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Basilica di S. Putro in Vaticano.
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Basilica di S. Giovanni in Laterano.
London, Published by Samuel Leigh.18 Strand.
7700
Interno della Basilica di S. Pietro in Vaticano. Interno della Basilica di S. Paolo fuori le Mural. Interno della Brasilica di S. Gio, in Laterano,

A
NEW PICTURE OF ROME,
AND
Ets Environs,
IN THE FORM OF AN ITINERARY.
BY MARIEN VASI,
MEMBER OF THE ETRUSCAN ACADEMY OF CORTONA, &c.
BU
www
WITH NUMEROUS VIEWS,
AND
A LARGE PLAN OF ANCIENT AND MODERN ROME.
LONDON:
PRINTED FOR SAMUEL LEIGH, 18, STRAND,
By W. Clowes, Northumberland-court.
1818.

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Each day's walk is arranged with the utmost
precision, and every object worthy of atten-
tion in the different routes is distinctly noticed;
this arrangement will prevent that trouble
and confusion which would otherwise neces-
sarily arise, on viewing the immense number
of extraordinary works of art which are dis-
tributed in every part of Rome and its en-
virons. For any particular information re-
specting the routes to and from Rome, the
reader is referred to Reichard's Itinerary of
From
Cebrary
tom forces w. Garfield
CA
- ADVERTISEMENT.

Br
THIS celebrated work has deservedly ac-
quired the highest reputation amongst persons
of classic taste, and now appears, for the first
time, in an English dress; it is professedly
an Itinerary of Rome, and is judiciously
divided into such portions, or routes, as the
tourist will be able to accomplish in a given
time.
A
1
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ii
ADVERTISEMENT.
Italy, which contains a very accurate de-
scription of the roads, and of the remarkable
places situated in the various routes which the
tourist may think proper to pursue.
In the foreign edition of this work, the
views of the public buildings were so wretch-
edly executed, that the publisher of the pre-
sent edition deemed it necessary to give new
engravings, executed in the best manner,
from designs by Cipriani and Parboni; and
to render it more worthy of the public favour,
an elegant plan of the City of Rome and its
environs has been expressly engraved for this
edition, and the Latin names have been pre-
ferred, for the more complete illustration of
classic authors.
An ample Index has been annexed, and the
whole of the two volumes are now comprised
in one: indeed, we may venture to assert,
that the present edition of Vasi's Rome is
greatly superior to any other that has ever
appeared.
•
Embellishments to Vasi's Rome.
}
PLATE I. To face Title.
Basilica di S. Pietro in Vaticano.
Basilica di S. Paolo fuori le Mura.
Basilica di S. Giovanni in Laterano.
Interno della Basilica di S. Pietro in Vaticano.
Interno della Basilica di S. Paolo fuori le Mura.
Interno della Basilica di S. Gio. in Laterano.
PLATE II.-To face. Second Day.
Basilica di S. Maria Maggiore.
Piazza della Rotonda.
Porto detto di Ripetta.
Interno della Basilica di S. Mª. Maggiore.
Interno del Panteon.
La Gran Piazza Navona.
PLATE III.-To face Third Day.
Fontana dell' Acqua Paolo.
Interno dell' Anfiteatro Flavio.
Anfiteatro Flavio detto il Colosseo.
Prospetto del Campidoglio.
Piazza del Popolo.
Piazza Colonna.
PLATE IV. To face Fourth Day.
Fontana di Trevi.
Piazza di Colonna Trajana.
**
the
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EMBELLISHMENTS, &C.
Porto di Ripa Grande...
Chiesa della S. S. Trinità de Monti.
Piazza di Monte Cavallo.
Parte laterale del Ponte S. Angelo.
I
Arco di Costantino.
Le Cascatelle a Tivoli.
Arco detto di Giano Quadrifronti.
Tempio della Sibilla a Tivoli:
Arco di Tito.
PLATE V-To face Fifth Day.
Avanzi del Tempio di Vesta.:
Ponte Lucano.
"
Sepolcro di Cajo Cestio:"
Avanzi del Circo di Caracalla.
A
1.
PLATE VI.-To face Seventh Day.
Avanzi del Tempio della Pace.
Castello dell' Acqua Mazzia.
¿ Tempio di Minerva Medica.
Campo Vaccino.
Tempio detto della Tosse.
Avanzi dei Tempj del Sole e della Luna.
Sepolcro di Cecilia Metella,
PLAN OF ROME at the End.
Printed by W. Clowes, Northumberland court, Strand.
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NEW PICTURE OF ROME.
FIRST DAY.
}
TRAVELLERS who go to Rome through Tus-
cany or Ancona, pass the Ponte Molle, situated
on the Tiber, two miles distant from that city.
This bridge was greatly damaged in the celebrated
battle between Constantine the Great and the tyrant
Maxentius, who, having been defeated, threw him-
self into the river. Of the ancient bridge, nothing
remains but the pilasters, and the tower, which,
under Pius VII., was cut in the middle, and con-
verted into a triumphal arch. The statues of dif-
ferent saints, placed at the extremities of the
bridge, are its principal ornaments.
After passing this bridge, is seen a pretty little
temple, situated in a vineyard on the left; it con-
tains a statue of St. Andrew, and was erected by
Pius II., when the head of that saint was sent from
the Morea to Rome.
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NEW PICTURE OF ROME.
On the same road, anciently called the Flami-
nian way, stands a small church, erected by Julius
III., in honour of St. Andrew, after the elegant
designs of the celebrated Vignola.
Advancing towards the town on the left, stands
a Cassino, called Pope Julius' Cassino or Villa.
The architect was Balthazar Peruzzi da Sienna.
The magnificent palace, at the farthest end of the
road, is known by the same denomination; it was
built after the designs of Vignola, and belongs to
the Apostolical Chamber. To the right of this
palace, in a cross road, is the arch under which
one passes to arrive at the fountain called Acetosa ;
a mineral water with an acid taste, and extremely
salutary for various diseases.
In returning along the high road, on the left side.
stands the delightful villa of his Royal Highness
Prince Stanislaus Poniatowski, which was con-
structed under the direction of Joseph Valadier.
Advancing forwards is seen the
}
1
PORTA DEL POPOLO,
(Gate of the People.)
When the Emperor Aurelian extended the walls
FIRST DAY.
3
•
of the town, in order to enclose the Field of Mars,
he had a gate constructed, called the Flaminian,
on account of its standing in the street of that name:
but as it was almost on the verge of Mount Pincius,
and the road to it very steep, the Gate of the
People, was built; and was at that time, as well
as at present, considered the principal one in
Rome. It was repaired in 1562, under the direc-
tions of Michael Angelo Bonarotti. Lastly, under
Alexander VII., its interior front was ornamented
by the Chevalier Bernini: these embellishments
were added on account of Christina Queen of
Sweden's arrival at Rome. From this gate one
immediately enters the
PIAZZA DEL POPOLO,
(Square of the People.)
There are few cities which offer such a grand
and imposing appearance, as Rome, on entering
from the Gate of the People. One first sees an
immense square, in the midst of which stands a
grand Egyptian Obelisk, and a fountain; a de-
lightful garden adds to the beauty of this spot, which
is terminated by two very handsome churches,
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NEW PICTURE OF ROME.
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uniformly constructed, and the commencement of
three long and spacious streets. The whole toge-
ther forms a coup-d'œil which may serve to give a
stranger an idea of Roman splendour.
The superb obelisk above-mentioned was erected ·
at Hieropolis, by Sesostris king of Egypt. The
Emperor Augustus transported it to Rome, and
placed it in the great Circus; from whence Sixtus
V. removed it to this spot, in 1589, under the
direction of the Cavalier Fontana, who also made
the fountain. It is of red granite, and covered
with hieroglyphics: it is seventy-four feet high
without the pedestal, which is twenty-five. On
the side of the city-gate is the
CHIESA DI SANTA MARIA DEL POPOLO,
(Church of St. Mary of the People.)
This church was built in 1227, at the expense
of the Roman people. Alexander
Alexander VII. gave
it its present form, under the directions of the Cava-
lier Bernini. The following are the most remark-
able objects: on entering the church on the right
side, in the first and third chapel are some paint-
ings of Pinturicchio. The second chapel is deco-
FIRST DAY.
5
rated with sixteen columns of fine marble. The
Altar-piece is one of the finest works of Carlo
Maratti. On the great altar, is an ancient
picture of the Virgin, which is one of those
said to have been painted by St. Luke. In the
chapel, to the right of the great altar, is a fine
picture of the Assumption by Annibal Caracci;
the Crucifixion of St. Peter, and the Conversion of
St. Paul, (side paintings) are by Michael Angelo
Caravaggio.
The last chapel but one, which belongs to the
family of Chigi, is one of the most celebrated in
Rome. The decorations were designed by Raphael;
the paintings of the Frieze and the Altar-piece were
begun by Sebastian del Piombo, and finished by
Francis Salviati; this artist also painted the rest
of the chapel, except David and Aaron, which
were painted by the Cavalier Vanni. In this cha-
pel are four statues, two of which, representing
Daniel in the Lions' Den, and the Angel taking
Habakkuk by the hair, are by the Cavalier Bernini.
The two others, which represent Elias, and Jonah
sitting on the Whale, are by Lorenzetto, highly
esteemed works, particularly Jonah, having been
made, not only from a model of Raphael, but even
[
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NEW PICTURE OF ROME.
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under his direction. The magnificent tomb of
the Princess Odescalchi Chigi is near this chapel;
from a design of the Cavalier Paul Posi.
Of the three handsome streets in the Piazza del
Popolo, the one on the right, called di Ripetta,
runs along the Tiber to the Piazza di St. Luigi,
(St. Louis's Place ;) the other to the left, called
del Babbuino, crosses la Piazza di Spagna, (Spanish
Place,) and leads to Mount Quirinal: the third,
which is between the two preceding ones, is called
STRADA DEL CORSO,
(Street of the Course.)
This street, which took its name from the horse-
races introduced into it about the time of Paul II.,
is certainly the handsomest, and most frequented
in Rome, and leads directly to the foot of the
capitol. Its entrance is decorated by two fine
churches of uniform architecture, by Rainaldi: the
one on the right is called S. Maria di Monte Santo,
(St. Mary of the Sacred Mount ;) the other S. Maria
de Miracoli, (St. Mary of Miracles.)
There are a number of fine edifices in this street,
amongst others the
FIRST DAY.
7
CHIESA DI GESU E MARIA,
(Church of Jesus and Mary.)
It was built in 1640, from the designs of Carlo
Milanese and the Cavalier Rainaldi. This church
which is embellished with some fine marbles,
contains several tombs of the Bolognetti family.
The great Altar-piece and the pictures in the vault
of the church, are by Giacinto Brandi. In the
Sacristy, the Altar-piece, &c., are by the Cavalier
Lafranco.
Almost opposite, is the church of San Giacomo
degli Incurabili, (St. James of the Incurables), so
called, from the Hospital contiguous to it, where
poor persons who have incurable maladies are
received.
In the street, by the side of the church of
St. James, is the cabinet of the Marquis Canova,
the celebrated Venetian sculptor; the merit of his
works surpasses any eulogium that can be given;
it suffices to say, that the name of Canova, will be
transmitted to posterity like those of Phidias and
Praxiteles; and that all strangers and lovers of the
fine arts, visit this cabinet, which contains so
8
NEW PICTURE OF ROME.
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many fine specimens of the talents of that immortal
artist.
Returning through the Strada del Corso, on the
right hand is seen
1
LA CHIESA DI S. CARLO,
(Church of St. Charles.)
}
This church was built by the Milanese in 1612,
from the designs of Honorius Lunghi, and Peter
da Cortona, who finished the interior. It has three
naves, divided by Corinthian pillars, and is orna-
mented with paintings and gilt stucco. The Cha-
pel of the cross, to the right, built from the designs
of Paul Posi, is one of the finest in Rome. The
altar-piece is in Mosaic, and is taken from that of
Carlo Maratti, in the church of St. Mary (del
Popolo). The picture of the great Altar, is by
the same painter.
Amongst the palaces in the Strada del Corso, that
of Ruspoli is the most remarkable on account of
its magnificent architecture by Bartholomew Am-
mannato; particularly the staircase consisting of
one hundred and twenty steps, made out of a single
piece of Grecian marble. Even with this palace
FIRST DAY.
9
is the largest and handsomest coffee-house in
Italy.
Near this palace also stands the church of San
Lorenzo in Lucina: on the great Altar is a Cru-
cifix, a very singular and fine painting of Guido
Reni.
Advancing along the Strada del Corso, and en-
tering the second street to the left, called delle
Convertite (the converted,) is seen
LA CHIESA ED IL MONASTERO DI S.
SILVESTRO IN CAPITE,
(The Church and Monastery of St. Silvester, in
Capite.)
The origin of this church is extremely ancient,
having been rebuilt in 1286, and afterwards re-
duced to its present form by John di Rossi.
Amongst the great number of relics preserved there,
the most important is the head of John the Baptist,
from which the church has taken the name, In
Capite. The paintings of the great ceiling, re-
presenting the Assumption of the Virgin, St. John
the Baptist, St. Silvester, and other saints, are by
Giacinto Brandi. The paintings on the window
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NEW PICTURE OF ROME.
are by the Cavalier Roncalli; and those of the
gallery by Louis Gemignani.
Returning to the Strada del Corso, is seen on
the right side the Tortonia palace, (formerly
Verospi,) built from a plan of Honorius Lunghi;
in which is a saloon, painted in fresco by Albano.
Next comes the
PALAZZO CHIGI,
(Chigi Palace.)
This magnificent palace was begun from the
designs of James della Porta, continued by Carlo
Maderna, and finished by Felix della Greca, for
the habitation of the nephews of Alexander VII.
of this family. The apartments of the first and
second story are ornamented with paintings of the
great masters. In the first room there is nothing
remarkable, but an ancient painting on the wall of
the three Graces. In the second room, there is a
St. Francis, by Guido; the Transfiguration, by Ben-
venuto Garofolo; and three Children, by Poussin.
The objects in the third room, worthy of observation,
are the Scourging of our Saviour, by Guercino; a
Satyr disputing with a Philosopher, by Salvator
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FIRST DAY.
11-
Rosa; two fine portraits by Titian; and a dead
Christ, by Annibal Caracci. In the fourth room,
is a sketch of a vault, in the Barbarini palace,
representing the Divine Wisdom, by Andrew
Sacchi; another sketch by the same artist, of the
celebrated picture of St. Romuald; a Satyr and a
Bacchante, by Rubens; and a little Cupid, holding
a wild Boar by the ears, by Albano. In the other
rooms, amongst various antique marbles, is the
famous statue of Venus, copied from that of Meno-
phant, and an Apollo.
In the first room of the second story, are two
battle pieces, one by Salvator Rosa, the other by
Peter da Cortona. In the second room, is an un-
commonly fine picture by Baroccio, representing
several children; two fine landscapes of Claude
Lorraine; another painting of Baroccio between the
windows; four pictures of the Virgin, by Guer-
cino; St. Peter and St. Paul, by Domenichino;
and a picture, by Leonardo da Vinci. There is
also in this palace, a library, enriched with the
choicest books, prints, and several precious ma-
nuscripts; amongst others, that of Daniel, accord-
ing to the version of the Septuagint: the only one
*
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NEW PICTURE OF ROME.
existing. The greater part of this palace extends
itself to the
PIAZZA COLONNA,
(Column Square.)
This square, which comprises the Forum of
Antoninus Pius, takes its name from the magnifi-
cent column erected by the Roman Senate, in
honour of M. Aurelius, for his victories over the
Marcomans. That Emperor afterwards dedicated
it to his father-in-law, Antoninus Pius, as is ex-
pressed on the pedestal; and for this reason it is
commonly called the Column of Antoninus.
There are several figures in basso relievo, repre-
senting the victories of M. Aurelius over the
Marcomans, &c. One of the principal is the Jupiter
Pluvio (rainy) to whom the Pagans attributed the
prodigy of the rain, which the christian soldiers
obtained of the true God. Although these basso
relievos are inferior to those of the Trajan column,
it is evident, that the sculptors tried to imitate
them.
This column is of the Doric order, and is com-
posed of twenty-eight blocks of white marble. Its
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FIRST DAY.
13
diameter is eleven and a half feet; and its height,
including the base and the chapiter, is one hundred
and forty-eight and a half feet; the ascent to the
summit is by a winding staircase in the inside,
consisting of one hundred and ninety steps, hewn
out of the marble.
This column having been damaged by thunder,
Sixtus V. repaired it, and placed a gilt bronze
statue of St. Paul on the summit. The four sides
of this fine square are formed by the Chigi palace,
the Spada palace, which is in the Strada del Corso,
the Florentine House of Niccolini, and the General
Post Office. The street on the left leads to the
PIAZZA DI MONTE CITORIO,
(Square of Mount Citorio.)
The greatest ornament in this square, is the
solar obelisk, that Augustus transported from
Hieropolis, and placed in the Field of Mars, exactly
behind the church of San Lorenzo in Lucina, where
it was found. Pius VI., having removed the pedes-
tal of Antoninus's column to the garden of the
Vatican, had this obelisk placed in its stead; it
is of red granite, covered with hieroglyphics, con-
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NEW PICTURE OF ROME.
i.
sisting of human figures, sphinxes, birds, &c., all
in very good style. The entire height of this obe-
lisk is ninety-feet, exclusive of the bronze globe at
the top.
3
The principal edifice, which likewise adorns this
square, is the
PALAZZO DI MONTE CITORIO,'
(Palace of Mount Citorio.)
This magnificent palace was built in 1650, on
some remains, supposed to be of Statilius Taurus',
Amphitheatre, from the designs of Bernini. Its
front is decorated with three large gates, as many
rows of windows, with a balcony, and a tower,
where there is a steeple and a clock. The court,
formed as a semi-circle, contains a beautiful foun-
tain; the basin is of oriental granite. The great
column of Cipolino marble, lying on the ground,
was discovered in 1778, in the Field of Mars.
On the ground floor are the offices of the Inspec-
tor and his Lieutenants. The Treasurer and In-
spector reside in the house, in the apartment of
the second story.
སྙ
FIRST DAY.
*15
The lottery is drawn twice a month, in the bal-
sony of this palace.
At a little distance, is the Piazza di Pietra,
(Place of Stone) where are the remains of the
TEMPIO DI ANTONINO PIO,
(Temple of Antoninus Pius.)
Amongst the different opinions about this ancient
monument, the most probable and most common
one is, that it was the temple of Antoninus
Pius, erected by himself in his Forum. Nothing
remains of this temple but eleven majestic columns,
which sustain a magnificent entablature of Grecian
marble, in good preservation. These columns
formed a side part of the portico, which surrounded
the temple: they are also of Greek marble of the
Corinthian order, and fluted; but greatly damaged
by fires they are four feet two inches in diameter,
and thirty-nine feet and six inches high.
:
These columns, now serve to decorate the front
of the custom-house for merchandise, which comes
to Rome by land.
Turning from this place to the Strada del Corso,
appears the
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NEW PICTURE OF ROME.
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PALAZZO DI SCIARRA,
(Sciarra Palace.)
The fine architecture of this palace is by Fla-
minio Ponzio, except the great Gate, which is
either by Antonio Labacco, or Vignola. There
are a number of paintings here by the best masters,
belonging to Prince Barberini, who is the owner of
this palace. The most distinguished are, a fine
copy of Raphael's celebrated picture of the Trans-
figuration, by Mr. Valentino; some Landscapes,
by Mr. Both; a Moses, by Guido Reni; the
Descent from the Cross, by Baroccio ; Noah drunk,
by Andrew Sacchi; a Mary Magdalen, by Guido;
three portraits, by Titian; a St. James, by Guer-
cino; a half-length Magdalen, by Guido; the
three players; a celebrated work, by Caravaggio;
Modesty and Vanity, an exquisite painting, by
Leonardo da Vinci; two Evangelists, by Guercino;
the decapitation of St. John the Baptist, by Gior-
gione; and a portrait, capitally painted by the great
Raphael.
On the ground-floor are several antique marbles,
amongst others, a Sarcophagus, with a basso relievo,
↑
fo
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FIRST DAY.
17
representing the Muses; a fine figure of a priestess;
a statue of M. Aurelius; a superb one of Septimius
Severus, in bronze; a Ceres; a Bacchus; three
colossal busts; five Egyptian figures; an Amazon;
and a fine Diana. Near this place is the
•
CHIESA DI S. IGNAZIO,
(Church of St Ignatius.)
This church, one of the finest in Rome, was
built at the expense of Cardinal Louis Ludovisi ;
nephew to Gregory XV. The celebrated Dome-
nichino, made two different designs for it; the
Father Grassi, a Jesuit, selected part of each, and
gave it its present form. Algardi designed the
front, which is ornamented with two orders of
columns, Corinthian and Composite.
There are in this church some fine marbles, gilt
bronzes, &c. A fine basso relievo, sculptured by
Mr. Le Gros, of St. Louis de Gonzaga; and an-
other of the Annunciation, by Philip Valle. Near
the side door is the magnificent tomb of Gregory
XV., the work of Mr. Le Gros. The Roman col-
lege, which is annexed to this church, was erected
in 1582, by Gregory XIII., from the designs of
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NEW PICTURE OF ROME.
Bartholomew Ammanato; it contains a spacious
court, surrounded by piazzas, under which are
placed the pulpits or seats, where all sciences are
taught gratis by learned Jesuits. There is likewise
a valuable library, and a famous Museum, col-
lected by Father Kircher, a Jesuit, which contains
many precious things both ancient and modern;
likewise a number of natural curiosities.
Re-entering the Strada del Corso, is seen the
great palace of Simonetti, built after the design of
Alexander Specchi.
Opposite to this palace, is the ancient church
of St. Marcellus, which was rebuilt in 1597, from
the designs of James Sansovino, except the front,
which was afterwards made by Fontana. The
paintings in this church are by Daniel da Volterra,
and Pierrin del Vaga, with the exception of a few,
by Federico, and Thaddeus Zuccari. Still
continuing in the Strada del Corso, on the right
may be seen the
་
CHIESA DI S. MARIA IN VIA LATA*,
(Church of St. Mary in Via Lata.)
This church was built in the time of Constantine
*The most probable translation of this seems
Great Road.”
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the
FIRST DAY.
19
the Great, on the spot where, according to an old
tradition, the Apostles St. Paul and St. Peter lived.
It has often been repaired, and was rebuilt in 1660
from the designs of Cosmo da Bergamo, and Peter
da Cortona. The front is formed of two orders of
pillars; Corinthian and Composite. Beyond this
church is the
PALAZZO DORIA,
(Doria Palace.)
This palace, consisting of three bodies of build-
ing of different architecture, is one of the grandest in
Rome; the one situated in the Piazza di Venezia
(Venetian Square) was built by the last prince of
Pamfili, from the designs of Paul Amati ; the other
in the Strada del Corso, designed by Valvasori ;
and the one which faces the Roman college, and is
the handsomest of the three, and designed by Ber-
nini, were built by order of Don Camillo Pam-
fili. The illustrious family of Doria has inherited
this sumptuous palace.
The portico, fronting the great staircase, is sup-
ported by eight pillars of oriental granite. The
marble staircase is grand and spacious, the apart-
1
20
NEW PICTURE OF ROME.
ments are furnished in a superb manner, and con-
tain a very valuable collection of paintings, by the
first masters of which we shall insert a few of the
most remarkable.
In the first room are some, water-colour land-
scapes by Gaspard Poussin, and his school; and
some by Ciccio Napolitano, and Mr. Rosa.
The second room, &c., called the saloon of
Poussin, contains some of his best productions, in
oil colours. The finest is the Lucano bridge, on
the road to Tivoli. There is likewise in this
saloon, a fine picture of a Turkish woman on
horseback, by Benedict Castiglione. In the third
room, besides another painting of Castiglione,
intended as a companion to the last-mentioned,
are a St. Eustace, by Alberto Duro; a Madonna,
by John Bellino, and several pictures by Poussin,
Mr. Both, and others.
The fourth room is enriched with the most splen-
did paintings; the following are worthy of atten-
tion, Endymion, by Guercino; a picture of Ma-
chiavel, by Bronzino; Cain and Abel, by Salva-
tor Rosa; two exquisite portraits of Bartolo and.
Baldo, famous civilians, by Raphael; Piety, by
Annibal Caracci; a landscape, by Domenichino;
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FIRST DAY.
21
some portraits, by Titian and Vandyke; a por-
trait of a Woman, by Rubens; and a Thetis, by
Pierrin del Vaga.
In the fifth room are some paintings by Bassano
Andrew Montegna, and Calabrese; some fine
traits by Holbein, by Vandyke, and one by Giorgione.
por-
•
· Adjoining this room is the chapel, at the en-
trance of which, is a double staircase, of a very
singular construction. On the altar, in the cha-
pel, is a dead Christ, by Annibal Caracci.
In the sixth room is a Galatea, by Lafranco; an
Icarus and Dædalus by Albano; Jupiter and Juno,
by Guido Cagnacci; Roman charity, by Valentino;
two pictures, by Bassano; and a St. Jeremy, by
Palma.
Next follows the gallery, which is very magni-
ficent; in the first wing are several excellent pic-
tures; the most remarkable are, a large picture, by
Benvenuto Garofolo; a Virgin, by Sassoferrato; a
Magdalen, by Titian; the death of Tancred, by
Guercino; Venus and Adonis, by Paul Veronese;
a portrait of his Confessor, by Rubens; several
landscapes, by Breugel, amongst which, the crea-
tion of animals is particularly worthy of notice,
on account of its high finish.
L
22
NEW PICTURE OF ROME.
|
Near the end of the gallery, are four rooms,
adorned with fine landscapes, by Orizzonte, Tor-
reggiani, Poussin, Mr. Both, &c. In the first
room is a sketch, by Titian, of which the subject
is unknown. In the second, is a large picture of a
musical academy, by Calabrese; and in the third
are some portraits by Titian. In the last room, is
the picture of a bridge, by Bassano, the water in
which is extremely well painted, and an excellent
picture of the Flight into Egypt, by Nicolas Poussin.
Returning to the gallery, are seen several pic-
tures, by Claude Lorrain; a portrait of Pope Pam-
fili, by Diego Velasquez; a Virgin looking at the
infant Jesus, by Guido; a Satyr teaching a youth
whom he is caressing, to play on a pipe, by
Augustin Caracci; and a sketch of Glory crowning
Virtue, by Correggio. Next is a fine picture of
Misers counting money, by Alberto Duro. In the
last wing are two charming landscapes, by Dome-
nichino; the chaste Susanna, by Annibal Caracci;
a Magdalen, by the same; a Samson, by Guercino;
Abraham's sacrifice, by Titian; a great rural din-
ner, by Teniers, who is himself seated at the head •
of the table; a fine copy of the Aldobrandine
wedding, by N. Poussin; some portraits, by
FIRST DAY.
23
Titian; one of Queen Jane, by Leonardo da
Vinci; and a Magdalen, by Caravaggio.
From this wing, the visitor passes into some
rooms containing landscapes by Poussin, Manglar,
Mr. Both, Mr. Rosa, Salvator Rosa, Tempesta, and
Brilli. There is also a fine picture of Dido be-
wailing Æneas's departure. There is likewise a
large library in this palace.
Opposite the Doria palace, is that of the French
academy; the front is from the designs of Rainaldi.
Continuing in the Strada del Corso, on the left,
at the corner of the Piazza di Venezia, appears the
Rinuccini palace; designed by Mathew da Rossi.
Farther on in the Piazza di Venezia, is the Tor-
lonia palace, designed by Fontana. It is decorated
with fine pictures and marbles, amongst others,
Hercules furious, in the act of throwing Lycas into
the sea, a work of the immortal Canova. Opposite
this edifice is the
PALAZZO DI VENEZIA,
(Venetian Palace.)
This magnificent palace, belongs to the state of
Venice, and gave name to the square, which is at
+
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NEW PICTURE OF ROME.
•
the end of the Strada del Corso. It was built in
1468, under Paul II., of a solid and majestic archi-
tecture, by Julien da Majano, who used the stones,
fallen from the Coliseum; several Popes have
lived in it; and Charles VIII. of France, resided
there, in 1494, when he passed through Rome to
conquer Naples.
A great part of this palace is inhabited by the
Imperial Minister of Germany; the rest is used as
an academy of the fine arts, for the accommoda-
tion of young students, who are maintained at
Rome, in order to perfect themselves in painting,
sculpture, and architecture. The Marquis Canova,
who is honorary director of this academy, in order
to excite the emulation of the students, distributes
prizes every six months at his own expense.
Next comes the Ercolani palace, of very fine
architecture, by Camillo Arcucci.
Near to the last, is the Alfieri palace, one of
the handsomest and largest in Rome. It was built
in the time of Clement X., who was of that family;
from the designs of John Antonio di Rossi. Not far
from this place is the
n
F
FIRST DAY.
CHIESA DEL GESU,
(Church of Jesus.)
25
This magnificent church, which is one of the most
splendid in Rome, was erected in 1575, by Car-
dinal Alexander Farnese, and designed by the cele-
brated Vignola: James della Porta his pupil con-
tinued it, and executed the cupola and front, which
is adorned with Corinthian and Composite pillars.
The interior of this church is decorated with mar-
ble pillars, gilt stuccos, marble sculptures, and
some fine pictures.
On the altar of the Cross, to the right, is a pic-
ture, by Carlo Maratti, of St. Francis Xavier's
death. The great altar is decorated with four fine
columns of antique yellow marble, and a good
painting, by Jeremy Muziano, of the Circumcision.
The chapel of St. Ignatius is very magnificent.
There are four superb columns, ornamented with
lapis lazuli and gilt bronze. In the middle of the
pediment, is a group of white marble, representing
the Holy Trinity, sculptured by Bernardino Lu-
dovisi. The globe held by the Eternal Father, is
the finest piece of lapis, ever beheld. The picture
D
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NEW PICTURE OF ROME.
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$
of St. Ignatius on the altar, is by Father Pozzi.
Behind this picture is a statue of the Saint, en-
tirely of silver. The body of the saint is preserved
under the altar, in an urn of gilt bronze, enriched
with precious stones. At the side of the altar are
two fine marble groups; the one represents Faith,
adored by the most barbarous nations, the work
of John Teudone; the other Religion, destroying
heresy with the cross, finely sculptured by M.
le Gros. The paintings of the ceiling are by
Baciccio.
At the end of the street, to the left of this church,
is a charming prospect of the capitol, and of a
long spacious staircase, consisting of 124 steps of
white marble, taken from the temple of Romulus
Quirinus, situated on Mount Quirinal. This stair-
case leads to
CHIESA DI S. MARIA D'ARACELI,
(The Church of St. Mary D'Araceli.)
It is generally supposed that this church, which
is extremely ancient, is on the spot where the fa-
mous temple of Jupiter Capitolinus once stood.
Another tradition says, that at the time of our Sa-
+
FIRST DAY.
27·
1
viour's birth, the Emperor Augustus, erected an
altar in this temple, under the name of Ara Primo-
geniti Dei: from which the church has been called
d'Araceli. There are only some vestiges of this
altar near the sacristy, said to have been consecrated
by Pope St. Anaclete, in the year 103. The
church is divided into three naves by twenty-two
large pillars of Egyptian granite, supposed to be
the same that were in the temple of Jupiter. On
one of them is inscribed A CVBICVLO AVGV-
STORVM. On the great altar is a picture of the
Virgin, said to have been painted by St. Luke.
Behind the altar is a picture, supposed to be by
Raphael, but in reality only a fine copy. There
are some fine marbles and paintings by Pinturic-
chio, Roncalli, Scipio Gaetano, Muziano, John de
Vecchi, and Trevisani.
This church is placed on the summit of
MONTE CAPITOLINO.
(Capitoline Mount.)
This mount is the most renowned in ancient
Rome. It was called Saturn's Mount, because
Saturn, king of the Aborigines, built his city there;
it was afterwards called the Tarpeian Mount, from the
D2
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28
Virgin Tarpea, who was killed there by the Sabine
soldiers; and, lastly, in the time of Tarquin Super-
bus, in laying the foundation of Jupiter's temple, a
human head was discovered. This was looked
upon by the Augurs, as a presage that Rome would
one day become the capital of the world; hence
the name of Capitoline Mount, at present commonly
called Campidoglio.
This famous mount seemed the centre of the
Roman power. Públic assemblies and political
conferences were held, and the fate of empires de-
cided there.
NEW PICTURE OF ROME.
There were two summits to this mount, one on
the side of the church d'Araceli, which took the
name of Capitole; and the other, towards the Ti-
ber, now called Monte Caprino: as this was the
most elevated, it was reduced into a fortress or ci-
tadel, called the Tarpeian rock. The space be-
tween these summits was denominated Intermontium,
and in this place now stands the square of the capitol.
This mount was encompassed by walls, com-
posed of large stones. Some remains of this wall
are still to be seen under the senatorial palace, and
also under the Caffarelli palace, which surrounded
the rock.
▼
29
There were formerly three ascents to the capitol;
one by the rough part which looks towards the
Tiber; another beginning at the declivity of the
capitol, which leads to the rock; the third one be-
gan near the arch of Septimus Severus, and termi-
nated at the Intermontium.
FIRST DAY.
The conquerors were carried in triumph to the
capitol by this last way.
On the northern side of the Intermontium was the
sanctuary established by Romulus, and the temple
of Veïove. Scipio Nasica constructed a portico
there, adorned with statues. Nero's triumphal
arch was afterwards raised in the middle of this
portico.
There were so many temples and edifices on this
mount, that it is almost impossible to conceive how
such a number could be contained altogether in
such a small space.
The first temple built at Rome was that of Jupi-
ter Feretrius, erected on the rock by Romulus,
in honour of his victory over the Ceninians; when
having killed Acron their king, he carried his spoils
to the capitol, as a trophy; which he suspend-
ed to an oak, and having dedicated it to Jupi-
ter, the temple took the name of Feretrius; a fe-
"
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30
1
NEW PICTURE OF ROME,
*
rendis spoliis, having been erected to contain the
spoils taken by Roman captains from the enemy.
On the other summit of the capitol was the ce-
lebrated temple of Jupiter Capitolin, called also
Jupiter Optimus Maximus. Tarquin Superbus
constructed it, in order to accomplish the vow
which his uncle, Tarquin-the, old, had made at
the time of the last Sabine war. It was repaired
by Scylla and Vespasian, and entirely restored by
Domitian. Its circumference in Scylla's time was
770 feet, its length 200, and its breadth 185. The
front of this temple was towards the forum. The
edifice was surrounded by a portico, consisting of
a triple row of columns in front, and double at the
sides. Although this temple was particularly de-
dicated to Jupiter, there were nevertheless three
chapels ; one, consecrated to Juno, another to Mi-
nerva, and the middle one to Jupiter, in imitation
of the temple erected on Mount Quirinal by king
Numa, afterwards called the old capitol, to distin-
guish it from the one of which we are speaking.
In this rich temple, the conquerors, before they
deposited the spoils of the enemy in that of Jupiter
Feretrius, offered up sacrifices, in thanksgiving for
their victories.
{"
FIRST DAY.
31
In the place, now occupied by the senator's pa-
lace, formerly stood the Atrium publicum, the Ta-
bularium, and the Athenaeum. The first was a great
hall, used for public assemblies: the Tabularium
contained several rooms destined for the publie
archives; and where four thousand bronze tables
were preserved, on which were engraved the de-
crees of the Roman senate: the Athenaeum was a
public hall, in which the fine arts were taught.
On the rock stood Romulus' house in the form of
a cottage; likewise that of Tatius the Sabine king;
and of Manlius, surnamed Capitolinus, for having
saved the capitol, when he was awakened by the
geese, which the Gauls had frightened, in mount-
ing at night to the assault. There were likewise a
number of temples, adorned with statues of divi-
nities, which caused the capitol to be called the
Hall of the Gods. But the various conflagrations
and revolutions in Rome, have destroyed all these
edifices. We will now describe the
CAMPIDOGLIO MODERNO,
(Modern Capitol.)
This place is very different from the ancient one.
32
NEW PICTURE OF ROME.
1
Instead of a majestic, imposing appearance, as for-
merly, it only presents agreeable objects, which
renders it one of the most delightful places in
Rome. It was embellished in its present manner
by Paul III., who erected the two side edifices
rom the designs of Michael Angelo Bonarotti; he
rebuilt the front of the senatorial palace; began
the grand street to the north; and from the designs
of the same Bonarotti, constructed the fine staircase,
by which one ascends.
At the bottom of this staircase are two fine
marble lions, of Egyptian workmanship, with water
spouting from their mouths; they were removed
there by Pius IV. from the church of St. Stephen
del Cacco, where they stood, and had most probably
been found. Near the lions is the trunk of a
porphyry statue, of which the drapery is uncom-
monly fine.
At the top of this staircase are two colossal sta-
ues of Grecian marble, representing Castor and
Pollux, by the side of their horses; they were
found in the time of Pius IV., and transported hither
by Gregory XIII. Near these statues are two fine
trophies, called the Trophies of Marius; but the
?
FIRST DAY.
33
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best antiquaries think they were erected in honour
of Trajan's victory over the Dacians, because the
sculpture is in the same style as that emperor's
pillar. There are likewise two statues of the sons
of Constantine the Great, which were found in the
baths of that emperor. Of the two small pillars
which stand in this place, the one on the right is
the ancient milestone, which, by the number I.,
marked the first mile on the Appian way; the op-
posite pillar has been since made, as a companion
to the other.
The magnificent square of the capitol is deco-
rated in the middle with a superb equestrian statue
in gilt bronze, of M. Aurelius Antoninus; which
was found underground in St. John's-square, where
it was placed by Sixtus V.; Paul III. afterwards
removed it to this place. It is the only ancient
equestrian statue remaining, and is a perfect
master-piece. It is related that M. Angelo Bona-
rotti was so struck with the expression of the horse,
that he exclaimed, Go on.
Of the three edifices which adorn the capitol,
the first is the
Į

