in this room represents Hc- 
 liodorus, the Prefect of Seleucus king of Syria, 
 who was sent to take possession of the treasure 
 existing in the temple of Jerusalem. In his at- 
 tempt to commit this sacrilege , Heliodorus is 
 attacked by a man on horseback and by two 
 angels who drive him out of the temple. Not- 
 withstanding the anachronism the Pope is introi 
 duced as being present at the scene. The work 
 was designed, and the first group executed, by 
 Raphael ; the one composed of several females 
 was painted by Pietro da Cremona, a scholar of 
 Correggio , the remainder by Giulio Romano. 
 
 The painting opposite represents S. Leo I 
 meeting Attila, king of the Huns, who was on 
 his march to Rome and the apostles SS. Peter 
 and Paul with drawn swords defending the pon- 
 tiff; iS tlila , at the sight of these two Apostles , 
 ordered an immediate retreat. 
 
 The third picture represents the miracle 
 which happened to a priest at Rolsena who, doubt- 
 ing of the real presence of Christ in the con- 
 secration of the host , saw blood shed on the 
 corporal. Raphael has introduced Julius II also 
 in this work, together with several other figures. 
 
492 Elghlh day 
 
 Opposite is the imprisonment of S. Peter, 
 liberated by the angel who loosens his chains^ 
 the effect of light is admirable by the combi- 
 nation of that which emanates from the angel 
 within , and out of the prison , from the moon 
 in the midst of clouds and from a torch held 
 by a soldier which produces a striking effect 
 upon his armour. This work was executed by 
 Raphael before Gherardo delle Noiti ever came 
 to Rome. 
 
 The chiaroscuri around the basement of 
 these paintings are by Pierin del Vaga ; the 
 yellow has reliefs by Polidoro Caravaggio. 
 
 On the cieling are four subjects of sacred 
 history by Raphael: God in the bush speaking 
 to Moses ; God promising Abraham a posterity 
 as numerous as the stars ; the sacrifice of Abra- 
 ham and the angel holding his arm that lie 
 should not kill Isaac; the dream of Jacob ; the 
 chiaroscuri are by Poussin. 
 
 HALL OF CONSTANTINB 
 
 After having completed the outlines of the 
 paintings in this room, Raphael began tho vict- 
 ory of Constantine over Maxentins at Pontre 
 Molle , and had finished in oil the figures of 
 justice and of meekness when he died. By or- 
 der of Clement YII the work was continued by 
 Giulio Romano in fresco , without touching the 
 two oil paintings of Raphael; the eight pontiffs 
 dividing the large pictures are also by Giulio 
 Romano. 
 
 On the wall opposite the entrance door is 
 represented the apparition of the cross to Con- 
 
Eighth day 493 
 
 stantine when hai-aitguiiig hU army pripr lo, the 
 engagement with Mas^enlius , a work executed 
 also by Giulio Romano. 
 
 In the third picture the baptism of Cons- 
 tantine by S. Sylvester; this paintii^g by Penni 
 called « il fattore », is infipripr to the others. 
 
 On the fourth wall is the donation of the 
 city of Rome made by Constantino to Pope S. 
 Sylvester , pairited by HafTaeUe del Colle. 
 
 Amidst various ornaments and gigantic fi- 
 gures on the pieling is the representation of a 
 temple , dedicated first to Mercury and afterw- 
 ards to the most holy Crucifix placed in the 
 centre as a symbol of the exaltation 01" the faith, 
 a work executed by order of Gregory XllI; the 
 paintings around the cieling are by the two 
 Zuccari, the chiarQscuri at the base of the pict- 
 ures by Polidoro Caravaggio, retpvichcd by 
 Carlo Maratte* The paintings in the chapel of 
 Nicholas V , dedicated to S. Stephen , are by 
 Angelo da Fiesole a scholar of Masaccio. 
 
 //. STORY OF THE LOGGE. 
 
 In treating of the first story it was sta- 
 ted that the west side of the logge was built 
 by Raphael who made the designs of the in- 
 ternal ornaments of painting , sculpture and 
 stucco works. The execution of these designs 
 was entrusted to Giovanni da Udine, Pierin del 
 Vaga and other artists under the direction of 
 Raphael , by whpse name these logge are known, 
 and whose buat by d' Este is placeji at the en~ 
 trance. It is to be lamentpd that these logge 
 should pot haye been preserved with the atten- 
 
494 Eighth day 
 
 lion which (he merit of the works required, as 
 they have greatly suffered from the intempera- 
 ture of the seasons. The western wing consists 
 of thirteen arches sustained on each side by 
 pilasters and counterpilasters, the former ador- 
 ned with stucco has reliefs of an exqiiisite taste 
 from medals of the best times of Rome , and 
 representing divinities with other allegorical 
 subjects; the counterpilasters and walls were co- 
 vered with arabesques , the subjects being taken 
 from the antique , and chiefly from the baths 
 of Titus. Over each of the compartments of the 
 cteling are four small pictures relative to bib- 
 lical subjects. The one near the entrance re- 
 presents the separation by the Almighty of dark- 
 ness and light and the dissolving of Chaos; the 
 figure of the Creator appearing amidst clouds 
 and lightning, occupied in the great work of the 
 creation, conveys an idea of his unlimited power 
 and majesty. The other wings were built under 
 Gregory XIII, Sixtus V etc. and were painted 
 by Marco da Faenza , Mascherino, Raffaelle da 
 Reggio , Nogari , Naldini , Tempesta, and Lan- 
 franco. 
 
 ///. STORY 
 
 Instead of arches this story has , on the 
 outside, travertine columns which sustain a woo- 
 den architrave ; it was built in part under Leo 
 X and completed by Pius IV, Gregory XIII and 
 Clement X; the grotesques and other ornaments 
 of the roof and walls, are by Giovanni da Udine; 
 the geographical charts by padre Danti who su- 
 perintended the arabesques and paintings by 
 
Eighth day 493 
 
 Pomarancio, by Paris Nogari, Gio. della Marca, 
 at the lime of Gregory XIII ; the landscapes 
 are by Paul Brill , the costumes by Tempesta, 
 
 STUDIO OF MOSAICS. 
 
 This institution , to which we are indebted 
 for the mosaic pictures in S. Peter's, and for 
 the progress of this branch of art in Rome, lias 
 been placed of late years in this spot once the 
 palace of the inquisition, which was built by S. 
 Pius V. This studio is deserving of notice not 
 only for the works it produces , but for the 
 collection of smalti of various tints amounting 
 to about 10,000. 
 
 9 
 
 THE rATICAN GARDEN 
 
 The vestibule leading to this garden, built 
 by Simonetti under Pius VI , corresponds with 
 the hall of the biga; the part of the garden 
 called of the Pigna was begun by Nicholas V and 
 enlarged by Julius II under the direction of 
 Bramante , who desigped the three facjades that 
 surround an ex^tensive piece of ground planted 
 with flowers. In the niche of the principal fa- 
 cade is a bronze pine flower which is said to 
 have stood on the top of the mausoleum of 
 Adrian , or on the cupola of the Pantheon. The 
 casino in the adjoining garden built under Pius 
 IV by Ligorio contains columns , statues , and 
 sundry paintings by Baroccio, Zuccari and Titi. 
 In the garden of the Pigna is the pedestal of 
 the column of Antoninus Pius , erected in his 
 forum by Marcus Aurelius and Lucius Verus ; 
 
496 EiyMh ^ay 
 
 it is ornamented with bas reliefs and is IS 1/2 
 palms liigh. On onie side is a modern bronze 
 inscrifptiba correspoAding to the anlique, oh the 
 opposite side the apotheosis of Antoninus Pius 
 and of his wife Faustina who are carried up 
 to heaven on the shoulders of a winged genius 
 holding a g'lobe on which is the %aire of a 
 serpent. The aWfegorical figure at the feet of 
 the genius holds an obelisk j the emblem of 
 immoTtality ; the sitting figure opposite repre- 
 sents Borne with her left haiitd leaning on a 
 shield oin which is expressed the wolf nourish- 
 ing Romulus and Remus. On the two other 
 sides are some fine sculptures in semi-relief, 
 representing armed soldiers on horseback , with 
 the military ensigns which it was customary to 
 bear over the foneral pile of th« Caesars. 
 
