Chapter C: Vibius . C. F. Rufinus . M. Cocceius . Nerva . Cos . Ex . S. C (5)

2. Beatitude of John Sarcander, who is led to the torture by the Dutch Calvinists.--By F. Grandi. 3. S. Chiara of Mount Falconi visits Cardinal Colonna, who is kneeling.--Raffaele Gagliardi. 4. Alfonso Rodosko's Vision of the Virgin.--By G. Sereni. 5. John Berchmans' Vision of the Virgin.--Gagliardi. 6. Peter of Arbues, Grand Inquisitor of Spain, murdered at the altar.--G. Mauretta. _At the end_ of this hall is a piece of tapestry designed by Raphael. It represents S. Paul striking Bar-jesus (Elymas) blind before the pro-consul Sergius Paulus at Paphos in Cyprus.--Acts xiii. 6. _Returning up the hall._ 7. Paul of the Cross, founder of the Passionist Order.--Coghetti. 8. Declaration of the Dogma of Immaculate Conception by C. de Paris. 9. The Virgin with the Infant Jesus appearing to Maria degli Angeli, a Carmelite nun.--De Rohden.

The entry and the connection between the first and second hall were once the chapel of Pius V. The richly-painted window, by Ludovic Gesta of Toulouse, represents Germana Cousin, the Shepherdess of Pibrac, crossing a stream, and portraits of Pius IX. and French ecclesiastics. The cupola is the work of Federico Zuccheri; the subjects are the Fall of Satan and scenes from the Life of Tobit. In the lunettes below are the four doctors of the Latin Church, by Paoletti.

(_Second Room, left._) 10. Saints Martyred in Gorcum in the Netherlands.--Cæsar Fracassini. His masterpiece; a very fine work of art. 11. A fine large painting, the gift of the Polish Roman Catholics. It represents John Sobieski, King of Poland, relieving Vienna from the Turks: the work of Matejko, 1883. 12. S. Lorenzo da Brindisi leading the Imperial troops against the Turks at the Battle of Alba-Reale in Hungary.--By F. Grandi. 13. S. Michael de' Sanctis.--Jojetti. 14. Beatitude of the Canon John de' Rossi.--Dies. _Passing from these we go into the_ SALOON OF PODESTI, containing frescoes relating to the Dogma of the Immaculate Conception. _On the end wall_ is represented the supposed Vision of the Virgin to Pius IX.; _opposite_, the Discussion of the Dogma; _on the right wall_, Proclamation of the Dogma. They were done in 1870, in commemoration of the Vatican Decrees. _Thence we pass into the_

STANZE OR CAMERE OF RAPHAEL,

consisting of four rooms designed by Raphael, and completed by his pupils after his death, to illustrate the triumphs and establishment of the Catholic Church. The principal frescoes are:--

IN THE FIRST ROOM.--_On the right_, the Incendio del Borgo, A.D. 847; _over the window_, Justification of Leo III.; _in front_, Victory of Leo IV. over the Saracens at Ostia; and _opposite_, Coronation of Charlemagne. The chiaro-oscuro portraits, _below_, by Caravaggio, represent the princes who first gave tribute to the Church. The roof is by Perugino, Raphael's master.

SECOND ROOM.--Illustrative of Theology, _on the entry wall_; Poetry, _over the window_; Philosophy, _in front_; and Jurisprudence, _on the right_. Representations of the Fall of Man, the Flaying of Marsyas, the Study of the Globe, the Judgment of Solomon, _on the ceiling_. _On the walls_ corresponding--the Dispute on the Sacrament, Mount Parnassus, the School of Athens (a portico crowded with philosophers, which gives its name to the room), Prudence, Fortitude, and Temperance.

THIRD ROOM.--_In front_, the Miraculous Expulsion of Heliodorus from the Temple; _on the right_, the Mass of Bolsena; _on the entry wall_, Attila driven back from Rome by Leo I.; _over the left window_, S. Peter's Release from Prison (notice the four different lights here). _The ceiling_ represents subjects from the Old Testament.

FOURTH ROOM.--_On the right_, Battle between Constantine and Maxentius at the Ponte Molle; _entry wall_, Baptism of Constantine; _left wall_, Rome presented by Constantine to Silvester; _in front_, the Cross appearing to Constantine (the dwarf is Gradasso da Norcia, from Berni's Poetry); _on the vault_, the pagan statue thrown down represents the Triumph of Faith, by Lauretti (notice the wonderful bit of perspective here); _on the right-hand corner, a door leads into the_ ANTICAMERA OF THE STANZE, originally painted by Raphael, restored by Carlo Maratta. _Out of this room is_

THE CHAPEL OF S. LORENZO.

The frescoes are by Fra Angelico, representing events in the lives of SS. Stephen and Laurence. _On the ceiling_ are the four Evangelists. It was built as the private chapel of Nicholas V., and is the oldest decorated portion of the Vatican. _We now pass into_

THE LOGGIE OF RAPHAEL,

_to the right on entering_.

"It is impossible either to execute or imagine a more beautiful work" (Vasari). It is called Raphael's Bible. It is divided into thirteen arcades, each containing four subjects of Scripture history--1. The Creation of the World, by Raphael; 2. History of Adam and Eve; 3. The History of Noah, by Giulio Romano; 4. Abraham and Lot; 5. History of Isaac, by Penni; 6. Jacob, by Pellegrino; 7. Joseph; 8. Moses, by Giulio Romano; 9. Moses, by Raffaello del Colle; 10. Joshua; 11. David, by Pierino del Vaga; 12. Solomon, by Pellegrino; 13. From the New Testament, by Giulio Romano. The stucco ornaments and arabesque work are by Giovanni da Udine, from Raphael's designs, who took the idea from the Golden House of Nero. The weather has very much damaged them. Pius IX. put the glass windows in.

_The other sides_ were built by Gregory XIII., and executed by Giovanni da Udine; they have recently been restored by Mantovani. _The farther one_, parallel with the Papal apartments, is where his holiness gives audience.

_A flight of stairs on the left leads to the_ Upper Loggia, painted with maps and landscapes. _Entrance to the Picture Gallery--ring the bell at the second door on the left of the Central Loggia._

THE PICTURE GALLERY.

(_The Pinacotheca._)

Formed by Pius VII. As the artist's name and the subject are painted on the frame of each picture (a hint some of the other galleries might adopt), it will be only necessary to mention the most important.

FIRST ROOM.--The Christian Mysteries, one of Raphael's earliest paintings; Faith, Hope, and Charity, three medallions, by Raphael; Doubting Thomas, by Guercino; Marriage of S. Catherine of Alexandria with the Infant Christ, by Murillo; Adoration of the Shepherds, by Murillo.

SECOND ROOM.--The Last Communion of S. Jerome, by Domenichino; Madonna di Foligno, by Raphael; The Transfiguration, Raphael's masterpiece.