34
NEW PICTURE OF ROME.
4
PALAZZO SENATORIO,
(Senatorial Palace.)
Boniface IX. built this palace, as a sort of fort,
on the ruins of the ancient Tabularium. Michael
Angelo began to ornament the front with Corin-
thian pillars, which were finished on the same plan
by James Della Porta, under Paul III. The
ascent to the first floor is by a fine double flight
of stairs, before which is a large fountain, and
three antique statues: the middle one is of Parian
marble, representing Rome triumphant; it was
found in the temple of Castor and Pollux, at Cora:
the other two, which are colossal and of Grecian
marble, represent the Nile and the Tiber: they
were found under Mount Quirinal.
At the top of the stairs is a magnificent chamber,
used by the senator and the judges of the tribunal.
This room leads to the tower, which presents a
complete view of Rome and its environs.
Beneath this palace, near the temple of Jupiter
Tonnante (the Thunderer), are several Doric arches,
remains of the ancient Public Portico.
The two other palaces in the square of the ca-
pitol, opposite each other, are of fine uniform ar-
chitecture, by Michael Angelo: the one, to the
ight of the Senatorial Palace, contains the
FIRST DAY.
35
MUSEO CAPITOLINO,
(Museum of the Capitol.)
This celebrated museum consists of a rich col-
lection of statues, busts, basso-relievos, altars,
sarcophagi, inscriptions on marble, and other
precious relics of antiquity. Clement XII. began
this collection, which was successively continued
by Benedict XIV.; and Clement XIII. brought it
to its present perfection. A volume would scarcely
suffice for a particular description; we will there-
fore only mention some of the most distinguished
objects.
C
On entering the court, is seen a fountain, on
which is placed a colossal statue, recumbent ;
called Marforio, although it represents the Rhine.
It was formerly in the Forum Romanum, near the arch
of Septimius Severus; it is supposed to have been
named from the Mamertine prison, or the Temple
of Mars, which was near the Forum of Augustus.
Satirical discourses have always been attributed to
this statue, and that of Pasquin. The fountain
adorned with two columns of Egyptian granite,
he pilasters and heads of the Ionic order: and
36
NEW PICTURE OF ROME.
two side niches, in which are placed two excellent
female Satyrs. At the top of the fountain is a
balustrade, where stand four statues of empresses
habited as vestals.
Under the architrave of the portico facing the
court, are two large Egyptian idols, the one of red
granite, and the other of marble, with hierogly
phics. On the other side of the portico is an al-
most colossal statue of Minerva, one of the finest
fine
known of this goddess; two of Diana; a very
Amazon; a fine colossal head of Cybele; and
At one
several busts, altars, sarcophagi, &c.
end of the portico is the sarcophagus of the Em-
peror Alexander Severus, and Julia Mammea, his
mother: this sarcophagus is finely ornamented
with four basso relievos: the one in front repre-
sents the restitution of Briseis to Achilles, by
Agamemnon: one side expresses the captivity of
Briseis; the other, Achilles going to revenge Pa-
troclus' death; the hind part represents the ransom
of Hector's body.
At the other extremity of the portico, opposite
the stairs, is a colossal statue of Mars, commonly
supposed to be Pyrrhus. Before the window stands
a superb column of alabaster, fourteen feet high,
FIRST DAY.
37
and two in diameter; it is placed on an antique
cippus, adorned with basso relievos.
The visitor then passes into a room containing
some Egyptian statues found in the Villa Adriana,
at Tivoli. These figures are almost all of basaltes
and antique black marble, and represent priests,
priestesses, and various Egyptian divinities; they are
well executed in the simple style peculiar to that
nation. Besides the statues are a number of busts
almost all unknown: a Cynocephalus, and a very
fine crocodile placed in the middle of the room.
In ascending to the upper part of the museum,
may be seen, on the walls of the staircase, large
marble tablets, on which is engraved the plan of
ancient Rome: they were found in the Temple of
Venus, near that of Remus, in the Forum Romanum,
where they served for a pavement. On the landing-
place are two fine statues, in niches, of Juno and
Modesty. On the second landing-place near the
door of the museum, is a lion of white marble, and
a very fine trunk of a statue. On the walls are se-
veral sepulchral inscriptions; and in an arched
wall is some antique Mosaic work, and three co-
lossal feet; the one of bronze belonged to the co-
>
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NEW PICTURE OF ROME.
lossal statue of Caius Cestus, which was found
near his tomb, at the gate of St. Paul's.
The famous collection of antiquities is disposed
in seven rooms, which are called Rooms of the
Vase, of Hercules, the Saloon, Room of the Phi-
losophers, of the Emperors, the Gallery, and the
Room of Miscellanies. The first is the
STANZA DEL VASO,
(The Room of the Vase.)
The walls of this room are covered with 122
inscriptions in marble, disposed in chronological
order, from the reign of Tiberius to that of Theo-
dosius the Great. The superb vase in the middle
of the room is adorned with exquisite Grecian
basso relievos, representing the twelve principal
pagan divinities.
To the right of the entrance
door, are two sarcophagi, ornamented with basso
relievos, representing Diana and Endymion. Next
is an uncommonly fine statue of Pancratiaste a
wrestler; a fine sarcophagus, ornamented with
the Nine Muses; on this sarcophagus are two fine
heads, one of Alexander, the other of Ariadne.
A pretty Cupid breaking his bow; an elegant
}
FIRST DAY.
39
"
statue of Euterpe; a sarcophagus with an Ama-
zonian combat; another sarcophagus, with the
brevity of human life, in basso relievo; two altars,
adorned with basso relievo, the one representing
the infant Jupiter nursed by the goat Amalthea;
the other the strength of Hercules; and several
precious marble pillars, &c. The next apartment,
is the
STANZA DELL' ERCOLE,
(The Room of Hercules.)
·
On the walls of this room are likewise several
interesting inscriptions in chronological order; and
three superb basso relievos. In the middle of the
room is a very fine statue of a woman seated, sup-
posed to be Agrippina, wife of Germanicus. The
first statue on entering on the right side, is a faun
resting on the trunk of a tree; next comes the ce-
lebrated Antinoüs, found at Tivoli in the villa
Adriana; an infant Hercules; an old Bacchante
drunk, holding a vase encircled with vine leaves,
very fine; a child covering its face with a sylvan's
mask; another child playing with a goose; be-
tween these children is the statue of Hercules,
ง
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40
NEW PICTURE OF ROME.
who, with the firebrand in his hand, is burning the
Hydra's heads. Next is a fine statue of Psyche
with butterfly's wings; an exquisite group of two
figures, supposed to be Venus and Mars; a very
fine statue of a huntsman near a tree, holding a
hare in his hand; under which is inscribed Poly-
timus Lib.; a pretty group of two figures em-
bracing, representing Cupid and Psyche; two
fauns and several altars; the three finest are those
dedicated to the Winds, to Neptune, and to Calm-
ness. Next is the
SALONE,
(Saloon.)
The walls of this magnificent room, are adorned
with thirty-six marble busts. In the middle of the
saloon are three fine statues, and two capital Cen-
taurs. The first of these statues near the entrance
is a gladiator, who, on the point of falling, still
tries to defend himself; another represents Anti-
nous as an Egyptian priest, the third represents a
Greek subject, commonly called the Dying Gla-
`.diator; and is, in all respects, so very fine, that it
astonishes every beholder. The two centaurs,
FIRST DAY.
41
1
called di Furietti, because found by that Cardinal
in the villa Adriana; are of Greek workmanship
with the artist's name inscribed.
Amongst the statues around the saloon, may be
distinguished a little figure of Hippocrates; a
muse with three siren's feathers on her head ; a
statue supposed to be the Goddess of Clemency; a
Pallas; a Hecuba bewailing Polyxena her daugh-
ter; an Apollo; a young hero supposed to be
Ptolemy; an Isis; a figure of Modesty; a Marcus
Aurelius in a warrior's dress; an Adrian as Mars,
naked, with his helmet on, and a shield under his
left arm; an Antinoüs; a fine Ceres; a statue of
Augustus, deified; an excellent figure supposed to
be Caius Marius: a fine Minerva; a Juno, with
a noble air, the drapery exquisite; a faun; a
priestess of Isis; a Muse; a Diana Huntress; a
wounded Amazon; a Leda; a beautiful Venus;
and a Hygeia with the serpent round her right
arm, and a cup in the left hand. The two antique
Mosaic tables were taken from the pavement of the
illa Adriana, at Tivoli. Then follows
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£ 3
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NEW PICTURE OF ROME.
STANZA DE' FILOSOFI,
(The Philosopher's Room.)
The walls of this room are adorned with valuable
basso relievos; the most remarkable is one which
represents three women, preceded by a little naked
faun; underneath is engraved the name of Calli-
machus, supposed to be the artist praised by Pliny.
Around this room are placed 102 busts of dif-
ferent philosophers, poets, orators, and other illus-
trious men: the most distinguished are those of
Homer, Cicero, Socrates, Aristides, Aristophanes,
Demosthenes, and Pindar. In the middle of the
room are the portraits of Epicurus and his disciple
Metrodorus, with their names engraved in Greek.
There are likewise two fine statues of a boy and
girl in the act of falling, supposed to be the chil-
dren of Niobe, destroyed by Diana and Apollo.
Opposite the window at the end of the room, is
the famous statue of Zeno, chief of the Stoics. The
next apartment is the
STANZA DEGL' IMPERATORI,
(Room of the Emperors.)
This room is likewise adorned with basso re-
FIRST DAY.
43.
J
lievos, amongst which may be seen Andromeda and
Perseus, and Endymion. There is also the famous
bust of Jupiter called della Valle, because it for-
merly stood in the palace of that family; and an
almost colossal head of Marcus Agrippa. This
room contains a series of eighty-five busts of em-
perors, empresses, princes and princesses, disposed
in chronological order: the most remarkable are
those of Faustina, Tiberius, and Drusus his bro-
ther, near which is a fine head of Antonina his wife;
two busts of Caligula, one of which is of basaltes,
one of Poppea, Nero's second wife, the most sin-
gular of all, because it is of one piece of violet-
coloured marble, with the exception of the head
which is white, and gives it the appearance of a
cameo; the bust of Vespasian; the head of Julia,
exquisitely finished; as likewise the bust of Do-
mitia Longina, wife of Domitian; four excellent
busts of M. Aurelius, of which, two represent him
young, and the others old; the bust of Lucilla,
one of the finest in the museum; likewise a fine
one of Commodus, the more valuable, as the Senate
ordered almost all the statues of that monster of
cruelty to be destroyed. In the middle of this
room is a Venus; so fine that many artists prefer
•
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44
NEW PICTURE OF ROME.
1
it to the one in Florence. Between two windows
is a very fine young Hercules of green basaltes; it
was found near the Aventine Mount, where there
had been a temple dedicated to him. The statue
opposite is by many supposed to be a Flora from the
flowers on her head and in her hands; although it
is more probably Sabina, wife of Adrian, in whose
villa it was found. Next follows the
GALLERIA,
(Gallery.)
The walls of this gallery are adorned with 187
stone inscriptions, discovered in 1726, in the
Appian way, near the church of St. Sebastian.
This magnificent gallery contains several busts,
sarcophagi, altars, and funeral urns; one of these
is very fine, of an octagon form, ornamented with
little figures. At the entrance door are two very
fine statues in black marble; the one of Jupiter
with the thunder in his hand; the other of Æscu-
lapius with a serpent entwined round a tree. A
Diana; an Augustus, seated; a Bacchus with a
panther at his fect; a Minerva; an Isis, and a
lyric Apollo. There are also two fine colossal
着
​•
FIRST DAY.
45
heads of Trajan, and Antoninus Pius; a good Pallas;
a Ceres; à Venus coming out of a bath; a sar-
cophagus before the window, with a basso relievo,
representing the Nereids surprised by marine
monsters; and an Agrippina seated with an infant
Nero. Lastly, may be seen the
STANZA DELLE MISCELLANEE,
(Room of Miscellanies.)
It contains ninety heads, not in chronological
order. Amongst them is the bust of a young man
not known; a head of Jupiter Ammon and a
Bacchus. At the end of the room is a very fine
antique statue of a faun laughing, holding a bunch
of grapes in his hand and a goat at his feet; there
is a fine bronze group of Hecate under her three
different forms, placed on a porphyry pedestal.
Next is a statue of Alexander the Great, and one
of Diana of Ephesus. Lastly, a very fine bronze
vase two feet high, the inscription shewing that it
belonged to Mithridates. The walls are covered
with 152 sepulchral inscriptions; a fine basso
relievo of Bacchus; and a Mosaic work, men-
tioned by Pliny; this Mosaic represents four doves
46
NEW PICTURE OF KOME.
7
resting on the edge of a cup; called the Furietti
doves, because found by that cardinal in the villa
Adriana.
Opposite the museum is the
PALAZZO DE' CONSERVATORI.
(Palace of the Conservators.)
i
Under the portico in the court of this palace on
the right is a statue of Julius Cesar, and on the
left one of Augustus. Around the court are several
colossal fragments, namely, a bronze hand and
head of Commodus; a still larger head of Domi-
tian, in marble; two enormous feet and a hand
corresponding, placed on pedestals; and on the
ground is a broken piece of thigh and a heel; sup-
posed to be fragments of the colossal Apollo which
was forty-one feet high, and transported from
Pontus, by Lucullus. There is likewise a superb
group in marble, of Grecian work, a lion tearing
a horse. At one end of the court, surrounded
by an iron grating, is a fine figure of Rome
Triumphant; on the pedestal is sculptured in
basso relievo, a province subdued, supposed to be
Dacia. At the sides of this statue are two kings,
FIRST DAY,
47
prisoners, finely executed in grey marble; and
two Egyptian idols of oriental granite.
Opposite the first flight of stairs on the wall, is
a copy in white marble of the famous Rostral
Column, which was erected in honour of Caius
Duilius, consul, the first who obtained a naval
triumph for his signal victory over the Cartha-
ginians, in the year of Rome 492; the original was
adorned with bronze trophies taken from the
enemy's ships; underneath is a fragment of the
ancient inscription.
On the first landing-place are two statues,
Urania and Thalia, in niches; and on the walls of
the court are four superb basso relievos: the first
represents M. Aurelius offering a sacrifice before
the Temple of Jupiter Capitolinus; another por-
trays one of this emperor's triumphs; in the third
he is on horseback, with the prætor on his left,
seeming to implore peace for the Germans who
are kneeling; and the fourth represents Rome of-
fering him a globe, the symbol of the imperial
power. These basso relievos were found in St.
Luke's church, at the Forum Romanum. Many
antiquaries have been mistaken in saying they be-
longed to the arch of M. Aurelius, which was in
48
NEW PICTURE OF ROME.
the Strada del Corso: it is known that this arch
had only four basso relievos, two of which are on
the second landing of this very staircase; and
another is on the door of the Orsini palace, at
Mount Savelli.
In continuing to ascend, there may be seen on
the left side in the wall, a fine basso relievo of
Metius Curtius, the Sabine, on horseback, crossing
the marsh in the forum, at the combat between
Romulus and Tatius.
On the walls of the next landing place are two
basso relievos; one represents Marcus Aurelius
standing, reading the petition of the people; the
other is the deification of the younger Faustina.
This place leads to a saloon, called the Cavalier
Arpino's saloon, because he has there represented
the first events of the Roman History, namely,
Komulus and Remus, found by the shepherd
Faustulus, at the foot of Mount Palatine; Romulus
with a plough tracing the circumference of his
new city; the seizure of the Sabine Virgins; Numa
Pompilius sacrificing with the Vestals; the combat
between the Romans and the Veïens; the one be-
tween Tullus Hostilius and Mutius Suffetius; and
lastly, the fight between the Horatii and the Cu-
•
FIRST DAY.
49
riatii. At the end of the room is the famous bronze
Hercules on a pedestal, found in the Forum Bo-
arium, in the place where the Ara Maxima had
been.
The visitor then passes into the first room, where
Thomas Lauretti has continued the Roman History,
that is to say, he has painted in fresco, Mutius Scevola
burning his right hand, in Porsenna's presence, for
having, by mistake, killed the secretary instead of
the king; Brutus condemning his sons to death
for having joined the conspiracy of the Tarquins ;
Horace Cocles, quite alone, repulsing the Etruscan
army on the bridge Sublicius; and the dreadful
battle by which Tarquin Superbus was driven
from Rome. There are in this room several busts
and antique heads; likewise various statues of
generals of the Roman troops, such as Mark An-
thony Colanna, Thomas Rospigliosi, Francis Aldo-
brandini, Alexander Farnese, and Charles Barbe-
rini. Amongst the busts is a bronze one of Michael
Angelo Bonarotti, which is a perfect resemblance.
The second room is finely painted in frieze by
Daniel de Volterra, who has represented the
triumph of the consul Marius, after the defeat of
the Cimbrii. In the middle of this room is the
F
•
1
NEW PICTURE OF ROME.
50
15+
1
wolf, in bronze, that suckled Romulus and Remus:
it stood in the Temple of Romulus, now St. Theo-
dore's church; it is supposed to be the same, that
on the day of Julius Cesar's death, was damaged by
lightning on the hinder feet, because it contains
evident marks of it. There is a fine bust of Junius
Brutus, first Roman consul; and another in bronze,
of one of the twelve slaves who saved Rome from the
conflagration, at the time of the Republic; a half
figure of Apollo; a bust of Proserpine; one of
Diana, one of Julius Cesar, and another of Adrian.
There is likewise an excellent bronze figure of
Martius, the shepherd, taking a thorn out of his
foot.
In the third room may be seen on the wall,
several marble fragments on which are written
the Consular Records, till the time of Augustus.
They were found near the church of St. Mary
Liberatrice (the deliverer) in the Forum Romanum.
There are likewise two modern inscriptions, one in
memory of the victories of Mark Anthony Co-
lonna; and the other for those of Alexander Far-
nese. Over the entrance door is a fine head in
basso relievo of Mithridates, king of Pontus.
The next room is ornamented with a frieze, on
+
FIRST DAY.
51
which are represented various Olympic games;
there are two exquisite heads, one of Scipio Afri-
canus, the other of Philip of Macedon; a bust of
Appius Claudius; a likeness of Bonarotti, sculp-
tured by himself; one of M. Aurelius; a fine
Medusa's head; other antique marbles; and two
bronze geese, by some supposed to be in memory
of those, who by their cries, saved the capitol
when the Gauls attempted to surprise it during
the night.
Next comes the tapestry room, in which An-
nibal Carracci has represented the exploits of
Scipio Africanus, on frieze. In the four corners
of this room are four fine busts of Sappho, of
Socrates, of Ariadne, and Poppea, Nero's second
wife.
In the last room but one, are the statues of
Virgil, Cicero, the Goddess of Silence, Cybele,
and Ceres. The paintings in fresco, are by Peter
Perugino, who has represented many subjects of
the Roman History. In the chapel which follows,
are several good pictures; one in fresco, by Peter
Perugino.
On leaving this room are two apartments, of
which the wails are covered with picces of marble,
F 2
·
•
52
NEW PICTURE OF ROME.
where the modern consular records are engraved..
Passing from this place into a small court, the
visitor enters the
GALLERIA DEI QUADRI DEL CAMPI-
DOGLIO,
(Picture Gallery of the Capitol.)
Benedict XIV. erected this magnificent gallery,
consisting of two saloons filled with pictures,
which he purchased principally from the houses
of Sacchetti and Carpi. In the first saloon, par-
ticularly worthy of notice, is a picture of a Beati-
fied Soul, by Guido Reni; the Triumph of Flora,
by Nicholas Poussin; a St. Cecilia, by Louis Ca-
racci; Romulus and Remus suckled by the wolf,
a large picture of Rubens; St. John the Baptist,
by Guercino; a Magdalen, by Guido; and the
Virgin adoring the infant Jesus, by Peter da
Cortona.
Amongst the pictures on the second side are the
following: Ariadne and Bacchus in the Island of
Crete, by Guido Reni; a fine miniature of our
Saviour's feast in the Pharisee's house, by Madame
Tibaldi Subleyras, copied from a picture of her.
FIRST DAY.
53
husband; a Holy Family, by Augustin Caracci;
a Sketch, by Annibal Caracci; a Female Saint,
by Domenichino; a Magdalen, by Albano;
another by Tintoretto; the Persian Sybil, by
Guercino; a St. Helen, by Paul Veronese; a
small picture of Two Boys, by Annibal Caracci;
a St. Cecilia, by Louis Caracci; and a beautiful
portrait of a Woman, by Bronzino.
The most esteemed portraits of the third side
are, a Female representing Vanity, by Titian; a
St. Francis, by Bronzino; another, by Louis Ca-
racci; the portrait of Diego Velasquez, by himself;
Joseph sold to the Egyptians, by Peter Testa; a
picture of Guido, done by himself, when young;
a large picture representing the Sacrifice of Iphi-
genia, by Peter da Cortona; two Battles, by Bor-
gognone; two Sketches, by Guido, of Cleopatra
and Lucretia; a Magdalen, by Annibal Caracci;
a Dead Christ, by Louis Caracci; and a Madonna
and Angels, by Paul Veronese.
On the fourth side leading to the door are, a
fine. Landscape, by Domenichino; a Magdalen,
by Annibal Caracci; two Sketches, by Guido ;
a Holy Family, by Giorgione; Circe and Ulysses,
F 3
12
ร
54
NEW PICTURE OF ROME.
3
by Elizabeth Sirani; and two pictures, by Poly-.
dore da Caravaggio.
In the second saloon on the first side to the
right is a Holy Family, by Parmigianino; another
Holy Family, by Louis Caracci; a St. Matthew,
by Guercino; Cupid and Psyche, by Benedict
Luti; the Adulteress, by Ferrari; a St. John Bap-
tist, by Caravaggio; the Baptism of Jesus, by
Tintoretto; three Landscapes, by Domenichino;
the Pool of Bethesida, by the same; a portrait of
Bonarotti, by himself; St. John Baptist, by Ca-·
racci; and three views of Rome, in water colours,
by Gaspard Vanvitelli.
On the second side there is nothing remarkable
but the Defeat of Darius, by Peter da Cortona; and
the carrying off of Europa, by Paul Veronese.
On the next side may be seen a little Cupid, by
Guido; a Sybil, by Domenichino; a Gypsy, by
Michael Angelo Caravaggio; a St. Francis, by
Louis Caracci; a Virgin and Child, by Albano;
another small picture of the Virgin and Child,
and St. Francis, by Caracci; a picture of John
Bellino, by himself; a picture of Cleopatra before
Octavius; by Guercino; a Young Man, naked,
1
FIRST DAY.
55
by Michael Angelo Caravaggio; two pictures of
St. Sebastian, one by Guido, the other by Louis
Caracci; an infant Jesus with St. John; a Sketch,
by Guido; St. Jeremy, by Augustin Caracci;
and a Virgin, by Peter Perugino.
On the last side is a landscape of a Mine of Rock
Alum, by Peter da Cortona; a St. John Baptist,
by Guercino; a picture of the Annunciation, by
Scarsellino da Ferrara; the Galatea of Raphael,
copied by Peter da Cortona; three painted ceil-
ings, by Paul Veronese; and Vulcan's Forge, by
Bassano. Behind this edifice were formerly,
LA ROCCA, E LA RUPE TARPEA,
(The Fortress and Tarpeian Rock.)
By the side of the stables of the Caffarelli palace,
are still standing some very ancient walls of extra-
ordinary thickness, made of Albanian marble, and
which formed part of the famous fortress of the
capitol. It was near the Rock of Carmenta, which
looked towards the Forum Olitorium, now called
Montanera-square, it afterwards took the name of
Tarpeian Rock from Tarpea, who was killed there
by the soldiers of Titius Tatius, king of the Sabines,
י
►
56
NEW PICTURE OF ROME.
whom she had introduced into the capitol. This
rock from which criminals were thrown, is still
visible; it is fifty-five feet high. In this part were
also a hundred steps forming the ascent to the
fortress; criminals were likewise precipitated from
these stairs, those especially who were traitors to
their country.
:
.
.
¿
SECOND DAY.
FROM the capitol, where the first day terminates,
the visitor may proceed through the street on the left
of the senatorial palace, into the
·
FORO ROMANO,
(Forum Romanum.)
The most celebrated and renowned place in an
cient Rome, was certainly the Forum, called Ro-
manum, either from the assemblies held there by
the senate and Roman people, or from the beauty
and magnificence of the temples, cathedrals, tri-
umphal arches, porticos, and other public and
private edifices surrounding it, and which were
adorned with columns, gilt bronzes, and nume-
rous statues. The moderns have changed the name
of Forum into Piazza (Square or Place.)
The form of this Forum, was an oblong square,
which extended in width from the arch of Septi-
%
58
NEW PICTURE OF ROME.
mius Severus, to the temple of Antoninus and
Faustina; and in length, from this temple to that
of Romulus, situated near the Church of the
Consolation.
This place, so famous in ancient Rome, after
its decadence, and the ruin of its principal edi-
fices, which rendered it so admirable, served,
until lately, as a field or market, for cows and
other animals; which gave it the name of Campo
Vaccino. However, it is no longer called by this
vile denomination, that of Forum Romanum being
restored. Although it has lost its ancient splen-
dour, yet amongst the ruins are still remaining
many precious and interesting monuments, which
attract the admiration of all amateurs.
The first ancient monument in the Forum, at the
foot of the capitol, is the
X
TEMPIO DI GIOVE TONANTE,
(Temple of Jupiter the Thunderer.)
This temple was erected by Augustus, who, in
travelling through Spain, by night, remained un-
hurt, while his servant was killed by a thunder-
bolt this temple having suffered much by fires,
SECOND DAY.
59
was restored by the senate and Roman people. No-
thing remains of this fine monument, but three
columns of the portico, and a considerable piece
of entablature. The columns are of Grecian mar-
ble, of the Corinthian order: their diameter is four
feet two inches. The entablature is remarkable
for its fine workmanship, and the instruments
used for sacrifice, sculptured in basso-relievo on
its frieze. Next comes the
7
TEMPIO DELLA CONCORDIA,
(Temple of Concord.)
It is supposed, that this temple was erected by
Livia, and dedicated by Tiberius to Concord, in
memory of the harmony subsisting between her and
her husband Augustus. Having afterwards been
burnt under Vitellius, it was restored by the senate
and Roman people, which is seen inscribed on the
architrave. Of this temple, nothing remains but
its portico, consisting of eight magnificent columns
of oriental granite, of the Ionic order, twelve feet
in circumference, and forty in height. The ine-
quality of these columns, and many irregularities
in the architecture, announce that the temple was
:
60
NEW PICTURE OF ROME.
repaired in Constantine's time, with fragments from
other edifices. The frieze of the entablature, in
the interior, is very finely sculptured.
Before the grand staircase of the capitol, is the
ARCO DI SETTIMIO SEVERO,
(Arch of Septimius Severus.)
}
About the year 205 of the Christian era, the
senate and Roman people erected this magnificent
triumphal arch, in honour of Septimius Severus,
and his sons Caracalla and Geta, for their victo-
ries over the Parthians and other barbarous nations.
This arch is of marble, and has three openings; it
is decorated with eight fluted columns of the Corin-
thian order, and with basso relievos, but indiffer-
ently sculptured; they represent the expeditions
of this Emperor against the Parthians, the Arabs,
and the Adiabenians, after the murder of Pescen-
nius and Albinus, as we read on the double in-
scription, which was of gilt bronze, like all the
others. It is remarked, that in the fourth line of
the inscription, the marble is rather sunk, because
Caracalla after having killed his brother Geta,
erased his name and substituted other words: he
SECOND DAY.
61
did the same with all the other public monuments.
Although the decadence of the fine arts is percep-
tible in the workmanship, yet being done in imi-
tation of other arches, &c., of which there were a
number at that time, it still serves to give an idea
of Roman magnificence.
On one side of this arch, is a marble staircase
leading to a floor above, where was formerly to be
seen the figure of Septimius seated with his sons,
Caracalla and Geta, in a gilt bronze car, drawn
by six horses abreast, between four soldiers, two
on horseback, and two on foot. This fine monu-
ment of antiquity had remained nearly half under-
ground, until 1804, when Pope Pius VII. ordered
it to be taken up. Near this arch is the
CARCERE MAMERTINO, IN OGGI, CHIE-
SA DI S. PIETRO IN CARCERE,
(Mamertine Prison, now called the Church of
St. Peter Imprisoned.)
. Ancus Martius, king of Rome, built this
prison, which was called Mamertine, either from
his name, or from a road so denominated near it,
which is now called Monte di Marforio. Some
G
62
NEW PICTURE OF ROME.
!
÷
↓
imagine this name arose from the Forum and Temple
of Mars, which were very near. Having been after-
wards enlarged by Servius Tullius, it changed its
name into Tulliano. Its front, towards the Forum,
is forty and a half feet long, and sixteen high. The
names of several consuls who have repaired it are
inscribed on it.
This prison, as may still be seen, was divided
into upper and lower. The descent into the first,
is by a modern staircase, made when it was con-
verted into a sacred place. This first prison is an
oblong square, twenty-five feet long, eighteen wide,
and thirteen high. It appears there was a hole in
the vault, large enough for a man to pass, through
which the criminals were let down, by a cord.
Under this hole was a similar one leading to the
lower prison; the descent to which is likewise by a
modern staircase: this place is eighteen feet long,
nine wide, and six high. It is conjectured, that there
was another prison, somewhat less obscure, for
minor criminals. Although the entrance to this
prison was towards the capitol, the ascent to it was
on the Forum side, where the steps began called
Scalae Gemoniae, from the groans of those who
were conducted thither: these stairs joined the pri-
SECOND DAY.
63
son by means of a stone bridge. It was likewise
from the top of these stairs, that the corpses of the
criminals were thrown, in order to terrify the
people who stopped in the Forum.
The detention of St. Peter in this prison for nine
months, under Nero, has greatly augmented its
celebrity. Therefore the first christians made a
church of it, dedicated to that holy apostle, which
was consecrated by Pope St. Silvester. Near a small
column to which, it is said, St. Peter was tied, is
a spring of water, believed to have been miracu-
lously made to flow by him, to baptize St. Pro-
cesso and St. Martinian, keepers of the prison,
with forty-seven of their companions, who all be-
came martyrs.
Almost opposite this prison is the
CHIESA DI S. LUCA,
(St. Luke's Church.)
This church, one of the most ancient in Rome,
was repaired by Alexander IV., who dedicated it
to Sta. Martina. Sixtus V. afterwards gave it to
the academy of painters, who adorned it from the
designs of Peter da Cortona, and dedicated it to
i
G 2
64
NEW PICTURE OF ROME.
•
their patron, St. Luke. The picture of the chapel
to the right, representing the martyrdom of St.
Lazarus the painter, is by Lazarus Baldi. The
Assumption, in the opposite chapel, is by the Ca-
valier Sebastian Conca. The picture on the great
altar, which represents St. Luke painting the
Virgin, is a copy by Antiveduto Grammatica,
from the original of Raphael his master, which is
preserved in the great saloon of the academy. On
the same altar, is the statue of Santa Martina, finely
sculptured by Nicholas Menghino. The subterra-
nean vault of this church is well worth seeing, as
likewise the rich chapel, constructed by Peter da
Cortona at his own expense, where is deposited
the body of Santa Martina under the altar, which
is adorned with precious stones and gilt bronze.
It is supposed, that Adrian's temple, erected by
Antoninus Pius, was in this place. The four basso
relievos, representing the great actions of M. Aure-
lius, which are in the court of the Conservator's
palace in the capitol, were found in this church.
It appears from an ancient inscription found,
that the edifice called Secretarium Senatus, was
near this spot. The place where the archives of
criminal justice were kept, and where impor
;
SECOND DAY.
65
tant causes were examined, was called Secre-
tarium.
Annexed to this church, is the celebrated aca-
demy, called St. Luke's, erected under Sixtus
V.; it is composed of painters, sculptors, and
architects. There are a great number of por-
traits of the most celebrated painters, and some
pictures by the Academicians; especially the one
by the immortal Raphael, of St. Luke painting the
Virgin. There is likewise a head of this celebrated
master, much esteemed by the lovers of the fine
arts. There are also some designs in architecture,
&c., which have obtained prizes for the students.
Very near this place is the
CHIESA DI S. ADRIANO,
(Church of St. Adrian.)
The front of this church appears very ancient,
both from its construction and the fine bronze door,
which now stands at the principal entrance to the
cathedral of St. John Latrano. This front consists
of a large brick wall, formerly adorned with mar-
bles and stuccos, a pediment, and cornices. Al-
though this piece of antiquity is generally attri-
►
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06
NEW PICTURE OF ROME.
·
}
"
buted to the temple of Saturn, which joined the
public treasury, it more probably belonged to the
cathedral of Paulus Emilius; for the ancient
writers all place the temple of Saturn at the foot
of the Capitoline Mount, near the arch of Tiberius,
which was towards the Velabrum. Next comes
the
TEMPIO D'ANTONINO E FAUSTINA, IN
OGGI CHIESA DI S. LORENZO IN MI-
RANDA,
(Temple of Antoninus and Faustina, now the Church
of St. Lawrence, in Miranda.)
About the year 168 of the christian era, the
Roman senate erected this temple in memory of
Antoninus Pius, and Faustina his wife. The two
side walls are still standing, as likewise the portico,
which is formed of ten large columns, made out of
one piece of marble. They are of the Corinthian
order, and each fourteen feet in circumference,
and forty-three high, including the head and the
base. The superb entablature is composed of
immense pieces of Parian marble, finely worked;
f
SECOND DAY.
*
on the side frieze, are basso relievos of griffins,
and other ornaments, extremely well sculptured.
The church of St. Laurence in Miranda, was,
built on the ruins of this temple; its surname was,
perhaps, derived from the admirable monuments
of ancient Rome, which surrounded it. Next
follows the
TEMPIO DI REMO, IN OGGI VESTI-
BOLO DELLA CHIESA DE' SS. COSMO
E DAMIANO,
(The Temple of Remus, now porch of the Church of
Saint Cosmo and Saint Damian.)
This very ancient temple, which is of a round
form, was erected by the Romans in honour of
Remus. There was another temple near this one,
of an oblong form, erected by Adrian from his
own designs, and supposed to have been dedicated
to Venus and Rome; he ordered Apollodorus the fa-
mous Greek architect to be executed, for having criti-
cised this edifice. On its marble pavement was
engraved the plan of Rome, with the names of
Severus and Antoninus, who repaired the temple;
this same plan is now to be seen in different pieces
68m.
NEW PICTURE OF ROME.
on the walls of the staircase, in the museum of the
capitol. In this temple, the machines for the
games in the neighbouring amphitheatre, were
constructed.
In 527, St. Felix III., converted this temple
into a church, which he dedicated to St. Cosmo
and St. Damian; and made use of Remus' temple,
for a vestibule to the church; but the dampness to
which it was subject, induced Urban VIII. to raise
the pavement, and build it higher, as it now
stands. The upper part, or cupola of Remus'
temple still serves as a vestibule to this church: the
ancient brofize door, and the two elegant porphyry
columns, which were formerly underneath, have
"been placed at the two openings of the entrance.
The pavement of the vestibule, as likewise that of
the modern church, is sustained by large pillars.
LA

The descent into the ancient subterranean
church, is by a convenient staircase, by the side
of the choir. Under the great altar, are depo-
sited the bodies of the martyrs St. Cosmo and
St. Damian; there are likewise to be seen some pri-
vate chapels and pictures. This place, leads
down into another, still deeper under ground; in
which is a small altar, where St. Felix III. cele-