 The exterior part of the basilic near the 
 gardJen ■, showing the imiposiiig ardiitectnre exe- 
 cinted hy Yignfoila on the designs oif Baonaroti, 
 is 'ardorned with an attic and with torin^ian 
 pilasters of travertine. The piazza S. Mat'tajso 
 called from the church built biy Paul III, and 
 restored by Clement XI , contains a S. lam^ 
 vnlh S. AnthMiy and a S. Orsola, both paiat~ 
 iogs of Lanfranc ; the holy crucifix in the last 
 chapel is by Al^rdi. Near the church is the 
 seminary of S. Pdler's, fouiided by Urban VUI, 
 foir the young men destined to the service of 
 the basilic. 
 
 *. MAMJ IN CAMFO SANTO 
 
 This church , e'rected by S. Leo IV , is 
 called in €amfo Santo from the cemetery near 
 
Eighth day 497 
 
 it in which a quantily of earth brought from 
 Jerusalem was deposited; the deposition from the 
 cross over the high altar is said to be a work 
 of Caravaggio , the side paintings are by Hasse 
 of Antwerp , whose tomb by Fiammingo is si- 
 tuated on the right pilaster near the altar. The 
 picture in the following chapel is by Scarsellino 
 of Ferrara , the frescoes by Polidor Caravaggio. 
 In the chapel to the left is a painting by Ge- 
 mignani representing the martyrdom of S. Eras- 
 mus ; the epiphany by Scarsellino , S. Charles, 
 the flight into Egypt by the Fiammingo , S. 
 John Nepomucene by Ignazio Stern. In the little 
 chapels round the cemetery the subjects relate 
 to the passion of our Saviour. 
 
 . The street to the right leads to the house 
 of the Inquisition, and to the «porta Turrioni» 
 now aCavallegieri" which does not appear to 
 be anterior to the XV century ; its primitive 
 appellation is attributed to the neighbouring 
 round tower and the present one to the quarter 
 for the light horse troops established here under 
 Pius IV. It was by the wall near the present 
 Vatican sacristy that the Imperialists entered 
 Rome in 1 527 , and that the Constable de Bour- 
 bon , their commander , was killed , as related 
 by Benvenuto Cellini , an ocular witness , in 
 his memoirs. On the other side of the piazza 
 di S. Pietro is the porta Angelica built by Pius 
 IV , and so called from his christian name , 
 designated by the angels sculptured in has re- 
 lief. Beyond this gate is 
 
 39 * 
 
4^8 Eighlh day 
 
 S. MARIA DfillE FORNACI 
 
 This church , so called from the terra 
 cotla works near it, was rebuilt in 1 683 gn the 
 designs of Multo. On the altar to the right is 
 a statue of S. John Nepopiucene by Maini; the 
 paia|ings are by Scaramuccia ; tbose in the se- 
 cond phapel by Arellino. In the others ar^ a 
 S. John by Fusi , the Madonna by Alef, a holy 
 family by Chiari , the nativity of pur saviour 
 by Kicciolini , the flight into Egypt by Pietrp 
 Bianchi , the lunettes by Benefiai £(nd those of 
 the little cupola by ^e.tri, 
 
 S. MARIA DELLE. GRAZIE 
 
 This church , situated near the Angelica 
 gate and belonging to the hermits of penitence, 
 was erected in 1 588 by Rossi , a hermit of Ca? 
 labria , and was restored in 1618 by Cardinal 
 Lante. It derives its appellation from an in^agc 
 of the Madonna which was brought f^-ojn the 
 holy land by the founder pf the Institution in 
 1586 ; the picture representing S. Erancis is by 
 Puccilli , the assumption qf the Virgin by an 
 unknpy^h author. 
 
 MONTE l^ARIO 
 
 The ancient name of this hill is unknown 
 but the road leading to it was called t^e Cli- 
 vus Cinnce. In the lower ages it was called 
 Monte Male, and Monte Gaudio ; the modern 
 appellation was derived from Mario Millini who 
 built on the summit a villa npw the property 
 
Eighth day 499 
 
 of ihe Falconieri family. On the side of this 
 h ill is the villa J^adama, belonging tp the king 
 of Naples , in which is a casino commenced 
 on the designs of Baphael and finished by Giu- 
 lio Romano who , with the assistanco of Gio- 
 vanni .^ jDdineVpiBted i&e a!&Me 'portico, the 
 frieze and cieling of the principal room. 
 
 All this hill is o,f a oiaune formation , the 
 Crustacea, in infinite number, and disposed in strata 
 are perfectly preserved. 
 
 S. MARIA DEL ROSARIO. 
 
 This church , situated on the monte Mario 
 was restored by Clement XI in 1215, and'has 
 been improved by the present Pope, the facade 
 is composed of four ionic pilasters ; in the cha- 
 pels are an ancient ^niqge< pi the Virgin and child 
 painted on boards, and two pictures represent- 
 ing miracles operated by S. Do,i»inick ; under 
 the high altar reposes the body of the martyr 
 S. (iolomba; the pciinting in the first chapel ta 
 the left r9,prqs£!pts the Sjadonna offejring a ro- 
 sary to S, P^qjninick and S. Catherine of Siena by 
 Gerutti ; those in the other chapel , expressing 
 the assuaip.Jion, the flight into Egypt, the mar- 
 riage of the Madonna and the death of S. M^ 
 seph are by unknown authors. 
 
500 
 
 OF THE ElXVmOKIS. 
 
 ■ ^ ■ e ' » - 
 
 iiLs 
 
 uS the environs of Rome excite interest from 
 the beauty of their situation , the associations 
 of history , and the remains of their antique mo- 
 numents, a short description is given of the prin- 
 cipal places viz: Tivoli, Paleslrina, Frascati, Al- 
 bano and Veii. 
 
 ROAD TO TirOLI, 
 
 About a mile from the porta S. Lorenzo 
 is the basilic of that name which has already been 
 described. ; .: 
 
 At the fourth mile is the Anio , now called 
 Teverone , which separates Latium from the Sa- 
 bine territory and unites with the Tiber near 
 the Salarian bridge, three miles from the city.' 
 
 At the tenth mile are remains of the Ti- 
 burtine way formed , like the other roman 
 roads , of large polygonal blocks of basaltic lava. 
 
 About the 12th mile is the tartarous lake, 
 an appellation derived from the quality of its 
 tartarous and calcareous waters which petrify 
 vegetables. 
 