THIRD ROOM.--S. Sebastian, by Titian; The Assumption of the Virgin, in two parts--the Crowning, by Giulio Romano, and the Apostles round the Tomb, by Francesco Penni; Virgin and Child, by Sassoferrato; The Entombment, by Caravaggio.

FOURTH ROOM.--S. Peter's Crucifixion, by Guido; Annunciation, by Baroccio; Christ Enthroned, by Correggio.

THE MOSAIC MANUFACTORY.

_Orders must be obtained from the Rev. Monsignor Fiorani, at the Sacristy._

_It is entered by a corridor from the ground floor at the left-hand corner of the Court of S. Damaso._ The mosaics in S. Peter's, S. Paul's, and other churches, were manufactured here. Some mosaics take a long time to execute, as great patience and art are required in blending the shades, &c., upwards of 27,000 different shades of the coloured _vetri_ being kept in stock.

A plate, generally of metal, of the required size, is first surrounded by a margin rising about three-quarters of an inch above the surface. A mastic cement, composed of powdered stone, lime, and linseed oil, is then spread over as a coating, perhaps a quarter of an inch in thickness. When set, this is again covered with plaster-of-Paris rising to a level with the margin, upon which is traced a very careful outline of the picture to be copied, and just so much as will admit of the insertion of the small pieces of smalto or glass is removed from time to time with a fine chisel. The workman then selects from the trays, in which are kept thousands of varieties of colour, a piece of the tint which he wants, and carefully brings it to the necessary shape. The piece is then moistened with a little cement, and bedded in a proper situation, the process being repeated until the picture is finished, when the whole, being ground down to an even face and polished, becomes an imperishable work of art. The process is the same for making the small mosaics so much employed at the present day for boxes, covers, or articles of jewellery, and this work is sometimes upon almost a microscopic scale. The Florentine mosaic, which is chiefly used for the decoration of altars and tombs, or for cabinets, tops of tables, coffers, and the like, is composed of precious materials, in small slices or veneers, and by taking advantage of the natural tints which characterize the marble, the agate, or the jasper, very admirable effects may be produced in imitation of fruits, flowers, or ornaments. The use of this kind of mosaic is extremely restricted, on account of the great value and expense, not only of the materials, but of the labour employed upon them. None but the hardest stones are used; every separate piece must be backed by thicker slices of slate or marble to obtain additional strength; and every minute portion must be ground until it exactly corresponds with the pattern previously cut.

THE VATICAN MUSEUM.

_Open every day from 9 till 3, except on Thursday and Saturday, when it is closed. Permission must be obtained of Monsignor Macchi, at his office in the Vatican, from 10 till 1. Each permit admits a party of five, and can only be used once._

_Entrance_ is obtained by going round to the back of S. Peter's, thus enabling us on our way to admire the vast proportions of the latter. The Vatican Museum was founded by Julius II., and consists of those objects of art that have been discovered, and which once graced the principal buildings of ancient Rome. At the entrance the new official English catalogue by Signor Massi, the conservator of the galleries, can be purchased; it gives a full account of the objects of art. In so vast a collection, we call attention to the principal works only.

_Entering on the left by the iron gates, filled in with glass, and ascending the marble stairs, we enter_

THE HALL OF THE GREEK CROSS.

In the centre of the floor is a splendid mosaic, found at the Villa of Cicero. A bust of Minerva forms the centre, around which are twelve planets and various phases of the moon. The outer circle (modern) is composed of masks and figures. The principal statues are 559 and 597, Augustus; 564, Lucius Verus; 565, Hercules; 574, Venus of Cnidos; 566, _left_, red porphyry Sarcophagus, which contained the remains of Constantia, the daughter of Constantine the Great; 589, _opposite_, generally attributed to Helena, the mother of the Christian emperor. (See page 327.) Before the door is a fine mosaic representing a faun watering a flower. At the foot of the stairs, by two sphinxes, is a beautiful basket of flowers in mosaic. _We now enter_

THE ROTUNDA.

Erected by Simonetti, by order of Pius VI. In the centre is a magnificent vase of red porphyry, 46 feet in circumference, found in the House of Nero. The large mosaic represents combats between Centaurs and Lapithæ, and nymphs carried on the backs of monsters; in the centre, under the vase, is the head of Medusa. The border represents the adventures of Ulysses, Neptune, and monsters. The principal statues are 537, 538, Tragedy and Comedy; 539, Bust of Jupiter; 540, Colossal statue of Antinoüs; 546, Statue of Ceres; 545, Bust of Antinoüs; 544, Hercules, in gilt bronze, found in 1864 during the restoration of the foundations of the Biscioni Palace, which occupies the site of the Theatre of Pompey, in the middle of which stood the Temple of Venus Victrix, which this statue adorned; 542, Colossal Juno; 547, Bust of Ocean; 548, Nerva, a seated statue crowned with bronze oak wreath; 550, The Emperor Claudius; 552, Juno; 553, The Genius of Augustus. _We now pass into_

THE HALL OF THE MUSES.

It contains statues of muses, busts of Greek philosophers, poets, and statesmen, all of which deserve special attention. _Left._ 525, Bust of Pericles; 524, Seated Statue of Sappho; 523, Bust of Aspasia. _Right._ 535, Mnemosyne, the mother of the muses; 511, Erato, muse of love song; 514, Bust of Socrates; 515, Calliope, muse of epic poetry; 516, Apollo, as leader of the muses; 517, Terpsichore, muse of dancing; 520, Euterpe, muse of melody. _Left._ 508, Polyhymnia, muse of sacred poetry; 505, Clio, muse of history; 506, Bust of Demosthenes; 504, Urania, muse of astronomy; 503, Thalia, comic and pastoral muse; 499, Melpomene, muse of tragedy. _Beyond, left._ 492, Sophocles; 491, Silenus; 490, Diogenes. _Right._ 498, Epicurus; 496, Homer. _Now pass into_

THE HALL OF THE ANIMALS.

The principal objects of interest are--124, Mithraic Sacrifice found at Ostia, in the temple dedicated to the worship of the Persian deity; 139, Commodus on Horseback; 143, Sleeping Shepherd; 228, Triton carrying off a Nereid. _We next enter_

THE GALLERY OF STATUES.

In the centre of the gallery is a magnificent bath of the finest Oriental alabaster. _Right-hand side on entering._ 248, Clodius Albinus, governor of Britain under Commodus; 250, Cupid, by Praxiteles, the "Genius of the Vatican;" 255, Paris; 259, Minerva as the Peace-bearer; 261, Penelope; 262, Caligula; 264, Apollo with the Lizard; 267, Drunken Faun; 270, Urania; 271, Posidippus, the master of Greek comedy. _Entrance to Hall of Busts_ (_see below_). 390, Menander; 391, Nero as Apollo; 392, Septimius Severus; 393, Dido; 394, Neptune; 396, Narcissus; 398, Macrinus; 399, Æsculapius and Hygeia; 401, Fragment of Hæmon and Antigone; 402, Seneca; 405, One of the fifty daughters of Danaus drawing water from Lethe; 406, Faun, repetition of Praxiteles. _Entrance on left to Cabinet of Masks._ 414, Sleeping Ariadne; 417, Mercury, by Ingenui; 420, Lucius Verus.