THR
Brasilica di S. Maria Maggiore.
Corocosaurs
Interne della Basilica di S.M. Mag"
百
​Piazza della Rotonda
Eb
Interno del Panteon
London, Published by Samuel Leigh, 18 Strand.
DIE EE
285
Porto detto di Ripetta.
A
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BUBBEL LAST
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La Gran Piazza Navona.
UNIL
MICH
OF
SECOND DAY.
69
brated mass: opposite is a fountain of excellent
water, called St. Felix.
A few paces from this church, are two large
marble columns almost buried, supposed to be the
remains of some ancient edifice. They were dis-
covered in 1753, and are thirty-one feet high, in-
cluding their base. From these we may know the
depth of the ancient Via Sacra (sacred way.)
The three large arches, near these columns, are
remains of the famous
TEMPIO DELLA PACE,
(Temple of Peace.)
The Emperor Flavius Vespasian erected this
temple, about the year 77 of the christian era on
the ruins of the portico of Nero's golden house.
This celebrated edifice, was by the ancients consi-
dered the most magnificent in Rome. There only
remains a side part, formed of three large arches,
which served for chapels, and took the whole
length of the nave. The middle arch is made into
a choir, and all three are ornamented. There are
likewise niches for statues, and doors of commu-
nication from one arch to another. The part cor-
-
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1
responding to this, is in ruins, as likewise the
great nave, of which only vestiges are to be seen-
On the pillars of the three large arcades, are some
fragments of marble entablature, sustained by eight
columns, one of which was remaining here, until
the time of Paul V., who removed it to the piazza
(place or square) of St. Mary Maggiore (the great).
It is of white marble, fluted, and of the Corinthian
order: its height is forty-four and a half feet, and
its circumference nineteen feet three inches; this
temple was about 502 feet long, and 202 wide.
One may judge of its magnificence from this co-
lumn, as well as from the three great arches, and
the number of fine marbles found in 1812, when
the earth was removed.
*
**
The front of this grand edifice, facing the Coli-
seum, was likewise decorated with eight columns.
Its interior was adorned with paintings and sculp-
ture, by the greatest artists of that time. Besides
its own splendid ornaments, it contained almost
all the riches of the citizens, who deposited them
there, for greater security. Titus placed the most
precious spoils from the temple of Jerusalem in it.
In 191 it was consumed by the flames, together
SECOND DAY.
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*
with its exquisite ornaments, and the treasure of
the Roman people. Near this temple stands the
CHIESA DI S. FRANCESCA ROMANA,
(Church of St. Frances Romana.)
The origin of this church is extremely ancient,
having been erected by Pope St. Silvester. It was
afterwards rebuilt, under Leo IV., and repaired
by Paul V., who made the portico and front from
the designs of Carlo Lombardi. Before the great
altar is the tomb of St. Frances, ornamented with
precious marbles and gilt bronze, from the de-
signs of the Cavalier Bernini. To the left of the
altar, is the magnificent tomb of Gregory XI., the
work of Peter Paul Olivieri: its basso relievo re-
presents the translation of the holy see to Rome,
effected by this Pope in 1377, after being seventy-
two years in Avignon. By the side of this church,
is the
ARCO DI TITO,
(Arch of Titus.)
This triumphal arch, was raised by the senate
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}
and Roman people, in honour of Titus, Vespa-
sian's son,´after his conquest of Jerusalem. It is
of white marble; and, although less grand than the
other triumphal arches, and having but one arcade,
yet its architecture and sculpture render it the
finest monument of the kind remaining. It was
adorned on both sides, by four fluted pillars, of
the composite order, of which two only are left
in each place.
On the interior sides of the arch are two basso
relievos, which, although greatly damaged, are
the finest known. One represents Titus triumph-
ant in a car, drawn by six horses abreast, the reins
guided by Rome, under the form of a Woman;
Victory is crowning the Hero, and a troop of sol-
diers and citizens are preceding and following it.
The other basso relievo represents the continuation
of the triumph; namely, several soldiers, Jewish
prisoners, the golden table, the silver trumpets,
the golden candlesticks, and other spoils from the
temple of Jerusalem, carried on the shoulders of
crowned soldiers. At the bottom of the arch is the
apotheosis or deification of this Emperor, repre-
sented under a human figure, carried to heaven
by an eagle; which proves that this arch was
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raised after his death. On the archivaults, are four
very fine figures of Fame. Lastly, on the frieze
of the entablature, is seen the remainder of the
triumph, representing the River Jordan as an old
Man, carried on a table by four men; there are
likewise several figures, leading some oxen to
sacrifice. On the other side of the Forum, is
the
MONTE PALATINO,
(Mount Palatine.)
This is one of the seven hills of Rome, and may
be said to be crowned by the others. In very an-
cient fabulous times, it is said, this Mount was in-
habited by Saturn, Evander, and Pallant, from
whom it is supposed to have taken the name of
Palatino. At the foot of this mount, Romulus laid
the first foundations of his city. Upon this cele-
brated mount, the origin of Rome and seat of the
Roman empire, was built the
PALAZZO DE' CESARI,
(Palace of the Cesars.)
Rome having been founded by Romulus at the
H
74
NEW PICTURE OF ROME.
:
foot of Mount Palatine, as we said before, various
temples and edifices were built upon it. Romulus
had his house there, which may perhaps have been
the one belonging to Faustulus, where Romulus
and Remus passed their childhood; it was there-
fore every year repaired, with superstitious cere-
monies. Cicero, Catiline, Crassus, and others, had
their habitations in this place.
Augustus possessed two houses here, in one of
which he was born; the other having been burnt,
he rebuilt it with great magnificence; and this was
the first considerable edifice that appeared in
Rome; it took the name of Palatium from its 'situa-
tion: this name was afterwards given to all the
principal houses in the city. (The modern word
Palazzo (Palace,) is derived from it.) The same
emperor added á portico, sustained by columns of
African marble; and a library, where he placed
a bronze statue of Apollo, fifty ancient feet high,
according to Pliny. This palace was considerably
enlarged by Tiberius, who extended it to the ex-
tremity of the mount, towards the capitol: this
edifice was for distinction called Tiberius' house.
Caius Caligula still farther extended it to the
Forum, and made a bridge, sustained by eighty
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>
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SECOND DAY.
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F
marble columns, to unite this palace with the Ca-
pitol; but the bridge was demolished by Claudius
his successor.
Mount Palatine, which in the origin of Rome,
formed the greatest part of the town, was not con-
sidered sufficient by Nero, who took in the whole
space between Mount Cœlius and the Esquiline, in
order to augment this palace.
This stupendous edifice having been burnt by
the great conflagration, in the year 64 of the
Christian era, was rebuilt by Nero with such mag-
nificence, and adorned with so much splendour,
that it was called Domus aurea Neronis (Nero's
Golden House). One can scarcely form an idea
of this sumptuous edifice: it was decorated with a
piazza 1,000 paces long, of three rows of columns,
and a vestibule not less magnificent, where was
seen the famous Colossus 120 ancient feet high,
representing Nero, a work of the celebrated Ze-
nodorus; which afterwards gave the name of Co-
liseum to Flavian's Amphitheatre. This prodi-
gious palace contained so many gardens, woods,
baths, lakes, &c. &c., that it resembled a city.
rather than a palace. The innumerable apaṛt-
ments were adorned with statues, marbies, jewels,
H 2
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NEW PICTURE OF ROME.
•
&c. In 1720, in digging, a magnificent room,
138 feet long and 91 wide, was discovered,
decorated with fine marbles. The riches of the
whole empire were assembled in this palace. Se-
verus and Celerus, much-esteemed architects,
used every endeavour to render it complete; and
Amulius, a celebrated painter, employed his whole
life in painting it. Suetonius asserts, that when
Nero saw this palace finished, he only said, He
was going to be lodged almost like a man.
It is not known whether, after Nero's death,
this palace underwent any change under Galba,
Otho, and Vitellius. It is certain that Vespasian
and Titus demolished all which was beyond
Mount Palatine; and the baths of Titus, the Co-
liseum, and the Temple of Peace were built in-.
stead, upon the ruins. Domitian adorned this
palace, and added a wing, which was called Do-
mitian's House. Trajan transported some of the
richest ornaments to the Temple of Jupiter Capi-
tolinus. Under Valentinian, Maximus, and Totila,
and during the pillage of Rome by the Vandals,
this grand imperial palace fell to decay, so that
nothing now remains but some vestiges of rooms,
porticos, arcades, and high walls, interspersed
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SECOND DAY.
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with brambles, which produce a very picturesque
view, especially on the side of the great Circus.
Part of these remains is occupied by the
*
ORTI FARNESIANI,
(Gardens of Farnese.)
J
Paul III., of the Farnese family, built a delight-
ful villa here, called Orti Farnesiani, which now
belongs to the Royal Court of Naples. The
principal entrance gate is of fine architecture, by
Vignola, adorned with two columns of the Doric
order, which sustain a balcony. These gardens
were formerly very agreeable on account of the
walks, groves, and fountains, they contained; and
also rich in statues, basso relievos, and other
marbles, transported thither by Paul III. from the
Coliseum, and from the baths of Caracalla, and.
which, in the last century, were transferred to
Naples. Nothing now remains but two small sub-
terranean rooms, supposed to have made part of
Livia's baths, in which are still seen some painted
figures.
Near the church of St. Mary Liberatrice (the
Deliverer), are two thick, lofty brick walls, supposed
r
H 3
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NEW PICTURE OF ROME.
to be remains of the Hostilian Tribunal, where the
Senate generally assembled to treat of public af-
fairs. It was built by King Tullus Hostilius, and
rebuilt by Scylla, after having been consumed,
when the body of P. Clodius, tribune of the
people was burnt; finally, Julius Cesar repaired,
and gave it the name of Julia. Almost opposite
St. Mary's church are the remains of the
TEMPIO DI GIOVE STATORE,
(Temple of Jupiter Stator.)
Some antiquaries believe, that the three magnifi-
cent columns in the Forum which stand by themselves,
belonged to the Comitium, and others, to the Temple
of Castor and Pollux. But the common opinion
is, that they are remains of the portico of Ju-
piter Stator's temple. The origin of this temple is
traced to Romulus, who constructed it to fulfil the
vow he made at the time of the battle against the
Sabines, which took place here. Attilius Regulus,
in the year of Rome 459, rebuilt it after the Sam-
nite war. The portico was composed of twenty-
eight columns, which are of Grecian marble, fluted,
and of the Corinthian order: their diameter is four
SECOND DAY.
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and a half feet, and their height forty-five feet, in-
cluding the head and base. The entablature, al-
though grand and majestic, is finely and delicately
worked. The heads of these columns are equal in
beauty to those in the interior of Agrippa's Pan-
theon, reckoned the finest existing: which renders
it more likely that this edifice was constructed in
the time of the emperors and not of the Republic.
These precious remains of antiquity serve as
models for the ornaments and proportions of the
Corinthian order. Near the Temple of Concord
is the
COLONNA DELL' IMPERATOR FOCA,
(Column of the Emperor Phocas.)
Various were the opinions of antiquaries re-
specting this column, some attributing it to one
edifice, and some to another: but the late discovery
made of its pedestal, shews, from the inscription,
that it was erected A. D. 608, by Smaragdo,.
Exarch of Italy, in honour of the Emperor Phocas;
who placed a gilt bronze statue of this emperor
on the summit. This column is of Greek marble,
fluted, and ofthe Corinthian order; its diameter is four
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NEW PICTURE OF ROME.
4
feet, its height including the pedestal is fifty-four..
As it is very finely worked, it may be supposed to
have been taken from some edifice, erected before
the decadence of the fine arts.
On the left towards the Church of Consolation,
is the
TEMPIO DI ROMOLO IN OGGI CHIESA
DI S. TEODORO,
(Temple of Romulus, now St. Theodore's Church.)
i
1,
This small temple, of a round form, and made
of brick, is believed to have been erected by Tatius,
king of the Sabines, and dedicated to Romulus,
in memory of his having been exposed and found
in this place, with his brother Remus. The bronze
Wolf in the act of suckling the Twins, now in the
Conservator's palace, stood in this temple till the
16th century.
This same temple was afterwards converted into
a church, and dedicated to St. Theodore, vulgarly
called St. Toto. Adrian I. repaired it in 774,
and Nicholas V. rebuilt it in 1450. According to
a very ancient custom, children attacked with un-
known diseases, are carried thither to be cured by
1
SECOND DAY.
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the intercession of the Saint. The gallery is orna-
mented with some very antique Mosaic work. The
great altar-piece is by Zuccari: the two others are
by Baciccio and Joseph Ghezzi. The Forum Ro-
manum terminated at this temple, where the ancient
Via Nova (new way) began, and passing through
the Velabrum and great Circus joined the Appian
way, near the baths of Caracalla.
Near the Temple of Romulus was the Lupercal,
that is to say, the cavern into which the wolf that
was suckling Romulus and Remus, retired upon
the approach of Faustulus. ·
Besides the ancient edifices whose remains we
have observed in the Forum, there were several
others, of which no vestige is left. The celebrated
via sacra (sacred way or road) took its name from
the peace concluded there by Romulus and Tatius,
king of the Sabines.
In taking the street to the left of the Arch of
Titus, one sees the Villa Spada, which occupies a
great part of Cesar's Palace. There are some
subterranean rooms, discovered in 1777, and the
remains of a balcony which has been rebuilt: from
this balcony, it is supposed the emperors gave the
signal for the games to begin in the great Circus
·
St
*
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Į
1
!
below. In the Casino, among other paintings, is
a Venus, believed to be by Raphael; and two fine
pictures, the one representing Hercules, the other,
The Muses.
Returning to the Forum, and passing under the
arch of Titus, appears the celebrated
ANFITEATRO FLAVIO, DETTO CO-
LOSSEO,
(Flavian Amphitheatre, commonly called the
Coliseum.)
The Emperor Flavius Vespasian, erected this
wonderful Amphitheatre, A. D. 72, after his return
from the Jewish war, in the place where Nero's
lakes and gardens had been, that is to say, almost
in the midst of ancient Rome. It is said to have
been finished in five years; and to have cost
10,000,000 crowns, and employed 12,000 Jews,
who were made slaves at the conquest of Jerusalem.`
Vespasian also transported the famous colossal
statue of Nero to the square before this Amphi-
theatre, which that emperor had raised in the ves-
tibule of his palace; hence the name of Coliseum:
although some persons believe this denomination
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SECOND DAY.
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to have arisen from its extent, and really colossal
height. Titus completely finished and solemnly
dedicated it to his father, Vespasian.
These dedications were different, according to
the nature of the edifice: the dedication of a
theatre was celebrated by a drama; a Circus, by
a chariot race; a Naumachia, by naval combats;
and an Amphitheatre, by gladiators' combats, and the
hunting of wild beasts. It is related, that on the
dedication day of this superb edifice, Titus
had 5,000 animals, of different species, brought
here, which were all killed: besides these games,
naval combats were exhibited, although there was
a place purposely appropriated to mock-sea-fights.
The only difference between the amphitheatres and
theatres was, that the latter were in the form of a
semi-circle, and the others like a whole circle; so
that they resembled two theatres joined.
This superb. building, almost entirely composed
of large pieces of travertine marble, is raised on
two bases on which the exterior arches rest; from
what is still remaining, it is evident that the whole
edifice was externally surrounded by three rows of
arches, raised one above the other, intermixed with
half-columns, which supported the entablature.
1
*
1
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NEW PICTURE OF ROME.
..
Each row was composed of eighty arches with as
many columns; these gave light to the double
piazzas; the edifice was terminated by a fourth
row of pillars, much higher than the other three,
and closed by a wall, containing forty intermediate
windows. The first row of columns is of the
Doric order: the second, Ionic; and the third and
fourth, Corinthian.
The first row of arches is marked with Roman
numbers; these arches were so many entrances,
which, by means of twenty staircases led to the upper
piazzas and to the seats; so that every one could
go to his place without difficulty; and at the end
of the games the numerous spectators were able to
quit the amphitheatre in a very short time without
any confusion.
Between the two arches, numbered xxxvIII.
and XXXIX., is one without a number, of which
the entablature is quite wanting; it is therefore
probable, that it supported the piazza, which led to
the palace and baths of Titus on the Esquiline
Mount, and served the emperor as a private en-
trance into the amphitheatre.
The form of this vast edifice is oval: the exterior
circumference is 1,641 feet, and the height 157.
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SECOND DAY.
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1
The whole building exhibits a simplicity and so-
lidity in proportion to the extent of such a magnifi-
cent structure; one can scarcely form an idea of
its immensity, unless it is viewed from the first or
second tier.
Several arcades, columns, and pillars, have
lately been discovered under ground, as likewise
all the double piazzas, under which one may walk
and admire the astonishing height and interior
circumference of this superb edifice. Some sub-
terranean staircases were likewise discovered at the
same time; the most remarkable was that used by
the emperors, to pass secretly from the palace to
the amphitheatre.
Several fragments of marble columns, statues,
and basso relievos, were also found, as well as in-
scriptions; the most interesting is that of Lampi-
dius, Prefect of Rome, about the year 430, A. D.,
which mentions that he restored the Arena, the
Podium, the false doors and the seats for the
spectators.
There were two entrances to the Arena; one was
by the side of the arch, and is still used as an entrance
the other faces the street that leads to St. John
Laterano. The place where the games, &c., were
I
· 86
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NEW PICTURE OF ROME.
celebrated, was called Arena, from the gravel or
sand, with which the ground was covered for the
convenience of the actors. This Arena is oval,
and 285 feet long, 182 wide, and 748 in circum-
ference; it was surrounded by a wall of moderate
height to prevent the animals from escaping.
There were several iron gratings in this wall,
through which the gladiators and wild beasts en-
tered. The projection of the wall which sur-
rounded the Arena was called Podium there
were placed the seats destined for the emperor and
his family, for the senators and principal magis-
trates, and for the vestals.
;
Above the Podium were the seats for the other
spectators: a number of doors led to these places
and were called Vomitores, from the multitude of
people who passed them. These seats were divided
into three rows of benches anciently called Me-
niana: the first row contained twelve benches, the
second fifteen, they were of marble; the third,
which was of wood, contained ten; having been
burnt it was restored by Heliogabalus and Alex-
ander Severus, as we read in their lives. This
last row was surrounded by eighty marble columns.
The seats altogether, were able to contain 87,000
?
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SECOND DAY.
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#
spectators; and more than 20,000 could be con-
veniently accommodated in the piazzas above.
There are some holes near the last row of win-
dows corresponding with brackets, where it is sup-
posed the bronze or iron beams were placed, to
which the pulleys and cords were fastened, that
supported the velarium, or tent, which covered the
amphitheatre, in order to guard the spectators from
the sun or from rain.
The greater part of this superb and magnificent
structure, the most wonderful monument of ancient
Rome, has been injured by time and earthquakes.
It is certain that in the fourteenth century it was
already partly destroyed. Many of the stones have
been employed in building the palace of the Chan-
cery, the Venetian, and the Farnese palaces. The
ruins of this master-piece of antiquity have imper-
ceptibly acquired so much of the picturesque that
few even wish the original building restored.
Many Christians have suffered martyrdom in
this amphitheatre, being condemned by the cruelty
of some emperors to become the prey of the wild
beasts. It has therefore always been held in great
veneration; and fourteen little chapels have been
erected around it.
1 2
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NEW PICTURE OF ROME.
Opposite the Coliseum are the remains of the
TEMPJ DEL SOLE E DELLA´ LUNA,
(Temples of the Sun and Moon.)
Of these temples there only remains a side wall
and two galleries which join; one faces the East,
the other the West. Antiquaries are of different
opinions about these temples: some believe they
were dedicated to Venus and to Rome; others to
Isis and Serapis, and some to the Sun and Moon;
this last is the most general opinion.
The thick brick wall between the Coliseum and
Constantine's arch, is the remains of an ancient foun-
tain, called Meta-Sudante, because its form was like
the boundaries of the circus, and the water spouted
from the summit and flowed all around: the spec-
tators, and those who performed in the games of
the amphitheatre, resorted to this fountain to quench
their thirst. Near these remains is the
ARCO DI COSTANTINO,
(Arch of Constantine.)
This magnificent triumphal arch was erected
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SECOND DAY.
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by the senate and Roman people, and dedicated to
Constantine the Great, in honour of his celebrated
victory over Maxentius at Ponte Molle. It has
three arcades adorned with eight fine fluted
columns of yellow marble, of the Corinthian
order, and several basso relievos.
The basso relievos of the frieze, representing the
conquest of Verona, the victory at Ponte Molle,
and the two spheres, meant for the east and west,
are indifferently sculptured, and shew the decline
of the fine arts under Constantine. There are
twenty excellent basso relievos, taken from one of
Trajan's arches, in whose time the arts flourished;
they represent various actions of that emperor. Ten
are in the attic, eight on the small arcades, and two
large ones under the great arcade.
Four of the basso relievos facing the Coliseum,
represent Trajan's triumphal entry into Rome;
the Appian Way, lengthened by him, as far as
Brindisi; the same emperor supplying all Italy
with provisions; and Parthimasirus, supplicating
Trajan to restore him the kingdom of Armenia,
taken from his father. The two basso relievos by
the sides of the arch, and the two under the middle
arcade are the finest and most esteemed; they
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NEW PICTURE OF ROME.
represent Trajan's battle and victory over Dece-
bale king of the Dacians. The four on the other
side of the attic, represent Trajan declaring Par-
thenaspate, King of the Parthians; the discovery
of a conspiracy, attempted by Decebale against
Trajan; that Emperor haranguing his Soldiers;
and lastly, Trajan offering sacrifice. The basso
relievos, on the small arcades, represent different
chaces of Trajan, and sacrifices offered by him, to
Mars, Apollo, Diana, and Silvanus. The eight
Dacian prisoners, sculptured in violet marble on
the entablature, and the before-mentioned columns
of yellow marble, also belonged to the same arch
of Trajan as well as the cornices. It is said the
heads of the prisoners were taken off and sent to
Florence by Lorenzo de' Medicis; but this is im-
probable, as one of the heads was found at the
foot of the arch underground. Clement XII. em-
ployed Peter Bracci to replace all these heads on
antique models. This arch was ornamented with
porphyry and bronze, and had a room in the attic.
It is now decorated with the triumphal car of Con-
stantine drawn by four bronze horses. This arch,
as likewise that of Septimius Severus, was entirely
dug up by order of Pius VII. in 1804; so
SECOND DAY.
91
that the whole of the ancient Via Trionfale-
(triumphal way), or Via Nova (new way), may be
seen.
The ruins of the Aqueduct on Mount Palatine,
near Constantine's arch, are remains of that of.
Septimius Severus, which conveyed the Claudian
water from Mount Coelius to Cesar's palace.
Behind the Coliseum are three streets leading
to the square of St. John Laterano: the one to the
right leads to Mount Coelius; the other to the left
conducts to the church of St. Peter and St. Mar-
cellino: this street is probably the ancient Suburra,
which was the grandest and most frequented in
Rome: but, in 1084, when Robert Guiscard came
to the defence of Pope St. Gregory VII., he burnt
all between the capitol and St. John Laterano; the
inhabitants, who then transferred their residence to
the other side of the Esquiline Mount, towards St.
Peter's in Vincolis, gave the name of Suburra to the
street running between the church of St. Mary de'
Monti (of the Mounts), and St. Martin; which
name it still retains.
The middle street leads directly to the cathedral
of St. John Laterano; on the left is the
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NEW PICTURE OF ROME.
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CHIESA DI S. CLEMENTE,
(Church of St. Clement.)
The little portico of this church is sustained by
four columns, and the vestibule by eighteen, all
of granite. The church has three naves, formed
by sixteen antique columns, of different marbles.
The structure of the ancient churches is visible
here, namely, the great altar by itself; two rows
of seats of Grecian marble by the side of the gal-
lery; and two pulpits, called ambones, of the same
marble finely ornamented, in which the epistle and
gospel were read.
By the side-door is a chapel, called the chapel
of the Passion: it contains some exquisite paintings
in fresco by Masaccio, one of the first restorers of
painting. These frescos represént Our Saviour on
the cross; `different events in the life of the Martyr
St. Catherine; and the Evangelists, which are the
only ones that seem to have been retouched. There
are also some pictures by the Cavalier Sebastian
Conca; Antonio Grecolino; John Odazzi, Thomas
Chiari, and the Cavalier Ghezzi. Near the great
altar is the tomb, an ancient sarcophagus of white
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SECOND DAY.
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marble, of Cardinal Roverella: on which are sculp-
tured Fauns, Bacchantes, &c.
The street opposite St. Clement's church con-
ducts to Mount Coelius. This hill, which accord-
ing to some, Romulus and Tatius, and according
to others, Tullus Hostilius, joined to the city, took
its name from one Coelius Vibenna, who lived
there.
On the summit of this mount is the ancient
church of the Four Saints crowned, in which are
eight antique columns of white granite; and some
paintings by John of St. John.
At a short distance stands the small church of
St. Mary Imperatrice (Empress), anciently called
St. Gregory in Martio, because military exercises
were performed on this mount, when the field of
Mars was inundated by the Tiber. The antique
arches seen there, are remains of the aqueduct of
the Claudian water, called Neronian, because it
is a continuation of that, which Nero commenced
from the Porta Maggiore (great door). Septimus
Severus and Caracalla also constructed other
aqueducts on this mount, to convey the Claudian
water to the Palatine and baths of Antoninus. Be-
yond one of these arches is the
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NEW PICTURE OF ROME.
TEMPIO DI CLAUDIO, IN OGGI CHIESA
DI S. STEFANO ROTONDO,
(Temple of Claudius, now, Church of St. Stephen
Rotondo the Round.)
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:
This temple, by some taken for that of Bac-
chus, is generally attributed to Claudius; but as
there are many irregularities in this edifice, seve-
ral learned writers doubt its being of that time
when the fine arts flourished; but imagine it to
have been made with the spoils of other edifices,
perhaps under Pope St. Simplicius, and dedicated
by him to the first martyr St. Stephen, the form
being spherical, it has been called Rotondo. It
had once a double piazza, but that part having
been ruined, Nicholas V., in rebuilding it, erected
the wall which now surrounds it. The interior of
this church preserves much of the majesty of the
ancient temples. Its diameter is 133 feet. It is
sustained by fifty-eight columns mostly of granite,
some of the Ionic and others of the Doric order.
There are some paintings by Nicholas Pomarancio
and Antonio Tempesta, representing the martyr-
dom of different Saints. This church is only open
on Sunday mornings. In the same street is the
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;
ཨཏྠ
CHIESA DI S. MARIA IN DOMINICA,
DETTA DELLA NAVICELLA,
(Church of St. Mary in Dominica, called Della
Navicella.)
This ancient church was built on the quarters of
the foreign soldiers, who came to Rome as guards
to the Emperors; the house of St. Cyriaque, a
Roman Matron, afterwards stood there: this gave.
it the sir-name of In Dominica, which answers to
the Greek word-Cyriaque. It is now called della
Navicella, from a small antique and finely-formed
marble boat, placed by Leo X. before this church,
which he entirely altered, from the designs of
Raphael. In the interior are eighteen superb
columns of green and black granite, and two of
porphyry. Julio Romano and Pierin del Vaga
painted the frescos, and Lazzaro Baldi, the altar-
pieces.
By the side of this church is the villa, formerly
Mattei, now belonging to Charles IV. of Spain.
It is one of the finest and most delightful in Rome,
C
from its gardens, fountains, &c., and contains a
number of statues, busts, basso relievos and other
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NEW PICTURE OF ROME.
ancient marbles. In the middle of a large field is
a small obelisk of Egyptian granite, covered with
hieroglyphics, a sarcophagus ornamented with a
basso relievo of the nine Muses, and a colossal bust
of Alexander the Great.
The arch of Travertine near the fore-mentioned
church was made A. D. 12, by the Consuls P.
Cornelius Dolabella and C. Junius Silanus. It is
not known for what this arch was used, except
that Nero made a passage for the Claudian water
through it. After passing under this arch, ap-
pears the
I
CHIESA DE' SS. GIOVANNI, E. PAOLO,
(Church of St. John and St. Paul.)
It was built in the fourth century by St. Pam-
machio, a Monk, on the house of St. John and St.
Paul, martyrs. After being possessed by various
orders, it now belongs to the Fathers of the Passion,
from the concession of Clement XIV. This
church is decorated with an antique portico sus-
tained by eight Ionic columns of granite. It con-
tains three naves, divided by twenty-eight columns
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of different marbles, the architecture by Antonio
Canavari. The pavement is of marble, inter-
mixed with porphyry. The best paintings are
those in the gallery by Pomerancio; and the pic-
ture in the fourth chapel to the right, by the Cava-
lier Benefiale.
Entering by the great door, on the left of this
church, appears a majestic edifice, supposed to be
the remains of the Hostilian ward, built by Tullus
Hostilius after having removed the Albanians to
this hill. This ward was different to the one
erected by him in the Forum Romanum. Although
many Antiquaries, from the construction and form
of this edifice, have thought it was part of the re-
servoir made there by Vespasian to collect the
Claudian water, which was distributed in the am-
phitheatre for the naval games; it is more proba-
bly a part of the Vivarium, or inclosure made by
Domitian to contain the beasts destined for the am-
phitheatre.
This edifice was formed by two rows of arches,
one of which is under ground. On these antiqui-
ties is placed the steeple of the last mentioned.
church.
On the other side of this church are some ruins
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NEW PICTURE OF ROME.
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supposed to be remains of the house of Scaurus,
from whom the street, called Clivus Scauri, (Ascent
of Scaurus) was named. The arches by the side of
the church were made in the dark ages, to support it.
Returning, and repassing under the arch of Do-
labella and Silanus, the second street, on the left,
leads to the square of St. John, at the entrance of
which are two large hospitals, for the reception of
sick women of all nations. Then comes the
PIAZZA DI S. GIOVANNI LATERANO,
(Square of St. John Laterano.)
In the middle of this immense square, is the
largest obelisk known. Ramesses, king of Egypt,
raised it at Thebes, and dedicated it to the sun.
This city being destroyed, Constantine the Great,
transported it to Alexandria, in order to take it to
Constantinople, and placed it in a circus, which
he had made; but being prevented by death, Con-
stantius, his son, removed it to Rome in a vessel with
300 oars; and placed it in the great circus; which
being afterward ruined, the obelisk remained six-
teen feet under ground; it was taken up under
;
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SECOND DAY,
99
Sixtus V., and being broken in three pieces, it was
joined and erected in this place, under the direc-
tion of the Cavalier Fontana. It is of red granite
covered with hieroglyphics; its height is ninety-
nine feet, without the base and pedestal. Before
this obelisk is a statue of St. John the Evangelist,
at whose feet is a fine fountain, which furnishes
water to all the neighbourhood.
In this square is the Villa Massimi, which con-
tains many ancient marbles. The great palace
Laterano, given by Constantine the Great to Pope
St. Silvester, is likewise in this square. Having
been burnt, it was rebuilt under Sixtus V., from
the designs of Domenico Fontana. This palace,
long since abandoned by the Popes, has, by the
clemency of Pius VII, been converted into a re-
ceptacle for male beggars, where all, without ex-
ception are received and maintained.
Near this is the
CHIESA DI S. GIOVANNI IN FONTE,
(Church of St. John, in Fonte.)
Constantine the Great, by the side of his palace,
erected this magnificent font, where it is said he.
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NEW PICTURE OF ROME.
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received baptism from St. Silvester. This Baptist-
ery was afterwards despoiled of its rich ornaments
in the various pillages of Rome; but it was re-
paired by Gregory XIII. and Urban VIII., who
ornamented it as it now appears. The Baptismal
Font, is formed of an antique urn, of basaltes
adorned with gilt bronze: it is in a circular place,
paved with fine marble, the descent to which is by
three steps. This font is surrounded by an octan-
gular balustrade, and covered by a cupola, sus-
tained by two rows of columns, placed one over
the other. The first eight columns are of por-
phyry, and have an antique entablature, upon
which the other eight rest; they are of white mar-
ble. On the second row of columns, between the
pilasters are eight pictures, which represent differ-
ent events in the life of the Virgin and St. John the
Baptist; they are by Andrew Sacchi. The frescos
that are on the walls near the font, are painted by
Giacinto Gemignani, Camassei, Carlo Maratti,
and Carlo Mannoni.
On the sides of the portico are two large por-
phyry columns, enchased on the wall, and sup-
porting an antiqué entablature on the outside. In
one of the two side chapels, are two fine columns
SECOND DAY.
101
of serpentine marble; and in the other are two, of
oriental alabaster.·
We next pass to the
BASILICA DI S. GIOVANNI LATERANO,
(Cathedral of St. John Laterano.)
This cathedral is the first and principal tem-
ple of Rome, and the Catholic world. It is
called Basilica Constantiniana, because Constan-
tine the Great founded it; Basilica Lateranense,
because built on the spot where stood the palace
of Plauzio Laterano; del Salvatore, because dedi-
cated by Pope St. Silvester to our Saviour; Basi-
lica Aurea, from the precious gifts that enrich it;
and lastly, Basilica S. Giovanni, because it was de-
dicated to St. John the Baptist and St. John the
Evangelist. It is very celebrated, on account
of the twelve councils which have been held there.
This cathedral, after standing ten centuries, by
means of several repairs under different popes,
was almost entirely burnt in 1308, under Cle-
ment V., who held the Apostolical See at Avignon,
as likewise the annexed palace, which we men-
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NEW PICTURE OF ROME.
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tioned before. The same pope having sent a con-
siderable sum, it was soon rebuilt; and afterwards
adorned by Urban V., Alexander VI., and
Pius IV., who made the fine gilt ceiling, and the
side-front with two steeples; to which Sixtus V.
added the double portico, from the designs of the
Cavalier Fontana; in which stands the bronze
statue of Henry IV. of France, executed by Ni-
cholas Cordieri; one nave was repaired by James
della Porta under Clement VIII.; and the mid-
dle one under Innocent X, by the Cavalier
Barromini.
At length this splendid temple was finished un-
der Clement XII., by Alexander Galilei, who
constructed the principal front. It is decorated
with four large columns, and six composite pil-
lars, which support a magnificent entablature:
above is a balustrade, where there are ten colos-
sal statues of different Saints, and that of our Savi-
our in the middle. Between the columns and pil-
lars before mentioned, are five balconies; in the
middle one, adorned by four columns of granite,
the pope gives his benediction to the people. The
entrance to the magnificent portico which is sus-
tained by 24 marble pillars of the composite order,
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103
is by five doors; in this portico is the colossal
statue of Constantine the Great, found in his baths.
There are five doors to the cathedral. The great
bronze door is that which was placed in front of
the church of St. Adrian in the Forum Romanum ;
it is well executed, and was brought to this place
during the reign of Alexander VII.; the other
door is called Holy, because it is only opened during
the year of the great jubilee. The basso relievos on
the doors are by Bernardino Ludovisi, Maini, and
Peter Bracci.
This church has five naves divided by four rows
of pillars: the middle one was repaired by the-
Cavalier Borromini; who covered the ancient co-
lumns with twelve large pillars, which form five
arcades on each side, corresponding to so many
chapels; behind each of the large pillars are two
small fluted ones, of the composite order, sustain-
ing an entablature which goes all round the church;
between the small pillars are twelve niches, each
adorned with two columns of antique green marble,
in which are placed the colossal marble statues of
the Apostles, by the best sculptors of those times;
St. James the Great, St. Matthew, St. Andrew,
and St. John, are by the Cavalier Rusconi; St.
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Thomas and St. Bartholomew by M. Le Gros;
St. Thaddeus by Lorenzo Ottoni; St. Simon by
'Francis Marratti; St. Philip by Joseph Mazzuoli;
St. James the Less by Angelo de Rossi; and St.
Peter and St. Paul by Stephen' Monot.
The Corsini chapel, the first to the left on en-
tering the church, is very magnificent; it is of the
Corinthian order, and is adorned with beautiful
marbles. Clement XII. erected it in honour of St.
Andrew Corsini, his ancestor; Alexander Galilei, a
Florentine, was the architect. On the altar, between
two superb columns of antique green marble, is a mo-
saic picture of St. Andrew Corsini, copied from
On the front of this
the original by Guido Reni.
altar are placed two figures, Innocence and Peni-
tence, sculptured by Pincellotti; and above is a
basso relievo, representing St. Andrew Corsini,
defending the Florentine army at the battle of An-
chieri. Near the fine mausoleum of Clement XII.,
is the famous antique urn of porphyry, which was
formerly in the portico of Agrippa's pantheon.
The bronze statue of the pope was modelled by
Maini; and Charles Monaldi sculptured the two
side figures in marble. On the opposite tomb of
Cardinal Neri Corsini, uncle to Clement XII., is
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the Cardinal's statue, with a Genius and Religion
seated, works of Maini. There are likewise four
marble statues in niches, in this chapel; repre-
senting the Cardinal Virtues; on the top of each
niche, is a basso-relievo in marble. The cupola is
adorned with gilt stucco, the pavement is covered
with fine marbles, and the balustrade is almost en-
tirely of gilt bronze.
In the middle of the great nave of the church, is
the bronze tomb of Martin V., of the house of
Colonna, who died in 1430. The great arch of
this nave is supported by two superb columns of
red eastern granite, thirty-four feet high. The
great altar is adorned with four columns of granite
which support a kind of Gothic tabernacle; here
are kept, as the most precious relics, the heads of
St. Peter and St. Paul.
There is a fine altar of the holy sacrament,
from the designs of Peter Paul Olivieri: it is
adorned with a tabernacle made of precious stones,
which is placed between two angels of gilt bronze,
and four fine columns of antique green marble.
The entablature of gilt bronze, rests on four fluted
columns of the same metal, they are of the com-
posite order, and eight feet seven inches in cir-
106
NEW PICTURE OF ROME.
cumference. Some people imagine they came from
Egypt with Augustus; and others that Vespasian
brought them from Jerusalem. On the top is
painted the Ascension, by the Cavalier Arpino,
who is buried in this church; his tomb is behind
the gallery, near that of Andrew Sacchi. The
other paintings are by Horace Gentileschi, Cesar
Nebbia, the Cavalier Baglioni, Paris Nogara, Po-
marancio, Novarra, and Bernardino Cesari. Un-
der these paintings are eight marble angels, and
in four niches are Elias, sculptured by Mariani;
Moses, by Flaminio Vacca; Aaron, by Silla, a
Milanese; and Melchisedech, by Egidio.
The altar of our Saviour, erected by Nicholas.
IV., and adorned with Mosaic, still exists. The side
door of the church is decorated with two fluted.
columns of antique yellow marble, which support
the organ; they are the finest of that sort known,
and are 27 feet high. There are several tombs in
this cathedral; the most remarkable is that of Bo-
niface VIII., because there is a fresco, believed to be
by Giotto, which represents that Pope between two
Cardinals, announcing publicly the first Jubilee of
the holy year 1300. Opposite the principal door
of this cathedral is the
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107
SCALA SANTA E CAPELLA DEL S. S.
SALVATORE DETTA SANCTA SANC-
TORUM,
(Holy Staircase and Chapel of the Saviour, called
Sancta Sanctorum.)
When Sixtus V. rebuilt the Laterano Palace, he
left the chapel and Triclinium of St. Leo III, un-
touched; which alone remained unhurt during the
conflagration of the ancient palace; he constructed
a magnificent portico before this chapel, from the
designs of Domenico Fontana, and placed the holy
staircase there, consisting of 28 steps of white mar-
ble,, brought from Pilate's palace at Jerusalem.
This staircase is said to have been sanctified by
Jesus, who, it is asserted, often ascended and de-
scended it; it is therefore held in such veneration
by all devout persons, that they only ascend it on
their knees, and come down afterwards by one of
the 4 side staircases. The steps are much worn by
the immense number of people who have passed
them; to prevent them from becoming worse, they
have been twice covered with thick planks of wal-
nut wood.
On the altar of the chapel is an extremely an-
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1
1
} .
cient Image of the Saviour, held in great venera-
tion. St. Leo III. put under the altar a large cy-
press box, with 3 smaller ones in it containing
relics, with the inscription Sancta Sanctorum,
which gave the name to the chapel.
On quitting this sanctuary, on the left may be
seen a great niche made by Benedict XIV., in order
to place in it the Mosaics, with which Pope St.
Leo III. had ornamented his Triclinium or supper
room, at the Laterano Palace.
}
1
The antique arches in the square of St. John,
are remains of Nero's aqueduct, made to conduct
the Claudian water to Mount Coelius. In the same
place is the wall made by Aurelian, and likewise
the
PORTA S. GIOVANNI,
(St. John's Door.)
This door anciently called Celimontana, being
on the declivity of Mount Coelius, takes its present
name from its vicinity to the cathedral. It was
repaired and ornamented under Gregory XIII, by
James della Porta. About 3 miles beyond this
door, in a vineyard on the right side, are the baths
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SECOND DAY.
109
of the famous water, anciently called Salutare ;
and now Santa (holy) from its good quality, and
virtue, in curing various maladies. This same
road leads to Frascati, Marino, Albano, and Vel-
letri, and as far as Naples.
To the left of St. John's door, are the remains
of the ancient Asinaria gate, so called from the
number of asses that passed through it.
In turning down the street to the right of St.
John's door, which is planted with trees, and fol-
lowing the city-wall, may be seen the
BASILICA IN S. CROCE IN GERUSA-
LEMME,
(Cathedral of the Holy Cross of Jerusalem.)
This is one of the seven Roman Cathedrals; it
was erected by Constantine the Great, on the re-
mains of a large edifice called Sessorium, which
first gave it the name of the Sessorian Cathedral;
but St. Helen having afterwards deposited in it
the third part of the Holy Cross, which she found
at Jerusalem, it took its present denomination.
Pope St. Silvester consecrated it: several Popes
repaired it, and it was finally embellished by Be-
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nedict XIV., who made the front and portico,
sustained by pillars and columns; four of which
are of granite; the architect was Domenico Gre-
gorini.
There are three naves in the church, divided by
pilasters, and 8 large columns of Egyptian gra-
nite. The great altar stands alone, it is deco-
rated with 4 fine columns, which sustain the
canopy. Under this altar is a fine antique urn
of basaltes, adorned with 4 lions' heads; in which
are preserved the bodies of St. Cesareo and St.
Anastasius, martyrs. There are some fine frescos
by Pinturicchio and Conrad Giaquinto. In St.
Helen's chapel are some paintings by Nicholas
Pomarancio, and some Mosaics by Balthazar
Peruzzi.
In a vineyard, to the right of this church, are the
remains of the
TEMPIO DI VENERE E CUPIDO,
(Temple of Venus and Cupid.)
Of this edifice, which seems to have been consi-
derable, there is only left a large niche, and two
pieces of side wall; the rest was demolished to sup-
ply the materials for the front of the last mention-
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SECOND DAY.
111
#
ed cathedral. It was always supposed to be a
temple dedicated to these two divinities, because
there was found in it, a statue of Venus with Cu-
pid at her feet, which now stands under the por-
tico in the court of the Vatican Museum, but it
has lately been discovered that this statue repre-
sents the Wife of Alexander Severus, under the
figure of Venus; therefore the origin of these
ruins must be considered uncertain.
Near this temple is Claudius's Aqueduct, which
joins the Porta Maggiore. Sixtus V. repaired and
used it to conduct the Acqua Felice (Felix Water)
to the fountain of Moses, at Termini.
In another vineyard, on the left of the Cathedral
of the Cross, are the ruins of the
ANFITEATRO CASTRENSE,
(Amphitheatre Castrense.)
From the remains of this Amphitheatre, it is evi-
dent that it was externally surrounded by a double
row of Corinthian pillars, of brick. To see the ex-
terior part, one must approach it from St. John's
door. It is perceptible from the pillars that the
Ennama Tylgja vara
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NEW PICTURE OF ROME.
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edifice was finely constructed; only one of the se-
cond row remains, which is joined to the city
walls. This Amphitheatre was called Castrense,
because destined for the soldiers' combats with the
wild beasts, and various military games. Several
bones of large animals have been dug up here;
also, an Egyptian statue of alabaster, with hiero-
glyphics, and other marbles.
Outside of the city walls, near this Amphi-
theatre, was a Circus constructed by Heliogabalus,
in which Aurelian placed an obelisk of granite; it
is broken, and now lies on the ground in the Vati-
can garden.
By the side of the cathedral of the cross, begins
Mount Esquiline, the largest of the 7 Roman hills;
it extends to the declivity of St. Mary Maggiore,
towards the ancient Vicus Patritius (Patrician
Lane) which separates it from Mount Viminal,
where begins the church of St. Mary Monti (of the
Mounts) and finishes at Dioclesian's baths; these
two mounts were joined to Rome by Servius Tul-
lus. Continuing in the street to the right of the
cathedral of the cross, is the
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113
·
PORTA MAGGIORE,
(Great Door or Gate.)
It was a custom of the ancients to render the as-
pect of the Aqueducts from the public road, as
magnificent as possible. Titus, in order to deco-
rate the celebrated Aqueduct of Claudius, made
it in the form of a triumphal arch with three long
inscriptions: the first mentions the great work of
Tiberius Claudius, who conducted the Cerulian
and Curtian waters from Subiaco to Rome, in two
separate canals, one over the other; the second and
third mention the repairs made by Vespasian and
Titus. This edifice, after Aurelian extended the
city walls, stood between the two doors, one lead-
ing to Prenestina (now Palestrina) the other to La-
bicana (now Valmontone); they were walled up
during the civil wars in the 13th century, on ac-
count of the difficulty of defending so many gates
as Rome contained; and this one was substituted
instead, out of one of the perspective arches of the
Aqueduct; it is called Maggiore, either from its
superior strength and solidity, or because it is op-
posite the great street that leads directly to the
cathedral of St. Mary Maggiore.
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NEW PICTURE OF ROME.
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This monument is one of the finest and most
magnificent in Rome; it is built with thick pieces
of marble, joined without mortar, and sustained by
four large arches with Ionic columns. Its soli-
dity is such, that it has served as a fortress against
the enemy; on the outside is an edifice, made in
the dark ages, for greater defence. This monu-
ment has lost much of its strength since the walls
were pierced, under Sixtus V., for the conveyance
of the Acqua Felice to the fountain of Moses at
Termini.
On the left side of the city wall, outside of the
Porta Maggiore, is the Aqueduct which conveyed
the waters of Julia, Marcia, and Tepula, to Mount
Esquiline.
Two miles beyond the Porta Maggiore, on the
Labicana way, in the place commonly called Tor
Pignattara, are the remains of the ancient church
of St. Marcellino and St. Peter, and the Mauso-
leum of St. Helen, built by Constantine, where
was found the porphyry sarcophagus, to be seen
in the Vatican Museum. Re-entering the city
through the Porta Maggiore, and taking the street
leading to St. Mary Maggiore, in a vineyard to the
right, is the
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115
TEMPIO DI MINERVA MEDICA,
(Temple of Minerva Medica.)
Many antiquaries formerly supposed this to be
the cathedral of Caius, and Lucius, erected by
Augustus, and others the temple of Hercules Cal-
laicus, built by Brutus; but the moderns rather
believe it to be the Temple of Minerva Medica,
that is to say, Goddess of Health, because the fa-
mous statue of Minerva, with the serpent at her
feet, was found here amongst others, and is now in
the gallery of the Buonaparte palace. This majes-
tic elegant edifice is of a decagon form, entirely
composed of bricks. The distance between the
angles is 22 feet; the whole circumference is 222
feet. There are 10 windows, and 9 niches for
statues, the tenth window serves for an entrance
door. There were likewise found here, the statues
of Esculapius, Pomona, Adonis, Venus, Faunus,
Hercules, and an Antinous; which testify the
magnificence of this temple. The form of this
temple, and the views from it, are picturesque.
In the same vineyard are two tombs, called Co-
lumbaria from their resemblance to a dove-house.
The first was made by Lucius Arruntus, consul
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NEW PICTURE OF rome.
under Tiberius, for his freedmen: there are two
small chambers in it, now under ground; one con-
tains only a few urns; the other is ornamented
with some paintings and stucco. The other tomb
contains but one room, it is for the use of different
plebeian families.
Near the vine-dresser's house, are the remains of
the castello of the Claudian water, and the Anio
Novus.
Continuing the same road, on the right, may be
seen the antique ruins of the
CASTELLO DELL' ACQUA GIULIA CO-
MUNEMENTE DETTO TROFEI DI
MARIO,
(Castle of the Julian Water, called the Trophies of
Marius.)
This castello, which was of a magnificent archi-
tecture, is now called Trophies of Marius, from
the two marble trophies which formerly stood here
in niches, but were removed to the staircase of the
capitol. Although it is commonly thought these
trophies were raised to Marius for his double vic-
tory over the Cimbrii and Teutonii; yet the best an-
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117
tiquaries, after comparing them with the pedestal
of Trajan's pillar, are of opinion they were erected
to him, in memory of his victory over the Dacians.
In the Strada Felice, the second to the right of
this edifice, is the Villa Polambara; and a little
further is the Villa Altieri, with delightful walks,
and a remarkable labyrinth. The casino is orna-
mented with a number of statues, busts, and antique
paintings, taken from the tomb of the Nasones. At
the end of the large street planted with trees, on
the right side of the trophies of Marius, is the
CHIESA DI S. BIBIANA,
(Church of St. Bibiana.)
Olympia, a Roman matron, built this church in
363, in the place anciently called ad ursum pilea-
tum, near the palace of Licinius; it was conse-
crated by Pope St. Simplicius, in honour of St. Bi-
biana, having lived in that palace. Urban VIII, after
repairing it, made the front, from the designs of the
Cavalier Bernini, and adorned it with fine pictures.
The 3 naves are separated by 8 antique columns,
6 are of granite. The frescos in the middle nave,
to the right, on entering, are by Augustin Ciam-
118
NEW PICTURE OF ROME.
pelli; the opposite ones are by Peter da Cortona.
On the great altar is the statue of St. Bibiana, one
of the finest of Cavalier Bernini's works. Under
the same altar is an exquisite antique urn of orien-
tal alabaster, 17 feet in circumference, with a leo-
pard's head in the middle; the bodies of St. Bibi-
ana, St. Demetria, and St. Daphrosa, their mother,
all three martyrs, are preserved there.
Under this church is the famous cemetery of
Pope St. Anastasius, which contains the bodies of
about 1,300 martyrs. Returning, on the right, ap-
pears the
CHIESA DI S. EUSEBIO,
(Church of St. Eusebius.)
:
It is extremely ancient, having been called car-
dinal, or principal, since the time of St. Gregory
the Great. The famous Cavalier Mengs, a re-
nowned painter of the last century, painted the
picture of St. Eusebius, surrounded by angels.
In the kitchen-garden, near this church, have
been discovered, some rooms, finely painted, and
a spiral pillar of oriental alabaster, now in the Va-
tican Library.
SECOND DAY.
119
Continuing in the street to the right of this
church, is seen the
PORTA S. LORENZO,
(St. Lawrence's Gate or Door.)
This door had formerly various denominations,
but is now called Porta S. Lorenzo, because it
leads to the cathedral of that Saint. It was once
called Esquilina, being situated near the extremity
of Mount Esquilino.
Near this door, are the remains of the ancient
aqueduct of the Marcia, Tepula, and Julian wa-
ters; the inscriptions, although much injured by
time, shew the repairs made by M. Agrippa, Au-
gustus, and Caracalla. About a mile distant from
this door, is the
BASILICA DI S. LORENZO,
(St. Lawrence's Cathedral.)
In the place called Campus Veranus, from some
ancient family of that name, was a cemetery, in
which St. Ciriaca, a Roman matron, who possessed
this field, had buried many bodies of the martys,
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120
NEW PICTURE OF ROME.
and, amongst others, that of St. Lorenzo. Con-
stantine the Great, in 330, erected this cathedral
there, which has been repaired by several Popes;
and, in 1647, received its present form. It is one
of the 7 Roman cathedrals, and is decorated with a
portico, sustained by 6 antique columns; and or-
namented with frescos, which represent different
actions of the martyr St. Lorenzo.
The interior contains 3 naves, divided by 22
Ionic columns, mostly of oriental granite. Near
the principal entrance-door is an ancient sarco-
phagus, with a fine basso relievo, representing a
Latin marriage. In the middle nave are two mar-
ble pulpits, which were used to chant the epistle
and gospel. In ascending the gallery, which is
paved with hard stones, in the manner of mosaic,
is an ancient pontifical seat, formed of different
stones. This gallery is ornamented with 12 fluted
columns of violet marble, the greater part of
which are under ground; the heads are Corin-
thian, and very fine; they sustain an exquisite en-
tablature. Above this entablature, are 12 smaller
pillars; 10 of violet marble, and the other two of
green porphyry. Behind the gallery, is an an-
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SECOND DAY.
121
tique sarcophagus, on which are sculptured the
Genii of Bacchus.
The great altar is isolated, and adorned with a
marble canopy, supported by 4 columns of red
porphyry. Under this altar is a chapel, called the
Confessional of St. Lorenzo, where are preserved
the bodies of that Saint, and St. Stephen, proto-
martyr.
From the small nave, one may descend into a
subterranean chapel, celebrated for the privileges
granted by different Popes; the altar-piece repre-
senting the decapitation of St. John the Baptist, is
by Seronide, and is very fine. This chapel leads
to St. Ciriaca's cemetery.
Returning to the city, by the Porta S. Lorenzo,
almost opposite the church of St. Eusebius, appears
the
ARCO DI GALLIENO,
(Arch of Gallienus.)
According to the inscription, this arch was de-
dicated to the Emperor Gallienus, and Salonina,
his wife, about the year 260, A. D., by a private
M
122
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NEW PICTURE OF ROME.
person, whose name was Marco Aurelio Vittore.
There only remains of this ancient monument two
Corinthian pilasters, with an entablature. The
architecture is indifferent. There is a piece of
chain hanging from the middle arcade, to which
the keys of the ancient Tusculum were suspended,
in memory of the victory obtained there by the
Romans, in 1191.
In front of the square of St. Mary Maggiore, is
a kind of column of Egyptian granite, on which
are figures of the Madonna and the Crucifix. This
is a monument erected by Clement VIII, in 1595, in
memory of the absolution given to Henry IV. of
France.
Next follows the square of St. Mary Maggiore;
in the middle is placed, on a large pedestal, a mag-
nificent fluted Corinthian pillar of white marble;
the only entire one remaining, as we before said,
from the celebrated Temple of Peace. It is 58
feet high, including the base and chapiter, and 19
feet 3 inches in circumference. Paul V. erected it
here under the direction of Carlo Maderno, and
placed a gilt bronze statue of the Madonna at the
top; modelled by William Bertolot. In this
square is the
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SECOND DAY.
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123
BASILICA DI S. MARIA MAGGIORE,
(Cathedral of St. Mary the Great.)
This church, which is built on the summit of
Mount Esquiline, and on the ruins of the Temple
of Juno Lucina, was erected in 352, under Pope
St. Liberius, by order of John Patrizi, a Roman,
in consequence of a vision which both had in one
night, and which was confirmed by a miraculous
fall of snow the following day, the 5th of August.
This snow precisely covered the space which the
church was to occupy; it was therefore called Sta.
Maria ad Nices, and Basilica Liberiana; but it is
now named S. Maria Maggiore, being the princi
pal church dedicated to the Virgin. It is one of
the seven Roman cathedrals, and one of the four
which have the holy doors. Pope St. Sixtus III.
enlarged it in 432, and gave it its present form. It
has since been repaired and enriched by several
Popes, particularly by Benedict XIV., who adorn-
ed it with marbles and gilt stuccos, and rebuilt the
principal front from the designs of Ferdinand Fu-
ga; it is decorated with two rows of columns,
Ionic and Corinthian, various statues, and a dou-
ble portico; the under one is sustained by eight
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NEW PICTURE OF ROME.
124
fine granite columns, and different marble pillars.
This portico is adorned with basso relievos, and a
bronze statue, by Cavalier Lucenti, of Philip IV.
of Spain, benefactor to this cathedral. In the up-
per portico is the balcony used for the Papal bene-
diction; under which are preserved the mosaics
that adorned the old front, works of Gaddo Gaddi,
contemporary with Cimabue. There are four en-
trance doors, without reckoning the holy one,
which is only opened the year of the great jubilee,
namely, every twenty-five years.
The interior of this church is majestic; it has
three naves, separated by thirty-six fine Ionic co-
lumns of white marble; besides the four granite
ones, which sustain the two large arches of the
On entering, may be seen, two tombs, one
of Clement IX., sculptured by Guidi, Fancelli, and
Hercules Ferrata; the other of Nicholas IV., by
Leonardo da Sarzana.
nave.
The magnificent chapel of the Holy Sacrament,
erected by Sixtus V., from the designs of Cavalier
Fontana, is adorned with fine marbles, Corinthian
pillars, and paintings. On entering, to the right,
is seen the tomb of this Pope, whose statue was
sculptured by John Antonio Valsoldo; this tomb
SECOND DAY.
125
is adorned with four fine columns of antique green
marble, basso relievos, and two statues, one of S.
Francis, by Flaminio Vacca; the other of St. An-
thony of Padua, by Peter Paul Olivieri. Oppo-
site is the tomb of St. Pius V., whose body is pre-
served in a fine urn of antique green marble, or.
namented with gilt bronze; there are also some
columns, basso relievos and statues; that of this
holy Pontiff, is by Leonardo da Sarzana. In the
middle of this chapel is the Altar of the Holy Sa-
crament, with a magnificent Tabernacle, supported
by four gilt bronze angels. The frescos in this
chapel are by John Baptist Pozzo, Hercolino Bo-
lognese, Arrigo, Paris Nogara, Andrew d'Ancona,
and Cesar Nebbia: in the sacristy are some land-
scapes, by Paul Brilli.
The great altar of the cathedral is isolated, and
formed by a large porphyry urn, covered with a
marble table, and sustained by four small angels of
gilt bronze. Over this altar is a superb canopy,
made from the designs of Fuga, by Benedict XIV.;
it is supported by four porphyry Corinthian co-
Jumns. Above are six marble angels, sculptured
by Peter Bracci. The picture at the end of the
gallery is by Francis Mancini; and the Mosaics,
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NEW PICTURE OF ROME.
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:
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are by James da Turrata. The Mosaics over the
great arcade, and those of the middle nave, repre-
senting different subjects from the Old Testament,
and Events in the Life of the Virgin, were made
in 434, by St. Sixtus III.
In the other nave is the sumptuous Borghese
Chapel, made by Paul V., of that family, from the
designs of Flaminio Ponzio: it is the most mag-
nificent in Rome. It is of the Corinthian order,
filled with fine marbles and paintings. There are
two tombs decorated with columns of antique
green marble, statues and basso relievos; the one
to the right on entering, is of Paul V., whose
statue was sculptured by Silla Milanese; the right
basso relievo is by Stephen Maderno; the other
by Bonvicino. Of the three basso relievos above,
the middle one is by Hippolito Buzi; the one to
the right by Vasoldo; and the other by Francis
Stati. In the side niches are the statues of St.
Basil and David, by Nicholas Cordieri. The other
tomb is of Clement VIII., his statue is by Silla;
the basso relievos are by Bonvicino, Buzi, Mochi,
and Peter Bernini. The two statues in the side
niches of Aaron and St. Bernard, are by Henry
Cordieri, Lorenese (of Lorrain).
•
SECOND DAY.
127
The magnificent altar of the Virgin, is decorated
with four splendid fluted columns of oriental
jasper, which support an entablature; the frieze is
of agate, as well as the pedestals of the columns.
The image of the Virgin, said to be painted by St.
Luke, is placed on lapis-lazuli; it is surrounded
by precious stones, and sustained by four bronze
angels. On the entablature of this altar is a fine
basso relievo of gilt bronze, representing the miracle
of the snow.
The paintings over and around the altar, and
those of the arcade and angles of the cupola, are
by the Cavalier Arpino; those in the cupola are
by Louis Civoli. The paintings by the sides of
the windows over the tombs, are worthy of notice,
as likewise those of the two arches over the win-
dows, which are by Guido Reni.
On leaving this church by the door on one side
of the gallery, the other front may be seen which
was begun under Clement IX. and finished under
Clement X., from the elegant designs of the Cavalier
Charles Rainaldi.
The great square before this front is adorned
with an obelisk, made by order of Smarre and
Ephre, Egyptian princes. Claudius transported it
128 NEW PICTURE OF ROME.
to Rome, and placed it before the Mausoleum of
Augustus, where it was found. Sixtus V. erected it
here under the directions of the Cavalier Fontana.
It is of red granite, without hieroglyphics, and
forty-three feet high without the pedestal, which.
is twenty.
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THIRD DAY.
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On returning to the principal square before the
cathedral of St. Mary Maggiore, may be seen the
CHIESA DI S. PRASSEDE,
(Church of St. Praxede.)
Pope St. Pius I. erected an Oratory in the year
162, at the request of St. Praxede, into which the
Christians retired, in the times of their perse-
cutions; it was on the Baths of Novatus, brother
of St. Praxede, in the place anciently called Vicus
Lateritius, and at present La Suburra. Pope St.
Pascal I. afterwards, in 822, built this church
there; it has three naves, divided by sixteen co-
lumns of granite. The great altar is decorated
with a canopy sustained by four porphyry co-
lumns; and, in the gallery, are some ancient
Mosaics. In one chapel is a large piece of marble
pillar, brought from Jerusalem to Rome in 1223,
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130
by Cardinal John Colonna; supposed to be that
to which our Divine Redeemer was fastened when
he was scourged. In the sacristy is an exquisite
painting, by Julio Romano, which represents the
scourging of our Saviour.
In the street to the right, a short distance from
the principal door of this church, is the
NEW PICTURE OF ROME.
CHIESA DI S. MARTINO,
(Church of St. Martin.)
In the time of Constantine the Great, St. Sil-
vester built a church in this place, over which
Pope St. Simmaco, in 500, erected the present
one; it was repaired in 1650, and so much em-
bellished, that it is one of the finest in Rome. It
has three naves divided by twenty-four antique
columns of different marbles, and of the Corin-
thian order. The beautiful landscapes on the walls
of the small naves, are by Gaspard Poussin, the
figures, by his brother Nicholas; two, near the
altar of St. Mary Magdalen, are by John Fran-
cesco, of Bologna, finely painted. The chapel of
the Virgin, at the end of the small nave, is adorned
•
THIRD DAY.
131
with fine marbles and paintings, by Antonio
Cavallucci.
On descending the fine marble staircase, which
leads under the great altar, is an altar where are
preserved the bodies of the Popes St. Silvester and
St. Martin. This place is ornamented with fine
columns, by Peter da Cortona; it forms an elegant
entrance into the ancient subterranean church,
which has likewise three naves, with a Mosaic
pavement. On the altar is an image of the Virgin,
in Mosaic, made in the earliest ages of Christi-
anity. This ancient church is the one erected by
St. Silvester, and in which he held a council
in 324.
In the street, to the right of St. Martin's church,
is a vineyard, in which is an ancient edifice called
the
SETTE SALE,
(The Seven Rooms.)
These rooms were only a reservoir of the water,
used for the Baths of Titus. There are two stories,
the first is under ground, the upper one is divided
into nine rooms; but, as only seven were first
132
NEW PICTURE OF ROME.
discovered, it took the name of The Seven Rooms.
This edifice is of a very solid construction: the
pavement is made to resemble Mosaic; the walls
are thick, and covered with a double plastering,
so fine and hard that the water has not caused any
damage; and they are in as good preservation, as
if they were modern. The situation of the doors
is singular, having been made so, as not in the
least to diminish the strength of the walls. Each
room is thirty-seven feet long, twelve wide, and
eight high. At a small distance on the summit of
Mount Esquiline, is the
CHIESA DI S. PIETRO IN VINCOLI,
(Church of St. Peter in Vincoli.)
*
It was erected in 442, under Pope St. Leo the
Great, by Eudosia, wife of Valentinian III., Em-
peror of the West, to preserve the chain, with
which St. Peter had been fastened in the prison at
Jerusalem, by order of Herod. Pope Adrian I
rebuilt it, and Julius II. repaired it under the di-
rection of Baccio Pintelli; and, lastly, it took its
present form in 1705, under the direction of
Francis Fontana.
:
THIRD DAY.
133
Los
The three naves of this fine church are divided
by twenty-two antique fluted pillars, twenty of
Greek marble and two of granite, all of the Doric
order, and seven feet in circumference. On the
first altar to the right is a picture of St. Augustine,
by Guercino. The tombs of Cardinals Magotti
and Agucchi, were made from the designs of the
famous Domenichino, who also painted their por-
traits, which may be seen there. The St. Peter,
on the other altar, is a copy from the original of
Domenichino, which is preserved in the Sacristy.
The famous tomb, of Pope Julius II., was erected
from the designs of Michael Angelo Bonorotti,
who made the statue of Moses, seen near this
tomb, and which is considered the masterpiece of
modern sculpture. It is a colossal figure seated,
with the tables of the law under his arm, sternly
regarding the people, as if not confiding in their
apparent resignation. The four statues, in niches,
near this tomb, are by Raphael da Montelupo,
his scholar.
?
The St. Margaret, on the altar of the next
chapel, is by Guercino. At the end of the gallery,
which is adorned with paintings, by James Coppi,
is an ancient seat of white marble. In one of the
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134
NEW PICTURE OF ROME.
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small naves is a St. Sebastian, a Mosaic of the
eighth century; and, on the last altar is Piety,
with the Three Marys, supposed to be by Pome-
rancio. The great painting, on the cieling, is by
John Baptist Perodi.
In the street to the left is the Gualtieri vineyard,
where are the remains of the
TERME DI TITO,
(Baths of Titus.) -
Although these baths were not so extensive as
Dioclesian's and Caracalla's, yet as the fine arts
flourished at that time, they were more admired,
both for the architecture and ornaments, which,
in splendour, surpassed those of Agrippa and Nero
previously built. There were two stories in this
superb edifice; of the upper one no vestige re-
mains. The first story contains seven large cor-
ridors; one of which leads into the chambers,
thirty-six in number, all painted in arabesque,
with little pictures of charming figures. Time has
so much injured these rooms that few of the paint-
ings remain.
These rooms having been filled and covered
}