501 
 
 SO'LFJTARA BRIDGE, 
 
 The waters that pass under this little bridge 
 are of a bluish colour anid exhale a strong sul- 
 phureous smell. These waters called albulae by 
 Strabo^ Patisanias and Martial, issue from a lake 
 about a mile from the road , which was formerly 
 a mile in circuit , but at the present day its 
 average diameter does not exceed 450 feet. The 
 bituminous substances formed by these waters 
 are condensed on their surface , and give rise to 
 different shaped bodies called floating islands. 
 In the neighbourhood of the lake were the ther- 
 mae of Agrippa of which some remains still exist. 
 
 TOIiB OF THE PLAUTIAN FAMILY. 
 
 This sepuiehral monument was raised by 
 the Planlii , one of the great roman families 
 under the republic and the empire. It is -built 
 of travertine stone in a round form dnd has 
 half columns on the exterior with inscriptions, 
 two of wbich remain , one of M. Plautius Sii- 
 vanus consul and VII vir of the epulones , dis^ 
 tinguished by his exploits in Illyria ; the other 
 of T. Plautius Silvanus who accompanied Clau- 
 dius in his expedition to Britain. The construct- 
 ions at the top prove that in the middle ages 
 it was converted into a tower of defence. 
 
 riLLA ADRIANA. 
 
 The emperor Adrian , having visited the 
 different parts of the empire , decided on imi- 
 tating in this villa all those buildings that had 
 
302 
 
 pleased him most in his travels. The lyceum , 
 academy , prytaneum and psecile of Athens, the 
 valley of Tempe , the canope of Alexandria , 
 tartarus, the elysian fields. 
 
 In the middle ages the villa was greatly 
 injured. Under Martin V some of its marbles 
 and statues \vere broken and used as mortar. 
 Excavations among the ruins have , however , 
 at all limes produced classic monuments now 
 the principal ornament of the museums and 
 galleries of Rome. The villa was about seven 
 miles in circumference. Its chief remains are 
 
 THE GREEK THEATRE 
 
 Which is the best preserved of the three 
 that existed here; we may still trace a part of the 
 scena, the corridors and the place of the steps. 
 
 Annexed to the theatre on the ITest are re*- 
 mains of a large square court which was sur- 
 rounded with porticoes. 
 
 Near the modern house , built of aneiient 
 substructions, is a passage on the roof of which 
 are stuccoes and paintings of exquisite taste. 
 
 POECILE, 
 
 Paosanias informs us that the psecile of Ath- 
 ens was a portico decorated with paintings re* 
 lative to Athenian exploits. The portico of the 
 villa was an oblong parallelogram in the centre 
 of which was a large court. A wall still entire, 
 which was between a double row of pilasters, was 
 probably painted like the buildings at Athens. 
 
503 
 
 To the south of this wall is what is called 
 the temple of the stoics, said to have beea li- 
 ned with porphyry, and further on is a round 
 edifice with a mosaic pavement representing sea 
 monsters ; this place was used for swimming exer- 
 cises. To the left are the ruins of the library. 
 
 The imperial palace situated on an elevation 
 is composed of two stories. On the ground floor 
 are several remains of paintings , on the upper 
 story is a large quadrangular portico communi- 
 cating with the palace. 
 
 A number of rooms called the « cento came- 
 relle » served formerly as barracks for the Pre- 
 torian guards. On the exterior were galleries rest- 
 ing on pilasters or columns; the communication 
 with each room was by means of the gallery as 
 in the convents of the present day. 
 
 CANOPE. 
 
 This building, so called from the city of Ga- 
 nope in Egypt, contained a temple of Scrap is; 
 several rooms and a painted gallery are still 
 visible. 
 
 On the right are remains of the Academy 
 and of a theatre. The four subterranean cor- 
 ridors, forming a rectangle, were a part of the 
 infernal regions. In the vicinity were the Elysiam 
 fields, the valley of Tempe and the Peneus. 
 
 TiroLi. 
 
 This town , the foundation of which is at- 
 tributed to Tibur , Corax and Catillus of Argos 
 was built 462 years before Rome after the ex- 
 
504 
 
 pulsion of the Siculi from the territories which 
 Ihey then occupied. It was called Tibur from the 
 name of the Argean chief, was allied with, though 
 sometimes opposed to, the- Romans, in the early 
 times of the republic ; subsequently under the 
 Romans it was a municipal town. 
 
 TEMPLE OF VESTA 
 
 This ancient edi&ce of a fine style of ar- 
 chitecture is of a circular form 12i/a feet in 
 diameter; its columns are 1 8 feet in height with- 
 out the capital which is ornamented with leaves 
 of the acanthus. It had originally 1 8 columns of 
 the Corinthian order in travertine 1 of which 
 remain. Its situation on the top of a rock, on 
 the border of an e:&tensive valley, is higly pict- 
 uresque. Adjoining it is the temple of the Tibur- 
 tine Sibyl, built of travertine, with four jonic co- 
 lumns in front. It is now the church of S. Giorgio. 
 
 Opposite these temples is the new emissary 
 perforated in the Monte Gatillo 294 metres long 
 and 25 broad at its mouth; the waters pass through 
 this channel and on the brink of the valley form 
 a beautiful cascade. 
 
 In the picturesque grotto of the Sirens the 
 waters disappear for a time in a subterranean 
 channel. 
 
 The grotto of Neptune, since the deviation 
 of the course of the Anio , no longer receives 
 any supply of water. 
 
503 
 
 •CASCATELIE. 
 
 The streams of the Anio are used in the 
 iron, copper and other works which are carried 
 on at Tivoli, and precipitate themselves from a 
 height of 100 feet into the valley below, win- 
 ding over rocks bounded with trees and meadows 
 that produce a most picturesque effect. 
 
 Opposite, and bordering the path leading to 
 the vallej, are the villa of Catullus, the church 
 of S. Antonio built on the ruins of a villa said 
 to have belonged to Horace, and half a mile fur- 
 ther on the chapel of Quintiliolo, dedicated to 
 the B. Virgin. It stands on the remains of the 
 villa of Quintilius Varus , in which were for- 
 merly found statues, columns, and a variety of 
 mosaics. 
 
 Crossing the Aquoria, a rivulet at the bot- 
 tom of the valley , over an ancient bridge in 
 good preservation, and the Anio over a wooden 
 bridge , the return to Tivoli is bj the ancient 
 via Tiburlina. 
 
 riLLA OF MECMNAS. 
 
 Among the ruins it is easy to distinguish a 
 large square court which was surrounded with 
 half columns of the Doric order and arcades com- 
 municating with a portico and a double row of 
 fihamhers looking over the valley. These are built 
 over a large subterranean hall called the stable , 
 hut supposed to have been a reservoir. A rapid 
 torrent passes through a canal and in its fall from 
 the mountain contributes to form the cascades. 
 
 40 
 
506 
 
 From the terrace tlie vi6w embraces Rome and 
 the Campagna. 
 
 In a neighbouring vineyard is an ediGce cal- 
 led ihe Terapio della Tosse adapted as a church 
 in the middle ages. Il appears to advantage in 
 the midst of trees and vineyards. 
 
 Near the Roman gate is the villa d' Este , 
 built by a cardinal of the D'Este family in 1 549, 
 formerly one of the most splendid villas of Italy. 
 It contains frescoes by Zuccari , Muziano and 
 other artists of those days, allusive to the hist- 
 ory of Tivoli. 
 