THE HALL OF BUSTS.

280, Augustus; 282, Cæsar; 285, Caracalla; 307, Saturn, colossal veiled head; 311, Menelaus; 326, Jupiter seated; 333, Crispina; 352, Livia as Piety, or Diana, or Surprise; 366, Scipio.

CABINET OF MASKS.

So called from the mosaic pavement found in Hadrian's Villa. The ceiling is by Domenico de Angelis, representing the marriage of Bacchus and Ariadne, Diana contemplating Endymion, Paris refusing Minerva the apple, Adonis and Venus. 427, Replica of the Venus of Cos, by Praxiteles. The head does not belong to this statue. 428, the Crouching Venus, a copy after Heliodorus, by Bupalus; 429, the Empress Sabina, Hadrian's wife, as Venus Genetrix, after Arcesilaus. The head and arms have been inserted in an older statue; 432, Faun in _rosso antico_; 433, Venus rising from the Sea, after Alcamenes; 436, Venus anointing herself, after Polycharmes; 441, Ganymedes; 442, Adonis.

_We now proceed to the Court of the Belvedere_, which is supported by sixteen columns, having a fountain in the centre. The court is adorned with baths, urns, sarcophagi, statues, columns, bas-reliefs, and medallions. The four corners of the court are occupied by cabinets _in the following order, commencing on the left_:--

MERCURY OF THE BELVEDERE.

A most valuable piece of antique Greek sculpture, found near the Baths of Titus in 1779. On the walls are bas-reliefs representing a combat between Amazons and Athenians, and a sacred procession; 56, Priapus, the god of orchards; 57, Hercules.

CANOVA'S CABINET.

It contains three splendid works by this great modern master: Perseus with the Head of Medusa; the Two Boxers, Kreugas (defence), Damoxenus (attack).

APOLLO BELVEDERE.

One of the finest masterpieces of ancient Greek sculpture, discovered at Porto d'Anzio towards the close of the fifteenth century--Apollo in the attitude of turning the army of the Gauls into stone, with the head of Medusa, B.C. 278, as we are informed by the inscription in bronze; it was restored erroneously. It is beautifully described by Byron in "Childe Harold."

CABINET OF THE LAOCOON.

Found in the Baths of Titus in 1506. Pliny (xxxvi. 4) thus describes it:--"A work which may be considered superior to all others both in painting and statuary. The whole group--the father, the boys, and the awful folds of the serpents--were formed out of a single block by Agesander, Polydorus, and Athenodorus, natives of Rhodes. Michael Angelo said, however, and it has since been proved, that it is in three pieces."

"Two serpents ... their destined way they take,
And to Laocoön and his children make:
And first around the tender boys they wind,
Then with their sharpened fangs their limbs and bodies grind.
The wretched father, running to their aid
With pious haste, but vain, they next invade;
Twice round his waist their winding volumes rolled,
And twice about his gasping throat they fold.
The priest thus doubly choked, their crests divide,
And towering o'er his head in triumph ride."
VIRGIL, "Æn.," ii. 209: DRYDEN.

_We now enter the_

ROOM OF THE MELEAGER,

the hero sung of by Greek and Latin poets. Found in the year 1500 outside the Porta Portese. 20, The Loves of Æneas and Dido; 17, Inscription relating to the foundation of the temple of Hercules Victor by the consul Mummius.

THE ROUND VESTIBULE.

In the centre is a basin of pavonazzetto; on the balcony a very rare ancient sun-dial, found in 1770 near the Colosseum. The view from here has given to this balcony the name

BELVEDERE.

It commands a beautiful panoramic scene of Rome and the Campagna, bounded by the distant Alban and Sabine Hills.

VESTIBULE.

The gray peperino sarcophagus was discovered in the tomb of the Scipios on the Via Appia in 1780. It contained the remains of Scipio Barbatus. When it was opened, two thousand years after his death, the skeleton was found entire, with a ring upon one of the fingers. The ring passed into the hands of the Earl of Beverley, and the bones were removed to Padua by the Venetian senator, Angelo Quirini. On the wall are inscriptions found in the tomb. A bust of the poet Ennius surmounts the sarcophagus.

THE TORSO

of Hercules. The work of Apollonius, son of Nestor of Athens. Found near the Theatre of Pompey. It is considered to be the most perfect resemblance to human flesh, and was greatly admired by Raphael and Michael Angelo, the latter declaring that he was its pupil. _Descending the stairs we reach_

THE CHIARAMONTI CORRIDOR,

containing numerous monuments of Greek and Roman art. _On the left going down._ 733, Recumbent Statue of Hercules; 683, Hygeia; 682, Antoninus Pius; 681, Minerva; 635, Hercules with Ajax, found near Pompey's Theatre; 589, Mercury; 588, Group of Bacchus and Ampelus; 544, Silenus; 495, A Cupid, by Praxiteles; 494, Tiberius; 493, Diadumenianus; 450, Mercury; 422, Bust of Demosthenes; 419-417, Busts of Caius and Lucius, nephews of Augustus; 418, Julia, his daughter; 416, Augustus as a Youth; 401, Colossal Head of Augustus; 400, Tiberius; 399, Head of Tiberius; 353, Nymph on a Rock; 294, Hercules Resting; 262, A Smiling Child; 242, Apollo Citharœdus; 241, Juno suckling Mars; 240, Britannicus; 197, Minerva, with modern helmet and enamelled eyes; 177, Polyhymnia; 175, Niobe in Flight from Diana; 122, Diana; 121, Clio, the historical muse and guardian of truth; 120, Priestess of Vesta; 85, The God of Sleep; 62, Hygeia, the goddess of health; 61, Urania; 15, A consular statue; 6, Autumn.--_Gates to Corridor of Inscriptions._--_Returning._ 13, Winter; 19, Paris; 18, Apollo; 17, A Faun. _Entrance to the Nuovo Braccio._ 112, Venus of Cnidos; 124, Drusus; 181, Hecate; 179, Myth of Alcestis; 245, Polyhymnia; 244, Ocean; 287, Sleeping Fisher Boy; 298, Bacchus; 297, Athlete; 343_a_, Brutus who stabbed Cæsar; 355-357, Figures found at Tusculum; 358, Captive; 453, Meleager; 498, Clotho; 497, Sarcophagus, with Corn-mills; 484, Diana; 547, Isis; 548, a Vestal; 580, Præfica; 591, Claudius; 627, Venus and Mars; 639, Julia Lœmia; 686, Tuccia, the vestal virgin, carrying water in a sieve from the Tiber to the Forum. (See Dionysius, ii. 69.) On the border is S. K. Pello, "By this proof a sepulchre and a calumny are removed from me." 685, Sarcophagus, representing the manufacture of oil; 684, Æsculapius.