THIRD DAY.
135
over with earth in the course of centuries, were
first discovered in Raphael's time, some say, by
Raphael himself. It has also been said that this
great master immediately filled them again, in
order that it might not be discovered he had taken
the idea of the arabesque paintings in the Vatican
from them; as if this style had not been already
known from the ancient writers, particularly Ve-
truvius, who disapproves it; besides which, almost
all the houses of the ancients that have been dis-
covered, are painted in this manner. But, how
ever that may be, they were again covered till the
year 1776, when, with great difficulty, they were
dug up. The lovers of the fine arts can once
more behold those exquisite paintings which have
served as models to some of the first masters.
As we before said, the reservoir of water, called
The Seven Rooms, belonged to these baths. Some
circular remains are still to be seen of the Imperial
Palace, built by Titus, in which was found the
famous group of Laocoonte, now in the Clementine
Museum of the Vatican, also a number of precious
marbles, statues, and paintings; which demon-
strate the magnificence of this edifice.
These baths were also called after Trajan, be-
N 2

136
NEW PICTURE OF ROME.
cause he repaired and enlarged them. They are
on the spot, where previously stood the house and
gardens of the celebrated Mecenas. Near this
place were likewise the houses of Horace, Virgil,
and Propertius; also the famous tower in which
the cruel Nero, while Rome was burning, sang to
the sound of his lyre the conflagration of Troy.
Descending from Mount Esquiline, and passing
through the Strada Subarra, one enters the Strada
Urbana, anciently called Vicus Patricius, because
it was inhabited by the first nobles. In this street
is the
CHIEZA DI S. PUDENZIANA,
(Church of St. Pudenziana.)
In this place was the house of St. Pudent, a
Roman senator, who was converted to Christianity
by St. Peter, who lived a long time in his house,
together with his sons, Novatus and Timothy, and
his daughters, Pudenziana and Praxede. For this
reason Pope St. Pius I. in 164, turned the house
into a church; in 1598, Cardinal Henry Gaetani,
repaired and embellished it, under the direction of
Francis da Volterra. It is divided into three
naves, separated by pillars, fourteen of which are
antique, and of marble.
THIRD DAY.
137
The great altar-piece, representing St. Puden-
ziana, is by Bernardino Nocchi; the pictures of
the cupola are by Nicholas Pomarancio. In the
chapel, to the right of the great altar, is the very
altar on which St. Peter celebrated mass; under
which is a marble sculpture, by Baptist della
Porta, of our Saviour giving the Keys to St. Peter.
Next is the chapel of the Gaetani family; it con-
tains fine marbles, columns, and sculptures. In
the well before this chapel, the Saint preserved the
blood of more than 3,000 martyrs, who were
buried under the church.
Opposite is the church of the Infant Jesus,
built by Clement XII., from the designs of Fuga.
It joins a neighbouring convent where young girls
are educated.
Behind St. Mary's cathedral is the Great Square,
where the Strada Felice begins, which leads direct
to the church of La Trinità de' Monti.
In this street is the
CHIESA DI S. PAOLO PRIMO EREMITA,
(Church of St. Paul, First Hermit.)
It was built about 1765, from the designs of
N 3
138
NEW PICTURE OF ROME.
د ...
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Clement Orlandi. It is in the form of a Grecian
cross, supported by columns and pilasters. The
picture on the right altar, of St. Stephen, King
of Hungary, is by Cavalier Antonio Concioli.
The statue of St. Paul, on the great altar, is by
Andrew Bergondi-the guardian angel, is by
Borgognone.
Annexed to this church is a nunnery, founded
by Pius VI. for poor orphan girls.
Beyond this church, one enters a road, planted
with gardens and vineyards, which leads into a
valley, anciently called Quirinal, from a temple
which stood there, dedicated to Romulus, under
the name of Quirinus. The steps of this temple
are of white marble, and now form the magnificent
staircase of the church d'Araceli. In this valley
is the

CHIESA DI S. VITALE,
(Church of St. Vitale.)
Its origin is extremely ancient, having been
erected in the time of Innocent I., in 416. It was
dedicated to St. Vitale and his sons, Gervas and
Protas, all Martyrs. It has often been repaired,
THIRD DAY.
139
but without decoration, and joins St. Andrew's
church on Monte Cavallo.
Returning to the Strada Felice, appears the
PIAZZA DELLE QUATTRO FONTANE,
(Square of the Four Fountains.)
It is formed by the intersection of two fine streets,
the one called Felice, the other Pia; the first runs
from the Trinita de' Monti to St. Mary Maggiore;
the other from Monte Cavallo to the Pia Door.
The four angles of this square are adorned with four
fountains, whence it derived its name. From this
spot, there is a fine view of the Egyptian obelisks
of St. Mary Maggiore, Monte Cavallo, and the
Trinita de' Monte.
In one corner of this square is the Albani pa-
lace, in another is the
CHIESA S. CARLO,
(Church of St. Charles.)
It was built in 1640, from the designs of the
Cavalier Borromini, who had the ingenuity to con-
struct a church and house adjoining, in a space of
,
I
140
NEW PICTURE OF ROME.
-:
the same dimension occupied by one of the pillars
of the cupola of St. Peter's. The front is orna-
mented with two rows of columns; and the inte-
rior of the church is supported by sixteen columns.
The court of the adjoining house, is also remark-
able; because notwithstanding its diminutive size,
it is decorated with a double portico, sustained
by twenty-four columns. In the square of Monte
Cavallo, on the left, is the
CHIESA DI S. ANDREA,
(Church of St. Andrew.)
Prince Camillo Pamfili, nephew of Innocent
X., erected this fine church in 1678, from the
The front is decorated
designs of Cav. Bernini.
with a Corinthian order, and a little circular por-
tico, supported by two Ionic columns. The inte-
rior form of the church is oval; decorated with fine
marbles and pilasters, four Corinthian pillars, and
some fine paintings. In the first chapel to the right,
dedicated to St. Francis Xavier, are three pictures
by Baciccio. The great altar-piece, representing
the crucifixion of St. Andrew, is by Borgognone.
The chapel following, is dedicated to St. Stanislas

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THIRD DAY.
141
and decorated with precious marbles; the altar-
piece is by Carlo Maratti; the side ones are by the
Cav. Mazzanti; and the paintings of the cieling are
by John Odazzi. Under this altar is preserved
the body of St. Stanislas, in an urn of lapis lazuli.
In the house next to this church, one sees the
room of St. Stanislas, a Jesuit; it is converted
into a chapel, and painted by Chiari. There is
in it a fine statue of the saint dying, sculptured
by Mr. Le Gros: the head, the hands, and the
feet, are of white marble; the dress is of black
marble; and the mattress and pillows of yellow;
nature is so well imitated in this statue, that at the
first view it causes a sensation of terror.
•
Returning to the square of the fountains, and
traversing the Strada Pia, at the entrance of the
Piazza di Termini, is seen to the right the
CHIESA DI S. BERNARDO,
(Church of St. Bernard.)
In 1598, the Countess Catherine Sforza, changed
one of the four round edifices near Dioclesian's
Baths, into a church. It is of a round form, and
decorated with statues in stucco, by Camillo Ma-
142
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riani, and Mochi, and two paintings by John
Odazzi.
NEW PICTURE OF ROME.
In the kitchen-garden near this church, are
some remains of a circular portico, with steps like
those of an amphitheatre, whence the wrestlings
and other games, customary at the Baths, might
be viewed.
In the square, where stands the church of St.
Susanna, which is only remarkable for its front
made by Carlo Maderno, is the
FONTANA DELL' ACQUA FELICE,
(Fountain of the Felix Water; called also the Foun
tain of Moses.)
This fountain is uncommonly fine, and was
brought by Sixtus V. to Rome, from the village of
Colonna, fourteen miles distant from the Porta
Maggiore; this Pope constructed the present mag-
nificent fountain, from the designs of the Cav.
Fontana. It is of travertine, with three arcades,
and decorated with four Ionic pillars of granite.
In the middle arcade is a colossal statue of Moses,
who makes the water flow from the rock; Prospero
da Brescia was the sculptor; at the sides are two
THIRD DAY.
143
basso relievos; one, by John Baptist della Porta,
represents Aaron leading the Israelites to this mira-
culous spring; the other, by Flaminio Vacca, re-
presents Gideon making choice of the soldiers to
open the passage of the water. The water flows
in abundance through three openings, into as many
marble basins; at the sides of which are four mar-
ble lions, the water flowing from their mouths; two
of these are Egyptian, covered with hieroglyphics,
and formed of basaltes; they were removed hither,
from Agrippa's pantheon; the two others are of
white Grecian marble.
The large square of Termini took its name from
the ancient
TERME DI DIOCLEZIANO,
(Baths of Dioclesian.)
These baths were formerly called Thermae, a
Greek word signifying hot places. Of all the
Roman baths, those constructed by Dioclesian
and Maximian, were the most considerable; not
only from their size, but their rich decorations.
To give an idea of their vast extent, it suffices to
say, that they comprehended the whole space
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NEW PICTURE OF ROME.
+
now occupied by St. Bernardo's church, and that
of St. Mary degli Angioli (of the angels), together
with the houses and gardens surrounding them;
the two great squares, part of the villa Massimi,
now Negroni, large public granaries, and other
houses; so that it appears they were 1,069 feet
long, and as many wide.
These immense baths were square, with a cir-
cular edifice at each angle; two of these edifices
still remain; the one to the left was reduced to
a granary, by Clement XI.; the other has been
converted into St. Bernardo's church. These
baths were adorned with gardens, groves, porticos,
fine chambers, and every luxury that could be
procured. One very magnificent apartment,
called Pinacotheca, and which contained the most
exquisite paintings and sculpture, has since been
converted into the
CHIESA DI S. MARIA DEGLI ANGIOLI,
(Church of St. Mary of the Angels.)
The baths, of which we have just been speaking,
had been constructed by 40,000 christian slaves,
who were afterwards martyred by order of the
1
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145
:
Z
cruel Dioclesian. Pope Pius IV., wishing to con-
secrate the remains of these holy martyrs' works
to sacred purposes, employed the celebrated Bo-
narotti, who found a room of an oblong form, sus-
tained by eight large pillars of oriental granite,
which was the Pinacotheca;, he made use of this
room for the church, which is in the form of a
Greek cross, and very majestic and finely pro-
portioned. The ancient pavement being very
damp, he made another more elevated; so that
the bases and a small part of the eight granite co-
lumns are buried, and white marble ones substituted.
This church has often been repaired, particu-
larly in 1749, when it received its present form,
under the direction of Cav. Vanvitelli, who made
various alterations: he placed the altar of Nicholas
Albergati, where the great door had been; and the
only side-door remaining, became the principal
entrance: he converted the altar of the Virgin into
the great altar; and as the nave, in which the prin-
cipal entrance had once been, contained eight
granite columns, to render the new nave corres-
ponding, he added eight brick columns, which were
painted so as to resemble the granite.
The entrance to this fine church, is by a round
0
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NEW PICTURE OF ROME.
vestibule, formerly one of the rooms belonging to
the baths: it is the same size as the one converted
into St. Bernardo's church. In this vestibule are
two chapels; in one is a holy cross with a St. Gi-
rolamo, painted by a scholar of Daniel da Vol-
terra; in the other is our Saviour with the Mag-
dalen, by Arrigo, a Fleming. Here are likewise
the tombs of Carlo Maratti, and Salvator Rosa,
celebrated painters; and of Cardinals Peter Paul
Parisio, and Francis Alciati. In the chapel oppo-
site St. Brunoi's, is an altar-piece which represents
our Saviour, giving the keys to St. Peter, by Mu-
tien. The transversal nave of the church was the
ancient Pinacotheca. Its magnificence is surprising:
the eight pillars are of one piece of granite; they
are sixteen feet in circumference, and forty-three
high. The length of the church, from the entrance
to the great altar, is 336 feet, and the crossway is
306 feet long; it is 74 wide, and 84 high.
Benedict XIV. transported several original
Mosaic pictures from St. Peter's cathedral to this
church. The first to the right on entering, repre-
senting the crucifixion of St. Peter, is by Nicholas
Ricciolini; the next one, representing the fall of
the magician Simon, is a copy from Cav. Vanni's
THIRD DAY.
147
7
picture in St. Peter's, done by Mr. Tremolier. In
the chapel of Nicholas Albergati, the altar-piece
is by Hercules Graziani; the side paintings are by
Trevisani, and those on the ceiling, by Antonio Bu-
chieri, and John Mazzetti. Of the other two
large pictures, the one which represents St. Peter
restoring Tabitha to life, is a copy from the Mo-
saic picture, by Baglioni, in St. Peter's; the
other is a fine original, by Muziano.
On entering the nave, in which is the great
altar, after a chapel ornamented with pictures, by
Baglioni, one sees four large paintings on the side
walls; the subject of the first to the right, is the
Presentation of the Virgin to the temple, by Roma-
nelli; the second, which represents the martyrdom
of St. Sebastian, is a fine fresco, by Domenichino;
transported hither by the celebrated Zabaglia, with
great skill. The baptism of Jesus, opposite, is
by Carlo Maratti; and the next one painted on
slate, representing the punishment of Ananias and
Sapphira, is by Roncalli, commonly called Pome-
rancio. On the great altar, is an extremely an-
cient image of the Virgin, with the seven angels,
from which the church has taken its name.
In the transversal nave, the first picture, the
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NEW PICTURE OF ROME.
Conception of the Virgin, is by Peter Bianchi; the
one, by the side, is by Placido Costanzi. The
St. Bruno, in the next chapel, is by John Odazzi;
the side paintings are by Trevisani; and the evan-
gelists, on the ceiling, by Procaccini. One of the
paintings, on the other side, representing the fall of
Simon the magician, is by Pompey Batoni; the
other, St. Basil, giving a chalice to a Deacon, is
by Mr. Subleyras. The frescos, over the three
great altars, are by Antonio Bicchieri; those be-
tween the windows are by Nicholas Ricciolini.
On the marble pavement of this church, the
learned Signor Bianchini, in 1701, marked the
meridian line, which is one of the most exact.
The line is traced on a brass plate, between slabs
of marble, on which are represented the signs of
the Zodiac, in different coloured stones. He
chose this situation, on account of the solidity of
the edifice, having been proved by fifteen cen-
turies.
:
The cloister, formerly of the Carthusians, was
also made from the designs of Michael Angelo; it
has a square portico, adorned by a hundred
columns of travertine marble, over which, are
four long corridors.
*
:
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149
Behind the baths of Dioclesian, towards the
city walls, are some vestiges of the famous Agger
or Ramparts, begun by Servius Tullius, and con-
tinued and finished by Tarquin Superbus.---
This rampart was so formed, that it greatly forti-
fied the city on that side, which had before been
very feeble.
THIRD DAY.
Returning to the fountain of Termini, on the
other side of the Strada Pia, is the
CHIESA DI S. MARIA DELLA VITTORIA,
(Church of St. Mary of the Victory.)
This church was erected in 1605 by Paul V.,
in honour of St. Paul. It afterwards took the
name of St. Mary della Vittoria, on account of
several victories obtained by the Christians over
the Turks, through the intercession of the Virgin;
whose image on the great altar, is covered with
precious stones. The front of this church was
made by John Baptist Soria; at the expense of
Cardinal Scipio Borghese, in remembrance of the
present made him of the famous Hermaphrodite
found near this church; and which is now at Paris,
in the Royal Museum.
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NEW PICTURE OF ROME.
[
--
The interior of the church was decorated by
Carlo Maderno: it contains pilasters of a fine
Sicilian jasper, gilt stuccos, sculptures, and ex-
cellent pictures. The picture of the Magdalen, in
the first chapel to the right, is by Father Raphael,
a Capuchin. The St. Francis and side paintings,
in the second chapel, are by Domenichino. The
basso relievo, on the altar of the third chapel, and
the portrait of Cardinal Vidoni, were sculptured by
Pompey Ferucci, a Florentine. In the magnifi-
cent altar of the cross, between four columns of
antique green marble, is a statue of St. Joseph,
sleeping, and the angel appearing to him in a
dream, by Domenico Guidi; the two side basso
relievos are by Mr. Monot; and the St. Joseph
glorified, on the ceiling, is painted by Ventura Lam-
berti. The paintings of the cupola are by Dome-
nico Perugino, and those of the ceilings of the
church are by Joseph and Andrew Orazi, bro-
thers. The sumptuous chapel of St. Theresa, was
erected and ornamented at the expense of Cardinal
Frederic Cornaro, from the designs of the Cav.
Bernini, who sculptured the bust of the cardinal,
and the statue of the saint; which latter is repre-
sented in an ecstasy of divine love, with an angel
A
+
THIRD DAY.
151.
who is holding an arrow ready to pierce her heart
This fine group is considered the master-piece o
the Cav. Bernini. The paintings of the ceiling, in
this chapel, are by Ubaldo Albatani. In the fol-
lowing chapel, containing precious marbles, is a
picture of the Holy Trinity on the altar, by Guer-
cino ; a crucifix on one side, is by Guido Reni,
as well as the opposite picture. The frescos are
by John Francisco, of Bologna. The pictures in
the next chapel are by Niccolai, of Lorrain. The
St. Andrew, is by Father Raphael before-named.
At the end of the Strada Pia, before this church,
is the
PORTA PIA,
(Pius' Gate.)
This door had various names in ancient times:
its present one is derived from Pius IV., who
adorned the interior side from the designs of Bona-
rotti.
On leaving this gate, may be seen the delightful
villa Patrizi, and beyond it the villas Lancelotti,
Bolognetti, and Torlonia. About a mile from
this door is the
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NEW PICTURE OF ROME.
CHIESA DI S. AGNESE,
(Church of St. Agnes.)
Constantine the Great built this church, at
the request of St. Constance his daughter, on the
cemetery of St. Agnes, in the same place where the
body of that saint was found. The descent into
the church is by a staircase of forty-five steps, on
the walls of which are several sepulchral inscrip-
tions. The church has three naves divided by
sixteen antique columns. Each has 140 flutings,
which render them unique. The great altar is
decorated with a canopy sustained by four porphyry
pillars, the most beautiful known. Under this
altar, which is composed of precious marbles, is
preserved the body of the saint, whose statue above
is formed out of the trunk of an antique statue of
oriental alabaster; the head, hands, and feet, are
of gilt bronze, by Franciosini. The choir is adorned
with an ancient Mosaic, on which is written the
name of St. Agnes. On the altar of the Virgin
is a head of our Saviour, sculptured by Bonarotti.
This church approaches nearest to the cathedrals
of the primitive Christians.
THIRD DAY.
153
A few steps farther on stands the
CHIESA DI S. COSTANZA,
(Church of St. Constance.)
Some antiquaries pretend that this edifice was
anciently a temple of Bacchus, because on the
ceiling of the circular nave are some children with
bunches of grapes, in Mosaic enamel; and, because
these symbols were likewise sculptured on a por-
phyry urn, found there; which is now in the
Vatican. But as these ornaments likewise belonged
to Christianity, it is better to follow the opinion of
Anastasius Librarian, who says, that Constantine,
after having built St. Agnes' church, erected a
font of a spherical form near it, in imitation of the
one at St. John Laterano; to baptize the two Con-
stances, his sister and daughter. The aforemen-
tioned superb porphyry urn proves that they were
buried here; it resembles the one found in St.
Helen's tomb at Tor-pignattara; both have been
removed to the Vatican Museum by order of
Pius VI.
In 1256, Alexander IV. converted this edifice
into a church, and dedicated it to the same two
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154
NEW PICTURE OF ROME.
Saints Constance:
the porphyry urn and placed under the altar.
This fine church is of a spherical form; and the
interior is sixty-nine feet in diameter; the cupola
is sustained by twenty-four double Corinthian
columns of granite.
Near this church are some ruins of an ancient
oval edifice, supposed to have been a riding-school
erected by the same Constantine. It consisted of
a large court, surrounded by piazzas, in which
the race-horses were exercised, and where other
equestrian feats were performed.
About a mile beyond these ruins, on the river
Teverone, formerly called Anio, is the bridge an-
ciently called Nomentanus, because it led to the
Sabine town of Nomentum. This bridge, now
called Lamentano, was destroyed by the Goths
and rebuilt by Narses.
From this bridge is seen the famous Monte
Sacro (sacred Mount) to which the Roman ple-
beians retired in the year of Rome 261, when op-
pressed by the nobles and the rich, on account of
their debts; and from which they were only in-
duced to return by the famous fable of the human
body, told by Menenius Agrippa, as related by
their bodies were taken out of
1
THIRD DAY.
155
!
Livy: their debts were discharged, and the tribunes
were then first created. These magistrates were
afterwards abolished and re-established on the se-
cond retreat of the Plebeians into the same place,
at Virginia's death, in the year of Rome 305. On
this occasion, the people solemnly swore never to
revolt against the tribunes, for which reason this
mount, formerly called Velia, took the name of
sacred.
Returning to the Porta Pia, and taking the street
to the right, along the city walls, one arrives at the
!
PORTA SALARA,
(Salara Gate.)
This is one of the gates opened by Aurelian when
he extended the city walls. It had various names
formerly; and was called Salara (which it still
preserves) because the salt bought by the Sabines
at Rome, passed through this door. Having been
greatly damaged by the barbarians, it was repaired
by Belisarius and Narses. A quarter of a mile
beyond it is the
VILLA ALBANI,
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156
This celebrated villa, one of the most remark-
able in Rome, was built about the middle of the
last century, by Cardinal Alexander Albani. He
made the plan himself, which was executed by
Charles Marchionni. The cardinal being a great
lover of antiquities, he collected a prodigious num-
ber of statues, busts, basso relievos, urns, inscrip-
tions, and antique marbles, to adorn this villa, so
that it may be regarded as a valuable museum of
antiquities.
The principal cassino is composed of a large
apartment, under which, on the garden-side, is a
magnificent portico, adorned with columns and
statues. The vestibule leading to the cassino is
oval: it contains basso relievos in stucco, copied
from the antique, representing a C. Cesar, son of
Agrippa; a Ceres, a Venus, and a Brutus. Above
are three colossal masks of Medusa, Bacchus,
and Hèrcules.
·
NEW PICTURE OF ROME.
On the right, is a corridor leading to the stair-
case of the great apartments. There is a fine
basso relievo of Rome Triumphant, an ancient
painting of Livia and Octavia sacrificing to Mars;
and a fine head of an ancient philosopher in
profile.
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THIRD DAY.
157
In ascending the stairs are seen several basso
relievos and antique heads, on the wall. At the
top is an oval room where are two fine columns of
antique yellow marble. Between the columns is
a faun. The paintings of the ceiling are by Antonio
Bicchierai; the Chiaro scuro by Nicholas Lapic-
cola, and the landscapes by Paul Anesi. The
three following rooms are adorned with landscapes;
the paintings of the ceiling are by Bicchierai.
Next comes a rich cabinet, decorated with a
Mosaic pavement; the ceiling is painted by Nicho-
las Lapiccola. It contains a small bronze statue
of Pallas, much admired; a Diana of alabaster,
with bronze head, hands, and feet; the Farnese
Hercules of Glycon, in bronze; a small statue
of Diogenes; a Silenus and two small fauns.
The Sanrottono Apollo in bronze, the most remark-
able statue in this villa; the famous basso relievo
of the Atonement of Hercules; several small sta-
tues, among others a very rare one of Osiris, with
a plasm of emerald; and the Egyptian divinities
of green basaltes. Several superb basso relievos;
ten alabaster busts, with heads of green basaltes ;
five alabaster vases, and one of porphyry.
There are three other rooms, the ceilings of which
are painted by P. Bicchierai. On the entrance-
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158
NEW PICTURE OF ROME.
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door of the third room is a marble disk, on
which is represented the combat of Apollo with
Hercules, to recover the Tripod. Over the chim-
ney of this room, is a basso relievo of Antinoüs,
the finest in the villa.
Next comes a magnificent gallery, containing
8 pilasters adorned with Mosaic, and ten others
incrusted with different marbles. On the door are
two very fine basso relievos, representing trophies.
Among the numerous basso relievos, is a fine
statue of Pallas. The, ceiling of this gallery is
adorned with a fine painting by Mengs, of Apollo
and Mnemosyne on mount Parnassus, amongst the
Muses. The Chiaro scuros are by Nicholas
Lapiccola.
In returning to the ground-floor, one passes
from the veshule into the domestic chapel, adorn-
ed with precious marbles and paintings by Lapic-
cola.
Near the door of the corridor, are four small
alabaster urns, by Volterra, and several basso re-
lievos. The visitor then enters the porch, called
Cariatide.* It is decorated with fine marbles, and
* Cariatides, mean figures of women supporting an
entablature.
THIRD DAY.
159
One of the Ca-
in the middle is an elegant vase.
riatides has a Greek inscription, with the names of
Criton and Nicolaus, Athenian sculptors; there
are two other similar figures; and the busts of L.
Verus, Vespasian, and Titus; two fine antique
vases, and a colossal mask of Silenus, above.
2
Next to the porch is a long gallery, in which are
the hermes of Themistocles, Epicurus, Hamilcar,
Leonidas, Massinissa, Hannibal, Scipio, Alex-
ander the Great, and the celebrated Mercury,
with a Greek and Latin inscription. There is
also a statue of Faustina, two of Venus, two
Muses, a Faun, and an Isis.
In the portico of the cassino, sustained by pilas-
ters and twenty-eight columns of antique marbles,
are the statues of Juno, Tiberius, Augustus, L.
Verus, Trajan, M. Aurelius, Antoninus Pius, and
Adrian; on their pedestals are some fine basso
relievos. Over the niches are six friezes and six
masks; and at the end of the portico is a basin of
violet marble.
:
In the middle of Juno's porch similar to the
one of the Cariatide, is a fine antique vase. Be-
sides the statues of Juno and the Cariatides, are
the busts of L. Verus, M. Aurelius; Socrates and
f
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160
NEW PICTURE OF ROME.
Pertinax, in basso relievo; and a colossal head of
a river.
J
This porch leads into another long gallery, in
which are two hermes, of Euripides; and those of
Anacreon, Pindar, Perseus, Plato, Numa, Sappho,
Corinna, Praxilla, Erinna, Miro, Pitheus, Apol-
lonius of Tiano, and others, altogether eighteen.
There are also the statues of an Etruscan Priestess,
a Faun, holding an infant Bacchus, two other
Fauns, an Apollo and Diana, and another Etrus-
can Priestess.
Beyond this gallery is a room, with an antique
Mosaic pavement, and decorated with twelve co-
lumns, one of which is alabaster. Here are two
statues of fauns, an exquisite sarcophagus of Pa-
rian marble, with the marriage of Peleus and
Thetis, six ancient basso relievos, and other
marbles.
Then follow four cabinets, adorned with ancient
sculptures; in the first is a porphyry bust of Be-
renice, with the head of green basaltes; the busts
of Caracalla, Pertinax, and Lucilla, in red mar-
ble, the heads of green basaltes. Among the
bassó relievos is a remarkable one of Diogenes in
his tub, talking with Alexander the Great, and
1
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THIRD DAY.
161
another of antique red marble, which represents
Dedalus making the wings of Icarus. There is
also an antique landscape in fresco, a famous bust
of Serapis, and several basso relievos in plaster.
In the second cabinet which is adorned with
eight columns, among other marbles is a statue of
Ptolemy, sculptured by Stephen, a pupil of
Praxiteles; a Pallas of very ancient Greek work-
manship; a Venus; another Ptolemy; a small
statue of a fisherman, placed on a triangular base,
on which are represented the three seasons, as the
ancients divided their year; a basin of white mar-
ble twenty-two feet in circumference, on which
are the Labours of Hercules, in basso relievo.
The third cabinet is decorated with six columns,
and several antique marbles, among others a her-
mes of flowered alabaster, a faun's head in antique
yellow marble, a hermes of Priapus, a bust of L.
Verus, a cup of black granite, and one of Afri-
can marble, supported by two little slaves; and an
antique Mosaic picture of a small Egyptian vessel.
The last cabinet is adorned with eight fluted
columns, and with antique marbles; the most re-
markable are, a statue of Apollo seated on a tri-
pod, and a Leda with a swan. On the external
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NEW PICTURE OF ROME.
walls are some ancient inscriptions, and basso re-
lievos; the most singular is on the door, and repre-
sents the combat of Achilles and Agamemnon.
Near the cassino is a small edifice called the
Bigliardo (billiard-room), its portico is adorned
with fourteen columns of different marbles, a basso,
relievo, and a candalabra. The fine room, in
which is the billiard table, is decorated with eight
columns, a flowered alabaster cup, and the statues
of an Etruscan priest, Ptolemy, Geta, Maximus,
Bacchus, and Hyacinthus. In the room opposite,
is a fine basso relievo, representing Berenice, the
wife of Ptolemy, sacrificing her hair for the happy
return of her husband. The next room contains
fourteen fine columns, a statue of Ephesian Diana,
and a female Satyr. The paintings are by Dome-
nico and Serafino Fattori.
*:
The terrace before the cassino, is terminated by
a balustrade adorned with statues, and a fountain
in the middle. A double flight of stairs leads to
the lower garden, where under the balustrade may
be seen a fine fountain, formed of oriental granite,
and sustained by two sphinxes; over which is the
figure of the Nile in Egyptian marble. There are
two other fountains, with basins of grey marble,
!
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THIRD DAY.
163
and ornamented with pillars and two figures of
rivers. The two colossal busts on the sides repre-
sent Titus and Trajan. In the middle of the gar-
den is a large fountain, with a singular basin of
black and white granite, and forty-one feet in cir-
cumference.
At the end of the garden, opposite the cassino,
is another fine edifice, decorated with a sumptuous
circular portico, sustained by pilasters and twenty-
six columns of granite. Under this portico are
statues of Mercury, Mars, Apollo, Diana, Sappho,
Hercules, Bacchus, and two Cariatides. There
are also twenty small statues, placed on as many
columns, twenty busts of Emperors, among which
is one of Caligula, very fine, twenty-two hermes
of philosophers, and ten antique masks.
In the middle of the same portico is a large
Egyptian cup; and at the sides are the statues of
a warrior, and a Juno, under the form of Livia.
The next vestibule is adorned with two statues of
black Egyptian marble, two sphinxes, and six
small statues. On the door of the gallery, is a
basso relievo of Arion, the son of Ceres and
Neptune.
From the portico the visitor enters the gallery,
164
NEW PICTURE OF ROME.
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which has an antique Mosaic pavement; the
paintings of the ceiling are by Lapiccola, who has
transported thither a full length Bacchanal, by
Julio Romano. The landscapes are by Paul
Anesi, and the small pictures by Bicchieri. There
are also two statues; one of Juno, on the base of
which is an antique Mosaic, representing a school of
philosophers; the other is a nymph. On the base
is an exquisite Mosaic representing Hesione, ex-
posed to the monster.
Behind this edifice is a portico, in the middle of
which is placed a colossal figure' of Rome seated,
with a basso relievo on the base, representing
Theseus, lifting the stone, under which his father's
sword was hidden. There are likewise the statues
of Claudius, Augustus, an Etruscan Priest, and a.
Cariatide; with several basso relievos and ancient
marbles.
1
Near the portico, besides a fountain, are some
statues, two colossal heads, some basso relievos,
and seven cascades of water, in the centre of the
fountain is a colossal statue of Amphitryon, leaning
on a bull. In this part is the back entrance from
the city, where there are four columns of granite.
In the garden, to the right of the circular porti-
THIRD DAY.
165
1
co, at the foot of the stairs, between two gra-
nite columns, is a group of Pan and Apollo.
There are also the statues of Paris, of Jupiter, Ju-
lia Soemia, Proserpine, two Comedians, and a
Naïd. There is likewise a temple half demo-
lished, and a mutilated statue, made on pur-
pose to represent a ruined temple. The rest of
this villa contains a number of statues, cups, urns,
inscriptions, &c., and various precious remains of
antiquities, which it would be impossible to detail.
About two miles beyond this villa is the
PONTE SALARO,
(Salaro Bridge.)
This bridge, which is on the Teverone, was de-,
stroyed by Totila, and rebuilt by Narses after his
victory over the Goths. On this same bridge,
350 years before the Christian era, Manlius killed
a Gaulish soldier, who had defied him to the com-
bat, to decide which of the two nations was the
most powerful in war.
On returning to the city by the Porta Salara,
in the road to the right, is the Mandosi vineyard,
where are remains of an octangular temple, sup-
1
166
NEW PICTURE OF ROME.
posed to be of Venus Ergine. There are also
some vestiges of Sallust's circus; the obelisk in the
middle was transported by Pius VI., to la Trinita
de' Monti. A short distance from this place is
the
•
VILLA LUDOVISI.
Cardinal Louis Ludovisi, nephew to Gregory
XV., erected this charming villa, which now be-
longs to the Duke of Sora of the Boncompagni fa-
mily, whose permission, it is necessary to obtain,
in order to enter it. It occupies part of the ground
which formerly composed Sallust's garden; somet
antique marbles were found here.
This villa contains three cassinos; the left one on
entering, which is the principal, was built from a
design of Domenichino; it is adorned with statues,
busts, and antique basso relievos. The other cas-
sino, to the right on entering, contains a splendid
collection of antique sculptures. The most re-
markable are, a bust of Pyrrhus in basso relievo;
statues of Esculapius, Apollo, and Venus; a bust
of Claudius, with a bronze head; a statue of An-
toninus Pius; a bust of Antinous; an exquisite
státué of Mars reposing; a group of Apollo and~
THIRD DAY.
167
Diana; another group of Pan and Syrinx; a sta-
tue of Cleopatra; a gladiator seated; a Bacchus ;
a Mercury; a statue supposed to be Agrippina,
the drapery of which is very fine; the celebrated
group, commonly believed to represent the youth
Papirius pretending to reveal the secret of the
senate to his mother; some imagine it to be Orestes
recognising his sister Electra, and others suppose
it is Phædra with Hyppolitus; it is certainly a
Greek work by Menelaus, pupil of Stephen ac-
cording to the inscription; another equally cele-
brated group, is one, supposed to represent Petus
supporting Arria his wife, falling after the mortal
blow which she had given herself; while he
plunges a dagger in his throat. Lastly, is a group
of Pluto carrying off Proserpine, by the Cavalieṛ
Bernini.
In the other cassino, on the ceiling, is an exquisite
fresco by Guercino da Cento, representing Aurora
seated in her car, chasing away night, by scatter-
ing flowers. This work is considered the master-
piece of the celebrated Guercino, who seems to
have excelled himself in it. In one of the lunettes
of the same ceiling, is the break of day, expressed
by a young man winged, holding a flambeau in
&
i
168
NEW PICTURE OF ROME.
one hand, and flowers in the other. Opposite is
the night, represented by a woman, who has fallen
asleep in reading. In the room following, are
four landscapes, in fresco, two by Guercino, and
two by Domenichino. In another room, the ceiling
of which is painted by Zuccari, is a large por-
phyry bust of M. Aurelius, with a bronze head;
and, in a chest is preserved a human body, pe-
trified.
→
In the upper apartment is a fresco, likewise by
Guercino, not inferior to the other; it represents
fame, under the figure of a woman, sounding a
trumpet, and carrying an olive branch. In the
same room are six marble busts, one of which is
by Bernini. Throughout the whole villa may be
seen statues, busts, basso relievos, urns, and other
ancient marbles.
In the street, which leads to the Piazza Barbe-
rini, on the left side, is the
CHIESA DI S. NICOLA DA TOLENTINO.
(Church of St. Nicholas da Tolentino.)
This church was built in 1614, at the expense
of Prince Pamfili; from the designs of John Ba-
THIRD DAY.
169
i
ratti. Its front is decorated with two rows of co-
lumns; and it contains some fine paintings. The
picture, in the third chapel to the right, represent-
ing St. Gertrude and St. Lucretia, is by Guer-
cino; the St. John Baptist, in the chapel of the
cross, is by Baciccio. The great altar was designed
by Algardi, who also made the models of the sta-
tues which were executed by his scholars: Her-
cules Ferrata, who executed the Eternal Father,
and the St. Nicholas; and Domenico Guidi, who
sculptured the Virgin. The Gavotti chapel is de-
corated with marbles and other ornaments, from
the designs of Peter da Cortona, who painted the
ceiling in fine style, and began the small cupola,
which, after his death, was finished by Ciro Ferri.
The four pillars that support the organ, are of a
singular marble.
In the same street is the
PIAZZA BARBERINI.
This square is so called from the Barberini pa-
lace, situated on one of its sides. In this place
formerly stood the circus of Flora. There are now
two fountains designed by Cav. Bernini. The one
F
NEW PICTURE OF ROME.
170
I
t
in the centre of the square is composed of four
dolphins holding a large open shell, on which is
placed a triton, who throws the water a consider-
able height. The other fountain, placed at the an-
gle, is formed of an open shell, on which are three
bees, which eject the waters.
In this square is the
CHISSA DELLA EANTISSIMA CONCEZI-
ONE E CONVENTO DE' CAPPUCCINI.
(Church of the Conception and Convent of Capuchins.)
It was built on the plan of Antonio Casoni, by
Cardinal Francis Barberini, Capuchin, and brother
of Urban VIII. Although the church is very sim-
ple, it contains some very valuable pictures by the
great masters. In the first chapel to the right is
the celebrated picture of the archangel Michael, by
Guido Reni. The St. Francis, on the altar of the
third chapel, is by Domenichino. The picture in
the fourth, is by Baccio Ciarpi; and the St. An-
thony, in the following one, is by Andrew Sacchi.
The picture of the Conception, on the great altar, is
by Joachim Bombelli, one of Cav. Camuccini's
best pupils. In the following chapel, the picture
of St. Bonadventure is by Andrew Sacchi; and the
THIRD DAY.
171
#
next one is the nativity of our Saviour, painted by
Lanfranco. The dead Christ, in the third chapel,
is by Camassei, a pupil of Domenichino. The St.
Felix, in the last but one, is by Alexander Turchi;
and St. Paul, cured by Ananias, in the last chapel,
is one of the best works of Peter da Cortona. On
the church-door is the cartoon of Giotto, which
served as a model for the famous Mosaic, seen in
the portico of the vatican cathedral.
At the end of the street, to the right of this
church, is the
CHIESA DI S. ISIDORO,
(Church of St. Isidore.)
It was built towards the year 1622, with the an-
nexed convent, from the designs of Anthony Ca-
soni; some Observantine Fathers have established
a college here. The paintings, in the first chapel
to the right, are by Carlo Maratti; who also paint-
ed the fine picture of the Holy Conception in the
chapel, on the left of the great altar.
The St. Isidore, on the great altar, is one of An-
drew Sacchi's best works.
}
¿
The paintings in the last chapel are likewise by
Carlo Maratti.
3
1
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172
.
}
NEW PICTURE OF ROME.
On quitting the Piazza Barberini, and taking the
Strada Felice, at the part leading to the four foun-
tains, is seen on the left, the principal entrance
of the
PALAZZO BARBERINI,
(Barberini Palace.)
-
This superb palace was begun from the designs
of Carlo Maderno, continued by Borromini, and
finished by Cav. Bernini, under the Pontificate of
Urban VIII., of the Barberini family. It is one
of the principal palaces in Rome, on account of
its size, splendour, and valuable collection of paint-
ings, as well as for its monuments of ancient sculp-
ture.
On ascending the great staircase, are seen several
statues, and on the second landing-place is a very
fine antique lion, enchased on the wall. The visi-
tor then enters the great hall, the ceiling of which
was painted in fresco, by Peter da Cortona; this
work is considered the master-piece of that great
artist. The subject of this painting is the triumph
of glory, expressed by the attributes of the Barbe-
rini family.
#
THIRD DAY.
173
Next to this hall are some apartments, which
contain an excellent collection of pictures. In the
rooms of the ground floor, are several statues,
busts, basso relievos, and other ancient marbles.
A handsome winding staircase leads to the libra-
ry, which is open every Monday and Thursday
morning for the convenience of the public; it con-
tains about fifty thousand printed volumes, and se-
veral thousand manuscripts.
Adjoining this palace is a vast garden, where it
is supposed the old capitol, built by Numa Pompi-
lius, stood. It was a small temple, with three
chapels, dedicated to Jupiter, Juno, and Minerva.
The chapels in the temple of Jupiter Capitolin,
were built in imitation of them; and the one of
which we have just spoken, was then called the
old capitol.
1
At the end of the Strada Felice is the
OBELISCO DELLA TRINITA DE' MONTI,
(Obelisk of the Trinity of the Mount.)
Mark
In order to decorate this metropolis still more, as
well as to preserve the ancient monuments of Ro-
man magnificence, Pius VI, in 1789, placed this
Q 3
174
NEW PICTURE OF ROME.
i
famous obelisk here, under the direction of John
Antinori, which had lain neglected on one side of
St. John's square (in Laterano). It is of Egyptian
granite, with hieroglyphics, 444 feet high, without
the pedestal; in ancient times it stood in the circus
of Sallust's gardens.
This obelisk, and the annexed square have taken
the name of Trinità de' Monti, from the church so
called, built by Charles VIII. of France, which is
situated on mount Pincius. Nothing remarkable
is now to be seen in it.
At the end of this place is the
PALAZZO DELLA VILLA MEDICI,
(Palace of the Villa Medici.)
This palace, together with the villa, were con-
structed by Cardinal Ricci da Montepulciano, from
the designs of Annibale Lippi, except the front on
the side of the adjoining parterre, believed to be
from the plans of Michael Angelo. This edifice
was afterwards augmented, and embellished by
Cardinal Alexander de Medicis, who purchased it
before he became Pope under the name of Leo XI.