 At a distance of ten miles on the Valerian 
 way , is Vicovaro or Varia the ruins of vt^hich 
 consist of remains of an ancient bridge over which 
 passed the aqua Claudia and of large travertine 
 blocks forming the walls of the city. Five miles 
 further on is Licenza, the ancient Digentia near 
 which was the Sabine farm of Horace celebrated 
 in his verses. 
 
 Twelve miles from Tivoli and twenty from 
 Rome is 
 
 PALESTRINA OR PR^NESTE. 
 
 A city founded according to Virgil by Casculus 
 the son of Vulcan, according to others by Praj- 
 neslus son of king Latinus prior to the Trojan 
 war. Its elevated situation and good air rendered 
 it a point of attraction to the ancient Romans. 
 It was celebrated also for its temple of Fortune 
 restored and enlarged by L. Sylla, which occu- 
 pied the whole site of the present town. 
 
 Palestrina was destroyed in the XV cen- 
 tury but was rebuilt on the ruins of this tem- 
 
507 
 
 pie , when a mosaic pavement was discovered 
 wiiich is now in the Barberini palace at Pa- 
 lestrina. 
 
 This celebrated work represents sundry ani- 
 mals and plants, a tent with soldiers, egyptian 
 figures playing on musical instruments , others 
 occupied with the labors of agriculture. Of 
 the interpretations given of this work the most 
 probable is that the subject alludes to the fest- 
 ivals established in Egypt under the Greek kings 
 at the period of the inundation of the Nile. 
 
 Near la Colonna eight miles from this town, 
 is a lake said to be the Regiilus where the bat- 
 tle took place between the Latins and Romans 
 which decided the fate of Tarquin. 
 
 Some miles distant, in the farm called Pan- 
 tano,is the lake of Gasliglione, formerly Gabi- 
 Bus , near the ancient city of Gabii discovered 
 m 1 792. The only remains are the cella of the 
 temple of Juno and square blocks of the local 
 volcanic stone which formed the walls of the 
 citadel. 
 
 FKASCATt. 
 
 This town owes its origin to the destruction of 
 TasculumbylheRomansin'H91;the modern town 
 contains nothing remarkable, but the numerous 
 villas in its environs and the excursion to the 
 ruins of Tuscnlum are highly interesting- 
 
 The most splendid of these villas are the 
 Aldobrandini and Mondragone belonging to the 
 Borghesi, the Rufinella to the queen of Sardinia, 
 the Gonti and Falconieri* Tusculum, said to have 
 been founded by Telegonus a son of Ulysses and 
 
508 
 
 Circe, was a favorite residence of; the Romans 
 in the latter times of the republic. In an elevated 
 position are the remains of a theatre, baths, an 
 aqueduct and walls ; sieveral statues , busts and 
 other works of art found in the excavations at- 
 test its ancient splendour- 
 
 Grotta Ferrata is a small village with a 
 church in which Domenichino has represented in 
 fresco several acts of S. Bartholomew and S. Ni- 
 lus who retired to this spot about the year 1000» 
 The painting over the altar is by Annibal Caracci. 
 
 Two miles from this village is Marino, for- 
 merly Castro msenium, an ancient city of Latium 
 mentioned by Dionysius ofHalicarnassus andPliny. 
 The church of S Barnabas possesses a painting of 
 the martyrdom of S. Bartotomew in the first 
 manner of Guercino. That of the holy Trinity 
 One by Guido. The Albano gate leads to the Fe- 
 rentine valley , so called from the goddess of 
 that name , where the people of Latium held 
 their national assemblies before their subjugation 
 by the Romans. 
 
 CASTEL OANDOLFO^ 
 
 Is agreably situated on (he lake of that name 
 which, in very remote times, was the crater of 
 a volcano. Its circuit is about six miles, its depth 
 480 feet. On the occasion of an extraordinary 
 swell of the waters 394 years before the chris- 
 tian era, the Romans, then occupied with the 
 siege of Veil, sent deputies to Delphi to consult the 
 oracle of the pythian Apollo who answered that 
 Vcii could not be taken unless the waters of this 
 lake were reduced to their level. Having decided 
 
509 
 
 on perforating tlie mountarn, the work was car- 
 ried on with such aclivitj tbat within a year 
 they completed the canal which is a mile long, 
 3 1/2 feet wide and sis high. It is chiselled out 
 of the rock and has never required any repair.. 
 
 J-LWANo: 
 
 Alha Lunga is said to have been built about 
 400 years, before Rome by Ascanius the son of 
 -(Eaeas,, between the mountain and the lake in 
 the direction of the present Palazzola ; it was 
 destroyed; by Tullius Hostilius. During the se- 
 cond punic war a camp, protecting the Appian 
 way, was established on thesiteof Alhano which 
 became a city at the decline of the empire. 
 
 On the left of the via Appia before entering, 
 the gale, is a large tomb stript of its ornaments, 
 containing a room 1 1 feet long and 7 wide. It 
 is commonly called the tomb of Ascanius, but 
 being situated on the grounds that formed the 
 villa of Pompey it is more probable that it was 
 raised; by that general to receive the ashes of 
 Julia his wife, the daughter of Caesar; according 
 to Plutarch it was also the tomb of Pompey. 
 
 Near the church of the Madonna della Stella 
 is another large tomb, raised on a square base 
 55 feet in circumference. In the centre was a 
 pedestal serving as the base of a statue and at 
 each; angle a round' pyramid. It was imagined- 
 that this tomb had been raised to the Horatii 
 and Curiatiir but it is reliated by Livy that they 
 were buried ou the spot where they fell between 
 the Latin and Appian ways at a distance of about 
 Hve mileS: from- Rome,. The architecture of this 
 
510 
 
 monument is of a far more remote period; it 
 was probably raised to Aruns the son of Por- 
 seana wbo was killed near this spot wben at-r 
 tacking Aricia in the year 247 of Rome, or 606 
 before the cbrislian era. 
 
 A mile from Albano is the village af Aricia 
 preserving the name oi the city built in the plain 
 by Archilochus 1400 years before our era. Some 
 of its ruins may be seen in a vineyard called 
 Orto di mezza, on the via Appia; they consist 
 of the cella of tlie tcmpk of Diana , of walls 
 formed of irregular blocks, of the emissary com- 
 municating with the citadel and remains of balhs» 
 
 I>ionysius Halicarnassus observes in the II 
 book of his roman antiquities: '<^ The third war 
 which he (Romulus) sustained was against a city 
 then one of the most powerful of the Etruscan- 
 nation called Veil, distant from Rome about 100= 
 stadj ; it is situated on a steep rock and is of 
 about the same size as Athens. » 1 00 stadj- are 
 12 1/2 miles. In another passage the same author 
 adds that tWs was one of the Etruscan cities- 
 the nearest to Rome; that it was on the via Cas- 
 sia or Claudia is proved by the Pentigerian cbart 
 which ihus disposes the stations on this road t 
 Roma ad pontem III, ad Sexlum III, Vejos Vlr 
 a distance corresponding exactly with that of 
 Dionysius. 
 
 At a mile to the east of la Storta over a 
 hill separated from the plain by two rivulets 
 which united form the Cremera was situated 
 Veii, as was proved by the excavation made in 
 
5-11 
 
 1810 wlien a tomb and several fragments of 
 statues were found. The citadel and one of the 
 wings of the town occupied the Isola Farnese , 
 a fortress in the middle ages , now a farm. The 
 softness of the rock explains the work of the 
 mine which decided the fate of the place after 
 its ten years siege. 
 