THE NUOVO BRACCIO.

Built by Pius VII., in 1817, from the designs of Stern. The floor is composed of ancient mosaics, and is worthy of notice. The chief objects of interest are--5, Caryatide, supposed to be one of those which supported the portico of the Pandrosium at Athens, by Phidias; 8, Commodus; 9, Captive Dacian King; 11, Silenus; 14, Augustus, found in 1863 in the ruins of the Villa of Livia at Prima Porta; 17, Æsculapius; 20, Nerva; 23, Pudicitia, the goddess of modesty; 26, Titus; 92, Ganymedes, the cup-bearer of Jupiter; 44, Wounded Amazon; 47, Caryatide; 50, Diana; 53, Euripides; 56, Julia, daughter of Titus; 59, Plenty; 62, Demosthenes; 67, Athlete in the act of cleaning his arm with a strigil--the die, which he holds in his other hand, is an erroneous modern addition; 71, Amazon; 74, Clemency; 77, Antonia, the wife of Drusus the elder; 80, Plotina, wife of Trajan; 83, Ceres; 86, Fortune; 96, A. Marcus Antonius; 109, The Nile--the sixteen children are allegorical of the sixteen cubits at which the rise of the river begins to irrigate the land--one of the finest works of art in the Vatican, found near the Church of Minerva; 111, Julia, daughter of Titus; 114, Minerva; 117, Claudius; 120, Faun; 123, Lucius Verus; 126, Athlete; 129, Domitian; 132, Mercury. _Passing through the iron gates, we enter_

THE CORRIDOR OF INSCRIPTIONS,

the walls of which are adorned with three thousand pagan and eleven hundred Christian inscriptions brought from various catacombs and cemeteries. _Retracing our way through the Museum, a glass door on the right at the entrance of the Museum conducts us to_

THE LIBRARY.

_Ask the Custodian; fee, 50 cents each._

It was founded by Sixtus V., and contains 120,000 volumes, of which 25,000 are manuscripts. The magnificent great hall is 220 feet long, and contains many objects of interest, notably two fine candelabra of Sèvres china presented to Pius VII. by Napoleon I.; a vase of malachite and another of immense size, presented by Prince Demidoff; two vases of Meissen porcelain, presented by the Emperor of Germany; a large vase of porcelain china, presented by Napoleon III. to Pius IX. after it had been used as the font in the baptism of the Prince Imperial; a beautiful basin of Aberdeen granite, presented by the Duke of Northumberland.

THE CHRISTIAN MUSEUM.

The contents comprise a collection of lamps, glass vessels, gems, &c., found in the Catacombs. In the room beyond is a very interesting collection of Byzantine and medieval Italian paintings, a Russian calendar, and other interesting objects. At the end of this vista of rooms is a full-length seated portrait of Pius IX., painted on glass at Aix-la-Chapelle.

_N.B.--The following collections at the Vatican are open only on Thursdays from nine till three; special permission is required._

THE EGYPTIAN MUSEUM.

Formed by Gregory XVI. from Egypt, and from Egyptian remains dispersed in the several museums of Rome. It comprises a hall of monuments, hall of the imitations executed by Roman and Greek artists, and several cabinets containing many interesting objects.

_Ascending the stairs we reach, on the right_,

THE HALL OF THE BIGA,

adorned with several beautiful works of ancient art, the principal of which is the Biga or chariot, only the body of which is ancient. The Biga for a long time served as an episcopal throne in the Church of S. Mark in Rome. The torso of the right horse was a gift of Prince Borghese; the additions and restorations are by Franzoni. No. 611, Alcibiades, after Nycerates; 615, Discobolus, after Naukides; 616, Phocion; 618, Discobolus, after Myron. _The long corridor is called_

THE GALLERY OF THE CANDELABRA,

and is divided into six compartments, containing cups, vases, sarcophagi, statues, candelabra, &c. It has recently been restored by Leo XIII., the floors and ceilings being masterpieces of modern art. The most important objects of interest are: 19, a Child Playing at _Capita et Navim_ (heads or tails); 74, Faun Extracting a Thorn from a Satyr's Foot; 81, Diana of Ephesus--her sixteen breasts signify the sixteen cubits at which the Nile overflows; the various half figures of sphinxes, lions, bulls, stags, bees, and flowers are her attributes as the nurse of all things living; the disk ornament refers to the sun; the four seasons, the signs of the zodiac, and a necklace of acorns adorn her neck: the statue was found at Hadrian's Villa. 88, Mercury seated amidst his Symbols; 134_a_, a Well Head; 134_c_, statue of the Sabine God Semoni Sanco, found in 1879 on the slopes of the Quirinal Hill, presented by Leo XIII.; 134_b_, Well Head; 135, seated statuette of Sophocles; 177, an Old Fisherman; 183, Saturn (rare); 184, Personification of Antioch on the Orontes, by Eutychides; 222, a Spartan Virgin Racer, earlier art than that of Phidias; 231, Actor, with mask; 257, Ganymede and the Eagle. _Returning_--269, a Warrior; 194, Child and Swan; 204, sarcophagus representing Diana and Apollo Shooting at the Niobides; 149_a_, Somnus (Sleep); 148, a Faun Carrying the Infant Bacchus; 118_a_, the Eagle carrying off Ganymede, a replica of the bronze original, by Leochares; 112, sarcophagus illustrating the Story of Protesilaus and Laodamia. This should be compared with the relief, No. 269, in the Gallery of Statues. On the sides are the myths of Ixion, Sisiphus, and Tantalus. 52, a Drunken Faun, in green basalt.

THE GALLERY OF TAPESTRIES

contains copies of Raphael's cartoons which are at the South Kensington Museum: they were woven in Flanders by order of Leo X. to adorn the Sixtine Chapel. _Right side going down._ Our Saviour giving the Keys to Peter--_the border_ represents the Medici fleeing from Florence; Peter healing the Man at the Beautiful Gate of the Temple--_border_, Cardinal Medici at the Battle of Ravenna; Conversion of Saul--_border_, the Taking of Prato in 1512; in three pieces, Slaughter of the Innocents; The Resurrection; Stoning of Stephen--_border_, Cardinal Medici entering Florence, allegorical of the Papal power; the Earthquake during Paul's imprisonment at Philippi. _Right in returning._ Descent of the Holy Ghost; Adoration of the Wise Men; Our Lord's Ascension; Adoration of the Shepherds; The Presentation in the Temple; Christ as the Gardener; Scenes from our Lord's Passion; _small_, Paul on Mars' Hill--_border_, Scenes from the Acts; Paul and Barnabas at Lystra--_border_, Scenes from the Life of Paul; Miraculous Draught of Fishes; Death of Ananias--_border_, Faith, Hope, and Charity.

_Retracing our way through the Gallery of the Candelabra, a small flight of steps at the end leads to a balcony where there is a good view of the lower halls. On the right is the entrance to_

THE ETRUSCAN MUSEUM,

which contains various works of art brought from the ancient towns of Etruria and Magna Græcia. These works are generally mixed up in the Roman museums.