THIRD DAY.
175
This palace and villa are delightfully situated, and
although the latter is in the city, it is nearly two
miles in circuit; it commands almost all the hori-
zon, and contains a splendid gallery of landscape
paintings and architecture.
The French academy of the fine Arts, founded
at Rome, by Louis XIV, in 1666, now occupies
this fine palace. It consists of a director, and
eighty boarders, chosen from among the students,
who have obtained the prize at Paris, for painting
sculpture and architecture. In this palace are
casts of the best works of ancient sculpture, and a
collection of books and plates relating to the fine
arts. This academy has greatly contributed to im-
prove the French taste.
1
Quitting this villa, and continuing in the street
along the city walls, may be seen, the Pinciana
gate, which is now shut, and takes its name from
mount Pincius, where it is situated: it was built by
the Emperor Aurelian, when he extended the city
walls.
On advancing along the great road, before this
gate, appears the
3
.:
!.
176
NEW PICTURE OF ROME.
!
VILLA BORGHESE.
This magnificent villa, which is three miles in
circumference, was built by Cardinal Scipio Borg-
hese, under the Pontificate of his uncle, Paul V.
The principal cassino was built from the designs of
John Vasanzio. On the ceiling of the first hall,
is painted the battle between Furius Camillus, and
the Gauls; an uncommonly fine work, by Mari-
ano Rossi, a Sicilian.
This villa contains delightful groves, walks, avi-
aries, and fountains, as well as several fine statues,
busts, and other ancient marbles. At the end of a
long and spacious walk is a beautiful lake, made
by Prince M. Anthony Borghese. In the middle
of this lake is a little island, where there is a tem-
ple of Esculapius, containing a very fine Grecian
statue of that God: at the sides are two statues;
the one on the right is by Augustin Penna, the other
by Cav. Vincent Pacetti.
At the opposite end of this long walk is another
temple, of a circular form, with eight fine columns.
At some distance to the left is a large circus for
horse races. There is also a small obelisk, in imi-
tation of that of Augustus, in the field of Mars.
1
THIRD DAY.
177
There is likewise a citadel, and an edifice meant
to imitate the ruins of a temple of Antoninus and
Faustina; it consists of four fine granite columns,
with entablature, and a fragment of the frontis-
piece. This villa also contains a church and a
cassino, made from the designs of Anthony As-
prucci.
On the left, beyond this villa, and on the side
leading to the Porta del Popolo, is a large frag-
ment of wall, commonly called
MURO TORTO,
(Bent Wall.)
It is only the remains of an ancient terrace used
by Aurelian to form the new inclosure of Rome.
The inclination of this wall has caused it to be
named Muro Torto (Bent Wall.) We are assured
by Procopius that it was bent in like manner, in the
time of Belisarius, and that it then seemed ready to
fall. This great mass is of reticular workmanship,
similar to the most ancient fabricks of Rome; it is
as high as mount Pincius, and thirty-four feet
wide.
178
NEW PICTURE OF ROME.
:
!
/
;
THE preceding day's course having terminated
at the Villa Borghese, the principal entrance to
which is towards the Porta del Popolo; we will re-
enter the city by that gate, and take the left road,
called
FOURTH DAY.
STRADA DEL BABBUINO,
(Baboon Street.)
5
In this fine street, which leads directly to the
Piazza di Spagna, near the Carafa palace, is a
fountain, on which is placed a satyr, greatly in-
jured by time, and vulgarly called Babbuino (Ba-
boon.) From this, the street has taken its name.
i
In advancing, may be seen the church of St.
Athanasius, with the college of the Greeks. The
church was built by Gregory XIII., from the de-
1
FOURTH DAY.
179
signs of James della Porta, except the front, which
was made by Martin Lunghi, senior. The college
was rebuilt under Clement XIII.
In a small street near this church, is a house,
which contains the painting room of Cav. Vincent
Camuccini, who is considered the first painter of
this age.
Returning to the Strada del Babbuino, behind
the houses, on the left side, stands the Theatre
d'Alibert; so called, from the person who built it.
It is the largest theatre in Rome; it is used for
operas and the balls during the carnival.
In the street to the right, called della Croce, is
the palace of Prince Pognatowski. It contains a
superb collection of paintings, and other valuable
objects. We must retrace our steps, in order to
view the
PIAZZA DI SPAGNA,
(Square of Spain.)
酱
​This is one of the most spacious squares in
Rome: it is surrounded with noble houses and pa-
laces; amongst others, is the Propaganda, and
that of the court of Spain, where the Spanish mi-
180
NEW PICTURE OF ROME.
i
nister resides, and from which the square has been
named. The Piazza di Spagna is the part of Rome
most frequented by strangers, on account of its
proximity to the Porta del Popolo, and because it
contains the best furnished lodgings and hotels;
amongst the principal are those of Europe, la Villa
di Londra (the city of London) and Gran Brettagna
Great Britain.)
In the middle of this square, is a fine fountain,
erected during the reign of Urban VIII., from the
designs of Cav. Bernini, commonly called della
Barcaccia, because it is in the form of a bark: but
the principal decoration of this place is the mag-
nificent flight of stairs, leading to the church of the
Trinity of the Mount. It was constructed from
the designs of Francis de Sanctis, at the expense
of Mr. Guffier, a Frenchman, under Innocent
XIII.
It is supposed that the whole Piazza di Spagna
was formerly occupied by Domitian's Naumachia,-
which contained such a vast quantity of water,
that mock sea-fights were represented to divert the
people; and the youth were, at the same time, ex-
ercised in naval manœuvres.
Opposite the great staircase is the Strada Con-
FOURTH DAY.
181
dotti, so named because the conduit of the Virgin
water called di Trevi, passes through it. In this
street is the
PALAZZO BONAPARTE,
(Bonaparte Palace.)
Although this palace is not yet completed, it may
be ranked amongst the finest in Rome; for its fine
architecture by John Anthony'de Rossi; as well
as for its splendid collection of pictures and antique
marbles, which are tastefully distributed in nine
rooms.
In the first room is an exquisite picture of Nar-
cissus at the fountain, by Guido Reni, a very fine
portrait, by Vandyke; a portrait of a young wo-
man, by Moro a Fleming, of great merit; a head
of St. Jerome, by Augustin Caracci; a large Bac-
chanal, by Cav. Arpino; and Innocence, by Cara-
vaggio.
The second room contains Poussin's celebrated
picture of the Massacre of the Innocents; Venus
disarming Love, from the Orlean gallery, and a
fine St. Cecilia, by Guido. There is also a superb
antique vase, ornamented with basso relievo, exhi-
R
"
182
NEW PICTURE OF ROME.
biting the strength of Hercules; and another vase,
found in Tusculum.
In the third room is a Madonna, called de'Can-
delabri, a splendid painting, by Raphael; a Christ,
by Michael Angelo; Diogenes, looking for an ho-
nest man, an excellent painting, by Van-Mol: the
vanity and modesty of women, a celebrated work
of Leonardo da Vinci, who made a copy of it with
some difference, which is now in the Sciarra pa-
lace; the wife of Rubens, painted by himself; a
portrait of Rubens, by Vandyke; an exquisite por-
trait of Francis I., by Holbein; the sorceress, by
Teniers; the Samaritan woman, by Julio Romano;
Dian and Acteon, by Titian; and a fine basso re-
lievo, representing the carrying off of Ganymede.
The fourth room contains the following ancient
marbles; the Minerva Poliade of Athens, a cele-
brated statue, which was found in the Temple of
Minerva Medica; a Grecian statue of Hygeia,
found in the Etruscan baths, at Canino; a statue
of Antonia, mother of the great Germanicus, found
in Tusculum; a fine statue of modesty; a bronze
Apollo, found in Tusculum; a fragment of a head
of Pythagoras, in basso relievo, exquisitely sculp-
tured; a bust of Antonia; and four antique busts,
FOURTH DAY.
183
found in Tusculum; amongst which, those of
Germanicus and Perseus are wonderfully fine.
In the fifth room are five very remarkable pic-
tures: the first represents the man born blind,
cured by our Saviour, by Louis Caracci; the se-
cond, is the son of the widow of Nain, restored to
life, by Augustin Caracci; the woman of Cana,
at the Lord's feet, by Annibal Caracci; these
pictures, admirably executed by the three brothers,
for the house of Giustiniani, shew the skill and
merit of the Caraccis; the fourth picture represents
divers Saints in the city of Fano, a capital painting
by Domenichino; the fifth is the masterpiece of
Gherardo delle Notti; and represents Jesus before
Pilate.
In the sixth room is a fine ancient statue of Ti-
berius; and the two Rutilias of the Cornelia family,
found in Tusculum.
The seventh room contains part of a Greek
well;.
on which is a fine basso relievo of Bacchus
and Ariadne, and the triumph of Silenus. In the
same room is a very fine Venus, a celebrated work
of Canova.
In the theatre room is a superb Grecian basso
relievo, of a Nymph offering some beverage to
2770
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184
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NEW PICTURE OF ROME.
Jupiter, in the goat Amalthea's horn. In the ca-
nopy room is an excellent portrait of Pius VII.,
by Mr. Wicar. There is also a capital library,
containing a valuable collection of ancient and
modern prints, forming about 400 volumes.
Lastly, in the chapel, is a very large fresco of
Mary Magdalen, by Julio Romano.
At the end of the Strada Condotti, is the
CHIESA DELLA TRINITA,
(Church of the Trinity.)
It was
built in 1741, from the designs of Ema-
nuel Rodriguez, a Portuguese. It is of an oval
form, and adorned with gilt stuccos and pictures,
by Francis Preziado, Cav. Casali, Gaetano Lapis,
and Conrad Giaquinto, who painted the great altar
piece: the martyrdom of St. Agnes, in the last cha-
pel, is by Cav. Benefiale.
On returning to the Piazza di Spagna, may be
seen the large palace called Propaganda Fide, con-
structed under Gregory XV., and Urban VIII.,
from the designs of the Cav. Bernini and Borro-
mini: it is destined for the reception and instruc-
tion of young Africans and Asiatics, in ecclesiastical
•
---
FOURTH DAY.
185
;
·
learning; who are afterwards sent to their own
country to propagate christianity.
The street to the left of this palace leads to the
CHIESA DI S. ANDREA DELLE FRATTE,
(Church of St. Andrew Delle Fratte.)
Formerly in these parts, there were only gar-
dens and vineyards surrounded by hedges, called
fratte in Italian, from which the name of the
church is derived. It was built from the designs
of John Guerra, except the cupola and steeple,
which are by Cav. Borromini. The magnificent
chapel of St. Francis di Paola contains some pre-
cious marbles, and two angels, by Cav. Bernini.
The picture of St. Andrew, in the middle of the
great altar, is by Lazarus Baldi; the one to the
right is by Francis Trevisani; the one to the left is
by John Baptist Lenardi. The frescos on the ceil-
ing of the choir, and those of the cupola, are by
Pascal Marini. On the altar of the next chapel
is a fine statue representing the death of St. Ann,
by the Cav. Camillo Pacetti.
The street to the left leads to the
*
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+
186
::
4
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NEW PICTURE OF ROME,
FONTANA DI TREVI,
(Fountain of Trevi.)
This fountain contains the famous virgin water
which Agrippa, son-in-law of Augustus, conveyed
to Rome for the use of his baths, behind the Pan-
theon; its name is derived from a young girl, who
shewed the spring to some thirsty soldiers. This
precious water takes its rise about eight miles from
Rome, between the roads of Tivoli and Palestrina,
in the field of Salone; the conduit, which is sub-
terraneous, and fourteen miles long, was repaired
by Claudius and Trajan. This aqueduct runs to-
wards the Lamentano.bridge, inclines to the left,
passes the villa Borghese and Medici, and reaches
the foot of the Trinity of the mount, where it di-
vides into two branches, of which, one runs to this
fountain, and the other takes its direction to the
Strada-Condotti, and is distributed over the whole
city. The name of Trevi has been given to this
fountain, because, the one made by Nicholas V.,
in the same place, had three mouths: Clement
XII., wishing to give it the grandeur and majesty
of the other Roman edifices, entirely altered its
FOURTH DAY.
form, from the designs of Nicholas Salvi,
adorned it with statues and basso relievos of stu
which Clement XIII. afterwards replaced t
marble ones, to render it still more sumptuous
magnificent.
The side front of the Conti (now Boncompag
palace, is before this fountain; it is ornament
with four columns, and six Corinthian pilaste
between which are two rows of windows; betwe
the columns are two basso relievos; and above th
entablature is an attic order, decorated with fou
statues, and the armour of Clement XII. Thi
water flows abundantly from a pile of rock, int
a large marble basin. The great niche in the
middle, is decorated with four columns, and a co
lossal statue, representing the Ocean, standing
on a car formed of sea shells, drawn by two sea
horses, and guided by two Tritons: this sculpture is
by Peter Bracci. In the side niches are the sta-
tucs of Salubrity and Abundance, by Philip Valle;
on which are two basso relievos, representing
Marcus Agrippa, and the young girl, who disco-
vered the source of this water, sculptured by An-
drew Bergondi and John Grossi. The four statues
on the entablature relate to rurał objects, viz. :-

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188
NEW PICTURE OF ROME.
•
the fertility of the country; the abundance of au-
tumn, &c.
In the square of this fountain,, is the church of
St. Vincent and St. Anastasius, built from the de-
signs of Martin Lunghi, junior; the front is deco-
rated with two rews of pillars, Corinthian and
Composite.
In the street of St. Nicholas in Arcione, is a
house where the Arcadian Academicians assemble
every Thursday night, at 10 o'clock, to recite their
compositions in prose and verse. It is one of the
most celebrated academies in Europe.
·
The street opposite the fountain of Trevi leads
to the
PIAZZA DI MONTE CAVALLO,
(Square of Mount Cavallo.)
This is one of the finest squares in Rome, both
for its delightful situation, and the magnificent
buildings that decorate it. The hill on which it
is situated is called Mount Quirinal, from the Tem-
ple of Quirinus, formerly erected there in honour of
Romulus; it still retains that name, although it is
more commonly called Monte Cavallo, from the
two marble horses placed on the summit.
1
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Chiesa della SS. Trinità di Monti
Piazza di Colonna Trajana.
ELBEE
Parra di Monte Cavallo
London, Published by Samuel Leigh, 18. Strand.
73-
Porto di Ripa Grande.
WWW.MA
3711
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FOURTH DAY.
18
•
These horses, guided by two colossal figures,
seventeen feet high, are the master-pieces of Gre-
cian sculpture. The one to the right, by Phidias,
represents Castor; the lightness and strength,
united in this colossùs, are admirable. The other
figure was made some time afterwards, by Praxi-
teles, in imitation of the one by Phidias; it repre-
sents Pollux, and the exactness of the proportions
and finish of the work, render it equal to the
formér.
Constantine the Great transported them from
Alexandria to adorn his baths, which were on this
mount; and Sixtus V. removed them to their
present place. Pope Pius VI., under the direc-
tion of John Antinori, ordered these same figures
to be turned, the one to the right, and the other to
the left, in order to give them a finer effect; and
placed between them, the Egyptian obelisk, found
near Augustus's mausoleum: it is of red granite,
and forty-five feet high, without the pedestal, The
reigning pontiff Pius VII. has transported hither,
from the Forum Romanum, the large basin of orien-
tal granite, which is seventy-six feet in circumfer-.
ence, and forms a magnificent fountain,
Next is seen the

190 :
NEW PICTURE OF ROME.
Kat
PALAZZO PONTIFICIO,
(Pontifical Palace.)
...
Pope Gregory XIII., about the year 1574, began
this magnificent palace, from the designs of Fla-
minio Ponzio; it was afterwards continued, en-
larged, and finished from the designs of Octavio
Mascherino, Domenico Fontana, Carlo Maderno,
and the Cavaliers Bernini and Fuga. The great
court of this palace is 303 feet long, and 165
wide: three of the sides are surrounded by a
piazza of forty-four pilasters; the fourth side is
. decorated with a front of Ionic order, and térmi-
nated by a clock, under which is a picture of the.
Virgin in Mosaic, from the original of Carlo
Maratti.
Under the above-mentioned piazza, is a double
flight of stairs; the one to the left leads to the
apartments of his Holiness, and the other to the
splendid hall before the chapel: it is very spacious,
and has a pavement of different marbles; a ceiling,
finely sculptured in wood, and gilt, and a frieze
painted by Cav. Lanfranco, and Carlo Saraceni.
Over the door of the chapel is a fine basso relievo,
翼
​FOURTH DAY.
191
}
representing our Saviour washing the Disciples
feet, by Thaddeus Landini. The chapel contains
several large pictures; amongst others, is the St.
Sebastian, Titian's master-piece.
Next follows a noble apartment, where there is a
private chapel, painted in fresco, by Guido Reni,
in which this celebrated artist has represented the
life of the Virgin.
The garden of this palace is a mile in circum-
ference; it is decorated with statues, fountains,
and shady walks, which render it delightful. In
the middle is an elegant cassino, made by Cav.
Fuga. It contains paintings by Francis Orizzonte,
Pompey Battoni, John Paul Pannini, and Augus-
tin Massucci.
Near the pontifical palace is the
**
*
PALAZZO DELLA CONSULTA,
(Palace of the Council.)
Clement XII. erected this sumptuous palace
from the designs of Cav. Fuga. The great apart-
ments are inhabited by Cardinal Braschi Onesti,
secretary of the briefs, and nephew to Pius VI.;
*
P
192
NEW PICTURE OF ROME.
*
and by the secretary of the Consulta, which is a
sort of state council.
Next comes the
PALAZZO ROSPIGLIOSI,
(Rospigliosi Palace.)
This large palace was built by Cardinal Scipio
Borghese, from the plans of Flaminio Ponzio, upon
the ruins of Constantine's baths, the last that were
built in Rome. It afterwards belonged to Cardinal
Bentivoglio, and the house of Mazarini, who aug-
mented it under the direction of Carlo Maderno;
and it finally passed into the noble family of Ros-
pigliosi.
On entering the cassino in the garden, which,
together with the first story of the palace, belongs
to Prince Pallavicini, may be distinguished on the
ceiling of the hall, the famous Aurora, by Guido
Reni: it is a large fresco, representing Apollo as
the sun, seated on a car drawn by four horses
abreast, and surrounded by seven beautiful nymphs,
who are supposed notwithstanding their small num-
ber to signify the Hours. Apollo is preceded by
并
​*
FOURTH DAY.
193
Hesper, holding a flambeau and by Aurora, scat-
tering flowers. This painting is considered one of
the finest in the world for its design, its colouring,
and the expression of the figures. The frieze in
this hall is painted by Antonio Tempesta. There
are also some landscapes, by Paul Brilli; an an-
cient statue.of Diana, and a bronze horse.
In one of the two rooms contiguous is a superb
antique bust of Scipio Africanus; and two large
pictures, one by Domenichino, representing Adam
and Eve, in the garden of Eden; the other is Sam-
son pulling down the Temple, by Louis Caracci.
In the other room are four antique busts and seve-
ral pictures; the most distinguished is the triumph
of David, by Domenichino.
In the first story of the palace, is a vast apart-
ment, filled with fine pictures; amongst the most
remarkable are, a portrait of Nicholas Poussin, by
himself; Delilah cutting Samson's hair, by Anni-
bal Caracci; twelve pictures of the Apostles, by
Rubens; Rinaldo with Armida, by Albano; the
conversion of St. Paul, by Luke Giordano; a
St. Sebastian, by Valentino; Hercules and To-
laus, by Guido Cagnacci; the Virgin with the
dead Christ, a fine painting, by Annibal Caracci;
S
194
NEW PICTURE OF ROME.
‚
Andromeda, by Guido; a child, by Nicholas
Poussin, and several landscapes, by Paul Brilli.
The second story, which, together with the
ground floor, belongs to Prince Rospigliosi, is com-
posed of various rooms, containing a splendid col-
lection of pictures. In the first room are four land-
scapes, by Francis Orrizzonte; four.battles, by
Mr. Leander, senior; four pictures, by Mr. Man-
glar; four landscapes, by Claude Lorrain; and an
Endymion, by Albano. In the second room are
fourteen sea pieces, by Mr. Manglar; four land-
scapes, by Orizzonte, and a view, by Viviani.
The third room contains amongst other pictures,
a landscape, by Paul Brilli; a virgin, by Albano;
an Ecce Homo, by Valentino; an exquisite
picture, by Gherardo delle Notti; a fruit girl, by
Guercino, much admired; a Flora, by the same;
two fine pictures of Poussin, one representing a vir-
gin and child; the other, the Seasons; or, rather
the progress of human life; a landscape, by Claude
Lorrain, and a virgin and child, by Raphael. In
the fourth room, is a holy family, by Nicholas
Poussin; three heads, by Rubens; David, with the
head of Goliath, by Guido Cagnacci; six land-
scapes, by Orrizonte; a large picture of Noah, and
FOURTH DAY.
195
his Sons, by Andrew Sacchi; four portraits, by
Rubens; a portrait, by Vandyke; a half figure, by
Baroccio; the Circumcision, by Rubens; the two
faithful friends, by Guercino; and an angel, by
Guido.
On the ground floor, in the first room, is a large
cup of antique green marble, which is very valu-
able; a candelabra, several statues and antique
busts; and eighteen frescos, taken from Constan-
tine's baths. The other rooms are adorned with
paintings; amongst others, is a St. Cecilia, by Do-
menichino; and a sketch of the four angles of the
cupola belonging to the church of St. Andrew
Some of the other rooms
della Valle, by the same.
were painted by the two Brilli, and John of St.
Giovanni.
Almost opposite this palace is the
CHIESA DI S. SILVESTRO,
(Church of St. Silvester.)
This church now belongs to the priests of the
Mission. It contains some fine paintings. Those
in the first chapel, are by Avanzino Nucci. The
picture in the second chapel, is by James Palma,
$2
196
NEW PICTURE OF Rome.
a Venetian, and much admired. The Assumption
of the Madonna in the chapel of the cross, is
painted on slate, by Scipio Gaetano. The four
paintings on the cupola in this chapel, are by Do-
menichino; they represent David dancing before
the Ark; Judith shewing the head of Holofernes to
the Bethulians; Esther fainting before Ahasuerus;
and the queen of Sheba, seated on the throne with
Solomon. In this chapel, are likewise two statues
of St. John the Evangelist, and Mary Magdalen,
by Algardi; and other sculptures, by various
artists.
t
The picture of the Magdalen, in the last chapel
but one, is by Mariotto Albertinelli; the two fine
side paintings are by Mathurin and Polydore da
Caravaggio; and those on the ceiling, are by Cav.
Arpino.
Rather farther on, to the left, is the Villa Aldo-
brandini, where are some remains of Livia's
baths.
On the other side of the street is the
FOURTH DAY.
197
CHIESA E MONASTERO DI S. DOME-
NICO, E SISTO,
(Church and Convent of S. Domenico and Sixtus.)
St. Pius V. erected this church and convent for
the Dominican Nuns; who enlarged the convent
and repaired the church under Urban VIII., from
the designs of Vincent della Greca. The front is
decorated with two rows of Corinthian and Compo-
site pilasters, and a double flight of stairs. The
interior of the church contains marbles, and pic-
tures, by Mola, Louis Garzi, Canuti, Francis Alle-
grini, and Romanelli; who, in the last chapel, has
represented the Virgin giving a rosary to a nun.
Opposite this church is that of St. Catherine di
Siena, built with the convent, about the year
1563, from the designs of John Baptist Soria. It
is decorated with marble pillars, and some indif-
ferent paintings.
In the court of the last-named convent, is a large
brick tower, called Delle Milizie, because it is
supposed to have been erected by Augustus or
Trajan, for the troops who guarded the neighbour-
hood. But it was, in reality, built during the civil
s 3
198
NEW PICTURE OF ROME.
wars, for the security of Innocent III. of the
Conti family, as well as the one near the arch De'
Pantani.
Behind the Ceva palace, which follows, are
some remains of an ancient circular edifice, of
brick, supposed to have belonged to the baths of
Paulus Emilius. At the foot of Mount Quirinal,
·
is the
PIAZZA DELLA COLONNA TRAJANA,
(Square of Trajan's Column or Pillar.)
*
This beautiful pillar, which is one of the most
celebrated monuments of antiquity, and which has
been preserved for seventeen centuries, was hidden
between the houses; and its admirable pedestal was
quite concealed. It has, however, at length, been
placed in a situation suitable to its magnificence,
under the direction of Mr. Camporesi.
1
This pillar was erected in the middle of Trajan's
Forum, and dedicated to that emperor, by the
senate and Roman people, for his victory over the
Dacians, as the inscription on the pedestal shews;
his ashes were afterwards transported from Asia to
:
1
FOURTH DAY.
199
Rome, and placed in a golden urn, which was
allowed to be buried in the pedestal of this pillar.
It is of the Doric order, composed of thirty-four
pieces of Grecian marble, joined with bronze
hooks: The great pedestal is made of eight
pieces; the shaft is of twenty-three; the chapiter
and pedestal of the statue are each made of one.
The total height of this pillar, including the statue,
is 132 feet. The lower diameter is eleven feet two
inches, and the upper diameter is ten feet. This
pillar is one and a half foot higher than that of
M. Aurelius; and as high as Mount Quirinal.
The ascent to the summit of this grand monument,
is by an interior winding staircase, hewn out of the
marble itself; which has given it the name of
Coclide. It consists of 185 steps, two feet and two
inches long; it is lighted by forty-three small open-
ings; at the top is a balustrade, which commands
an extensive view of Rome. The statue of Trajan,
of gilt bronze, formerly stood on the summit of this
pillar; but Sixtus V. placed one of St. Peter there
instead; it is likewise of gilt bronze, made from the
model of Thomas della Porta:
The great pedestal of this pillar is reckoned the
finest in the world; it is covered with trophies,
•
:
NEW PICTURE OF ROME.
200
eagles, and garlands of oak leaves, all admirably
sculptured. This magnificent pillar is less remark-
able for its great height, than for the basso relievos
that adorn it; they represent the first and second
expedition of Trajan, and his victory over Decebale,
king of the Dacians, in the year A. D. 101. There
are about 2,500 figures of men, besides a number
of horses, elephants, arms, engines of war, mili-
tary ensigns, trophies, and other things, which
form such a vast variety of objects, that it is im-
possible to behold them without astonishment. The
invention and design of these basso relievos are all
by one artist; but the great number of figures
must necessarily have employed several; they are
all capitally executed: and almost every figure is
two feet high. The events and plans of the figures
are distinguished by a spiral cordon, which en-
twines around the whole pillar, making twenty-
three windings from the top to the bottom. These
basso relievos have always been considered the
master-pieces of sculpture, and have served as mo-
dels for artists; Raphael, Julio Romano, Poly-
dore da Caravaggio, and others, have derived
great profit from them.
The celebrated Apollodorus was the architect of
FOURTH DAY.
201
the Trajan Forum, in which this superb pillar was
placed, and which corresponded with its magnifi-
cence. It was encompassed by several splendid
edifices, all of which have been destroyed by the
injuries of time, and still more by the barbarism of
man; so that nothing remains but this extraordi-
nary pillar, from which the modern square has
been named. In this square are two churches,
one is called Mary's, built after the deliverance of
Vienna in 1683; the other is the
CHIESA DI S. MARIA DI LORETTO,
(Church of St. Mary of Loretto.)
This church is of an octagon form, decorated
with Corinthian pillars, and a double cupola similar
to that of the Vatican; from the designs of Antonio
da Sangallo. There is nothing remarkable in this
church, except a fine statue of St. Susanna, on the
altar of the second chapel; a much admired work,
by Francis Quesnoy, called the Fleming. The
great altar is adorned with two pictures, by Cav. ·
Arpino, and several statues. Taking the street to
the right of the side door of this church, one
202
NEW PICTURE OF ROME.
reaches the Piazza SS. Apostoli (Square of the holy
Apostles), where among several fine edifices is the
PALAZZO COLONNA,
(Column Palace.)
This palace is at the foot of Mount Quirinal,
and its gardens extend to the summit. It was
begun by Martin V. of the noble family of Co-
lonna, and finished and adorned at different times
by the princes and cardinals of that house. Al-
though this grand edifice has no exterior decora-
tion, it is one of the principal palaces in Rome,
not only for its vast extent, but because it contains
a capital collection of pictures by the best masters.
On the ground floor are five rooms, decorated
with frescos, by different masters. One room was
painted by Gaspard Poussin; who also painted
three pictures in the room adjoining the alcove.
The sea pieces in the other rooms are by Tempesta.
The paintings of the ceilings are all by Zuccari;
and the rest of the figures and landscapes are by
Romanelli. On this floor is also an excellent
library.
On the staircase leading to the great apartments,
203.
is a fine statue of a slave, apparently of the same
sculpture as the slaves of Constantine's arch. On
the wall, opposite the hall door, is a very fine head
of Medusa, in. porphyry basso relievo. In this
hall, over a colossal bust, is a painting in Titian's
style; and, on the other side, are two Angels, by
Cav. Arpino; and some other pictures. The
paintings of the ceiling are by Gherard Castelli.
After passing through several rooms richly hung
with tapestry, the visitor enters the picture room
adjoining the gallery; and in which are two pic-
tures over each other, by Raphael, in his first
style; an Ecce Homo, by Albano; two pictures,
by Guercino, one of Moses and the other of St.
Paul; Europa, by Albano; two small ovals, by
Guido; a caricature, by Annibal Caracci; a por-
trait, by Tintoretto; and two by Titian; a Virgin
and Child, by Raphael, in his best manner;
Venus and Adonis, by Titian; the Guardian Angel,
by Guercino; and two exquisite portraits of Calvin
and Luther, by Titian. The picture, in the middle
of the ceiling, is by Benedict Luti; and the six
around it are by Pompey Battoni.
Next comes the gallery, which is very magnifi-
cent and large it is 209 feet long and 35 wide. The
FOURTH DAY.
204
NEW PICTURE OF ROME. .
•
vestibule is decorated with two landscapes containing
some fine figures, by Albano. On the right of the en-
trance to the gallery, which is an arch sustained by
two columns of antique yellow marble, is an Assump-
tion, by Rubens; some portraits, all in one picture,
by Giorgione; a St. Francis, by Guido; another, by
Muziano; two pictures, one by Guido; and the
other by Guercino; two portraits, in one picture,
by Tintoretto; two pictures, by Salvator Rosa;
and a caricature, by Rubens. After mounting a
few steps and passing through another arch, with
columns similar to the former, may be seen a
copy of the Ecce Homo, by Albano; a Sibyl, by
Guercino; a capital portrait of Paul Veronese,
probably by Titian; a portrait, by Vandyke;
Attilius Regulus, by Salvator Rosa; a Magdalen,
by Annibal Caracci; and some portraits in one
picture, by Pordenone.
}
+
A bridge from this gallery leads into a de-
lightful garden, in which are two large, extraordi-
nary fragments of a white marble frontispiece,
finely worked, supposed to be the remains of the
Temple of the Sun, or of Health; there are also
some ruins of an ancient edifice, believed to have
been the house of the Cornelia family.
¦
FOURTH DAY.
205.
On the other side of the gallery, is a picture of
the Lord's Supper, by Bassano; the Triumph of
David, and the Martyrdom of St. Agnes, by
Guercino; Adam and Eve, by Domenichino; the
Prodigal Son, by Guercino; the Herodiad, by
Guido; a St. Peter, by Lanfranco. The Anady-
omene Venus, on the right, is the most remarkable
statue around the gallery.
After passing through the servants' hall, on
which floor there are several apartments, the vi-
sitor enters the first picture room; the most dis-
tinguished paintings are three landscapes, in water
colours, by Poussin; a St. Francis, by Muziano; a
St. Agnes and St. Francis, by Guercino. By the
side of this room is a small chapel, with a transpa-
rency of alabaster, painted by Carlo Maratti, who
has represented on it the Conception of the Virgin.
After going through various other rooms, hung
with gobelin tapestry, worked from the designs of
Le Brun's battles, and the ceilings painted by
Zuccari, a room may be seen, where amongst
other pictures, are two capital Storms, by Bak-
huisen, a Fleming; and several small Landscapes,
by Lucatelli.
In the alcove room, is a small spiral Corinthian
T
P
•
206
NEW PICTURE OF ROME.
·
column of antique red marble, ornamented with
small figures representing a Triumph; on the top
is a statue of Pallas. The most remarkable paint-
ings in this room, are some landscapes, by Oriz-
zonte; two by Lucatelli; four in water colours,
by Poussin; a portrait, in crayons, of Pope Cor-
sini, by the celebrated Rosalba, a caricature, by
Annibal Caracci; a Moses, by Albano; and a
Manger, by Benvenuto Garofolo.
On the second floor, in the first room, are four
landscapes, by Poussin; a St. Francis, by Spag-
noletto; St. Peter, by Guido; the Death of Abel,
by Andrew Sacchi; some portraits in one picture,
by Tintoretto; and a caricature, by Michael An-
gelo da Caravaggio.
The next room contains some landscapes, by
Lucatelli; four of which are in water colours, in
Poussin's style; four others in oil, in imitation of
Salvator Rosa, and four by himself; two by John
Mielė; some by Vanvitelli; three, by Mr. Sten-
dardo; and two views, by Pannini.
In the next cabinet are several landscapes,, by
Orizzonte; and a half figure of a Woman representing
Painting, by Guercino. In an adjoining cabinet
are three landscapes, by Gaspard Poussin; some
207
FOURTH DAY.
others, by Orizzonte, Lucatelli, and Vanvitelli;
and some of the Flemish school, which are much
esteemed; there are likewise two grotesque Flem-
ish pieces; and two very fine but small historical
pictures over the door.
In the next bed-room is a sketch of Titian's
picture of St. Peter, the martyr, which is at Venice ;
the celebrated half figure of Mary Magdalen, by
Guido Reni; a fine landscape of Caracci's school;
two small pictures, by Salvator Rosa; one a land-
scape, the other a half figure; two fine landscapes,
by Orizzonte, in Poussin's style; two battles, by
Borgognone; two small pictures, by Berghen; a
Holy Family, by Andrew del Sarto; two images of
the Virgin, by Sassoferrato; and a Holy Family,
by Pompey Battoni. Near this palace is the
CHIESA DE' SANTI APOSTOLI,
(Church of the Holy Apostles.)
This is one of the churches constructed by
Constantine the Great. It was repaired at the be-
ginning of the last century, by Cav. Francis Fon-
⚫tana. On the wall, to the right of the portico of
the ancient church, is an antique basso relievo of
T2
208
j
1
an eagle holding in its talons an oaken crown by
which it is surrounded. Opposite is the monu-
ment of John Volpato, the famous engraver, erected
and made by his friend and countryman the cele-
brated Canova. It consists of a large basso re-
lievo, on which is represented Friendship, ex-
pressed by the figure of a woman weeping before
the bust of the deceased Volpato. This church
has three naves, divided by a row of Corinthian
pillars, which support the ceiling; on the middle
of it, is painted the Triumph of the Order of St.
Francis, by Baciccio. The chapels are adorned
with marbles and fine paintings; the one in the first
chapel to the right, is by Nicholas Lapiccola; and
that in the next, is by Conrad Giaquinto. St.
Anthony's' chapel contains eight fine marble co-
lumns, and an excellent picture, by Cav. Benedict
Luti. The great altar-piece represents the mar-
tyrdom of Saints Philip and James, by Domenico
Muratori.
NEW PICTURE OF ROME.
A
{
Near the door of the sacristy is the monument
of Clement XIV., a celebrated work of Canova;
besides the statue of that Pope, there are two uncom-
monly fine figures of Temperance and Clemency,.
Beyond the sacristy is the chapel of St. Francis,
FOURTH DAY.
209
painted by Joseph Chiari. On the altar of the
following chapel, which contains two fine columns
of antique green marble, is a picture of St. Joseph
da Cupertino, by Joseph Cades. The Descent of
the Cross, on the altar of the last chapel, is a
famous work of Francis Manno, of Palermo.
Opposite this church is the Odescalchi Palace, and
under the portico are the statues of Claudius and
Maximin.
On the left of the Strada del Corso, and near
the end of this street, is the square and the
CHIESA DI S. MARCO,
(Church of St. Mark.)
It contains three naves, divided by twenty marble
columns, and several chapels, adorned with mar-
bles and pictures; the most remarkable is the
altar-piece in the first chapel to the right, by
Palma; the rest are by Tintoretto, both excellent
Venetian painters. Near this church is a colossal
bust of a woman, vulgarly called Madame Lu-
cretia.
..
+7
T 3