 The Isola presents the appearance of a des- 
 erted village with a population of ahout 40 souls. 
 At the gate called the portonaccio are various 
 fragments of sculpture. The church of S. Pan- 
 crazio divided into three naves is of the XV 
 century. Many square stones found in the castle 
 probably belonged to the walls of the ancient 
 citadel. 
 
 A path, which from the fragments of its 
 pavement appears to be antique, leads on the 
 right to the ancient town; on the left are steep 
 rocks , on the right a deep precipice formed 
 by the rivulet called the Fosso dell'isola which 
 about half a mile further on forms a cataract 
 of about 50 feet in a most picturesque situation. 
 Beyond this cataract an ancient road of the 
 etruscan Veii , six feet broad , leads to an ex- 
 tensive plain where fragments of worked mar- 
 ble and of bricks indicate the spot , once inha- 
 bited , enclosed in the etruscan city; the roman 
 Veii was situated near the forest where the late 
 discoveries were made ; this spot presents nu- 
 merous fragments of vases painted with varnish 
 on a black and red ground and of a very fine 
 clay probably the work of the primitive Veientes. 
 Of the buildings found in the last excavations 
 one deserves observation, an ancient roman co- 
 lumbarium , called by the peasants the cemi- 
 
312 
 
 teria ^ catnpased of three rooms one of which 
 only is open. It contains several tombs and fu- 
 Ksrary inscriptions ; near the columbarium were 
 discovered (he statue of Tiberius now in the 
 Vatican , that of Germanicus 9 palms high, many 
 busts , fragments of archileGlure , 24 columns 
 belonging to the same edifice probably a basilic, 
 near which was the forum, as Vitruvius- informs 
 us that such was their relative position in the 
 Italian cities. It has been asceTtainfid fromvins- 
 eriptio>js that at Veii there was a temple of 
 MarSy and from the excavations that Castor and 
 Pollux , Piety , and the Genius of the city were 
 houoared at Yeii. 
 
 In its primitive state and before its capture- 
 by Camillus the city must have extended to 
 ponte Sfldo ; the forest now covers its ruins.. 
 In proceeding to this bridge and before arriv- 
 ing at the Cremera, the remains of a road which 
 at intervals is intercepted by square masses of 
 tuffo indicate the ancient walls of the city and 
 lead to the Cremera called the fosso di For- 
 mello and fossw del Valca which unites- with 
 the Tiber. Beyond the Cremera is the ponte 
 Sodo ,- so named from its solidity, b«ing cut out 
 of the rock, a work of the etruscan. Veientes. 
 
 Without returning to the isola it is easy to 
 reach the via Cassia, at the Osteria del fosse 
 after having crossed the Cremera by following 
 a direction to the west near the spot where the 
 late excavations have been made. On the- right 
 of the road many etruscan tombs are seen in 
 the rock in which small vases painted on a dark, 
 ground arc continually discovered. 
 
513 
 
 BRJCCTANO^ 
 
 This town, at a distance of 24 miles from 
 Rome by the ancient Via Claudia , contains about 
 2000 inhabitants. It is situated in a pleasant 
 position on the edge of the crater of the Brac- 
 ciano lake , and was held for a long period by 
 the Orsini family, first with the title of Counts 
 and afterwards with that of Dukes , having been 
 made a Dutchy by Paul IV in 1564. It remain- 
 ed in the possession of the Orsini till the latter 
 part of the XVI century when it passed into the 
 Odescalchi family, and together with the fief 
 it now belongs to Don Marino Torlonia who 
 derives from it his title of Duke of Bracciano, 
 The feudal privileges are iu full force : the hall; 
 of justice is still shown at the summit of the cas- 
 tle , where the duke has the power of sitting ia 
 judgment on bis vassals > 
 
 The Baronial castle, surrounded with walls 
 and towers of the XV century , still in high 
 preservation, is generally considered to be the fi- 
 nest of the kind in Italy; it has the form of a paral- 
 lellogram ,, the eastern side being occupied by 
 the feudal castle built in the XV century which 
 sustained a long siege in the war of the Colonna 
 and the Duke of Calabria against the Popes 
 Sixtus IV and Innocent VIII. According to Mu- 
 ratori it was taken and plundered by the Co- 
 lonna the 20 July 1485. 
 
 From the piazza before the rock several 
 roads branch off which are lined with well built 
 houses ; the one leading to the capuchin convent 
 forms a straight line a mile in length. Don Ma- 
 rino Torlonia , the present Duke , has made. 
 
514 
 
 considerable improvements in the town and neigh- 
 bouring country ; the monastery has been enlar- 
 ged , the church decorated and iron works have 
 been established at a short distance from the 
 town. 
 
 LJKE OF BHACCIANO OR SABATINO, 
 
 The latter appellation is said to be derived 
 from the city of Sahate which , according to 
 Sozio , once stood on its banks and was submer- 
 ged , but the origin of the word is more pro- 
 bably Sabas , an Italian divinity mentioned in 
 the Eugubian tables. The fish of this lake was 
 praised by Columella particularly the Lucci and 
 th& regine , or as called by him the lupos, au- 
 ratas which , even at the present day , form its 
 chief riches. The lake , the crater of an an- 
 cient volcano forms an ellipse of about 22 miles 
 round and 300 metres deep. The Trajan water 
 which Paul V purchased of the Orsini in 1607 
 to the amount of about 1 1 00 inches , collected 
 from various springs near the lake , unites in 
 the Paola aqueduct with 1000 inches of the 
 lake water bought in 1 673 by Clement X; the uni- 
 ted volume of these waters forms the fountain 
 of S. Pietro Montorio , passes under the adjoin- 
 ing buildings , after having supplied the paper 
 mills and cloth manufactory, into the Vatican 
 fountains and other places described in this work. 
 
S15 
 
 IXDEX 
 
 OF THE PRraCIPAL MATTERS CONTAINED 
 IN THIS WORK. 
 
 Academy, Ecclesiastical 279. 
 
 of France 245. 
 
 S. Luke 1 03. 
 
 Acqua Acetosa 2. 
 
 Claudia 158. 
 
 Felice 210. 
 
 Giulia 158. 
 
 Marcia 158. 
 
 Paola 378. 
 
 Santa 154. 
 
 Tepula 158. 
 
 Vergine or Trevi 237* 
 
 Aqueduct Aniene Nuova 158. 
 ■ Vecchia 160. 
 
 Claudia 158. 
 Felice 210, 
 Giulia 158. 
 Marcia 158. 
 Paola 378. 
 Tepula 158. 
 
 Aggere of Servius Tullius , 215, 231. 
 
 Alba Lunga 509. 
 
 Albano 509. 
 
 Almone the river 334. 
 
 Amphitheatre Castrensis 157. 
 
 Flavio or the Colosseum 125. 
 
 Statilius Taurus 23. 
 
 Anio 500. 
 
 Archiginnasio Romano or the University 282. 
 
516 
 
 Arch of Claudius 29. 
 
 Constanline 130. 
 
 Dolabella 1 36. 
 
 Drusus 333. 
 
 Galienus 1 68. 
 
 — — Gordian 33. 
 
 Gratian 288. 
 
 Janus quadrifrons 312. 
 
 Marcus Aurelius 1 5. 
 
 Septimius Severus in the forum 102. 
 
 — in the Velabrum 313. 
 
 Tiberius 101. 
 
 Titus 1 1 6. 
 