FIRST ROOM.--Three terra-cotta sarcophagi, with reclining figures on the covers; two horses' heads in tufa from Vulci.

SECOND ROOM.--Cinerary urns from Volterra, in Volterra alabaster.

THIRD ROOM.--A large peperino sarcophagus, found at Corneto, the ancient Tarquinii: an Etruscan king-priest, _Lucumo_, reclines upon it, and on its sides are Greek myths. A travertine slab, with a Latin and Umbrian inscription, from Todi; frieze of terra-cotta from Cervetri. In the corners of the room cinerary urns, found beneath a volcanic stratum between Albano and Marino: they are in the form of huts, and still contain ashes.

FOURTH ROOM.--A Roman Mercury in terra-cotta, found at Tivoli; a wounded youth reclining on a couch, generally called Adonis.

FIFTH, SIXTH, SEVENTH, and EIGHTH ROOMS contain terra-cotta vases, glass beads, and ornaments.

NINTH ROOM (_entered from Sixth Room_).--Hall of bronzes and jewellery; a bronze statue of a warrior, found at Todi in 1835; shields, arrows, helmets, spurs, mirrors, &c.; a funeral bier from Cære; a bronze child with a bulla, supposed to represent Tages, the boy-god who sprang from a clod of earth at Tarquinii; a Roman war-chariot, found at the Villa of the Quintilii on the Appian Way; bronze toilet-cases (_cista mistica_); brazier with tongs on wheels; a rake with a hand for its handle; shovel--two swans bearing a boy and a girl form the handle. _In the centre of the hall_, Jewel-case of objects found in the tomb of _Mi Larthial_ ("I, the great lady") and of an Etruscan priest at Cervetri (Cære), from which town and its customs we get the word "ceremony."

TENTH ROOM.--Bronze figure of a boy; and Roman lead pipes.

ELEVENTH ROOM.--Copies of the frescoes found in the tombs at Vulci and Tarquinii; Etruscan vases.

TWELFTH ROOM.--Imitation Tomb, with genuine peperino lions.

THE INQUISITION.

Returning from the Museum, on reaching the colonnade of S. Peter's, _turn off to the right_, through the middle of the colonnade. Opposite is the Palazzo del S. Uffizio,--the Inquisition, which was established here in 1536, and abolished by the Roman Republic in 1849. It is now used as a barrack, and the Inquisition holds its meetings in the Vatican.

Passing at the back of the columns into the Borgo S. Michaele, and _turning to the right_, we enter the Borgo S. Spirito. _On the left_ is the fine tower of the Church of S. Michaele in Sassia, in which Raphael Mengs is buried. This name, Sassia, commemorates the Saxon settlement founded in 727, and the word "borgo" comes from the Saxon "burgh." _Beyond is_

THE PORTA S. SPIRITO,

a massive gateway built by San Gallo in the walls erected by Leo IV. round S. Peter's and the Vatican, whence the district inside is called the Leonine City. _Outside the gate a steep ascent leads up to_

S. ONOFRIO--TASSO'S TOMB.

This convent is for ever memorable in the history of Italian literature as the place where Tasso died. The adjoining church, called Girolmini, or Brothers of S. Jerome, built for the use of the monks, was erected in 1429 A.D., during the reign of Eugene IV. Tasso, summoned to the Capitol to be crowned there as king of bards, died in 1595, a short time after his arrival in Rome. He was buried in the church without much ceremony, and his remains lay undisturbed in a simple tomb on the left of the entrance until the year 1857, when they were transferred to a chapel in the church expressly built for their reception at the public expense. A fine statue of the poet by Fabris is shown. In the convent garden is a tree called Tasso's Oak, under which the author of "Jerusalem Delivered" used to sit in pious meditation. The view of Rome and of the Sabine and Alban Hills, with Soracte in the distance, is magnificent. The fresco of the Virgin and Child over the door of the church, and three paintings under the portico illustrating the life of S. Jerome, are the work of Domenichino. In the convent is a Virgin and Child by Leonardo da Vinci; and in the same building are preserved several relics of Tasso, in the room where he died--his crucifix, his inkstand, and the leaden coffin in which his bones reposed for two hundred and sixty-two years--namely, till the time of his second burial. Two other distinguished men were buried in S. Onofrio--Guidi, the poet, and Cardinal Mezzofanti, the famous linguist.

_At the bottom of the ascent, turn to the right, down the Via Lungara. Some little distance down on the right is the_

PALAZZO DEI LINCEI.

(_Formerly Corsini._)

_Open Monday, Thursday, and Saturday, from 9 to 3._

As this palace, now the home of the Academy of the Lincei, is again open to the public, and as the paintings were generously presented by Prince Corsini to the city of Rome, it may be of advantage to visitors in Rome if we enumerate the paintings most worth inspection. At the same time we would inform our readers that there are full catalogues, on cards, in Italian and French in each room.

FIRST ROOM.--_In glass case on stand at window_, Birth of Christ, by Batoni; 6, Sacred Family, by Barocci; 23, S. Catherine of Sienna, by Zobole.

SECOND ROOM.--_In glass case on stand at first window_, Mater Dolorosa, by Guido Reni. _In second window_, Madonna and Infant Jesus, by Carlo Dolci; 11 and 27, Fruit, by Mario di Fiori; 15, a Landscape, by Poussin; 20, Pietà, by Caracci; 41, Andrea Corsini, by Gessi, copied in mosaic in the Corsini Chapel in S. John's Lateran.

THIRD ROOM.--89, Ecce Homo, by Guido Reni; 1, Ecce Homo, by Guercino; 9, Madonna, by Sarto; 10, Birth of the Virgin, by Caracci; 15, Madonna, by Sarto; 17, Madonna, by Caravaggio; 21, Virgin and Child, by Vandyck; 22, The Players, by Rubens; 23, Sunset, by Botti; 26, Sacred Family, by Fra Bartolomeo; 27, Peter Paying the Tribute Money, by Caravaggio; 33, Flight into Egypt, by Perugino; 36, Holy Family, by Garofalo; 40, The Sleep of Jacob, by Massow; 44, Julius II., by Raphael; 45, Birth of the Virgin, by Berettini of Cortone. _Under glass in last window_, a Hare, by Albert Durer; 55, Butcher's Shop, by Teniers; 82, John the Baptist, by Carlo Maratta; 88, Ecce Homo, by Carlo Dolci.

FOURTH ROOM.--_In the centre_, an ancient marble chair, with low reliefs, found at the Lateran. 1, Ancient mosaic, a Man Binding Bulls; 4, Cupid Asleep, by Guido; 11, The Daughter of Herodias, by Guido; 16, Madonna, by Guido; 20, The Baptist, by Guercino; 31, Peter and Agata, by Lanfranco; 33, Death of S. Stephen, by Domenichino; 40, Faustina Maratta, by Carlo Maratta; 41, the Fornarina, by Giulio Romano, after Raphael; 42, an Old Man, by Guido; 43, Holy Family, by Carlo Maratta; 45, Magdalen, by Carlo Dolci.