210
NEW PICTURE OF ROME,
1
1
1
1
In the small square of Macel de' Corvi, at the
foot of Monte Marforio, are the remains of the
SEPOLCRO DI C. POBLICIO BIBOLO,
(Tomb of C. Publicius Bibulus.)
The spot, on which this ancient monument is
placed, was given to Caius Publicius Bibulus, by
the Senate, in the year of Rome 545, on account
of his merit, as the inscription shews. This tomb,
and those of the Scipios, of Metella, and the Ser-
vilia family, from being in good preservation, and
having their inscriptions, may be considered the
most ancient, and most remarkable monuments of
the Roman Republic. The one of which we
speak is composed of travertine marble, and
adorned with four pilasters that sustain a fine en-
tablature; they are very singular, diminishing
from the middle to the summit, like columns.
;
•
?
•
In the first street to the left is the place called
Pantani, because it was formerly very low and
marshy. Cardinal Bonelli, surnamed Alexandrine,
nephew of St. Pius V., had it improved and raised,
and formed the street leading from Trajan's pillar,
FOURTH DAY.
211
☺
to the Temple of Peace; for which reason it is
called Alessandrina.
In continuing along the Strada Alessandrina, to
the left is seen the
TEMPIO DI PALLADE,
(Temple of Pallas.)
Domitian erected this temple near his Forum,
which was therefore called Palladium. This fine
monument is half buried, and almost ruined. The
two remaining pillars are Corinthian and fluted;
they are nine and a half feet in circumference.
The entablature they sustain is richly ornamented
and exquisitely worked. The small figures sculp-
tured in basso relievo on the frieze, representing
the arts of Pallas, are likewise uncommonly fine.
Over the entablature is an attic order; in the
middle is a figure of Pallas standing in basse relievo.
In the street, to the right of this temple, is the
·
ARCO DE' PANTANI, E GLI ARANZI
DEL FORO DI NERVA,
(Arch of Pantani, and Remains of Nerva's Forum.)
Domitian not having finished his Forum, it was

212
NEW PICTURE OF ROME.
finished and joined to Nerva's who gave it his
It was also called Transitorium, from the
arches which gave entrance to the Forums of Au-
gustus and Trajan. One of these arches is now
called the Arch de' Pantani; from the marshy
ground, as before mentioned. The exterior wall
of this Forum, which remains, is not more remark-
able for its height, than for the large pieces of
Albanian stone, called peperino, of which it is
composed, and joined without lime. By the side
of the Arch de' Pantani are the remains of the
Ł
TEMPIO DI NERVA,
(Temple of Nerva.)
This temple, erected by Trajan in honour of
Nerva, was one of the finest edifices of ancient
Rome for its immense size, its excellent archi-
tecture, and rich ornaments. Nothing remains
but a side part of the piazza, consisting of a great
wall, composed of thick stones, three superb co-
lumns and a pilaster, which support the architrave:
these columns are of Parian marble, fluted, and of
the Corinthian order: their circumference is six-
teen and a half feet, and their height fifty-one,
FOURTH DAY.
213
The architrave, and top of the portico, are beauti-
fully ornamented.
Near this, is a tower made of brick, called
Torre de' Conți, which some have supposed to be
antique but it was built in 1203 by Innocent III.
of that house; as likewise the one in the court of
St. Catherine's convent, near Monte Cavallo, by
the side of the Trajan pillar.
A little farther on is the small church of St.
Andrew, corruptly called in Portugallo, instead of
Busta Gallica, the ancient name; because the
bodies of the Gauls were burnt there after the
carnage made in their army by Furius Camillus,
On this side must have been the vicus sceleratus
(wicked way), where the cruel Tullia, wife of
Tarquinius Superbus, drove her chariot over her
father's body.
Having mentioned every thing worthy of notice
in this quarter in the Second Day, we will retur
towards the Piazza del Popolo, where begins the
STRADA DI RIPETTA,
(Ripetta-street.)
This long and spacious street, which reaches to
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the Piazza S. Luigi de' Francesi (Square of St.
Louis of France,) is called Ripetta, from the little
harbour of that name to which it leads. On entering
the sixth street to the left, called De' Pontefici,
from some pictures of popes which were placed
over a window, is seen the Vivaldi Palace,
(formerly Corea). In the court are remains of.
the
NEW PICTURE OF ROME.
MAUSOLEO D' AUGUSTO,
(Mausoleum of Augustus.)
Octavius Augustus, in his sixth consulship,
erected this sumptuous monument in the field of
Mars, as a burying-place for himself and family. Its
magnificence. obtained it the name of Mausoleum,
being almost equal to the one erected by Queen
Artemisia, in honour of her husband.
This superb tomb was composed of three orders
of architecture one over the other, which gave it
the form of a pyramid. Over the last order was
an arch formed like a cupola. This arch, being
ruined, has been made into a terrace, which now
serves as an arena for the bull fights and other
spectacles; seats and steps have therefore been
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FOURTH DAY.
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placed around, in imitation of those in the ancient
amphitheatres. In the middle of this edifice was
a hall which has been compared to the interior of
Agrippa's Pantheon. The walls of this immense
building, whieh still remain, are so prodigiously
thick, that they contained twelve sepulchral
chambers in each order. It is known from some
lines of Virgil, that Marcellus, Augustus's nephew,
was first buried here. Behind this mausoleum
was a grove of cypress and poplars. In 1777,
some pieces of travertine which formed a pave-
ment were found, in laying the foundation of a
house near St. Carlo's church, in the Strada del
Corso; on these stones were engraved the names
of the sons of Germanicus, with the motto hic
crematus est. This discovery shews, beyond a
doubt, that the Bustum, or Ustrium of the Cesars,
where the bodies of the emperors and their fami-
lies were burnt, was situated here; it had been
constructed by Augustus near his mausoleum.
Returning to the Strada di Ripetta, is seen, on the
left, the
CHIESA E L'OSPEDALÈ DI S. ROCCO,
(Church and Hospital of St. Rock.)
It was built in 1657, from the designs of John
216.
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NEW PICTURE OF ROME.
Anthony de Rossi. On the altar of the second
chapel is a fine picture by Baciccio, representing
St. Rock and St. Anthony. The great altar-piece
is by Giacinto Brandi; and that in the chapel, of
the Manger, is by Balthasar Peruzzi. The an-
nexed hospital was erected by Cardinal Anthony
Maria Salviati, for poor lying-in-women. Oppo-
site this church is the
PORTO DI RIPETTA,
(Ripetta Harbour.)
Clement XI. constructed this harbour near the
Tiber, from the designs of Alexander Specchi,
with large steps, to facilitate the ascent and descent.
The ships, that arrive with provisions from Sabina
and Umbria, stop here. In the street is a foun-
tain between two pillars, on which are marked
the increases of the Tiber. This little port forms
a very picturesque view. In ancient times, the
provisions were landed on the opposite bank, near
which, were the fields of the celebrated Quintius
Cincinnatus.
Opposite this port is the church of St. Jerome
of the Sclavonians, to whom Nicholas V. gave it.
217
It was repaired by Martin Lunghi, under Six-
tus V.
FOURTH DAY..
Turning into the small street by the side of this
church, may be seen the
PALAZZO BORGHESE,
(Borghese Palace.)
This magnificent palace, was begun in 1590,
by Cardinal Dezza, from the designs of Martin
Lunghi senior, and finished under Paul V., by
Flaminio Ponzio. The court is square and adorned
with two rows of arches, over which is a Co-
rinthian attic; these arches are sustained by
ninety-six columns of granite, Doric and Co-
rinthian; forming on the ground and first floors
two open porticos, ornamented with different
statues, amongst which are those of Julia Pia,
Sabina, and Ceres.
In the small street opposite this palace, is the
Palace of Florence, 'so called, because it belongs
to that nation. It was built by the famous
Vignola. It contains paintings by Primaticcio,
and Prospero Fontana of Bologna. The street
opposite this palace leads to the small
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PIAZZA DI CAMPO MARZIO,
(Square of the Field of Mars.)
The ancient celebrated Field of Mars, has given
name to this square and the environs; it compre-
hended a vast extent of ground, which the Roman
people dedicated to Mars, after the expulsion of
the Tarquins, who had previously possessed it.
As the ancient writers mention this Field of Mars
to have been immensely large, it may be supposed to
have reached as far as Ponte Molle. It was divided
into a greater and lesser field; the former con-
tained many superb edifices, and was inclosed by
Aurelian within the town; the other was destined
for military exercises. In this latter field the
youth were initiated in the arts of war: chariot
and horse races, wrestlings, &c., were performed
here; after which, in order to render their bodies
more hardy and robust, they throw themselves into
the Tiber, all covered with dust and perspiration.
The Field of Mars was considered by the an-
cient Romans as a sacred place, it was therefore
decorated with the most magnificent monuments;
columns, triumphal arches, amphitheatres, baths,
&c. &c.
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FOURTH DAY.
219
Advancing a little farther, appears the
CHIESA DI S. MARIA MADDALENA,
(Church of St. Mary Magdalen.)
It was begun from the designs of Anthony
Rossi; and finished under Innocent XII., by Carlo
Quadri and Joseph Sardi, who made the front.
The picture of St. Camillo de Lellis in the chapel
of that saint, is by Placido Costanzi; the paintings
of the ceiling are by Cav. Sebastian Conca, and
those on the sides by two of his scholars. The great
altar-piece, representing St. Mary Magdalen, is by
Antonio Gherardi; and the two side basso relievos
are by Peter Bracci. The St. Nicholas di Barri,
in the chapel of that saint, is by Baciccio; and
the picture, in the last chapel but one, is by Luke
Jordans. This church and the annexed house,
belong to a religious order, called Ministers of the
Sick, because it is their business to attend and
assist the dying.
On quitting by the side-door, may be seen the
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NEW PICTURE OF ROME.
¡
CHIESA DI S. MARIA IN AQUIRO DETTA
DEGLI ORFANELLI,
(Church of St. Mary in Aquiro, called Of the
Orphans.)
Several antiquarians say, it has taken the deno-
mination in Aquiro, from the games anciently per-
formed here. It is commonly called Degli Orfa-
nelli, because poor orphans are received and edu-
cated in the adjoining hospital. This church was
first built by St. Anastasius in the year 400, on
some remains of a temple.
It was afterwards rebuilt in 1590, by Francis da
Volterra, and the front has been made latterly by
Peter Camporesi. The pictures in the chapels are
by Carlo Veneziano, Nappi, John Baptist Buon-
core, and Speranza.
The small street, almost opposite this church,
leads to the
PIAZZA DELLA ROTONDA,
(Rotunda Square.)
After the devastations of Rome, this square was
buried under the ruins of various ancient edifices,
until Eugene IV. freed it. The two lions of
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​FOURTH DAY.
221
Basaltes, now at the fountain of Termini, were
then found near the portico of the pantheon. The
superb porphyry urn, now in the Corsini chapel
at St. John Laterano, was also found there; like-
wise a bronze head of M. Agrippa, a horse's foot,
and a piece of wheel, all in bronze. The fountain
in the middle of this square was afterwards made
under Gregory XIII., by Honorius Lunghi; Cle-
ment XI. placed on it the obelisk, before situated
near the church of St. Ignatius, in the Piazza S.
Macuto, where Paul V. had erected it. This little
obelisk is of Egyptian granite, covered with hiero-
glyphics: it was found in laying the foundation
of the convent annexed to the church of Minerva ;
it had been placed before the temple of Isis and
Serapis, near Minerva's. In this square is the
famous
PANTEON D'AGRIPPA, IN OGGI CHIESA
DI S. MARIA AD MARTIRES COMMU-
NEMENTE DETTA LA ROTUNDA.
(Pantheon of Agrippa, now Church of St. Mary ad
Martires, commonly called The Rotunda.)
This magnificent temple, the most celebrated
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NEW PICTURE OF ROME.
j
monument remaining of antiquity, is the master-
piece of Roman architecture; the solidity of the
edifice, the elegance of its form, the exactness and
regularity of its proportions, have obtained it the
admiration of all the world. The inscription on
the front of the portico, says it was built by
M. Agrippa, son-in-law of Octavius Augustus, in
his third consulship, about twenty-seven years
before the Christian era; it was repaired by
Septimius Severus, and Caracalla. It was dedi-
cated by Agrippa to Mars, and Jupiter Avenger,
in memory of the victory obtained by Augustus
over Mark Antony and Cleopatra; it contained
the statues of all the gods, in bronze, in silver, in
gold, or in precious stones, which gave it the de-
nomination of Pantheon, a Greek word, signifying
an assemblage of all the divinities.-Antiquaries
and architects have been of various opinions about
this edifice; some imagine that it was only a vesti-
bule to Agrippa's baths; but all the ancient writers
agree in calling it a temple, others suppose that he
merely made the portico, and that the temple had
been constructed previously by some other consul,
and found their opinion upon the difference of the
architecture; that of the portico being better than
FOURTH DAY.
223
the other part of the temple. But this is no reason
for believing it to have been built by different
persons; for M. Agrippa himself, after the con-
struction of the temple, might have employed a
different architect for the portico, in order to
render the appearance of the whole more perfect
and striking.
The portico was formerly ascended by five steps,
which made it much more majestic than at pre-
sent, there being only two. This superb portico
is 103 feet long and 61 wide; it is decorated with
sixteen magnificent pillars, all made out of one
piece of oriental granite. They are of the Co-
rinthian order, fourteen feet in circumference, and
thirty-eight and a half high, without the base and
capital which is of white marble. The eight
pillars in front, are of red granite, and sustain an
entablature and frontispiece of the finest proportion
that can be made in architecture.
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The plates of bronze which covered the beams
of the portico ceiling were all taken away by order
of Urban VIII., partly for the construction of the
great canopy of St. Peter's cathedral, and the rest
for the guns at Fort St. Angelo. The nails only
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weighed 9,374 pounds; the total weight of this
bronze was 450,280 pounds. The walls of the
portico, between the pilasters, are covered with
marble, on which are finely sculptured, cups,
candelabras, &c. In the large niches to the right
and left were placed the statues of Augustus and
Agrippa. This portico forms a grand entrance to
the great door of the temple; the threshold is of
African marble, the door-posts and architrave are
of white marble. This door, which opens on
pilasters of fluted bronze, is covered with plates of
bronze, and was substituted for an ancient one,
carried away by Genseric, king of the Vandals.
The interior of the temple is not less fine and
majestic its circular form has given it the name
of Rotonda, as well as Pantheon. The diameter is
132 feet, and the height from the pavement to the
summit is the same as the diameter; the thickness
of the wall which surrounds the temple, is nine-
teen feet; the bases of the pillars shew, that the
pavement was formerly lower than the portico,
which rendered the entrance still more majestic
and noble. The temple receives light only from
one circular opening in the middle of the ceiling;
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FOURTH DAY.
225
the diameter of it is twenty-six feet, and it is
reached by a staircase of 190 steps, placed on the
outside.
The choir of the great altar is formed of a semi-
circle hollowed in the wall; the great arch,
similar to the one at the entrance, is adorned with
two thick fluted columns of antique yellow marble.
The six chapels around the temple are likewise hol-
lowed out of the wall: each one is decorated with
two pilasters, and two isolated Corinthian columns,
exquisitely fluted; eight are of violet marble
mixed with yellow, and four are of antique yellow
marble; they are five and a half feet in diameter,
and twenty-seven and a half high, without the
base and capital, which are of white marble;
these columns and pilasters sustain an entablature
of white marble that runs all round the edifice;
the frieze is of porphyry. Over this order is a sort
of attic, with fourteen windows, that formerly
lighted the six hollows of the chapels, they are
now closed up; there is also an entablature on
which the great arch rests. It is supposed that the
famous Cariatides of bronze, made by Diogenes
of Athens, and mentioned by Pliny, stood be-
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NEW PICTURE OF ROME.
}
tween the windows. Around the temple, between
the interior chapels, are eight altars adorned with
two small Corinthian pillars which sustain a
frontispiece. The walls are covered with different
marbles up to the entablature, and the pavement
is the same.
This superb temple, after various
repairs and changes, was given by the Emperor
Phocas, in 609, to Pope St. Boniface IV., who
made a church of it, dedicated to the Virgin and
the Holy Martyrs, a quantity of whose relics he
placed under the great altar; it is therefore called.
St. Mary ad Martyres. In 830, Gregory IV.
dedicated it to all the saints, whose festival he
then instituted. Urban VIII. repaired the church,
and had the two steeples made by the Cav. Bernini.
Alexander VII. replaced the two pillars which
were wanting on the right side of the portico, and
made new capitals to them; the arms of his family
(Chigi), are sculptured thereon. These two pillars
were found near the Piazza S. Luigi de' Francesi,
and are almost proportioned the same as the rest
of the portico pillars. Lastly, Benedict XIV.
polished these pillars, and repaired the ceiling of
the church, which was falling to ruins. The
FOURTH DAY.
227
pictures of the altars are by Mathew de Majo
Clement Majoli, Peter Paul Gobbo, Lorenzo
Ottone, and Labbruzzi. Belonging to this church
is a society of painters, sculptors, architects, and
other persons of merit; who have there raised
several monuments to celebrated men. The first
bust on the right is of Peter Metastasio, the re-
nowned poet, who died at Vienna in 1782, made
by Joseph Ceracchi, by order of Cardinal Rimi-
naldi. Next is the bust of Peter Bracci, a Roman
sculptor. Next to that, the bust of John Pikler,
a famous engraver of hard stones. The following
is the bust of Ridolfino Venuti, antiquarian,
sculptured by Philip Albacini. In the next chapel
is the tomb of Cajetan Rapini, architect. The
busts, which reach to the great altar, are of differ-
ent ecclesiastics.
On the altar, next the great one, is the statue of
St. Anastasius, by Francis Moderati. The bust, to
the right, is of Camillo Rusconi, sculptor. The
two following busts were sculptured by Paul Nal-
dini, at the expense of Carlo Maratta; one is the
celebrated Annibal Caracci; the other the immor-
tal Raphael Sanzio da Urbino, who died in 1520,
aged thirty-seven.

228
NEW PICTURE OF ROME.
Under his bust is the following distich, com-
posed by Cardinal Bembo:— `
Ille hic est Raphael, timuit quo sospite vinci
Rerum magna Parens, et moriente mori.
These lines have been perfectly translated into
Italian by Bellori :
:
Questi è quel Raffael, cui vivo vinta
Esser temeo Natura, e morto estinta.
-.
The statue of the Virgin, between these busts,
was made by Lorenzetto, by order of Raphael.
In the following chapel, is the bust of Anthony
Sacchini, the famous Neapolitan composer of mu-
sic. Above this is the bust of Anthony Allegri,
commonly called Corregio, the renowned painter;
opposite, is that of Andrew Palladio, a capital Ve-
netian architect; both these have been raised and
sculptured by the immortal Canova. On the left
side of the next altar is the bust of Mengs, the cele-
brated Saxon painter, who died at Rome, in 1779.
The next is the bust of Nicholas Poussin, a
French painter of great merit; raised by the Chev.
Agincourt, well known in the republic of letters.
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FOURTH DAY.
The statue of St. Joseph, in the next chapel, is by
Vincent Rossi. Here are also several busts; one
of Corelli the best violin player ever known in
Italy: that of Thaddeus Zuccari, a famous pain-
ter; Flaminio Vacca, the renowned sculptor; and
Pierin del Vaga, who, under Raphael, was the
restorer of the ancient grotesque style of painting.
Near this chapel is the bust of Winkelmann, the
famous German antiquary; and of the Cav. Mark
Benefiale, a capital painter of the last century.
The baths of Agrippa, the first that were made
in Rome with magnificence, were behind this tem-
ple, but without any communication.
There are some remains of these baths in the
sacristy of the church itself; also, near the Piazza
S. Giovanni della Pigna, supposed to be part of the
Calidarium, vulgarly called Arco della Cimbella, on
account of a large bronze crown that was found
near the place. It is said that these baths stood
exactly on the Marsh Caprea, near which Romu-
lus was assassinated, by order of the senators,
whilst he reviewed the soldiers.
At the other side of the Pantheon is the
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PIAZZA DELLA MINERVA,
(Minerva's Square.)
Pope Alexander VII. erected in this square un-
der the directions of Cav. Bernini, an Egyptian
obelisk, covered with hieroglyphics; it is placed
on the back of a white marble elephant, made by
Hercules Ferrata. This obelisk is seventeen feet
high, and was found, together with the one in the
Pantheon square, in laying the foundation of the
Convent of Minerva, where the temple of Minerva
had been. Besides these obelisks, there was found
a very fine statue of Minerva, one of Isis, one of
Serapis; an Isiaic altar, and some other Egyptian
monuments. On the other side were found the
colossal statues of the Nile and Tiber, now to be
seen in the museum of Pius Clement, at the Va-
tican.
In this square is the palace, called the Ecclesi-
astic academy, erected under Clement XI., for
young noblemen, who wish to live in a commu-
nity, and apply to ecclesiastical studies.
Opposite is the
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FOURTH DAY.
231
CHIESA DI S. MARIA SOPRA MINERVA,
(Church of St. Mary on Minerva.)
This church is so denominated because it was
built on the ruins of the temple erected by Pompey
the Great to Minerva, in gratitude for his con-
quests. Although the outside of this church has
no ornaments of architecture, the interior is mag-
nificent, and decorated with a number of chapels,
fine pictures, and excellent sculpture. In the se-
cond chapel, to the right, is a fine painting, by
Baciccio. The St. Peter martyr, Dominican, on
the altar of the fourth chapel, is by Bonaventura
Lamberti.
Beyond the side door of the church is the cha-
pel of the Annunciation, painted by Cesar Nébbia.
Our Lord's Supper, in the next chapel, was the last
work of Frederic Baroccio. The tomb there, is of
Clement VIII., Aldobrandini. The chapel of the
cross is adorned with pictures, by Philip Lippi,
Raphael del Garbo; and B. Angelo da Fiesole,
Dominican, who painted the altar-piece.
The following chapel contains some beautiful
marbles, and a fine altar-piece, by Carlo Maratti,
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NEW PICTURE OF ROME.
and some paintings above, by Baciccio. The pic-
tures, in the rosary chapel, are by Marcello Venus-
ti, John de Vecchi, and B. Angelo da Fiesole,
who painted the altar-piece.
Behind the great altar are the tombs of Leo X.
and Clement VII., a work of Baccio Bandinelli. On
the left side of this altar is the admirable statue of
our Saviour standing with the cross; by the cele-
brated Michael Angelo Bonarotti.
Near the side door are three fine tombs; one of
Cardinal Alessandrino, sculptured by James della
Porta; the one opposite of Cardinal Pimentelli, by
the Cav. Bernini; the one against the door of Car-
dinal Benelli, was made from the designs of Cav.
Charles Rainaldi. On the altar of the sacristy, is
a crucifix finely painted, by Andrew Sacchi. On
returning to the church, the visitor enters the cha-
pel of St. Dominic, in which is the tomb of Bene-
dict XIII., (Orsini) made from the designs of
Charles Marchionni. Amongst others, is the cha-
pel of St. Vincent Ferrerio; the altar-piece is by
Bernard Castelli, the famous Genoese painter.
In the convent adjoining the church is the cele-
brated Casanatense library, the most complete in
Rome next to the vatican. It was erected for pub-
FOURTH DAY.
233
lic use by Cardinal Casanata; his statue is to be
seen there, sculptured by Mr. Le Gros.
At a short distance from the Piazza della Mi-
nerva, isthe church delle Stimmate*, built from the
designs of Antonio Canevari. The picture in the
first chapel is by Francis Mancini; one on the
side, representing the crowning our Saviour with
thorns, is by Dominic Muratori: the other, the
Scourging, is one of Cav. Benefiale's finest works.
The other paintings in this church are by Cav.
Sebastian Conca, Mark Caprinozzi, Francis Tre-
visani, J. Brandi, and Louis Garzi, who painted the
ceiling of the church.
*
Turning back, may be seen, the Chiesa S. Eus-
tachio (St. Eustace), said to have been built by
Constantine the Great. After various repairs, it
was rebuilt in the last century, by Antonio Cane-
vari. Under the great altar, is a fine antique urn
of porphyry; in which is preserved the body of the
titular Saint, whose martyrdom is represented in
the picture placed in the choir, by Francis Fer-
nandi. The other paintings are by James Zoboli,
* This word here means, the prints or marks made by
the nails on our Saviour.
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234
NEW PICTURE OF ROME.
*
Paul Baldini, Octavio Lioni, and the Cav. Thomas
Conca, who painted the side picture in the chapel
of the Virgin.
:
Almost opposite this church is the Maccarani
palace, remarkable on account of the celebrated
painter, Julio Romano having been the architect.
Adjoining this palace, is that belonging to the
Dukes of Lante; it contains some ancient statues;
amongst which is distinguished the one placed over
the fountain in the court, supposed to be Ino nurs-
ing Bacchus.
the
At a short distance is the Valle theatre, where
are represented comedies and tragedies, occasion>
ally interspersed with music. This theatre is con-
tiguous to the Capranica palace, which contains a
fine collection of pictures.
Returning to the square of St. Eustace is seen
ARCHIGINNASIO DELLA SAPIENZA,
(Archigymnasium of Wisdom.)
This edifice was begun by Leo X., upon the
plan of Michael Angelo; continued by Sixtus V.,
and finished by Alexander VII. It is called della
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FOURTH DAY.
235
Sapienza, on account of the words engraved on the
window over the principal door, Initium Sapien-
tiæ Timor Domini. It is the first University in
Rome, and is occupied by the most celebrated pro-
fessors of the sciences. The court is oblong, and
is decorated on three sides by two rows of pillars, -
Doric and Ionic, which form two magnificent piaz-
On the fourth side, which faces the principal
entrance, is the church; the architecture, which is
very singular and extraordinary, is by Cav. Bor-
romini.
zas.
Quitting by the principal door, and taking the
street to the right, appears the
PALAZZO MADAMA,
(Madama Palace.)
This fine palace was built by Paul Marucelli, by
order of Catherine of Medicis, before she became
queen of France, which gave it the name of Palazzo
Madama. It was purchased by Benedict XIV.,
who made it the residence of the governor of Rome
and his ministers.
In this place were the baths of Nero, also called
Alexandrine, because Alexander Seyerus repaired

236
and enlarged them. The small and very ancient
church near this palace, in the street to the right,
still retains the old name of St. Salvatore (St. Sa-
viour) in Thermis. That these baths were very
sumptuous and rich, is proved by the number of
statues, busts, and other marbles found there, and
which are now in the neighbouring Palazzo Gius-
tiniani.
NEW PICTURE OF ROME.
t
FIFTH DAY.
HAVING finished the fourth day at the Palazzo
Madama, we will commence the fifth at the
PALAZZO GIUSTINIANI,
(Giustiniani Palace.)
The Marquis Vincent Giustiniani began this
fine palace, from the designs of John Fontana; Bor-
romini finished it. It contains a vast collection of
pictures and ancient marbles; the greater part of
the latter were found in Nero's baths, on the ruins
of which this palace was built.
The vestibule is adorned with twelve antique co-
lumns of granite; two statues of. Apollo; one of
Domitian; two of Hercules, and various basso re-
lievos; and on the staircase are the statues of
Apollo, of Mark Aurelius, Caligula, Domitian,
Antinoüs and Mercury.

238
NEW PICTURE OF ROME.
On entering the great hall on the first floor, is
!
seen a statue of Marcellus, the Roman consul, seat-
ed; a fine figure of Rome Triumphant; a group
of two gladiators fighting; a figure of a woman
with fine drapery; and a statue of Pudicity. Then
follows a room, which leads to the two wings of the
apartments; in the one, to the right, is the picture
gallery; the other contains the statues.
In the first room of this wing is nothing remark-
able but a picture, by Francis Casali.
The second room contains a St. Jerome, by
Spagnoletto; a St. Augustine, by Michael Angelo
Caravaggio; a manger, on wood, by Sermoneta;
a Virgin and child, of Raphael's school; a St. Je-
rome, by Muziano; an exquisite portrait, by Mu-
rillo; a female saint, by Guercino; a child, by
Mr. Parrocel; the portrait of a young man, by
Titian; a manger, by Luke Cambiasi; a Virgin,
and an Apostle by Tintoretto.
The principal paintings in the third room are, a
large picture, by. Louis Caracci; the death of Abel,
by Lanfranco; Jesus, by Luke Cambiasi; and an
Herodiad, by Giorgione.
In the fourth room, where the museum of statues
begins, is a Bacchus, crowned; an Hermaphro-
FIFTH DAY.
239
dite; a group of three children sleeping, by Algar-
di; a Leda, with a swan; Venus coming from the
bath; and two little Loves.
In the fifth room is a very fine group of two
figures, representing a marriage; a superb Greek
statue of a wrestler, with the arms raised; a statue
and bust of Mark Aurelius, the head of basaltes; a
basso relievo, on which are two heads; a bust of
Lucilla; a statue of Euterpe, and a fine fluted mar-
ble cup.
In the middle of the next room is a fine statue of
Paris; to the right on entering, a Silenus; an ex-
cellent statue of Pudicity; a porphyry bust of Sci-
pio Africanus; the head of basaltes; a bust of Ho-
mer; a fine statue of a muse; a bust of Zeno; and
a statue of Meleager.
In the next room is a Gladiator; two busts, one
of Titus, the other Vespasian; a fine statue of
Diana; a bust of Zeno; two statues of Ceres, with
black drapery; a Bacchante, with exquisite dra-
pery; a bust of Alexander the Great; the head of
basaltes; a fine bust, believed to be Pompey; a
little faun playing the flute; and a bust of Me-
cenas.
The last room contains a great number of an-
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240
NEW PICTURE OF ROME.
tique marbles; amongst the most remarkable are a
statue of Julia; a Venus coming from the bath; a
Hector; an infant Hercules; two fauns; a vestal
of Etruscan workmanship; a bust of Agrippina; a
Hercules with the apples of the Hesperides, and
the Cerberus at his feet; a head of Bacchus, drunk;
a statue of a Bacchante; a bust of a Satyr; one of
Augustus, of Caracalla, and of Cupid; a statue of
Pallas; a bust of Septimius Severus; a bust of Lu-
cius Verus; a statue of Apollo; a bust of Mark
Aurelius; a bust of Antoninus Pius; and a head of
Vitellius. In the middle of this large room are the
busts of Germanicus, and of Nero; a statue of
Ephesian Diana; a head of Jupiter Serapis; asta-
tue of Harpocrates, the god of silence; two statues
of Venus issuing from the bath; and a goat, very
finely sculptured.
Passing to the other wing, where the pictures
are; in the first room is seen a large picture, by
Tintoretto, of our Saviour's Resurrection.
In the second room is a large painting, by Louis
Caracci, of Jesus, with Martha and Mary.
In the third room is our Lord's sermon, by Ghe-
rard delle Notti; Jesus before Caiaphas, by Michael
Angelo Caravaggio; a Noli me tangere, in Caracci's
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241
style; a holy family, on wood, in Andrew del Sar-
to's best manner; and a portrait, by Michael An-
gelo Caravaggio.
The fourth room contains a St. John, by Guer-
cino; Jesus, with three Apostles, by Louis Ca-
racci; and our Lord's Supper, at Emmaus, by
Caravaggio.
Lastly may be seen, the gallery; the principal
pictures are, a Virgin, the crowning with thorns,
and a Magdalen, by Michael Angelo Caravaggio;
the martyrdom of St. Bartholomew, by Luke San-
tarelli; our Saviour disputing in the Temple, by
Spagnoletto; Jacob's dream, by Cingoli; St. Pe-
ter denying Jesus, by Gherard delle Notti; St.
Matthew, and Jesus, with St. Bridget, by Michael
Angelo Caravaggio; a bishop, by Tintoretto; ano-
ther picture, by Caravaggio, in the style of Ghe-
rard delle Notti; representing the flight of the gar-
dener; the three Marys buying balm, by Peter
Testa; the baptism of Jesus, by Lanfranco; and
the visitation to St. Elizabeth, by Augustin Ca-
racci.
FIFTH DAY.
Next appears the Palazzo Patrizi (patrician pa-
lace) in which are a number of fine pictures and
ancient busts.
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242
NEW PICTURE of Rome.
Opposite, is the
CHIESA DI S. LUIGI DE' FRANCESI,
Church of St. Louis of France.)
The French nation built this church in 1589,
from the designs of James della Porta. The front
is of travertine; decorated with two rows of pillars,
Doric and Corinthian; and with 4 niches in which
are statues sculptured, by Mr. Lestage.
In the church are three naves, divided by Ionic
pillars, covered with Sicilian jasper. The frescos
of the great ceiling, are by Mr. Natoire, formerly
director of the French academy at Rome. On the
sides of the second chapel to the right, are two ex-
quisite frescos, by Domenichino, although nearly
ruined; on one side is St. Cecilia distributing her
clothes to the poor; on the other, is the same saint
extended and dying; in the picture opposite, she
is crowned by the angels, together with her hus-
band. St. Jane Fremiot de Chantal, on the altar
of the third chapel, is by Mr. Parrocel.
On the great altar is a fine picture of the As-
sumption of the Virgin, by Francis Bassano. In
the chapel of St. Matthew are two side paintings,
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FIFTH DAY.
243
by Michael Angelo Caravaggio: the paintings on
the ceiling of this same chapel, are. by Cav.
Arpino.
In the last chapel are two fine tombs; the first,
to the right on entering, is of the famous Cardinal
de Bernis, sculptured by Mr. Maximilian Labo-
reur; the other is the tomb of Madame de Mont-
morin, made by Mr. Marin, of the French academy
at Rome.
In the second turning to the left, in the street
which leads directly to the Piazza del Popolo, is
the
CHIESA DI S. AGOSTINO,
(Church of St. Augustine.)
It was built in 1483, from the designs of Baccio
Pintelli, by Cardinal William d' Estoutteville,
French minister at Rome. This church was re-
paired in the last century, under the direction of
Cav. Vanvitelli. The front is simple but majes-
tic, and the cupola is the first that was made at
Rome. The interior is in the Gothic style, and has
three naves, divided by pilasters with enchased co-
lumns. There are several chapels adorned with
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244
NEW.PICTURE OF Rome.
fine marbles and paintings. The chapel of the
cross, on the right side, dedicated to St. Augustine,
has three pictures, by Guercino. The great altar
is adorned with fine columns and four angels,
made from Cav. Bernini's models. The portrait of
the Virgin is one of those brought by the Greeks to
Rome, after the loss of Constantinople; and attri-
buted to St. Luke. In the next chapel is an antique
urn, in which is preserved the body of St. Monica,
mother of St. Augustine. The paintings of the fol-
lowing chapel are by Lanfranco. On the altar of
the cross, is a statue of St. Thomas di Villanova,
giving alms, by Hercules Ferrata. In the last
chapel but one, is a fine group of the Virgin, the
infant Jesus, and St. Andrew, sculptured by An-
drew Contucci da Sansovino. The Virgin of Lo-
retto, in the last chapel, is by Michael Angelo Ca-
ravaggio: but the picture the most worthy of notice
in this church is the prophet Isaiah, a fresco on the
third pilaster to the left at entering; it is by the in-
comparable Raphael, who wished, it is said, to
surpass the Prophets, painted by Bonarotti, in the
Sixtine chapel of the Vatican; it was greatly ad-
mired by M. Angelo Bonarotti himself.
In the house adjoining this church is a public
\