 Archeological Institute 83. 
 Aricia 5 10. 
 
 Banco S. Spirito 289. 
 
 Monte di Pieta 389. 
 
 Baptistery of S. Constantia 221. 
 
 Costantine 144. 
 
 Basilica of Constantine 111. 
 
 ' Santa croce in Jerusalem 1 54, 
 
 Emilia 104. 
 
 S. John Lateran 145. 
 
 Julia 1 00. 
 
 S. Lorenzo, extra muros, 162. 
 
 — — S. Maria Maggiore 169. 
 
 Opimia 99. 
 
 S. Paul 348. 
 
 S. Peter at the Vatican 411. 
 
 S. Sebastian 336. 
 
 Baths of Li via 122. 
 
 Paulus Emilius , see therms-. 
 
 Borgia rooms in the Vatican 437. 
 
517 
 
 Braccio nuovo Ghiaramonti at Ihe Vatican Mu- 
 seum 445. 
 Bridges. S. Angelo or Elian 404. 
 
 - S. Barloiomeo or Oratian 367. 
 
 MoUe 1. 
 
 Nomentano 222. 
 
 — — • Quallro Capi or Fabrician 364. 
 
 Rolto or Palatine 363. 
 
 Salarian 230. 
 
 Sisto 388. 
 
 — — Sublicio 354. 
 
 Vatican 401. 
 
 Campus Martius 268. 
 
 of the Praetorians 216. 
 
 Scelleratus 277. 
 
 Chapel Paolina at the Vatican 436. 
 
 Sistina 434. 
 
 Caravila 30. 
 
 Capitol 53. 
 Capitoline Gallery 77. 
 
 Garceri Nuoye or public prisons 400. 
 Castel S. Angelo 404. 
 
 Gandoito 508, 
 
 Castra Prtetoriana 216. 
 
 Percgrina 1 37. 
 
 Catacombs. S. Sebastian 336. 
 
 S, Pancratio 379. 
 
 Cemetery 164. 
 
 Cenci Beatrice 377. 
 Churches. S. Adriana 1 04. 
 
 S. Agnes , Piazza Navona 295. 
 
 S. Agnes , extra muros 219. 
 
 S. Augustin 285. 
 
 S. Alessio 356, 
 
51« 
 
 Churches. S. Anastasia 317. 
 
 S. Andrea della Valle 298r, 
 
 — a Monte Cavalb 209. 
 
 — — — — near Ponte MoUe 2. 
 
 I ■ out of the Popolo gate 2. 
 
 ■ delle Fratte 239. 
 
 ■ S. Angelo in Pesclieria 307. 
 — — S. Antonio de' Portoghesi 286. 
 
 SS. XII. Apostoli 198. 
 
 S. Apollinare 287. 
 
 — ^ — Aracoeli 83. 
 
 S. Balbina 320. 
 
 . Bambio Gesu 177. 
 
 — — . S, Bartolomeo 365. 
 
 S. Bernardo alle Terme 210. 
 
 S. Bibiana 166. 
 
 — — . de' Cappuccini 234. 
 — — S. Carlo al Corso 11. 
 
 • alle quattro fontane 209. 
 
 ai Catenari 390. 
 
 — S. Caterina de'Funari 304. 
 — ■ di Siena 399. 
 
 S. Cecilia 368. 
 
 S. Chrysogon 374. 
 
 S. Clemenle 139. 
 
 S. Cesareo in palatia 329. 
 
 S. Cosmo e Damiano 111. 
 
 S. Costanza 220. 
 
 S. Croce in Gerusalemme 154. 
 
 S. Dionisio 208. 
 
 SS. Domenico c Sisto 205. 
 
 Uomine quo vadis 334. 
 
 S. Dorotea 388. 
 
 S. Eligio 400. 
 
 S. Eusebio 168. 
 
519 
 
 Churehes. S. Eustaccliio 282. 
 
 — — S. Francesca Romana 114. 
 
 S. Francesco a Ripa 370. 
 
 — — Gesu 45. 
 
 — — Gesu 6 Maria 10. 
 
 ■ S. Giacomo 11. 
 
 S. Giorgio in Velabro 313. 
 
 — S. Giovanni DecoUato 309. 
 
 ■ - de' Fiorentini 40 1 . 
 
 — — in Fonte 144. 
 
 ^— — — in Laterano 145. 
 
 di Dio 367. 
 
 — r— SS. Giovanni e Paolo 135, 
 
 S. Girolamo della Carita 396. 
 
 ■ de Schiavoni 264. 
 
 S. Giuseppe de' Falegnami 88. 
 
 S. Gregorio 132. 
 
 S. Grisogono. 379. 
 
 S. Ignazio 30. 
 
 S. Isidoro 235. 
 
 S. Lorenzo in Lucina 14. 
 — — in Miranda 111. 
 ' ■ extra muros 1^2. 
 — — in Damaso 392. 
 
 S. Luca 103. 
 
 ' . S. Luigi de' Fraucesi 284. 
 S. Marcello 31. 
 
 S. Marco 42. 
 
 S. Maria degli Angeli 213. 
 
 — — • deirAnima 292. 
 
 I . ■ in Aquiro 269. 
 I in Canapitelli 305. 
 — ,——— in Campo Santo 496. 
 — — — della Gonsolazione 309. 
 
 . ■ t in Cosmedin 359. 
 
520 
 
 Churclies. S. Maria in Domiiica 137. 
 
 -^ di Loreto '194. 
 
 — Maddalena 269. 
 
 — Maggiore ICQ. 
 
 - ad Martyres o della Rotouda 271. 
 
 Sopra Minerva 279. 
 
 _____^— de' Miracoli tO. 
 
 . — di Monte Santo 9. 
 
 , . della Navicelia 137. 
 
 ,— della Pace 291. 
 
 . — del Popob 5. 
 
 .^ — del Priorato di Malta 3.56, 
 
 della Scala 374. 
 
 • Seala Cajli alle 3., fonlane 350. 
 
 — Trasponlina 408» 
 
 — in XrastevcFe 3?1. 
 
 . a Trevi 238. 
 
 . in Via Lata, 32. 
 
 la Vittoria 211.. 
 
 S. Martino 175. 
 
 la Missione 24, 
 
 la Morte 399. 
 
 SS. Nereo ed Acbilleoi 3(29. 
 
 S. Niccola da TolejifciaQ 233. 
 
 in Carcere 309. 
 
 Nuova 289. 
 
 S. Onofrio 387. 
 
 S. Paolo primo Ereioi^a 20i7. 
 
 S. Pancrazio, 330. 
 
 S. Pantaleo 297. 
 
 — . — S. Paolo extra muros 34.8. 
 
 alle tre fontane 350. 
 
 S. Pietro in Montorio 375. 
 
 . S. Pietro a«d Marcellino 161, 
 
 in Carcere 88. 
 
521 
 
 Churches. S. Pietro in Vaticano 411. 
 
 , — ■ in Vincoli 1;8. 
 
 ■ S. Prassede 174. 
 
 S. Prisca 358. 
 
 S. Pudentiana 177. 
 
 SS. Qaattro €oronati 139. 
 
 S. Rocco 263. 
 
 S. Sabba 320. 
 
 S. Sabina 357. 
 
 S. Salvalore in Lauro 288. 
 
 — — S. Sebastian extra muros 335. 
 
 S. Silvestro a Monte Gavallo 205. 
 
 in Capite 15. 
 