FIFTH ROOM.--8, The Annunciation, by Michael Angelo--one of his few easel pictures; 12, S. Agnese, by Carlo Dolci; 16, The Sacred Family, by Schidone; 21, Madonna, by Carlo Maratta; 22, Marriage of S. Caterina, by Domenichino; 24, Christ at the Well, by Guercino; 26, Madonna, by Sassoferrato; 29, Madonna and Infant, by Guercino; 32-40, Annunciation, by Guercino; 34, The Forum Romanum, by Pannini; 38, Ecce Homo, by Guido; 39, S. John, by Guido.

SIXTH ROOM.--21, The Children of Charles V., by Titian; 22, a Woman, by Rembrandt; 37, Mrs. Martin Luther, by Holbein; 31, Martin Luther, by Holbein; 47, Rubens's Portrait, by himself; 50, Cardinal Farnese, by Titian.

SEVENTH ROOM.--11, Landscape, by Poussin; 15, S. Sebastian, by Rubens; 19-27, Annunciation, by Carlo Maratta; 21, The Dispute, by Giordano; 23, 24, Last Judgment and Ascension, by Fra Angelico; 30, "Let him who is without sin cast the first stone," by Titian; 42, Magdalen, by Franceschini.

EIGHTH ROOM.--2, Sacred Family, by Francia; 8, Christ before Pilate, by Vandyck; 9, The Baptist, by Caravaggio; 12, St. George and the Dragon, by Grandi; 13, Contemplation, by Guido; 15, Landscape, by Poussin; 16, a Sea Piece, by Salvator Rosa; 18, Susanna, by Domenichino; 19, Seneca Dying in the Bath, by Caravaggio; 24, S. Jerome, by Guercino; 29, Christ in the Garden, by Correggio; 32, Peter Raising Tabitha, by Placide Costanzi, copied in mosaic in S. Peter's; 37, Woman and Child, by Murillo.

NINTH ROOM.--2, Village Interior, by Teniers; 9, Triumph of Ovid, by Velasquez; 10, an Old Man Reading, by Guido; 12, Prometheus, by Salvator Rosa; 58, Death of S. Joseph, by Giuseppe del Sole. _Opposite is_

THE FARNESINA PALACE.

_Open on the 1st and 15th of the month._

It contains the famous frescoes of Raphael. On the ceiling of the first room that of the fable of Cupid and Psyche, designed by Raphael, and painted by Giulio Romano. This charming fable is described by Kugler in his "Handbook on the Italian Painters."

_Commencing on the left_, the first is Venus ordering Cupid to punish Psyche; second, Cupid showing Psyche to the Three Graces; third, Juno and Ceres pleading for Psyche; fourth, Venus in her Car going to claim the interference of Jupiter; fifth, Venus pleading before Jupiter; sixth, Mercury flying to execute the Order of Jupiter; seventh, Psyche with the Vase of Beauty-Paint given by Proserpine to appease Venus; eighth, Psyche giving the Vase to Venus; ninth, Cupid complaining to Jupiter; tenth, Mercury taking Psyche to Olympus. _On the vault_, Council of the Gods, by Giulio Romano; Banquet of the Gods, on the Marriage of Cupid, by Francesco Penni. _On the wall of the second room_, Raphael's Galatea; on the ceiling, Diana in her Car drawn by Oxen, by Peruzzi, and the fable of Medusa, by D. Volterra. The landscapes are by Poussin.

On the opposite side of the street, just beyond the Corsini Palace entrance, in the Vicolo Stalle d'Corsini, is the

TORLONIA MUSEUM.

(_Museo Torlonia._)

_Permission must be obtained from Prince Torlonia. Written application should be made to the prince at his palace in the Piazza di Venezia._

A full catalogue of the Torlonia Museum has been written and printed by Signor P. E. Visconti. Copies are lent for the use of visitors. This grand collection of sculptures has been in course of formation by Prince Torlonia during many years. Some of the objects were found on his own property, others have been purchased by him, and many of the most valuable works formerly belonged to the Mosca, Cambral, Giustiniani, Ruspoli, and Randanini collections. As containing works of art, it ranks next to the Vatican collection, and is the finest private gallery in the world.

Amongst so many valuable and beautiful works of art it is almost impossible to say what the casual observer should more particularly notice. A day may be well and profitably spent amongst this admirable collection. The lover of art will gain every information from Visconti's excellent catalogue, whilst ordinary visitors can stroll through and consult it for those objects which strike them most. Venuses, the Muses, gods and goddesses, heroes and tales of mythology, the emperors and their wives,--all are amply illustrated here. Many of the objects are unique, and as there is such a good printed catalogue lent, it is unnecessary for us to enumerate the different objects.

_Continuing down the Via Lungara, at a short distance is_

THE PORTA SETTIMIANA,

said to have been an archway leading into a villa of Septimius Severus. It was incorporated by Aurelian into the line of his walls, and fortified by Honorius. Passing under the arch, the VIA GARIBALDI _on the right_ leads to the garden-crowned height of

S. PIETRO IN MONTORIO,

which commands a magnificent view of Rome, its surroundings, and the windings of the Tiber. The church was erected by Ferdinand and Isabella of Spain, and is still under the protection of the crowned head of Spain. In the court of the monastery is a small temple formed of sixteen Doric columns, said to be erected over the spot where the cross on which S. Peter was executed stood. Raphael's Transfiguration was painted for this church, whence it was taken by the French to adorn the Louvre. On its restoration to the Papal authorities it was placed in the Vatican. The tomb of Beatrice Cenci is to our left of the high altar, but no name is recorded on the stone. The new Spanish Academy adjoins the church.

MARTIAL'S VILLA.

The Government has recently acquired and thrown open to the public these grounds, known as the Corsini Villa, which for its view is one of the most charming sites in Europe, formerly the villa of Julius Martialis described by his nephew ("Ep." iv. 64):--

"The few acres of Julius Martial,
More blest than the Hesperides' gardens,
Lie on the long ridge of the Janiculum.

* * * * *

It is possible hence to see the seven ruling mounts,[8]
And to estimate all Rome,--
The Alban hills, and those of Tusculum;
And whatsoever cool shade lies under the city;
Old Fidenæ,[9] and little Ruba;[10]
And, that which delights in virgins' blood,
The apple-bearing grove of Anna Perenna.[11]
From thence, on the Flaminian and Salarian ways,[12]
The rider is manifest, his chariot-wheels being silent,
Whose gentle sleep may not be molested,
Neither to break it by nautical shouts,
Nor the clamour of the vigorous bargee,
Although the Mulvian bridge[13] may be so near,
And keels glide swiftly on the Sacred Tiber."

THE JANICULUM.