FIFTH DAY.
245
•
library, called Angelica from the name of its
founder.
On the side opposite to this, is the
CHIESA DI S. ANTONIO DE' PORTO-
GHESI,
(Church of St. Anthony of the Portuguese.)
It was built about the year 1695, at the expense
of the king of Portugal, by Martin Lunghi, junior.
It is adorned with fine marbles, gilt stuccos, and
paintings, by Giacinto Calandrucci, Francis Gra-
ziani, and Louis Agricola, who painted St. Eliza-
beth, queen of Portugal, on the altar of the cross.
The pictures in the chapel of the Virgin are by
Cav. Antonio Concioli."
A little beyond is the Piazza, and
CHIESA DI S. APOLLINARE,
(Church of St. Apollinaire.)
Adrian I., in 772, built this church on the ruins
of an ancient Temple of Apollo: Benedict XIV.,
afterwards rebuilt it from the designs of Cav. Fuga.
It is decorated with a magnificent portico; on one
..
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246
NEW PICTURE OF ROME.
side is the baptismal font, on the other, the chapel
of the Virgin. On the altar in the church are two
fine statues; the one, of St. Ignatius, is by Carlo
Marchionni; the other, St. Francis Xavier, is by
Mr. Le Gros.
The pictures are by James Zoboli, Hercules
Genneri, Placido Costanzi, and Stephen Pozzi.
In the palace, near this church, is the
ACCADEMIA DELLE BELLE ARTI DETTA
DI S. LUCA,
(Academy of the Fine Arts, called St. Luke's.)
It has been lately instituted for the study of the
fine arts. It has the best masters, who teach
painting, sculpture, architecture, geometry, per-
spective and optics, anatomy, history and mytho-
logy. Numerous prizes are distributed. The ce-
lebrated marquis Canova is the president of this
new and useful establishment.
Opposite, is the Palazzo Altemps, built from the
designs of Martin Lunghi, senior. The piazzas of
the court were afterwards added by the architect,
Balthasar Peruzzi. In this palace are some ancient
statues, some columns of fine marble, and a hand-
-
247
some chapel, in which is preserved the body of
Pope St. Anicet, martyr, who died in 168.
FIFTH DAY.
Advancing farther is seen, on the front of a
house to the left, the fable of Niobe, painted by
the famous Polydore da Caravaggio, but it has
greatly suffered by time.
On the other side of the street is the Palazzo
Lancellotti, begun by Francis da Volterra, and
finished by Carlo Maderno. The portico is sus-
tained by four columns of granite; and the court
is adorned with statues, busts, and antique basso
relievos. In the upper portico is a Mercury, a
Diana, and other marbles.
By the side of this palace is the Strada de' Coro-
nari, in which, on the right side, is the
CHIESA DI S. SALVATORE IN LAURO,
(Church of St. Saviour, in Lauro.)
This church was dedicated to the Virgin of Lo-
retto. The architect was Octavius Mascherino,
who decorated the interior with thirty-four Corin-
thian pillars; and several chapels, with paintings,
by Joseph Ghezzi, Alexander Turchi, Peter da
Cortona, and the Cav. Peter Leo Ghezzi.
•
248
NEW PICTURE OF ROME.
Near this church is the house of the French
monks, called the Christian school, erected by Pius
VI.; the christian doctrine, reading, writing, and
arithmetic, are here taught, gratis. On holidays
and festivals, they give public lessons in archi-
tecture.
On the left of the Strada de' Coronari may be
seen a small house which belonged to the immor-
tal Raphael d' Urbino, and in which he lived some
time; in honour of his memory, his portrait was
painted on the front in chiaro scuro, by Carlo
Maratti.
After the Coronari comes the Strada Panico,
which leads to the square of Fort St. Angelo. In
this square there was formerly an arch erected by
the emperors Gratian, Valentinian, and Theodo-
sius: as an ornament to the entrance of a piazza,
near the vatican cathedral.
The columns of antique green marble, and other
fine marbles, discovered in laying the foundation
of the neighbouring church of St. Celsus and St.
Julian, belonged to the arch.
The architect of this church was Carlo de Domi-
nicis. The great altar-piece is by Pompey Bat-

Arco di Costantino
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Arco di Tito.
Le Cascatelle a Tivolif.
Avanzi del Tempio di Vesta.
SATURY
X
Arco detto di Giano Quadrifonte.
Ponte Lucane
London, Published by Samuel Leigh, 18 Strand.
RA
Tempio della Sibilla a Tivoli.
Sepolcro di Cajo Castio
Sid Hall sculp
UN
OF
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249
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24
toni; the other pictures are by James Triga, Fran-
ciş Caccianiga, and Joseph Ranucci.
Near this church is the Palazzo Cicciaporci,
much esteemed for its fine architecture, by the ce-
lebrated Julio Romano; and almost opposite is the
Palazzo Niccolini, finely built, by James Sanso-
vino, an excellent Florentine architect. On the
of
fountain in the court, is a very fine marble group
Venus and Mars, by Moschino.
Between the two streets is seen the Banco (Bank)
di S. Spirito, built from the designs of Bramante
Lazzari. It belongs to the great hospital of S. Spi-
rito; and serves as a public bank.
In the street, on the right side of this bank, iş
the Piazza dell' Orologio (clock) della Chiesa Nuova
(new church.) On the left of this square is the
ascent to Monte Giordano. On this mount, which
is said to be formed of the earth, taken from the.
foundation of Adrian's mausoleum, is the Palazzo
Gabrielli; it contains some very fine pictures.
In the Piazza dell' Orologio, is the
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250
CHIESA DI S. MARIA IN VALLICELLA
DETTA CHIESA NUOVA,
NEW PICTURE OF ROME.
(Church of St. Mary in Vallicella, called the New
Church.)
It was formerly called in Vallicella, from its low
situation; Martin Lunghi, senior, was the archi-
tect. The fine front of this church is adorned with
two rows of pillars, Corinthian and Composite.
The interior has three naves, and contains some
excellent pictures, gilt stuccos, and chapels, in
which are fine marbles, made from the designs of
Peter da Cortona, who painted the great ceiling
of the cupola, and the ceiling of the choir.
The picture in the first chapel, to the right on
entering, is by Scipio Gaetano.
The dead Christ, in the following chapel, is one
of the best works of Michael Angelo da Caravag-
gio. The picture in the third chapel is by Jerome
Muziano. The coronation of the Virgin, on the
altar of the cross, is by Cav. Arpino. The two
side statues are by Flaminio Vacca. The chapel
under the organ is from the designs of Cav. Fon-
tana, and is adorned with eight columns of very
fine marble, and three pictures; the one on the
;
FIFTH DAY.
251
1
altar representing S. Carlo Borromeo, and St. Ig-
natius invoking the Virgin, are by Carlo Maratti.
The great altar, which is very rich, is decorated
with four fine columns, the bases and capitals of
which are of gilt bronze, as likewise the Pix for the
host, and the two angels.
There are three pictures, by Rubens, inthis mag-
nificent choir; that on the great altar, where there
is an image of the Virgin, represents a glory of an-
gels; there are two others on the sides, one repre-
senting St. Gregory, St. Maurus, and St. Papias,
martyrs; and the other, St. Domitilla, St. Nereus,
and St. Achilleo.
The chapel, under the other organ, is dedicated
to St. Philip Neri, whose body reposes under the
altar. The picture of the saint, is in Mosaic, taken
from the original of Guido Reni; the principal ac-
tions of the saint, as seen in this chapel, are paint-
ed by Cav. Christopher Pomarancio. On the al-
tar of the cross, is a fine picture of the presentation
of the Virgin to the Temple, by Frederic Ba-
roccio.
In the sacristy, on the altar, is a fine statue of St.
Philip, by Algardi, and on the ceiling is an excel-
lent painting, by Peter da Cortona. On the altar
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252
in the interior chapel, also dedicated to St. Philip,
is a fine picture, by Guercino.
In the room where the saint lived, are some
pieces of furniture which he used, and the original
picture, by Guido, that we mentioned before. On
the ceiling is an excellent picture of St. Philip
Neri, praying, by Peter da Cortona.
On returning to the church, the picture in the
second chapel to the right, representing the Visi-
tation to St. Elizabeth, is by Frederic Baroccio.
The paintings, in the last chapel, are by Cav.
Arpino.
The architecture of the adjoining house, the ora-
tory, and its front contiguous to the church, is by
Cav. Borromini. The ceiling of the oratory is re-
markable, because it is flat, and made in the antique
style; it is fifty-eight feet long, and thirty-seven
wide.
#
NEW PICTURE OF ROME.
In the street to the left is the Palazzo Sora, built
from the designs of Bramante Lazzari.
In the Strada Papale, is the
CHIESA DI S. MARIA DELLA PACE,
(Church of St. Mary of Peace.)
The fine front of this church was made from the
FIFTH DAY.
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::

designs of Peter da Cortona; it has a semi-circular
portico with Doric pillars, in the style of the ancient
temples.
In the interior is one nave, and an octagon cu-
pola, very finely constructed.
There are some fine marbles and paintings; the
deposition of the cross, in bronze basso relievo, is
by Cosmo Fancelli, as also the St. Catherine and
the children.
There is an exquisite fresco on the ceiling of the
first chapel to the right, by Raphael; it is much
damaged by time, and still more, by having been
badly re-touched. It represents the Sibyls Cuma-
na, Persica, Frigia and Tiburtina.
Crossing into the street, opposite this church,
and turning immediately to the left, is seen the
CHIESA DI S. MARIA DELL' ANIMA,
(Church of St. Mary of the Soul.)
The German nation built this church in 1510;
the architect was Julian da Sangallo. It has three
naves, adorned with fine marbles and pictures. The
painting in the first chapel, is by Charles Saraceni;
as likewise the one opposite. In the following
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254
i
chapel is a painting, by Giacinto Gemignani. The
pictures in the third chapel are by Sermoneta.
Piety, in marble, is a copy from Bonarotti, by
Nanni Baccio Bigio. The great altar-piece is by
Julio Romano, but it has greatly suffered by un-
skilful re-touches.
NEW PICTURE OF ROME.
Almost opposite is the church of St. Nicholas,
Lorenese (of Lorrain) built by Charles Fontana.
It is adorned with fine marbles and paintings; the
pictures on the great altar, the cupola and ceiling,
are by Conrad Giaquinto.
The small street by the side of this church leads
to the
PIAZZA NAVONA,
(Ship Square.)
On this large square anciently stood the famous
Agonal circus near the baths of Alexander Seve-
rus. The form of the circus has been preserved in
building the houses. It was called Agonal on ac-
count of the games celebrated here, in honour of
Janus; and from the Greek word Agon, which
signifies combat. It is now named Navona, be-
cause it is somewhat in the form of a large ship.
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FIFTH DAY.
255
It is one of the largest and finest squares in Rome.
Gregory XIII. adorned it with two fountains; one
is placed towards St. Apollinaires, the other is op-
posite the church of St. James of Spain; it is com-
posed of two large marble basins, and adorned with
statues; in the middle is a triton holding a dolphin
by the tail, sculptured by Cav. Bernini; on the
edge of the basin are four heads, and as many tri-
tons, spouting water from their mouths; they were
made by Flaminio Vacca, Leonardo da Sarzano,
Silla Milanese, and Thaddeus Landini.
Innocent X., of the Pamfili family, afterwards
erected the fine fountain in the middle of the
square, from the designs of Cav. Bernini. It is
formed of a large circular marble basin, seventy-
three feet in diameter, in the middle of which is a
large rock pierced on the four sides; and in a sort
of grotto are placed a sea horse on one side, and a
lion on the other, both sculptured by Lazarus
Morelli.
On the summit of this rock, which is about
forty-one feet high, is an obelisk of red granite,
covered with hieroglyphics, fifty-one feet high; it
was transported from Egypt to Rome, by Cara-
calla, and placed in his circus, where it was found.
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256
At the sides of the rock are four colossal statues,
made after the models of Cav. Bernini; they re-
present the four principal rivers in the world: the
Ganges, holding an oar, was'sculptured by Mr.
Adam, of Lorrain; the Nile, by Anthony Fancelli;
the Plata, by Francis Baratta; and the Danube,
which is the best, by Andrea, called the Lombard.
These statues throw a vast quantity of water into
the basin. A market for provisions and various
merchandises is held in this square every Wed-
nesday.
This place overflows every Saturday and Sunday
during the month of August, forming a kind of
lake; the people assemble in crowds, both in car-
riages and on foot, to divert and refresh themselves,
the heat at this time being excessive.
One of the principal edifices of the Piazza Na-
vona is the
NEW PICTURE OF ROME,
CHIESA DI S. AGNESE,
(Church of St. Agnes.)
This church, one of the richest in Rome, was
repaired by Innocent X., whose palace was near it
before he became Pontiff. The front is of traver-
FIFTH DAY.
i
257
tine, adorned with pillars, and two steeples, all
made from the designs of Cav. Borromini. The
interior is in the form of a Greek cross, and in-
crusted with fine marbles, and decorated with eight
large Corinthian pillars; it was made from the
designs of Cav. Jerome Rainaldi: except the
cupola, built by Borromini. Under the four arches
which form the Greek cross are the principal
door and three magnificent chapels; these, as
well as the four altars under the cupola, are
adorned with basso relievos and statues, made by
skilful artists. The paintings of the cupola are by
Ciro Ferri, and Corbellini his pupil; the pictures
of the four ceilings of the dome are by Baciccio.
The basso relievo on the first altar to the right,
representing St. Alexis, is by Francis de Rossi.
The statue of St. Agnes, in the chapel of the cross,
as well as the basso relievo of the next altar, are
by Hercules Ferrata. The great altar is incrusted
with flowered alabaster, and decorated with four
columns of antique green marble; two of these
have been made out of one belonging to the arch
of Mark Aurelius, in the corso. On this same
altar is a marble group representing a Holy Family,
y Domenico Guidi. The basso relievo on the
1
7.3
258
NEW PICTURE OF rome,
▼
following altar is by Antonio Raggi. The St. Se
bastian, in the chapel of the cross, was an antique
statue, converted into one of that saint by Paul
Campi. The basso relievo, on the last altar, is by
Hercules Ferrata. The tomb of Innocent X.,
placed over the principal door, is the work of John
Baptist Maini. On the left side of St. Agnes's
chapel is a staircase leading into a subterranean
piazza; on the altar is a very fine basso relievo,
by Algardi.
In the Piazza Navona is the
CHIESA DI S. GIACOMO DEGLI SPAG-
NUOLI,
(Church of St. James of Spain.)
This church was built in 1450, from the designs
of Baccio Pintelli, by Don Alphonso Paradinas,
bishop of Rodrigo in Spain. The marble head
placed on the tomb near the door leading to the
sacristy, is a fine sculpture, by Cav. Bernini: in
the sacristy are two heads, by the same; one re-
presents a beatified soul, the other a condemned
one. The great altar-piece, representing our Sa-
viour on the Cross, is by Sermoneta; the two side
•

FIFTH DAY.
259
ones, are by Onuphrius d'Avellino. The statue
of St. James, in the neighbouring chapel, is by
Sansovino; the side paintings are by Pellegrino da
Modena, pupil of Raphael. The picture in the
next chapel is by Francis Preziado, a Spaniard.
The St. Diego on the altar of the last chapel but
one, and the side paintings, are by Annibal Ca-
racci; the pictures above, and those on the outside
of this chapel, are by Albano and Domenichino.
On the other side of the square is the
PALAZZO BRASCHI,
(Braschi Palace.)
This magnificent palace was built towards the
end of the last century, from the designs of Cava-
liers Morelli and Morini. The staircase is very
grand, and ornamented with fine marbles, columns,
and pilasters of red oriental granite. In the first
apartment is a very fine colossal statue of Antinoüs,
found near Palestrina; a statue of Cincinnatus ;
of Julia Augusta, daughter of Drusus; a Diana; a
Bacchus; two large basins of antique red marble;
and a sarcophagus, adorned with a basso relievo, re-
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260
i
T
NEW PICTURE OF ROME.
présenting a bacchanal; and some other ancient
marbles. There are also several fine pictures.
A great part of this palace, stands on the Piazza
di Pasquino, so called from an ancient statue, much
damaged, which is placed on a pedestal at the
angle of the Braschi palace; it took the name of
Pasquin from a tailor who diverted himself with
making satires, and jesting with those who passed
his shop. After his death, this statue being found
near his dwelling, was called by his name; and
from that time the Satirists affixed their writings on
it, which has given rise to the word Pasquinade.
This ancient marble represents Menelaus supporting
the body of Patroclus, killed by Hector. Although
greatly damaged by time, yet from what remains
connoisseurs suppose it to have been one of the
finest statues in Rome.
To the left of the Braschi palace is the
!
CHIESA DI S. PANTALEO,
(Church of St. Pantaleo.)
It was erected by Honorius III. in 1216, and
given by Gregory XV. in 1621, to St. Joseph
Calasanzio of Arragon, founder of the monks of
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FIFTH DAY.
261
·
the pie schools who teach all the sciences from the
first elements gratis. This church was afterwards
rebuilt from the designs of John Anthony de Rossi;
the front has lately been made at the expense of
the Duke Torlonia, by Joseph Valadier. Under
the great altar is a precious porphyry urn, in which
is preserved the body of the holy founder, who is
represented in basso relievo on the altar; a work
of Louis Acquisti.
Farther on to the left is the
PALAZZO MASSIMI,
(Massimi Palace.)
The fine architecture of this palace, is by Bal-
thasar Peruzzi; who has had the ingenuity, in a
very small space, to make an elegant portico, sus-
tained by six Doric pillars, and two courts; the
first is adorned with stuccos and a beautiful
fountain.
In the best room are several pictures, and a
superb ancient marble statue representing a gla-
diator, found in 1782, in the villa Palombara; it
is a copy from the bronze one of the celebrated
Miro. The posterior front of this palace, towards
--
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262
*
NEW PICTURE OF ROME.
the piazza Navona, merits attention on account of
some paintings in chiaro scuro, by the celebrated
Daniel da Volterra.
In the house contiguous to this palace, in 1467,
Conrad Sweynheym and Arnold Pannartz, Ger-
mans, established a printing-press, which was then
unknown in Italy.
In the same street is a square in which stands
the
T
CHIESA DI S. ANDREA DELLA VALLE,
(Church of St. Andrew Della Valle.) ·
This church takes its name from the neigh-
bouring Palazzo Valle. It was built in 1591,
from the designs of Peter Paul Olivieri, and
finished by Carlo Maderno. The front, which is
one of the finest in Rome, was made from the de-
signs of Cav. Charles Rainaldi; it is composed of
travertine, and two rows of pillars, Corinthian and
Composite, and decorated with statues.
The interior of this large church is adorned with
fine paintings. The cupola was painted by Lan-
franco; and is not only one of his best works, but
the finest cupola in Rome. The four evangelists
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263
on the sides of this cupola, and the paintings on
the ceiling of the choir, representing different
traits in the life of St. Andrew, are amongst the most
esteemed works of Domenichino. The three large
pictures in the choir, representing the martyrdom
of St. Andrew, are by Matthias Preti, called the
Cavalier Calabrese.
The first chapel to the right, on entering the
church, contains fine marbles, some statues, eight
columns of antique green marble, and a basso
relievo on the altar, sculptured by Antonio Raggi.
The second chapel was made from the designs of
Bonarotti; it is adorned with twelve fine columns,
four black marble tombs, a group on the altar
of the Virgin with Jesus dead in her arms, and
two bronze statues, all executed from models by
Bonarotti. The picture of St. Andrew of Avellino,
on the altar of the cross, is by Lanfranco. The
last chapel is decorated with fine marbles, four
statues, and some paintings, by Andrew Camassei
and Cav. Passignani.
The place where the Palazzo Pio now stands at
Campo di Fiori (Field of Flowers), was formerly
occupied by Pompey's theatre; it was the first
established theatre built in Rome; they had before
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NEW PICTURE OF ROME.
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been merely made of wood as circumstances re-
quired. It contained 40,000 spectators. In the
stables of the Pio Palace, are some remains of
arches which sustained the seats.
The fine Palazzo Stoppani (now Caffarelli) on
the other side of the church of St. Andrew della
Valle, was built from the designs of Raphael.
At the foot of the stairs is a fine antique statue of
Mark Aurelius. It was inhabited for some time
by the Emperor Charles V.
Advancing a little farther, and passing the small
churches of Sudario (the holy handkerchief), of
St. Julien of the Flemings, St. Nicholas ai Cesarini,
St. Lucy, and St. Stanislas of Poland, is seen the
PALAZZO MATTEI,
(Mattei Palace.)
This splendid palace was built by the Duke
Asdrubal Mattei ; the architect was Carlo Maderno.
The vestibule and the court are adorned with busts,
antique statues, and basso relievos. On the stair-
case are two marble seats, found on Mount Cœlius;
also a basso relievo, representing a Chase of the
Emperor Commodus, the statues of Pallas, Jupiter,
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265
Abundance, and various busts and other basso
relievos.
In the portico, before the hall of the great apart-
ments, are some basso relievos: one represents a
Consul, punishing a criminal; on another, is a
Bacchante going to a Sacrifice; a Sacrifice to
Priapus; two statues, one of Apollo, the other a
Muse; various busts, amongst others, Alexander
the Great, placed over the hall door.
FIFTH DAY.
From this portico, there is a nearer view of the
basso relievos on the walls of the court; the most
distinguished are, the Chase of Meleager; the
Rape of Proserpine; the Three Graces; Peleus
and Thetis; the Sacrifice of Esculapius; also, the
busts of Antoninus Pius; of Adrian; M. Aurelius,
Severus, L. Verus, and Commodus.
In six of the apartments are some very fine
pictures. In the servants' hall are six landscapes
by Paul Brilli; and the passage through the Red
Sea, by Albano. The most remarkable paintings
in the first room, are four pictures by Paul Brilli,
representing different events in Scripture; two fine
portraits, one by Mr. David, the other by Van-
dyke; and St. Bonaventure, by Tintoretto; the
painting of the ceiling is by Pomarancio,
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NEW PICTURE OF ROME.
In the second room are two pictures b
Brilli, representing two of the seasons, a Virgin
and Child, by Scipio Gaetano; a Virgin and
Child, and St. Joseph, by Caracci; several
Children, by Albano; and four fine pictures
by Passerotti.
In the following room are the two other seasons
of the year, by Paul Brilli; St. Francis, by Mu-
ziano; and six pictures of Animals, by David.
In the fourth room, are two pictures by Brilli;
Abraham's Sacrifice, by Guido; and grotesque
pictures, by John Baptist Brughi; the paintings
of the ceiling are by Lanfranco.
Next comes the gallery, the ceiling was painted
by Peter da Cortona; Abraham's Sacrifice is by
Lanfranco; the Nativity, by Peter da Cortona ;
the Procession of Clement VIII., and the Entry
of Charles V. into Bologna, are by Tempesta.
Next to the servants' hall are three other rooms
the cieling of the first was painted by Domenichino;
the second, by Albano; and the third is all painted
in chiaro scuro, an exquisite work, by Domeni-
chino.
;
The Flaminian Circus, constructed by the Con-
sul C. Flaminius, formerly stood in the place now
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FIFTH DAY.
267
occupied by the Piazza dell' Olmo (Elm); the
Mattei Palace, and the Church of St. Catherine de'
Funari.
F
In the Piazza Mattei, is the fine fountain, called
delle Tartarughe (of the Tortoises) made from the
designs of James della Porta; the bronze figures
are by Thaddeus Landini, a famous Florentine
artist. On one side of this square, is the
PALAZZO COSTAGUTI,
(Costaguti Palace.)
The frescos on the ceilings of the six rooms on
the first floor in this palace are remarkable. The
first, representing Hercules in the act of shooting
the Centaur Nessus, who is carrying off Dejanira,
is by Albano. On another is Apollo in his
Chariot with several Children, and Time discover-
ing Truth, a capital painting, by Domenichino.
On the ceiling of the third room, is Rinaldo
sleeping in his Car, which is drawn by two
Dragons, and Armida looking at him, in Guer-
cino's best manner.
Next comes a gallery; on
the ceiling is painted Venus, with Cupid and other
Divinities, by Cav. Arpino. On the ceiling of the
t
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NEW PICTURE OF ROME.
following room, are painted Justice and Peace, by
Lanfranco. In the last room is Arion on the
Dolphin, and a Ship full of Sailors, by Roma-
nelli.
Near this palace is the Church of St. Catherine
de' Funari; on the altar of the first chapel is a
St. Margaret, a fine copy from the picture of
Annibal Caracci; it was retouched by him. At
the top of this chapel is painted the Coronation of
the Virgin, by Annibal Caracci. On the third
altar, is a fine picture of the Assumption of the
Virgin, by Scipio Gaetano. The other paintings
are by Muziano, Frederic Zuccari, Marcellus
Venusti, and Jerome Nanni.
In the second street to the left is the
CHIESA DI S. MARIA IN CAMPITELLI,
(Church of St. Mary in Campitelli.)
It was built in 1658 by Carlo Rainaldi, at the
expense of the Roman people, to preserve a
miraculous image of the Virgin. The front is of
travertine, adorned with two rows of pillars,
Corinthian and Composite. The interior is mag-
nificent, it is decorated with pilasters, and twenty-
FIFTH DAY,
269
two Corinthian columns of fluted marble, and
paintings by Cav. Sebastian Conca, Luke Gior-
dano, Gemignani, and Baciccio.
On entering the small street to the left of this
church, in the court of a house, also on the left
side, are seen three thick fluted marble pillars,
with Corinthian heads; supposed to have belonged
to the temple of Juno Regina (Queen), built by
M. Emilius, to accomplish the vow he made,
in the Ligurian war. This temple was adjoining
to the
PORTICO D' OTTAVIA,
(Portico of Octavia.)
Octavius Augustus, constructed this portico
near the theatre of Marcellus, as a place of shelter
to the people when it rained; and gave it the
name of Octavia, his sister. The part that still
remains of this portico, anciently formed the prin-
cipal entrance; it had two fronts alike, one
within, and the other without, both adorned with
four fluted marble columns, and two Corinthian
pilasters. One of these fronts has preserved two
columns and one pilaster; and the other, two
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NEW PICTURE OF ROME.
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columns and two pilasters; the whole sustains an
entablature.
Next to this portico is the Church of St. Angelo,
called in Pescheria, because it is situated in the
place where the fish is sold, and which cannot be
far from the ancient Forum Piscarium. Taking
the street to the left of this church, appears the
TEATRO DI MARCELLO, ORA PALAZZO
ORSINI,
(Theatre of Marcellus, now Orsini Palace.)
Augustus built this magnificent theatre, and
dedicated it to Marcellus, son of his sister Octavia.
It was the second theatre, established in Rome, for
public spectacles. The construction is so perfect,
that modern architects have taken it as a model
for the Doric and Ionic orders. The semicircular
part on the outside was composed of four orders
of architecture. There only remains a part of the
lower orders, which are to be seen on the side of
the Piazza Montanara: these remains consist of
two rows of arcades, with Doric and Ionic pillars
which surrounded the theatre. The theatre was
367 feet in diameter, formed of large blocks of
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FIFTH DAY.
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travertine, and could contain 30,000 spectators.
On the day of its dedication 600 wild beasts were
killed.
*In the dark ages, during the civil wars, it was
The
used as a fortress by the Savilla family.
Massimi family afterwards converted it into a
palace, and employed the famous architect, Bal-
thasar Peruzzi, for the purpose; it has since passed
into the family of Orsini, Dukes of Gravina. The
entrance to the court is by a steep ascent, formed
from the ruins of the theatre. In this court are
two marble sarcophagi, adorned with basso relievo.
On the entrance gate of the court is a basso
relievo, representing Gladiators combating with
wild beasts; and over the hall door is an exquisite
basso relievo, taken from the arch of M. Aurelius
in the Corso; it represents that emperor receiving
the homage of the Parthians and the Germans.
Near this place was the door, called Carmentale,
from Carmenta, mother of Evander, also the
Forum Olitorium, where herbs were sold. Farther
on, is the
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NEW PICTURE OF ROME.
CHIESA DI S. NICOLO IN CARCERE,
(Church of St. Nicholas in Prison.)
This church was built on the ruins of an ancient
Ionic temple; of which some fluted pillars are
still remaining near the front, and one side. On
the left side of this edifice was another smaller
temple, of the Doric order, and on the right, a
third temple of the Ionic order; this last was
reduced into a prison by the Decemvir Appius
Claudius, who destined it for the plebeians. The
celebrated action of a Daughter nourishing her
Father, who was condemned to starve to death, with
her own milk, took place in this prison. This
trait of filial love, known under the name of
Roman Charity, being discovered, the old man's
life was granted; and to preserve the remembrance,
on this same prison a temple was erected to
Piety, in the year of Rome, 604; and before it
was raised a pillar, called Lactaria, because
foundlings were exposed there.
This church, which is dedicated to St. Nicholas,
Bishop of Mira, has frequently been repaired,
especially in 1808. It has three naves divided by
273
FIFTH DAY.
fourteen antique pillars.
Under the great altar is
a beautiful green porphyry urn, ornamented with
heads of Medusa: and over the altar is a canopy,
sustained by four fine columns of yellow African
marble.
In the street on the left is the church of St. Ma-
ry della Consolazione (of the Consolation) built by
Martin Lunghi, senior. Adjoining are two hospi-
tals; one for wounded men, the other for women.
A little beyond is the church of S. Giovanni De-
collato (St. John beheaded) it contains some fine
paintings. The picture in the first chapel is by
James Zucca.
The beheading of St. John, on the great altar, is
by George Vasari. The other pictures. are by
Cav. Roncalli, John Cosci, and John Baptist
Naldini.
In the street on the right, is seen the
ARCO DI GIANO QUADRIFRONTE,
(Arch of Janus Quadrifront.)
It is the only remaining arch of those which the
ancients called Jani, because they had four arcades
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NEW PICTURE OF ROME.
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​alike. It is supposed this one was made by Do-
mitian.
This celebrated monument, which has but lately
been discovered, having been under ground, is
composed of large pieces of Grecian marble; each
of the four sides is adorned with twelve niches,
which were divided by columns, and contained
statues. This arch is full of holes, like many
other ancient edifices, occasioned by the Barba-
rians in the dark ages, who took out the hooks and
pivots of bronze that united the stones. All the
brick-work on this arch was built by the Frangi-
pani family, during the civil wars.
It is worthy of notice, that in this place was for-
merly a marsh, formed of the waters of the Tiber,
which extended from the foot of the capitol to
mount Palatine, and the great circus; and as it was
generally crossed in a boat, it was called velabrum
a vehendis ratibus.
This marsh has given name to the neighbouring
CHIESA DI S. GIORGIO IN VELABRO, ;
(Church of St. George, in Velabro.)
It is supposed to have been built in the sixth
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FIFTH DAY.
275
:
century, on the ruins of the justiciary court of Ti-
berius Sempronius, instituted by him, for judging
the causes of the merchants of the Forum Boarium.
This ancient church was rebuilt by Pope St. Za-
chary. It has three naves divided by fifteen pil-
lars; of which eleven are granite, and four fluted
violet marble.
Joining this church is the
ARCO DI SETTIMIO SEVERO,
(Arch of Septimus Severus.)
This small arch is of marble, and square, with
only one opening; it was erected as the inscrip-
tion says, by the bankers, jewellers, and trades-
men, of the Forum Boarium, in honour of Septi-
mus Severus, Julia, his wife, and Caracalla, their
son.
On the arch are some basso relievos, indifferently
sculptured, and greatly damaged.
On the sides of the inscription are a Hercules
and a Bacchus, in basso relievo.
Under the opening on one side is seen Septimus
Severus, sacrificing with Julia his wife, who holds
the Caduceus; opposite, is Caracalla, sacrificing;
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NEW PICTURE OF ROME.
the place is also seen on which was the figure of
Geta; his brother effaced it, as likewise his name
in the inscription. Lastly, on the side, looking to-
wards the arch of Janus, is a prisoner, conducted
by a Roman soldier; and underneath, is a labourer
guiding a plough, drawn by an ox and a cow.
The Forum Boarium extended to this place. It
was so called not only from the oxen sold there,
but on account of a bronze one erected here, in
memory of that which served Romulus to trace
the compass of his new city. In this forum was
found the fine gilt bronze statue of Hercules, pre-
served in the Conservator's palace, at the capitol.
In the small street, almost opposite the arch of
Septimus Severus, is the
CLOACA MASSIMA,
(The great Drain or Sewer.)
The sewers of ancient Rome were the most ad-
mirable works for public utility. Tarquin Pris-
cus was the first, who constructed under-ground,
conduits of a surprising thickness and solidity, for
the reception of the waters from the Velabrum and
the mounts; they are still in preservation, and
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FIFTH DAY.
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serve for the same purposes. After traversing the
city, they united at the Forum Romanum, where,
by means of two canals, the waters and filth were
discharged into the Tiber; the largest canal was
called Cloaca Maxima, the other Cloaca Minor.
Tarquin Superbus enlarged this great sewer; be-
cause, as the population of Rome increased, the
one made by Tarquin Priscus was not sufficiently.
extensive to contain so much water.
This large sewer is constructed with three thick
blocks of stone joined without mortar or cement;
each block is five feet long, and three thick; the
width and height are twelve feet. The opening
of this sewer at the Tiber, is
the ancient Temple of Vesta.
carnassus says, that there are
prove the Roman magnificence; their aqueducts,
the great roads, and the sewers. Pliny and Strabo
also mention them with the same astonishment.
still to be seen near
Dionysius of Hali-
three things which
Near this sewer, under ground, is a small arch,
from which issues a rivulet of water, that falls into
the great drain; it descends from the Palatine, and
is supposed to be some of the water that formed
the famous lake of Juturn, in the Forum Roma-
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num.
There is also another spring of water near
this sewer, reckoned the best in Rome.
Advancing towards the Forum Romanum, on the
right side, is the church of St. Anastasia. It was
erected in the year 300. Several Popes have re-
paired it, and Urban VIII. made the front from the
designs of Louis Arrigucci. The interior has
three naves divided by handsome pillars, eight are
of fluted violet marble, two of red granite, and two
of African marble.
NEW PICTURE OF ROME.
In the valley anciently called Martia or Murtia,
which is between mounts Palatine and Aventine,
before the Cesars' palace, are some vestiges of
the
CIRCO MASSIMO,
(Great Circus.)
The first circus was erected by Romulus near
the Forum Romanum, to celebrate the games in ho-
nour of Neptune; the seizure of the Sabines took
place here. Several others were afterwards made
but all of wood. Tarquin Priscus was the first
who built the stone one, of which we speak; it
FIFTH DAY.
279
1
was called circus from the circular form; and being
grander and larger than all the others, it took the
name of Circus Maximus. The finest spectacles of
ancient Rome were the games of the circus, which
consisted of chariot races, drawn by two or four
horses. There were ten of these edifices in Rome;
that of Caracalla is the only one remaining, and
may serve to give an idea of these sorts of build-
ings.
This circus, as built by Tarquin, could hold
150,000 spectators. Julius Cesar repaired it mag-
nificently, and made a second order of piazzas, so
that according to Pliny, it then contained 260,000
persons. Having been burnt under Nero, Trajan
rebuilt it, and, according to Dion, employed the
celebrated Apollodorus; it was then made so large
that it could hold 380,000 spectators.
It was
lastly repaired and embellished by Constantine the
Great.
Although the circus' were principally made for
chariot races, they were also used for wrestlings,
pugilism, foot races and the chase of wild beasts,
and other amusements proper to render the Ro-
man youth robust and valiant.. According to Au-
lus Gellius, it was in the great circus that Andro-
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280
cles was recognised by the Lion, from whose foot
he had extracted a thorn in Africa.
NEW PICTURE OF ROME.
Some masses of brick are still to be seen; they
served to support the seats of this circus.
The famous Septizonium, built by Septimus Se-
verus, was at the angle of the Cesars' palace,
towards St. Gregory's. It was a superb portico,
and formed a majestic entrance into the palace of
Augustus, on that side. It was demolished by
Sixtus V., who employed it for the columns and
pillars at St. Peter's.
Near Constantine's arch, on the right of Mount
Cœlius, is the
CHIESA DI S. GREGORIO,
(Church of St. Gregory.)
The house of Pope St. Gregory the Great, who
was descended from the ancient and noble family
of Anicia, stood on this place; in 584, he con-
verted it into a monastery, and dwelt there himself
before he became Pontiff, and built a church in
honour of St. Andrew, which still exists. After
the death of that Pope, a church was erected in
honour of him; to which Cardinal Scipio Bor-
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FIFTH DAY.
281
ghese, in 1633, made a staircase and front, and
double piazza, from the designs of John Baptist
Soria.
Lastly, the church was repaired in 1734, under
the directions of Francis Ferrata. It has three
naves, divided by sixteen pillars; the greater part
are of Egyptian granite.
The paintings of the great ceiling are by Placido
Costanzi; the altar-pieces are by Anthony Bales-
tra, Francis Mancini, Pompey Battoni, and John
Baptist Bonfreni.
At one of the side doors is a terrace, which pre-
sents an uncommonly fine view of the ruins of the
Cesars' palace. On this terrace are three ancient
chapels built by St. Gregory, and repaired by Car-
dinal Baronio. The first is dedicated to St. Silvia,
mother of St. Gregory; her statue on the altar, be-
tween two porphyry columns, is by Nicholas Cor-
dieri, pupil of Bonarotti; the paintings on the ceil-
ing are by Guido Reni,
The second chapel is dedicated to St. Andrew;
this was the ancient church, built by St. Gregory,
which we mentioned. The altar-piece, between
two columns of antique green marble, is by Cav.
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282
NEW PICTURE OF ROME.
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;
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Roncalli, commonly called Pomarancio. St. Pe-
ter and St. Paul, on the sides, are by Guido. On
the walls of this chapel, are two exquisite frescos,
the one to the right on entering, representing the
flagellation of St. Andrew, is by Domenichino;
the opposite one, of the same saint, worshipping
the cross, and being led to martyrdom, is by
Guido.
In the last chapel, called St. Barbara's, is a
statue of St. Gregory, modelled by Michael Angelo
Bonarotti, and finished by Nicholas Cordieri.
The marble table in the middle of the chapel is
the same on which St. Gregory fed twelve poor
pilgrims every morning.
In the great road, bordered by trees, which leads
to Porta S. Sebastiano (St. Sebastian's Gate or
Door); in the street to the right is the church of
St. Balbina, on the summit of Mount Cœlius; it
is supposed to have been erected in 336, by Pope
St. Mark. St. Gregory the Great gave it the title
of Cardinal. Although it has frequently been re-
paired, there is nothing worthy of observation ex-
cept some pictures in the choir, by Anastasio
Fontebuoni.