 S. Sisto 329. 
 
 Santo Spirito 407. 
 
 S. Stefano Rotondo 138. 
 
 delle Stimmale 281. 
 
 S. Theodore 109. 
 
 dci Trinitari 13. 
 
 della Trinita dei Monti 24^. 
 
 de' Pellegrini 389. 
 
 Yincenzo ed Anastasio 238. 
 - alle 2 Fontane 350. 
 
 S. Vilale 207. 
 
 Circus of Adrian 406. 
 
 Alexander Severus 293. 
 
 — — Heliogabalus 158. 
 
 Flaminius 303. 
 
 Flora 234. 
 
 — — Maximus 318. 
 
 Nero 412. 
 
 Romulus son of Maxentius 339. 
 
 . Sallust 231. 
 
 Cloaca Maxima 315. 
 
 41 ♦ 
 
S2.2, 
 
 Collegio di Propaganda Fide 24f. 
 
 "xlomano 31. 
 
 Columns of Antoninus Pius 24. 
 Phocas 105. 
 
 Marcus Aurelius Antoninus 20. 
 
 S. Maria Maggiore 16,9. 
 
 . |rajan 192. 
 
 Columbarium of Cn: Poraponius Hjlas 331. 
 
 L. Aruiitius 1 66. 
 
 of Livia Augusta 335. 
 
 Colossus of Nero 125. 
 
 Colosseum 125. 
 
 Corridor of Inscriptions in the Vatican palace 439. 
 
 Cbiaramonti 1. part. 444. 
 
 — — < Chiaramonti 2. part. 449. 
 Curia Hostilia 10S. 
 
 Calabra 52." 
 
 of Pompey 300. 
 
 Custom House 25. 
 
 Edifices of the Forum 99. 
 
 Fountain of the Acqua Acetosa 2. 
 
 Barcaccia 240. 
 
 Felice 210. 
 
 — • — Piazza Colonna 21. 
 
 Pantheon 270. 
 
 Paolina 378. 
 
 Ponte Sisio 388. 
 
 — — delle Tartarughe 301 .. 
 
 di Trevi 237. 
 
 del Trilone 234. 
 
 at S. Peter's 411. 
 
 Piazza Farnese 393.. 
 
 , — Nayona 291.. 
 
323 
 
 Forum Boarium 315. 
 
 of Nerva IS?. 
 
 ■ Olitorium 308. 
 
 Palladium 187. 
 
 Roman 94. 
 
 Trajan 189. 
 
 Transitorium 187. 
 
 Frascati 507. 
 
 Gates Angelica 49 7. 
 Capena 321. 
 
 Garmentalis 308. 
 
 Cavallegieri 497. 
 
 S. John or Asinaria 153. 
 
 Latina 332. 
 
 S. Lorenzo 164. 
 
 Maggiore or Labicana 158. 
 
 S. Pancrazio 379. 
 
 S. Paul or Ostia 351. 
 
 Pia or Nomentana 216. 
 
 Pinciana 259, 
 
 Portese 370. 
 
 Popolo or Flaminian 3. /& ' 
 
 Preneslina 158. 
 
 Salaria or CoUina 223. 
 
 S. Sebastian or Appia 333. 
 
 — — Settimiana 331. 
 
 S. Spirito 387. 
 
 Garden, Botanic 380. 
 
 of Sallust 231. 
 
 Farnesiani 121, 
 
 Varianus 155. 
 
 Galleries, see palaces 
 Gallery Vatican 486;, 
 Girsecostasis 106. 
 
524 
 
 Grotta of Egeria 347. 
 
 of Neptune 504. 
 
 of Ihe Syrens. 504. 
 
 Grotta Ferrata 508. 
 Grottoes of the Vatican 429. 
 
 Halls of the Conservatori 74. 
 Heraicycle of the Belvedere 453. 
 Hospitium of S. Mlchele a Ripa 369. 
 Hospital of the Consolazione 309. 
 
 S. Giacomo 1 i . 
 
 S. Giovanni 142. 
 
 Pellegrini 389, 
 
 S. Rocco 263. 
 
 S. Spirito 406. 
 
 Houses of Augustus 119, 1 23 
 — — Agrippa 119 
 
 -:. — Gatilina 119. 
 
 Romulus 52, 118. 
 
 . Nero 120. 
 
 Rienzi 363. 
 
 Isola Tiberiha 365. 
 Juturna, spring of, 99. 
 
 Lake of Albano 508. 
 
 of the Floating isles 501. 
 
 Regillo 501. 
 
 •—— of the Tartari 500. 
 
 of Bracciano 514. 
 
 Library of S. Auguslin. 286. 
 
 Barberini 236. 
 
 Chigi 20. 
 
 Gorsini 383. 
 
523 
 
 Library of ihe Gollegio Romano 31, 
 of the Mtnerva 281, 
 
 Vatican 440. 
 
 Monaldini 240. 
 
 Loggie of Raphael 436. 
 Lupercal 109. 
 
 Mammertine prison 87. 
 
 Marino 508. 
 
 Mausoleum of Adrian 404. 
 
 Augustus 260. 
 
 S. Helena 161i. 
 
 Meta Sudante 124. 
 Missione, House 24. 
 Mount Aventine 354. 
 
 Capitoline 49,. 
 
 Janicule 375. 
 
 — — Mario 498. 
 
 Palatine 118. 
 
 Gelian 134. 
 
 Escpiiline 169. 
 
 Quirinal 200. 
 
 Citorio 22. 
 
 Pincio 246. 
 
 Sacro 222. 
 
 Teslaccio 352. 
 
 Viminal 297. 
 
 "Vatican 403. 
 
 Monument of the acqua Claudia 138. 
 
 Aniene Nuova 158. 
 
 — — Acqua Marcia 158. 
 Tepula 158, 
 
 Julia 158, 
 
 Vergine 239. 
 
 Muro Torto 247. 
 
526 
 
 Museum Capitoline 56. 
 
 Chiaramonte 443. 
 
 Egizio 476. 
 
 — ^ — Etrusco 470. 
 
 Gregoriano 470. 
 
 Kirclieriano 31. 
 
 — — Laleran 142. 
 
 — — Pio Clemenlino 455. 
 
 of the Vatican 443. 
 
 Navalia 353. 
 
 Nymphaeum of Egeria 347. 
 
 Obelisks of the Lateran 141. 
 — — — S. Maria Maggiore 174. 
 
 — — . Minerva 278. 
 
 . ■■ ■ Monte Citorio 22. 
 
 Pantheon 270. 
 
 ■■■ . . . . . — Popolo 4. 
 
 - , „ . . Piazza Navona 294. 
 — — ..— Quirinal 201. 
 
 Trinita de' Monti 243. 
 
 Orti Farnesiani 121. 
 
 Sallustian 231. 
 
 Palaces. Altieri 45. 
 
 Albani 208. 
 
 AUemps 287. 
 
 I Barberini 236. 
 — — Bolognetti 45. 
 
 Borghese 264. 
 
 Braschi 296. 
 
 — — Buonaparte 41 . 
 
 —— Cancelleria 391. 
 
 ■ of the Caesars 119. 
 
 Ghigi 16, 
 
527 
 
 Palaces. Colonna 194. 
 
 of the Conservatori 71. 
 
 Corsini 381. 
 
 Costaguli 304, 
 
 of the Gonsulla 203. 
 
 Doria 33. 
 