The long narrow ridge which commands Rome on its western side took its name from Janus (Virgil, "Æn." vii. 358), but, although fortified by Ancus Martius, was not reckoned in the city. It was sometimes called Mons Aureus, from the golden colour of its sandy soil. From the fort on the summit a flag flying denoted that all was well; but if the flag was hauled down, the enemy were in view. It was this fort that Lars Porsena seized when Horatius defended the bridge below.

_Above the church of S. Pietro in Montorio is_

THE PAULINE FOUNTAIN,

(_Fontana Paolina_,)

supplied by the ancient Aqua Trajana, which has its source in the Lago di Bracciano, thirty-five miles from Rome. The fountain was built out of the remains of the Temple of Minerva which stood in the Forum of Domitian. _The road through the_ PORTA S. PANCRAZIO _leads to the_

VILLA PAMPHILI DORIA.

_Open on Monday and Friday afternoons; one-horse carriages not admitted._

The villa--the most extensive and delightful of the Roman villas, abounding in avenues and woods, fountains and cascades--is situated on the summit of the Janiculum, it is supposed upon the site of a villa of Galba. From the ilex-fringed terrace there is one of the best views of S. Peter's; a lake supporting swans; a temple to the slain amongst the besiegers of Rome in 1849--all of which must be seen to be appreciated. "Galba was buried in his gardens, which are situated on the Aurelian Way, not far from the city" (Eutropius, vii. 16).

_Re-entering the city, and descending the hill by the new road, thence by the Via delle Fratte, we reach the_

CHURCH OF S. CECILIA,

originally the house of the saint. To the right, on entering, is the tomb of Adam Hereford, Bishop of London, who died in 1398. The second chapel on the right is said to have been the bath-room, and pipes may still be seen in the wall. Beneath the high altar is the statue of S. Cecilia, representing her body as found in the Catacombs of S. Calixtus, "not lying upon the back, like a body in a tomb, but upon its right side, like a virgin in her bed, with her knees modestly drawn together, and offering the appearance of sleep." A golden circlet conceals the wound in her throat that caused her death. The inscription is as follows: "Behold the body of the most holy virgin Cecilia, whom I myself saw lying incorrupt in her tomb. I have in this marble expressed for thee the same saint in the very same posture of body.--Stefano Maderno." Thus, when Cardinal Sfondrati restored the church, in 1599, was the body found in her tomb just as it had been deposited there eight hundred years before, after being found in the Catacombs by Paschal I. (See page 290.)

_By the Via de Vascellari and Via Lungaretta we reach the_

CHURCH OF S. CHRISOGONO.

Founded by Pope Sylvester, and rebuilt 1623. It has a fine old _opus Alexandrinum_ pavement, and the aisles are formed by twenty-two columns, two in porphyry supporting the arch. A mosaic in the tribune represents the Madonna and Child enthroned between SS. James and Chrisogono. The ceiling was painted by Arpino. _On the left of the piazza is the small street_, MONTE DI FIORE, _in which is the_

STAZIONE VII COHORTI DEI VIGILI

(Roman firemen), remodelled and formed into seven watches by Augustus. The building was discovered in 1866. _The custodian conducts the visitor over, fee half a franc._ Descending the stairs we enter a mosaic paved courtyard, with a well in the centre, and on the right a small altar with mural paintings. There are several other chambers, and a bath, with numerous inscriptions on the walls scratched by the firemen during their idle moments.

_Going down the_ VIA LUNGARETTA, _we enter the_ PIAZZA OF S. MARIA, in which are a fine fountain and the

CHURCH OF S. MARIA.

The façade is covered with mosaics representing the Virgin and Child enthroned, surrounded by ten virgins, and on either side the figure of a bishop (Innocent II. and Eugenius III.); above this are palms, the twelve sheep, and the mystic cities, and our Lord enthroned between angels. The interior contains twenty-two columns. The Assumption, on the ceiling, is by Domenichino. Beneath the high altar are the remains of five early popes. In the upper part of the tribune are mosaics of the Saviour and a female figure (representing the Church, the bride of Christ, and not the Virgin, as is generally said) seated on thrones; beneath are lambs, and representations from the life of the Virgin.

_Leaving the church, and going down the_ VIA DELLA SCALA, _hence turning to the right into the Via di Ponte Sisto_, the house on the left, a baker's shop, with Gothic upper windows, was the HOUSE OF RAPHAEL'S FORNARINA. RAPHAEL'S HOUSE was at No. 124 Via dei Coronari, near the S. Angelo Bridge. _A short distance, and we reach_

THE PONTE SISTO.

The present bridge was built by Pope Sixtus IV., who laid the foundation stone, April 29, 1473, on the site of an older bridge which was destroyed in the flood of A.D. 792, it having been built by Symmachus, prefect of Rome under Valentinian (A.D. 365), "under whose government the most sacred city enjoyed peace and plenty in an unusual degree; being also adorned with a magnificent and solid bridge which he constructed, and opened amid the great joy of his ungrateful fellow-citizens" (Ammianus Marcellinus, xxvii. iii. 3). In 1878, in making the new embankment for the Tiber, the remains of the left arch were found at the bottom of the river, upon which was part of the inscription, one foot seven inches high--VALENTINIAN. Pedestals which formed part of the decorations were also found, and part of an inscription--VALENTINIANI AU COSTI. At the Campus Martius end was a triumphal arch dedicated to Valens and Valentiniani--

DEDICANDI . OPERIS . HONORE . DELATO . INDICIO . PRINCIPUM .
MAXIMORUM . LUCIO . AURELIO . AVIANIO . SYMMACHO . VIRO .
CLARISSIMO . EX . PREFECTIS . URBI.

Remains of a bronze statue were also found.

The Via Giulia, _on the left_, and the Via Mascherone, _on the right, lead to_

THE FARNESE PALACE.

In the piazza are two fountains, the granite basins of which were found in the baths of Caracalla. The palace is not now to be visited, as it is occupied by the French Embassy. Its architecture is more admired than that of any other palace in Rome; it was built by Pope Paul III. with materials taken from the Colosseum. Its rooms are adorned with frescoes of Annibale Caracci, his finest works, consisting of mythological subjects. The centre piece represents the Triumph of Bacchus and Ariadne.

Opening out of the square is the PIAZZA CAMPO DI FIORE. Here every Wednesday is held a fair of curiosities, &c. _At the left corner is_

THE CANCELLERIA PALACE,

(_Palazzo della Cancelleria_,)

one of the finest palaces in Rome, built out of the travertine taken from the Colosseum: the forty-four red granite columns which support the portico came from Pompey's Theatre. At the foot of the staircase Count Rossi was assassinated in November 1848.

Adjoining the palace is the CHURCH OF SS. LORENZO E DAMASO, lately restored. _A short lane, Vicolo Regis, leads to the Braschi Palace, at the side of which is_

THE STATUE OF PASQUINO,

a mutilated torso found here in the sixteenth century. It took its name from Pasquino, a tailor, who lived opposite, and whose shop was the rendezvous of the wits of the city, who wrote their jokes and stuck them on the statue: these were replied to by the statue of Marforio, now in the Capitol Museum.

Some of Pasquino's sayings were very witty, and have been published. Now, under a free government, he seldom speaks.

PASQUINO'S REPLIES IN REFERENCE TO THE

What the barbarians did Barberini family having
not, the Barberini have done. destroyed the antiquities.

Public, thou liest; they Inscription put up over
were not public vows, but the door of the Sacristy
were vows of thy vain of S. Peter's.
despotism.

Canova has this time made Statue of Italy by Canova
a mistake: he has clothed exhibited during the French
Italy, and she is stripped. invasion.

The Most High above sends Some decrees of Napoleon's,
us the tempest; the most and a severe storm which
high below takes from us visited the city.
that which remains; and
between the two most highs
we are very badly off.

The French are all rogues; French occupation of Rome.
not all--but a good part of
them (Buona parte).

_Pasquino._ Beware, Cæsar, Marriage of a man named
lest thy Rome become a Cæsar to a girl named Roma.
republic.

_Cæsar._ Cæsar governs.

_Pasquino._ Therefore he
will be crowned.

A heretic had the Appointment of the
preference; after him, a librarians of the Vatican.
schismatic; but now there
is a Turk. Good-bye, Peter's
Library!

_The Via del Governo Vecchio leads to the_

CHURCH OF S. MARIA IN VALLICELLA,

(_La Chiesa Nuova_,)

containing three paintings by Rubens; they are at the high altar.

_From the Statue of Pasquino, by the side of the Braschi Palace, we enter the_

CIRCO AGONALE,

one of the finest squares in Rome, sometimes called Piazza Navona. It takes its name from being the site of the Circus Agonalis. _Fêtes_ are held here during Carnival, and a fair at the Epiphany.

Notice the three fountains--the centre one by Bernini: four figures, representing four rivers, recline on a craggy rock; on its top stands an Egyptian obelisk, at its base a lion and a sea-horse.

THE OBELISK.

This, from the inscription, was either made for, or the inscription was added to and imitated by, Domitian:--"Sun god. Son of the Sun god. Supporter of the world. Giver of life to the world. The man-god Horus. The son of the woman Isis, who is come to avenge the death of his ancestor Osiris. The king living for ever, Domitianus." From his Alban Villa, where it originally stood, it was transported, in A.D. 311, to the spina of the Circus of Maxentius on the Via Appia, thence to its present site.

_On the left is_

THE CHURCH OF S. AGNESE,

said to have been built on the site where S. Agnes was exposed after her torture; the high altar in the subterranean chapel is said to stand on the very spot. In another part is shown her prison, and where she was beheaded and burned, the church occupying the side vaults of the circus. The upper church contains eight columns of red Cortanella marble; it is ornamented with stuccoes, statues, alto-reliefs, and pictures. Behind the high altar is the sepulchral chapel of Princess Mary Talbot, wife of Prince Doria, who died in 1857.

_A street on the left leads to the_

CHURCH OF S. MARIA DELLA PACE,

containing Raphael's Sibyls--the Cumæan, Persian, Phrygian, Tiburtine--on the face of the arch in the first chapel on the right.

Some statues in the Cesi Chapel were worked from pilasters found behind the Palace dei Conservatori, on the Capitol, from the Temple of Juno.

_From the right of the Circo Agonale a street leads to the_

CHURCH OF S. AGOSTINO.

It contains a fresco by Raphael, on the third pilaster to the left in entering,--Isaiah and two angels holding a tablet; also a favourite statue of the Virgin and Child, by Andrea Sansavino.

FOOTNOTES:

[7] "And he buried him in a valley in the land of Moab, over against Beth-peor: but no man knoweth of his sepulchre unto this day" (Deut. xxxiv. 6). "Yet Michael the archangel, _when_ contending with the devil he _disputed about_ the body of Moses" (Jude 9).

[8] The hills of Rome. She ruled the world.

[9] Five miles on the Salarian Way.

[10] Sax Ruba, eight miles on the Flaminian Way.

[11] On the Ides of May a popular carousal was held to this goddess, on the fields of Aqua Acetosa, by the banks of the Tiber, whereat many were espoused. (See Ovid, "F." iii. 523.)

[12] Northern roads, one on either side of the Tiber.

[13] Now Ponte Molle.

RAMBLE III.

VIA RIPETTA -- MAUSOLEUM OF AUGUSTUS -- THE CAMPUS MARTIUS
-- THE BORGHESE GALLERY -- HILDA'S TOWER -- THE PANTHEON
-- BATHS OF AGRIPPA -- S. MARIA SOPRA MINERVA -- COLLEGIO
ROMANO -- KIRCHERIAN AND PRE-HISTORIC MUSEUMS -- "THE
GESU" -- TEMPLE OF HERCULES -- THE CAPITOLINE HILL -- ARA
CŒLI CHURCH -- TEMPLES OF JUPITER CAPITOLINUS AND
JUPITER FERETRIUS -- THE TARPEIAN ROCK -- TEMPLES OF
CONCORD AND JUNO -- THE TABULARIUM -- ROME FROM THE TOWER
-- THE SEVEN HILLS -- MUSEUMS AND PICTURE GALLERY OF THE
CAPITOL -- THEATRE OF MARCELLUS -- DECEMVIRAL PRISONS --
PORTICO OF OCTAVIA -- THE GHETTO -- CENCI PALACE --
THEATRE OF BALBUS -- POMPEY'S THEATRE -- CÆSAR'S DEATH --
STATUE OF POMPEY -- SPADA PALACE -- S. PAUL'S HIRED HOUSE
-- FABRICIAN BRIDGE -- ISLAND OF THE TIBER -- PONS CESTIUS
-- TEMPLES OF JUNO, PIETY, AND HOPE -- HOUSE OF RIENZI --
PONTE ROTTO -- HORATIUS'S BRIDGE -- TEMPLE OF PATRICIAN
CHASTITY -- ROUND TEMPLE OF HERCULES -- S. MARIA IN
COSMEDIN -- EMPORIUM -- MONS TESTACCIO -- PROTESTANT
CEMETERY -- THE AVENTINE HILL -- CHURCHES OF IL PRIORATO,
SS. ALEXIUS, SABINA, PRISCA, SABA -- THE CIRCUS MAXIMUS --
S. ANASTASIA -- ARCH OF JANUS (?) -- ARCH OF THE
SILVERSMITHS AND CATTLE-DEALERS -- S. GIORGIO IN VELABRO
-- CLOACA MAXIMA -- S. TEODORO.

BY THE TIBER.

THE VIA RIPETTA.

From the Piazza del Popolo the line of the Ripetta runs between the Corso and the Tiber. In the house at the corner lived Ciceruacchio. A short way down is the Quay of the Ripetta, built in 1707 by Clement XI., and partly destroyed by the modern iron bridge, over which is a direct walk to S. Peter's, the site of the fields which formerly belonged to Cincinnatus (Livy, iii. 26).