 £rcolani now Grazioli 45. 
 
 Farnese 393. 
 
 Farnesina 384, 
 
 French Academy 245. 
 
 Giraud now Torlonia 409. 
 
 ■ Giusliniani 284. 
 
 .. - Latcran 142. 
 
 Madama 283, 
 
 Massimi 298. 
 
 . Mattel 302. 
 
 — — Monte Citorio 23. 
 Orsini 307. 
 
 Quirinal 202. 
 
 — — Rospigliosi 203. 
 Ruspoli 13. 
 
 Salviati 386. 
 
 Sciarra 26. 
 
 Spada 397. 
 
 of the Senator 55. 
 
 Torlonia (Prince) 42. 
 
 Torlonia ( Duke ) 242. 
 
 — — Vatican 433^ 
 
 Verospi 1,6. 
 
 Yidoni 301. 
 
 — — Venice 42. 
 Paleslrina 506. 
 
 Papa Giulio, Casino 2. 
 Pantheon 271. 
 
528 
 
 Piazza Gampo Marzo 268. 
 
 ' Farnesc 303. 
 
 — — Barberini 234. 
 
 Campidoglio 54. 
 
 Colonna 20. 
 
 Lateran 141. 
 
 S. Maria Maggiore 169. 
 
 Monte Cavallo 201. 
 
 Minerva 278. 
 
 Monle Ciiorio 22. 
 
 Nayona 293. 
 
 Popolo 3. 
 
 Pasquino 297. 
 
 Pantheon 270. 
 
 S. Pietro 409. 
 
 Quattro fontane 208. 
 
 Spagna 240. 
 
 Trajana 192. 
 
 Torlonia 241. 
 
 — — Venezja 41. 
 
 Pyramid of Gains Cestius 351. 
 Piscina Pubblica 320. 
 PostOflice 21. 
 Portico of the Dii consenti 62 
 
 Oclavia 306. 
 
 Protomoteca Gapitolina 68. 
 
 Raphael house 288. 
 
 chambers 488. 
 
 villa 247. 
 
 Ripa Grande 369. 
 llipetta 264. 
 Rock, Tarpciaa 52. 
 Rostra 99. 
 
529 
 
 Sacristy of S. Peter's 43 f. 
 
 Sancta Sanctorum 153. 
 
 Scala Santa -152. 
 
 Scale Gemoniae 88. 
 
 Schola Xanlha 101. 
 
 Scalinata of Trinita de' Monti 241. 
 
 Seminary, Roman 287. 
 
 Sette Sale 185. 
 
 Sepiizonium 320. 
 
 Solfatara 501. 
 
 Tabularium 51. 
 
 Theatre of Marcellus 307. 
 
 Pompey 300. 
 
 Temple of Antoninus Pius 25. 
 — — Antoninus and Faustina 1 1 0. 
 — — Bacchus 345. 
 
 Bramante 376. 
 
 Castor and Pollux 99. 
 
 — — Ceres and Proserpine 359. 
 Concord 93. 
 
 Dio Redicolo 347. 
 
 Esculapius 366. 
 
 Hercules Gustos 301 . 
 
 Fortune Capitoline 88. 
 
 — Muliebris 1 54. 
 
 Prenestina 509. 
 
 Virilis 362. 
 
 Jupiter Capitolinus 50. 
 
 Feretrius 52. 
 
 Stator 108. 
 
 Tonans 90. 
 
 - — Juno Moneta 52. 
 
 Juno 306. 
 
 Isis 32. 
 
 42 
 
530 
 
 Templa Isis and Serapis 27S. 
 ' Mars 330. 
 
 Malata 359. 
 
 . Minerva 2:Z8. 
 
 Minerva Medica 165, 
 
 N-erva 188. 
 
 1 Paniheon 271. 
 
 Peace 111. 
 
 Pallas 18.S,. 
 
 Piely 3:08'. 
 
 Puclicitia 359.. 
 
 — ~- Romulus and Remus t1 h 
 Romulus,, son of Maxentius 337., 
 
 SjbU 504. 
 
 della Tosse 506., 
 
 — — Venus and Cupid 1 56; 
 
 in the gardens of Sallust 23t. 
 
 ' — and Rome 1 15. 
 
 Vesta on the Tiber 361.. 
 — in the Forum )00. 
 at Tivoli. 504. 
 
 Thermae Antoniana 322.. 
 
 Agrippa 237, 
 
 Alexander Severus 284.. 
 
 CaracaJto 322. 
 
 ■ Constantine 203.. 
 
 Diocletian 212* 
 
 Nero 185. 
 
 Titus 780. 
 
 Tomb of Adrian 404. 
 — — Augustus 260. 
 
 Blbulus (Gaius Publicius )• 44 
 
 — — . C. Cestius 351, 
 
 Cecilia Metella 34J. 
 
 — — of the Plautian family 5&1. 
 
531 
 
 T&mb Livy (freedmen of) 335. 
 
 Lucius Arunlius ibid. 1 6.e. 
 
 Numa Porapilius 375.. 
 
 Priscilla 334. 
 
 Servilius 344. 
 
 Scipios (of the) 330» 
 
 Tivoli 503. 
 
 Tarre de' Gonti 186. 
 
 delle- Miiizie 206. 
 
 Pignattara 161. 
 
 de' Schiavi 162. 
 
 Trastevere 364. 
 Triclinium Lateranensis 153» 
 Trophies of Marius 167. 
 Tusculum 507. 
 
 Yalley of Egiria 321. 
 Valicau 433. 
 Velabrum 311. 
 
 Yestals lOO. 
 
 Via Appia 329. 
 
 — Ardealiua 334. 
 
 — Aurelia 380. 
 
 — Babuino 243. 
 
 — Candolli l3. 
 
 — Gorso 8. 
 
 — Fiaminia 1. 
 
 — Labicaaa 1 60-.- 
 
 — Lalina 154. 
 
 — Nomentaaa 216» 
 
 — Osliensis 551. 
 
 — Prenestina 162.. 
 
 — Sacra 109, 
 — , Salaria 223. 
 
 — Tiburtina 164> 
 
532 
 
 Villa Adriana 501. 
 — — Albani 223. 
 
 Aldobrandini 206. 
 
 Bolognelti 217. 
 
 •-• • Borghese 3 , 246. 
 Conli , now Duke Torlonia 507. 
 
 Corsini 379, 383. 
 
 Cristaldi 379. 
 
 d' E&te 506. 
 
 — — Falcon ieri 507. 
 
 .. of the Gordians i&2. 
 of Horace 505. 
 
 Lante 383, — LudoTisl 232. 
 
 — — Madama 399. 
 
 Massimi 217. 
 
 Mallei 137. 
 
 of Maxentius 337. 
 
 of Mecaenas 505. 
 
 Medici 245. 
 
 Millini 498. 
 
 Mills 123. 
 
 Mondragone 507. 
 
 Palalina 123, — Pamphili 380. 
 
 Patrizj 217, — Poniatosky 3. 
 
 of Quintilius Varus at Tivoli 344. 
 
 de' Quintili 344. 
 
 Tusculana of Cicero 507. 
 
 Torlonia (Duke) 216. 
 
 Torlonia (Prince) 217. 
 
 Vivarium 158. 
 
 IMPRIMATUR. - Fr. D. Butlaom O. P. S. P. A. M. 
 IMPRIMATUR. - J. Ganali Arctiep. Coloss. Vicesg.