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Returning to the great road on the right side are
seen some remains of the
TERME DI CARACALLA,
(Caracalla's Baths.)
These magnificent baths, built by the Emperor
Caracalla, are almost similar in the distribution of
the rooms, &c. to those of Agrippa and Titus; they
are smaller than Dioclesian's; but larger than the
baths of Titus. The architecture and the orna-
ments were both beautiful. There were two stories,
the first, which is under ground, was used for the
baths; the second was more particularly destined
for the games of the disk, ball, and other exercises.
The principal front of this edifice looked towards
the east there are still some remains of the por-
ticos added by Heliogabalus, and Alexander
Severus. The numerous rooms were superbly
decorated with precious marbles, gilt bronze, and
Mosaic pavements: there were more than 200
fine marble pillars; the place was altogether able
to accommodate about 3,000 persons.
Amongst a number of rooms which are left are
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NEW PICTURE OF ROME.
longest is supposed to be the great Cella Soleare,
as the ancients called it; it is not more remarkable.
for its size, than for the flat ceiling, supported by
rails of bronze or copper; this is regarded by
modern artists as a master-piece of architecture.
The flat ceilings in the oratory of the Chiesa
Nuova, of St. Martinas, and the portico of the
Doria Palace, are also much admired by connois-
seurs, although they are by no means so extensive
as that of the Cella Soleare; of which the length
is 188 feet, and the width 134. The precious
marbles that have been found in these baths prove
their magnificence: amongst others are the cele-
brated Hercules, by Glycon the Athenian; the
Flora, the famous group, known by the name of
the Farnese Bull, and other rarities, which were
transported to the Palazzo Farnese, and since that
to Naples.
At a short distance, in a vineyard, s the reser-
voir which supplied these baths with water; aud,
in another vineyard, is a small temple of fine
architecture.
Returning to the great road on the right side, is
seen the

FIFTH DAY.
285
CHIESA DE' SS. NEREO ED ACHILLEO,
(Church of St. Nereus and St. Achilleus.)
:
Pope St. John I. erected this church about 524
it was rebuilt in 1596, by the famous Cardinal
Baronio. The canopy of the great altar is sup-
ported by four fine pillars of African marble.
There are two marble pulpits called Ambones,
which were used in the first ages of Christianity,
to read the Epistle and Gospel. In the choir is
the marble seat used by Pope St. Gregory the
Great, when he recited to the people in this church
his Thirty-third Homily, part of which is engraved
on the back of this seat.
A few paces distant on the left, is the church
of Pope St. Sixtus, martyr, supposed to have been
built by Constantine the Great, on the ruins of the
ancient Temple of Mars, called Extramuraneum,
because it was outside of the walls before the aug-
mentation of the city by Aurelian. It was in this
temple that the Senators assembled to give audience
to the Generals who demanded triumphal honours
for their victories.
In continuing to advance, on the right is a vine-
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286
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yard of the Roman College, where is seen a ma-
jestic edifice of an octagon form; some antiquaries
believe it to have been a Temple of Hercules; and
others, a hall belonging to Caracalla's baths. In
the great road, on the right hand, is the ancient
church of St. Cesareus, called in Palatio, probably
from the neighbouring baths of Caracalla; these
great edifices being all named palaces in the dark
ages. Clement VIII. repaired this church, and
altered it to its present state.
NEW PICTURE OF ROME.
Of the two streets that follow, the left one con-
ducts to the Porta Latina, so called because it led
to the Latium; but this door being now closed, it
is necessary to go through St. Sebastian's or St.
John's Gate, to arrive at the Via Latina (Latin
Way), where, amongst other remains of ancient
edifices, is the
TEMPIO DELLA FORTUNA MULIEBRE,
(Temple of Fortune Muliebre.)
This edifice is four miles distant from Rome,
reckoning from the beginning of the Via Latina at
the foot of Mount Cœlius; conformable to the
ancient historians, in speaking of the meeting be-
FIFTH DAY,
287
tween Coriolanus and his mother, who had the
happiness to appease her son when encamped within
four miles of Rome, in order to attack his country.
This temple was built in honour of that action :
it is raised on an oblong base, constructed of
brick, and adorned with a double row of pilasters,
an entablature, and windows. As the architecture
is very fine, it was probably rebuilt by Faustina,
wife of M. Aurelius; from some medals of that
Empress, on which are seen a seated figure with
the inscription Fortunae Muliebri.
Returning to the town, in the street opposite St.
Sebastian's door, is the Sassi Vineyard, on the
door of which is inscribed Sepulchra Scipionum,
ise it contains the
SEPOLCRO DEGLI SCIPIONI,
(Tomb of the Scipios.)
This celebrated monument of the Scipios, de-
scendants from the illustrious Cornelia family, was
only discovered in 1780; until then, the tomb on
the outside of St. Sebastian's door, almost op-
posite the church of Domine quo vadis, was sup-
posed to be that of the Scipios. This monument
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had two stories, the first, which still exists, is very
large and under ground, of a square form, hollowed
in the earth. Of the second story nothing remains,
it contained the statues of the Scipios and the poet
Ennius, as mentioned by Cicero and Livy. The
following objects, now in the Vatican Museum,
were found here: a sarcophagus of peperino, or
Albanian stone, finely worked, which, according
to the inscription, belonged to Lucius Scipio Bar-
batus; a bust of the same stone, the head crowned
with laurels, by some believed to be that of Ennius;
and by others, Scipio, son of Gneus; an unknown
bust of white marble; a number of marble in-
scriptions, of which copies have been made, and
placed where the originals were. This monument
is worthy of particular notice; not only from its
antiquity, but from being the tomb of the most
worthy family of the Roman Republic.
Advancing towards St. Sebastian's Door, we
pass under the
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ARCO DI DRUSO,
(Arch of Drusus.)
This triumphal arch was erected by the Roman
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senate, in honour of the Emperor Nero Claudius
Drusus. It is composed of square blocks of traver-
tine, and adorned with two pillars of African marble,
of the Composite order. The pipe on the upper part
of this edifice, and the arcades that were formerly
on the sides of the arch, indicate the continuation of
an aqueduct. It is supposed that Caracalla used
this building to conduct the Marcian water. This
water, the best in Rome, was brought to the city
by Quintius Marcius, from whom it took its name.
Next comes the
PORTA S. SEBASTIANO,
(Gate, or Door, of St. Sebastian.)
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This door was substituted for the ancient Porta
Capena, by Aurelian, when he extended the city
walls. The Capena door was at the foot of Mount
Cælius; and so called because it conducted to a
city of that name, near Albano.
On the outside of this door began three roads,
the Latin Way, the Ardeatine Way, and the cele-
brated Appian Way, which was paved with large
blocks of stone, by the censor, Appius Claudius,
the year of Rome 442. This road, the most mag-
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nificent of all, was adorned with temples and
tombs, of which some parts are remaining: it was
repaired by Julius Cesar, who drained the Pontine
marshes, that the waters might not do any injury.
Augustus, Vespasian, Domitian, Nerva, and Trajan,
also improved and repaired it; the latter extended
it as far as Benevento, and afterwards to Brindisi.
A part of the Appian Way again became a prey to
the waters; but Pope Pius VI. has remedied the
evil, by making an outlet for them, so that the
fields are now well cultivated; it has also purified
the air, and rendered the journey to Naples more
easy and agreeable.
Outside of this door (called St. Sebastian, on
account of the cathedral of that name, which is
nearly two miles beyond it,) on the left side, is the
Field of the Horaces; not the one where the com-
bat between the Horatii and Curiatii took place,
which was in the territory of Alba, very far from
this place, but another field, called Sacred, by
Martial, perhaps from some neighbouring temple.
The littleriver Almone, vulgarly called la Marranna,
runs through this field. It is formed by the waters
of Crubra, Salutare, and the fountain of Egeria.
The Crabra water comes from Frascati, and turns
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seven corn mills: the sources of the fountain of
Egeria, and the Salutare water, are not far distant;
the last, being mineral, is used for baths; called
"Baths of the Holy Water." In this river the
priests of Cybele used every year to wash the
statue of that goddess, and their sacred utensils.
Near this place, in a vineyard on the left, are
the remains of an ancient edifice, supposed to be
the tomb of the Horatii family; it is probable that
Horatia, sister to the conqueror Horace, may
have been buried there.
Continuing along the Appian road, almost
opposite the church of Domine quo vadis, are the
ruins of a tomb, which was supposed to be the
Scipios until 1780. It is deprived of its ornaments;
the base is square, and contains a sepulchral
chamber; the upper part is round, with niches
inside.
Beyond this the road divides into two parts; the
one, to the right, is the ancient Ardeatine way;
the other is a continuation of the Appian. On
this last are several ruins of ancient tombs. In a
vineyard opposite the first milestone, are three
sepulchral chambers, which Fabretti, and others,
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NEW PICTURE OF ROME.
believe to have been those of the freedmen of the
family of Augustus. The walls were full of small
niches, containing urns and funeral vases.
At a small distance in a vineyard was discovered,
in 1726, another large sepulchral chamber, sup-
posed to have belonged to the freedmen and slaves
of Livia Augusta. The urns, vases, &c., found
there, are now in the museum of the capitol.
In the same road is the
BASILICA DI S. SEBASTIANO,
(Cathedral of St. Sebastian.)
It is supposed that Constantine the Great erected
this church, and that Pope St. Silvester dedicated
it to St. Sebastian. After being repaired by several
popes, Cardinal Scipio Borghese, in 1611, rebuilt
it, from the designs of Flaminio Ponzio. It is one
of the seven Roman cathedrals. The front is de-
corated with a fine portico, sustained by six
pillars of granite. The great altar is adorned
with four columns of green Laconian marble;
and a fresco by Innocent Tacconi, pupil of
Caracci. In the chapel of St. Sebastian, made
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from the designs of Ciro Ferri, is a statue of that
saint, sculptured by Anthony Giorgetti, from the
model of Cav. Bernini. On the three doors of
this church, are several Saints, painted by Anthony
Caracci.
The descent into the cemetery of St. Calistus,
commonly called Catacombs, is by the door on
the right of St. Sebastian's chapel. They are ex-
cavations in the ground made by the ancient
Romans to dig out the earth, now called Pozzolana,
with which they built their immense edifices. The
Christians, in the times of persecution, enlarged
them, and retired there to perform their devotions;
they slept, and buried their dead there also.
These catacombs are the largest existing, and ex-
tend along a space of six miles. Ecclesiastical
writers say, that fourteen popes, and nearly
170,000 martyrs have been buried there; that the
body of St. Sebastian was transported thither by
Saint Lucina, and that the bodies of Saints Peter
and Paul were long concealed there.
In a vineyard almost opposite this church, arc
remains of the
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SCUDERIE DEL CIRCO DI CARACALLA,
(Stables of Caracalla's Circus.)
This edifice consists of a large oblong court,
surrounded by a brick wall, which supported a
piazza. In the middle of the court is a circular
building. From its proximity to the circus of
Caracalla, and from the door of communication,
it was evidently destined for the reception of the
chariots and horses used in that circus.
;
The circular building in the court, seems to
have been built before the stables and circus of
Caracalla: it is a hundred feet in diameter, and
decorated with a fine portico. In the centre, is a
thick octagon-pillar which sustains a large arch:
the construction is similar to that of the Tower of
the Slaves, two miles beyond the Porta Maggiore;
from which the famous Vignola took the idea of
the subterranean part of the court, at the celebrated
Caprarola Palace The name of Prætorian Stables
given for many centuries to this edifice, makes it
probable, that it served as a shelter for the horses
of the Prætorian guards, when the emperors came
to view the games of the circus.
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Above the portico of this edifice is a modern
apartment; and over the rotunda was a temple,
which contained the statues of the gods, that were
carried into the circus before the races began. The
name of Tower de' Borgiani, which this building
retained till its destruction, has given rise to the
idea, that the Borgia family used it as a fortress
during the civil wars in the dark ages. On the
outside of the great oblong court, is a small tomb,
the construction of which was anterior to that of
the court. All antiquaries imagined this ancient
monument to have belonged to the Servilia family,
until the discovery of the real tomb of that house,
by the Marquis Canova. Next to this court is
the
CIRCO DI CARACALLA,
(Caracalla's Circus.)
Almost all antiquaries attribute this circus to
Caracalla, and suppose it to be the one portrayed
on the medals of that emperor. It is the best pre-
served, and the only one that can give a just
idea of these sort of edifices. The remains consist
of the surrounding walls, to which were fixed
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the seats for the spectators; the platform
called Spina, which divides the length of the
circus; and some vestiges of the bounds called
Meta, by the ancients, placed at the extremities
of the Spina under which was the altar dedicated
to the god, Consus, that is to say, Equestrian
Neptune, who presided over the games of the
circus; there is likewise the great door through
which the conqueror passed in triumph to the
Latin way; and on the opposite side are some
remains of the carceri, or posts, where the chariots
were placed before the course began; by the
sides of the carceri were the seats for the emperor,
magistrates, and other considerable persons.
This circus was 1,524 feet long, and 395 feet
wide. It was one of the smallest, for it could
only contain 20,000 spectators, there being but
ten rows of seats around. In the middle of the
platform was the Egyptian obelisk, now in the
Piazza Navona. Each race was performed by
four chariots with two or four horses. The whole
course consisted of seven turns round the Spina.
At a small distance from this circus, at the top
of the Appian way, is the
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SEPOLCRO DI CECILIA METELLA,
(Tomb of Cecilia Metella.)
This is the finest sepulchral monument, and
one of the best preserved of ancient Rome. It
was raised, according to the inscription on the
top, by Crassus the Triumvir, in memory of his
wife Cecilia Metella, daughter of Quintus Cre-
ticus. It is of a circular form, eighty-nine and a
half feet in diameter, and stands on a square base
which is almost buried. The most remarkable
part of this tomb, is its extraordinary thickness,
and the immense pieces of travertine with which
it is covered. In the interior there is a small
round chamber, the ceiling is in the form of a
cone. The sarcophagus of Grecian marble, now
in the court of the Palazzo Farnese, was found
here in the time of Paul III.
Over the inscription are the remains of a marble
basso relievo, which joins the frieze of a magni-
ficent entablature that surrounds the whole edifice.
The frieze is beautiful, and ornamented with
festoons and heads of oxen; for this reason, the
tomb is called by the common people, Capo di
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Bove. The travertine and marble, employed in
this fine monument, clearly indicate, that it was
made at the end of the Republic, at which period
they were introduced in Rome. The different
views from this tomb are very picturesque.
The brick walls and battlements over this mo-
nument were made in the dark ages, by the
Gaetani family during the civil wars. At the
same period were built near that place a castle,
with a church and some houses, of which remains
are to be seen. Over the doors of the latter, are
the arms of that family.
Half a mile distant is the tomb of the Servilia
family, discovered in 1808, by Marquis Canova.
This one, together with those of the Scipios and
Metella, makes the third out of the four men-
tioned by Cicero, on the Appian way; that of
Catilinus is now the only one remaining undis-
covered.
About two miles farther, on the left side, is a
large farm, vulgarly called Roma Vecchia (old
Rome), belonging to the Duke Torlonia; in which
are a number of walls of ancient ruined edifices.
It is supposed to be the old Pagus Lemonius, a
'mall borough or town, where the labourers
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dwelt, called Pagani. Some statues, busts, heads,
and various fine marbles, were lately found there
in digging.
Returning towards Caracalla's circus, in a vine-
yard, are seen some antique ruins, believed to be
the remains of the Temple of Virtue and Honour,
erected by M. Marcellus, to fulfil a vow he made
in the Gallic war. This temple was double, and
so constructed, that one passed through that of
Virtueto arrive at the other of Honour. This was
meant to designate, that true honour can only be
acquired by the practice of virtue.
Going a short way back, and passing through
the farm, called La Caffarella, on a rising ground,
is seen the
TEMPIO DELLE CAMENE, VOLGAR-
MENTE DETTO DI BACCO, IN OGGI
CHIESA DI S. URBANO,
(Temple of the Camenes, commonly called Of Bac-
chus; now, The Church of St. Urban.)
This is more probably the temple of the Ca-
menes than of Bacchus, because, it it well known,
that over the grotto of Egeria, was a temple of
wood, consecrated by Numa to the Camenes.
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NEW PICTURE OF ROME.
The form of this fine temple is square; it was
decorated with a portico, sustained by four fluted
Corinthian pillars of white marble, which may
now be seen in the front of the church. The in-
terior of the temple is adorned with a fine stucco
frieze, on which are some military trophies; on
the ceiling are basso relievos, &c. The altar of
Bacchus, preserved here, has given rise to the
opinion of this being the Temple of Bacchus.
Urban VIII. converted it into a church, and dedi-
cated it to St. Urban I. on account of his being
buried here.
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Descending into the valley, anciently called
Egeria, and now la Caffarella, in front of this
temple, is the
GROTTA DELLA NINFA EGERIA,
(Grotto of the Nymph Egeria.)
This is the very ancient and celebrated spot
consecrated by Numa Pompilius, second king of
Rome, to the nymph Egeria and the Muses, and
to which he frequently retired, attracted by the
pleasantness of the wood and the agreeable foun-
tain; and pretended to consult the Nymph and
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receive her oracles, for the government of the
people.
At the extremity of the grotto, which is all adorned
with verdure, is a small recumbent statue; under
this is the source of the water. Around the grotto
are niches, in which were placed the statues of the
Nine Muses; and on the ground are scattered
some fragments of ancient marbles; amongst
which are some Corinthian heads of pillars. The
walls appear extremely ancient, but have been re-
cently repaired.
In the same valley, almost opposite the grotto,
is the
"
TEMPIÓ DEL DIO REDICOLO,
(Temple of the God Ridicule.)
Hannibal, the Carthaginian general, having ap-
proached near Rome in order to attack it, was so
terrified by some vision in this place, that he
quickly raised the siege. This event caused the
foundation of the temple; which a redeundo, that
is, to return, took the name of the god Ridicule.
Festus, lib. vi., describes the situation of this temple,
as being built between the Appian and the Latin
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Ways, four miles from the ancient Porta Ca
pena.
This edifice is square, and is built of brick.
Although it is of ancient origin, the style of the
architecture gives reason to suppose that it was re-
paired or rebuilt at a time when the arts flourished.
It is adorned with pilasters and small windows in
the middle, and two octagon pillars placed on one
side.
Returning to the Appian Way, and taking the
street to the left of St. Sebastian's cathedral, after
walking two miles, appears the
BASILICA DI S. PAOLO,
(St. Paul's Cathedral.)
Constantine the Great built this church at the
request of Pope St. Silvester, in a farm belonging
to Lucina, a Roman matron, on a cemetery in
which the body of St. Paul had once been buried.
Theodosius began to enlarge it in 386; Honorius,
his successor, finished, and several Popes have
since repaired and embellished it. This majestic
cathedral is one of the four possessing a holy door.
The front is adorned with Mosaic, made in the
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14th century, by Peter Cavallini; and a fine
portico, built by Benedict XIII., from the designs
of Anthony Canevari; it is sustained by twelve
columns, of which four are granite. The great
door in the middle is of bronze, and was made at
Constantinople in 1070, at the expense of Panta-
leone Castelli, Roman consul. The interior of
this grand temple is 240 feet long without reckon-
ing the choir, and 138 wide. Its principal deco-
ration consists in 120 pillars, of which 80 divide
the church into five naves: in the middle one are
forty, that is to say, twenty on each side; twenty-
four of these are made out of one piece of the pre-
cious violet marble supposed to have been found in
Adrian's tomb: they are Corinthian, and partly
fluted, thirty-six feet high, and eleven in circum-
ference. The sixteen other pillars are of Parian
marble; and the forty in the two small naves are
of Grecian marble: the two immense ones which
sustain the great arch are of Sabine marble, forty-
two feet high, and fifteen in circumference. Of
the eight in the crossway, seven are of Egyptian
granite, and one of cipollino. Those that deco-
rate the altars are all of porphyry, and thirty
in number. The pavement of the church is
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tions.
formed of marble fragments with ancient inscrip-
Over the great arch of the principal nave
is a Mosaic, made under St. Leo the Great, in
440;
where is seen our Saviour with the twenty-
four elders of the Apocalypse, and the apostles
Peter and Paul. The walls of this nave are all
adorned with ancient pictures, injured by the
damp. There is a series of portraits of Popes,
which St. Leo the Great ordered to be painted
from St. Peter's time to his own. It was continued
by Pope St. Symmacus. Benedict XIV. repaired
these paintings, and added the Popes that were
wanting; this series has since been continued down
to the present Pope, Pius VII., amounting alto-
gether to 253. In the middle of the crossway is
the great altar, under which is kept the body of
St. Paul. This altar is adorned with four columns
of beautiful porphyry which sustain a canopy,
terminated by a Gothic ornament, in form of a
pyramid.
Annexed to this cathedral is a fine cloister, sur-
rounded with double arches, sustained by small
columns, of which a great part are incrusted with
Mosaic, as is also the entablature. Under the
portico are some antique marbles and various in-
scriptions enchased on the walls.
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Advancing about a mile farther, is seen the
CHIESA DI S. PAOLO ALLE TRE FON-
TANE,
(Church of St. Paul of the Three Fountains.)
Three churches were built by the ancient Chris-
tians in this place, called ad Aquas Salvias. That
of the apostle Paul, which is placed on the spot
where he was beheaded, was rebuilt in 1590, by
Cardinal Peter Aldobrandini; the architect was
James della Porta, who decorated it with a fine
front. In the interior are two altars, and the three
springs of water said to have miraculously origi-
nated in the places touched by St. Paul's head
after it was cut off.
Before this church is the one dedicated to Saints
Vincent and Anastasius, built in 624, by Pope
Honorius I., and repaired by S. Leo III. It is
of Gothic architecture, with three naves divided by
pilasters, on which are the Twelve Apostles, painted
in fresco, from the designs of Raphael.
The other church, called St. Mary Scala Cali,
was erected on the cemetery of St. Zeno, in which
more than 12,000 Christians, together with that
saint, were buried; they were all martyred by
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Dioclesian, after having worked at the construction
of his baths. Cardinal Alexander Farnese, in
1582, and afterwards Cardinal Peter Aldobrandini
repaired it, from the designs of Vignola and John
Baptist della Porta. It is of an octagon form, ter-
minated by a cupola. In the choir is a Mosaic,
by Francis Zucca, a Florentine; which is con-
sidered the best modern work of the kind.
☛
Returning towards St. Paul's cathedral, and
taking the great road that leads directly to the city,
after walking a mile, appears the
PORTA S. PAOLO,
(St. Paul's Gate or Door.)
This gate was substituted by Aurelian for the
ancient Porta Trigemina, when he extended the
city walls. It was at that time called Ostiensis,
from being placed in the Via Ostia; its present
name ´is derived from the cathedral near it. Beli-
sarius rebuilt it as it now stands, being eighteen
feet higher than formerly. Near this gate is an-
other one, closed up, as are several of the ancient
gates in Rome. These double doors enabled the
Romans to meet their enemies with double forces,
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or served to accommodate the people, who could
go out at one and enter by the other.
On the left side, at the entrance into the city
close to the wall, is seen the
PIRAMIDE DI CAJO CESTIO,
(Pyramid of Caius Cestius.)
This magnificent sepulchral monument is of a
quadrangular form, made in imitation of the Egyp-
tian: it was built in 330 days, to receive the ashes
of Caius Cestius, according to his will; as is seen
by the inscription on the tomb. This great struc-
ture is incrusted with large flags of marble a foot
in thickness; the pyramid is 113 feet high, and
each side is 89 feet wide at the bottom; it is placed
on a base of travertine about three feet high; the
sepulchral chamber is eighteen feet long, twelve
wide and thirteen high; the ceiling and walls of
this room are decorated with stuccos, amongst
which are painted some elegant figures of winged
females, vases and other ornaments, greatly da-
maged by time. These paintings allude to the
sacred dignity of Caius Cestius, who was one of
those, whose business it was to prepare the solemn
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banquets of the gods. These feasts, called Lec-
tisternia, were held in the temples after signal vic-
tories, or when some great calamity threatened
the Roman republic.
Alexander VII. repaired this pyramid, which
had suffered greatly. In digging on this occasion,
they found two small marble pillars, with their
heads very finely worked and fluted; they were
placed on the west side of the pyramid. Two
bases were also discovered, on one of which was
the bronze foot, now in the Museum of the capitol,
it belonged to the statue of Caius Cestius according
to the inscription on the other base; it further in-
forms us that this Caius Cestius lived in the time
of Augustus, before the one who built the bridge
of that name.
In the plain before this pyramid are buried the
English and other protestants, several of whose
tombs are still to be seen.
A little farther to the left is the
MONTE TESTACCIO,
(Mount Testaccio.)
This mount is so called, because it is formed of
fragments of vases.

309
It is well known that these vases were much
used by the Romans to preserve the waters, wine,
oil, the ashes of the dead, and various other things;
it may therefore be supposed that in the course of
centuries, a mount has been formed which is 163
Several
feet high, and 503 in circumference.
grottos or caves have been made here, which are
From the sum-
delightfully cool in the summer.
mit of this mount there is a very fine view of the
environs. Poussin has made use of this pictu-
resque situation, which has some resemblance to
Egypt.
In taking the great road opposite the Porta S.
Paolo, may be seen, on the right side, a street
which leads to the
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CHIESA DI S. SABBA,
(Church of St. Sabas.)
It is of very ancient origin, having been given to
the Greek monks, when they fled from their coun-
try on account of the persecutions about the sacred
images. In the portico is an antique sarcophagus.
with a basso relievo, representing a wedding. The
church has three naves divided by twenty-four
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pillars, some of which are granite, and others Gre-
cian marble.
Returning to the great road, at some distance,
is the
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CHIESA DI S. PRISCA,
(Church of St. Prisca.)
This very ancient church was built in the same
place where stood the house of St. Prisca, and
where it is said that St. Peter baptized her and se-
veral other pagans, after having converted them to
the christian faith. Pope St. Eutycan consecrated
it in 280. Adrian I., and Calistus III., repaired
it, and Cardinal Benedict Giustiniani made the
front from the designs of Carlo Lombardi, who
gave it the present form; there are twenty-four
antique pillars in the church; some frescos by
Anastasius Fontebuono, and the great altar-piece
is by the Cav. Passignani.
It is supposed that the baths of Decius were
near this church. Some ruins are still to be seen,
and several very fine marbles were found there.
Returning to the Porta S. Paolo, and taking the
street planted with trees, is seen an ancient brick
FIFTH DAY.
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arch much ruined, it is called St. Lazarus,
on account of the small church of that saint,
near it. Some antiquaries are of opinion that.
it is the ancient Porta Trigemina; and others
believe it to be a triumphal arch, raised in honour
of Horatius Cocles, for having quite aione defend-
ed the bridge Sublicius against the Etruscans.
Before mount Aventine, in the place now called
la Marmorata, were the
ANTICHI NAVALI,
(Ancient Navalia.)
This was the name of the Port of ancient Rome,
where the various merchandises that came by sea
to the Tiber, were unladed; the precious Grecian,
Egyptian, and African marbles were also disem-
barked there, from which circumstance it has re-
tained the name of Marmorata to the present day.
In the excavations made in this place, a great
quantity of marble was found, on which was the
date of the expedition, with the name of the person
who sent it, and that of the consul, in order to
know the period of its arrival. It may be conjec-
tured that the work-rooms of several sculptors and
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NEW PICTURE OF ROME.
stone-cutters were near this place, from the num-
ber of appropriate tools found, besides statues,
blocks of marble, &c.
The Emporium was formerly between the old
Porta Trigemina, and St. Paul's; this was the
name given to the place which contained the great
porticos made by M. Æmilius Lepidus, the cus-
tom-house and vast granaries, where the corn that
came from Sardinia, Sicily, and Africa, was
kept.
The situation of modern Rome being changed,
the port has been transported to the opposite shore,
which is called Porto di Ripa Grande (the great
coast.)
Here are seen some vestiges of the
PONTE SUBLICIO,
(Sublicius Bridge.)
:
!.
ĭ
·
This was the first bridge constructed on the
Tiber; it was made by Ancus Martius, and being
all of wood, was called Sublicius, on account of
the beams that composed it. It is supposed that
the Emperor Antoninus Pius was the first who
made it of marble, but in 780 it was washed away
FIFTH DAY.
313
by an inundation of the Tiber, and has never since
been repaired.
On advancing may be seen the magazine where
the salt is purified and sold.
Opposite to this, are some remains of the ancient
salt magazines, which were called Salines.
At a short distance is the road leading to the
MONTÉ AVENTINO,
(Mount Aventine.)
This mount was joined to Rome by Ancus Mar-
tius, fourth king of the Romans. There are va-
rious opinions respecting the origin of its name;
Adventinus, king of Alba, having been buried
there, seems the most probable one.
Besides the famous temple of Diana, the tem-
ples of Juno Regina (queen), and the goddess Bo-
na, as likewise the Armilustrum, stood on mount
Aventine; three churches have been built on these
ancient edifices.
The church of St. Sabina stands on the ruins of
Juno's temple, which was built by Camillus. It
was constructed in 425, and repaired by Sixtus V.
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314
NEW PICTURE OF ROME.
The twenty-four antique fluted pillars that divide
the three naves are of Parian marble, and have fine
Corinthian capitols.
It is believed that the temple of the goddess Bo-
na was in the place now occupied by the church
of St. Mary of the priory of Malta. In this
church is nothing remarkable, except the tomb of
a bishop of the Spinelli family; it is formed of an
ancient sarcophagus, with a basso relievo repre-
senting Minerva and the nine Muses. Adjoining
this church is a garden with a fine cassino, which
presents a charming view of Rome.
The best antiquaries think that the Armilustrum
stood on the spot where the church of St. Alexis is
situated. It was destined for military exercises.
According to Plutarch, king Tatius was buried
there.
The cavern of Cacus, and temple of Hercules,
were probably on the declivity of this mount, on
the side towards Monte Testaccio. He was a fa-
mous robber, who having stolen the oxen of Her-
cules, and hid them in his cavern, was killed by
him on the very spot; this action so greatly
pleased the Romans, that they erected a temple to
FIFTH DAY.
315
Hercules, conqueror, on the same cavern. The
fine statue of the infant Hercules, now in the capi-
tol museum, was found there.
Descending from mount Aventine, and following
the street to the right, appears the
CHIESA DI S. MARIA IN COSMEDIN,
(Church of St. Mary, in Cosmedin.)
This church is supposed to be built on the re-
mains of the Temple of Patrician Pudicity, into
which none but the Roman patricians could enter.
Of this temple, only eight pillars are remaining;
five near the front of the church, one in the sacristy
and two on the left side of the entrance; they are
of Grecian marble, of the Corinthian order, and
are seven feet in circumference; from the beauty
of the workmanship, it is conjectured they were
made in the time when the arts flourished.
Pope St. Adrian I. repaired this church in 772,
and ornamented it very magnificently, from which
it took the name in Cosmedin, a Greek word sig-
nifying ornament. It is now vulgarly called Boc-
ca della Verità (mouth of Truth) on account of a
large round piece of marble, shaped somewhat like
1.
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316
NEW PICTURE OF ROME.
2
a head, with eyes, and open-mouthed, placed un-
der the portico: the common tradition is this, that
the hand was placed there in swearing, and that
whoever swore falsely, was unable to withdraw it.
Some have supposed this marble to be the image
of Jupiter Ammon, on which the hand was laid in
taking an oath; but it seems more probably to
have been the mouth of some aqueduct or foun-
tain.
The interior of the church is in the Gothic style,
it has three naves, divided by twelve antique mar-
ble pillars; the pavement is composed of different
hard stones. There are two ancient pulpits, and
an old pontifical marble seat in the choir: also an
image of the Virgin, which was brought from
Greece. The great altar is isolated, and decorated
with a canopy sustained by four pillars of Egyptian
granite, and an antique urn, likewise of red gra-
nite.
On the square before this church is a fine foun-
tain, and the
FIFTH DAY.
317
TEMPIO DI VESTA IN OGGI CHIESA
DI SANTA MARIA DEL SOLE,
(Temple of Vesta, now Church of St. Mary of the
Sun.)
This is supposed to be the temple of Vesta,
built by Numa Pompilius, on the shore of the Ti-
ber, and which, having suffered in the conflagra-
tion under Nero, was repaired by Vespasian or
Domitian his son.
This edifice was very magnificent; the external
wall of the circular cell is entirely of Grecian mar-
ble, so finely joined together, that it appears all of
one piece. The nineteen fluted Corinthian pillars
of Parian marble on the outside, are raised on
some steps, and form a circular portico, 156 feet
in circumference; one pillar, the entablature, and
some other ornaments are wanting. The diameter
of the cell is twenty-six, that of the pillars is nearly
three feet, and their height with the base and head,
is thirty-two. As soon as this elegant temple was
converted into a church, it was dedicated to the
Virgin, under the name of St. Mary of the sun.
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2 E 3
318
1
I
The great drain, or sewer, which we mentioned,
near the arch of Janus, here discharges itsel into
the Tiber.
Almost opposite this edifice is the
NEW PICTURE OF ROME.
TEMPIO DELLA FORTUNA VIRILE IN
OGGI CHIESA DI S. MARIA EGIZIACA.
(Temple of Fortuna Virile, now Church of St. Mary
of Egypt.)
This fine and very ancient temple was built by
Servius Tullius VI., king of Rome, out of gratitude
to Fortune, on account of his having been born a
slave, and afterwards raised to royalty. It was
rebuilt during the time of the arts, in an oblong
form. It is of travertine, and is surrounded with
eighteen pillars of the same stone; six of which
formed a portico in front. The other columns are
on the sides, they are of the Ionic order, and
twenty-six feet high; they are covered with stucco,
and half enchased in the wall, which is also of
travertine; the columns sustain an entablature,
adorned with children, heads of oxen, and cande-
labras; these ornaments are all of stucco, but are
greatly damaged by time. This temple stands on
a high base which has only lately been discovered.

319
Under Pope John VIII., about the year 872,
this ancient temple was converted into a church,
and dedicated to the Virgin. The great altar-
piece, representing St. Mary of Egypt, is one of
the finest works of Frederic Zuccari. In this
church is a model of the Holy Sepulchre at Je-
rusalem.
i
FIFTH DAY.
•
Opposite this church is an old edifice, adorned
with various fine fragments of antiquity; it is com-
monly (but without any reason) called Pilate's
house. The inscription on the street-door says,
that it belonged to Nicholas, son of Crescenzio
and Theodora, in the 14th century; and not as is
by some imagined, to Nicholas di Lorenzo, com-
monly called Cola de Rienzo, tribune of the Ro-
man people.
Almost opposite this house, on the Tiber, are
seen some remains of the
!
PONTE PALATINO DETTA IN OGGI
PONTE ROTTO,
(Palatine Bridge, now called Broken Bridge.)
This was the first bridge in Rome built of stone.
It was begun by M. Fulvius, censor, and finished
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320
NEW PICTURE OF ROME.
by Scipio Africanus and L. Mummius, censors.
It was called Palatine, from Mount Palatine in the
neighbourhood; also Senatorial, because the se-
nators passed over it to consult the books of the
Sibyls when they were kept on Mount Janicule.
It was repaired by Julius III., having been injured
by an inundation and was again restored on a
similar occasion by Gregory XIII.: but since the
great overflow in 1598, which carried away half
of it, it has never been repaired.
On the shore of the Tiber, near this place, is
the mouth of the great drain; and also the remains
of a wall formed of great blocks of peperino; these
were made by Tarquin Superbus, who fortified the
coast with this wall, and rendered it so beautiful
that the quay was called Pulchrum Littus.
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SIXTH DAY.
On the other side of the Tiber, called Traste-
vere, are to be seen various objects interesting to
strangers. This place was fortified and added to
the city, by Ancus Martius, fourth king of Rome,
in order to prevent the enemy's incursions in that
part. It was first inhabited by people from Latium
and other countries, conquered by that king. Thé
soldiers of Augustus's naval armament at Ra-
venna were quartered there; for this reason Tras-
tevere took the name of The City of the Ravanese.
One of the bridges, leading to Trastevere, is the
I
PONTE FABRIZIO IN OGGI DETTO
QUATTRO CAPI,
(Fabricius's Bridge, now called Quattro Capi.)
According to the ancient inscriptions on the
arches of this bridge, it was constructed in the
¿

322
NEW PICTURE OF ROME.
year of Rome 733, by the Edile Fabricius. It
took the modern name of Quattro Capi, on account
of the four hermes of Janus Quadrifront, formerly
on this bridge, one of which is now opposite the
church of St. John Colabita, the others are near
the beginning of the bridge; next to which is
the
ISOLA TIBERINA,
(Isle of Tiber.)
After the expulsion of Tarquin Superbus, the
Roman senate delivered all his possessions to the
people, who, in order to vent their rage against the
tyrant, threw into the Tiber the sheaves of corn
that had been reaped in one of his fields near that
river, which was afterwards called the Field of
Mars. These sheaves were so numerous that the
stream could not carry them away; they united
with the sand of the river, and gradually formed a
little island, which was fortified by a stone ram-
part; and since that time has been inhabited.
In the year of Rome 461, the plague having
made great ravages in the city, the senate, after
consulting the books of the Sibyls, sent deputies
1
SIXTH DAY.
.323
to Epidaurus, a town of Peloponnesus, where
stood the famous Temple of Esculapius. The de-
puties obtained a serpent, the symbol of that god,
and brought it to Rome, but the plague disappeared
as soon as they landed in this island. A temple was
therefore erected there in honour of Esculapius,
and an hospital. The island was again fortified
with large square stones; and formed like a ship,
in memory of the one which brought the serpent.
to Rome. A serpent was also sculptured on the
stone, and may still be seen by the side of St. Bar-
tholomew's church when the tide is low. The
Temple of Esculapius was placed on the stern of
this ship; on the ruins was built the
ܢܚ
'
CHIESA DI S. BARTOLOMEO,
(Church of St. Bartholomew.)
The origin is extremely ancient, the body of
St. Bartholomew having been placed there about
the year 983. It was rebuilt under Pope Gelasius
II. in 1118, and afterwards repaired by Cardinal
Santorio, under the direction of Martin Lunghi,
who re-made the front, with four granite pillars.
The three naves of the interior are divided by
1.
324
NEW PICTURE OF ROME.
twenty-four granite pillars, supposed to have be-
longed to the ancient Temple of Esculapius. The
great altar is decorated with four porphyry co-
lumns, and a porphyry urn ornamented with lion's
heads, in which is preserved the body of the holy
apostle. The pictures of the first chapel are by
Nicholas Ricciolini; the paintings in the next
chapel are by Anthony Caracci, as also those in
the other chapels, which have been very badly
re-touched.
1
In a small garden of the annexed convent, on a
wall is seen enchased the base and inscription of
the statue of Esculapius, which was found in this
place, and has been sent to Naples. Near this in-
scription is another belonging to a statue of Simon
Sancus. This inscription has occasioned a great
mistake, some persons imagining it to have apper-
tained to the statue of Simon, the magician ;
without considering that in the ancient Sabine lan-
guage this name signified Hercules
The Temples of Faunus and Jupiter Lycaonius
were also in this island; some ruins, consisting of
large blocks of stone, are visible near the church,
and the hospital of Benfratelli.
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SIXTH DAY.
325
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Beyond this isle is the Trastevere, on the other
side of the
PONTE CESTIO IN OGGI DETTO DI
S. BARTOLOMEO,
(Cestius Bridge, now called St. Bartholomew's.)
This bridge was constructed by the consul Ces-
tius, during the republic. The two similar inscrip-
tions on the parapets of the bridge prove that it
was repaired about the year 375, A. D., by the
Emperors Valentinian, Valens, and Gratian. It
is now called St. Bartholomew's bridge on account
of the neighbouring church.
Taking the road opposite this bridge, and turn-
ing down the second lane to the left, may be seen
the Ponte Rotto, mentioned in page 319. From
this bridge there is a very fine and picturesque
view; on the right side is Mount Aventine; on
the other, the Isle of Tiber; and opposite, the
Temple of Vesta, Servius Tullius" walls, the
mouth of the great sewer, and that of the Crabra
water.
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326
NEW PICTURE OF ROME.
At a short distance from the bridge, is the
•
CHIESA DI S. CECILIA,
(Church of St. Cecilia.)
It was built on the spot where the house of
St. Cecilia stood. Pope St. Urban I., consecrated
it in 230, and St. Pascal I., rebuilt it in 821. It
was afterwards repaired and altered to its present
form. Clement VIII. gave it to the Benedictine
nuns, who have built a large convent near it.
/
In the court before the church, is an antique
marble vase, remarkable for its size and fine
form. The porch is sustained by four pillars,
two are of red granite. The interior of the church
has three naves divided by twenty-four pillars,
and ornamented with gilt stuccos and paintings.
The great altar is decorated with a marble canopy,
sustained by four fine antique columns of black
and white marble. Between these columns is a
small round picture, believed to be of Caracci's
school. Near the altar is a tomb in which is pre-
served the body of St. Cecilia; it is decorated with
alabaster, lapis lazuli, jasper, agate, and gilt bronze.
Near it is a fine statue of St. Cecilia, sculptured

SIXTH DAY.
327
J
by Stephen Maderno. The pavement around the
altar is of alabaster, intermixed with precious
stones. The ceiling of the choir is adorned with
antique Mosaics. Beyond the Chapel of the
Crucifix, is the room in which St. Cecilia was
martyred. The old leaden tube, and other ap-
paratus for heating the room, are still to be seen.
The landscapes in this room are by Paul Brilli.
Opposite the side door, is seen the church of St.
Mary dell' Orto, built in 1512 by the celebrated
Julio Romano; except the front, which is by
Martin Lunghi.
The street, opposite this church, leads to the
PORTO DI RIPA GRANDE,
(Port of the Great Coast or Shore.)
Innocent XII. constructed this port in 1692;"
the merchandise that comes by Lea is landed
here. He likewise erected the Custom-house, de-
corated with a fine portico by Matthias de Rossi,
who built the hospital of St. Michael, opposite
this port.
From this place are seen, across the Tiber,
Mount Aventine, some remains of the ancient
• 2F2
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328 NEW PICTURE OF HOME.
Navalia, and other edifices, and vestiges of the
ancient Sublicius bridge. Besides the memorable
action of Horace Cocles, who defended this bridge
quite alone, it is remarkable from the circum-
stance of Clelia, a young girl of a noble Roman
family, swimming across the Tiber at the head of
her companions, to escape from the Etruscans.
The whole extent of the quay is rendered very
beautiful, by a prospect of the
OSPIZIO DI S. MICHELE,
(St. Michael's Hospital.)
This great edifice was begun in 1686, under
Innocent XI., from the designs of Matthias de
Rossi, and augmented by Clement XII., for the
maintenance and instruction of poor children
in various arts. Sick men and women of an ad-
vanced age are also received. There is a house
of correction both for boys and girls; also a nun-
nery for poor girls, and a church dedicated to the
archangel St. Michael.
In the street between this hospital and the
custom-house, is the
SIXTH DAY.
329
PORTA PORTESE,
(Portese Gate.)
This was substituted for the ancient Portu-
ense gate by Urban VIII., in 1643, when he
encompassed, the Trastevere, with new walls. The
old gate was called Portuense, because it led to
the Roman port; it was about fifty steps nearer
the city, and double, like many others in ancient
Rome. According to the inscription, it was re-
built by the Emperors Arcadius and Honorius,
at the time of repairing the Roman wall.
In the street to the left of this gate, is the
CHIESA DI S. FRANCESCO,
(Church of St. Francis.)
;
It was given in 1229 to St. Francis d' Assisi;
and afterwards rebuilt by Cardinal Lazarus Pal-
lavicini; Matthias de Rossi was the architect. In
the chapel of the cross is a fine picture of the
Virgin, the infant Jesus, and St. Ann, by Baciccio;
and a statue of Louisa Albertoni, by Cav. Ber-
nini.
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330
NEW PICTURE OF ROME.
In the adjoining Franciscan monastery, is the
chapel, or room of St. Francis d'Assisi, contain-
ing a number of relics.
In the great road opposite, on the right side, is
the church of S. S. Quaranta (Forty Saints), and
farther on, the
CHIESA DI S. MARIA IN TRASTEVERE,
(Church of St. Mary in Trastevere.)
!
It is supposed, that in this place stood the
ancient Taberna Meritoria, a sort of hospital for
invalid soldiers, who had served their country
well. This edifice having been abandoned, was
granted to the Christians by Alexander Severus ;
and in 224, Pope St. Calixtus erected a small
church there, which was the first one dedicated
to the Virgin. After various repairs, it was re-
built by Innocent II., and altered to its present
form from the designs of Bernardino Rossellino;
Clement XI. added the portico, which is sustained
by four granite pillars.
The interior of this magnificent church has
three naves, divided by twenty-two thick granite
pillars, besides six others, which sustain a large
3
SIXTH DAY.
331
architrave. The pavement is of porphyry, antique
green, and other fine marbles. In the middle of
the ceiling, which is finely sculptured and gilt,
is an Assumption of the Virgin, a capital perform-
ance of Domenichino. The chapel at the end of
the small nave to the right, was made from the
designs of that master, who has painted, on one
part of the ceiling, an uncommonly fine Child
strewing flowers.
The great altar is isolated, and has four por-
phyry pillars which support the canopy. The
choir is adorned with Mosaics: those at the top
representing our Saviour, the Virgin, and different
Saints, were made in 1143; the lower Mosaics,
where are seen the Virgin and Twelve Apostles,
are of a later date, by Peter Cavallini.
On the last pilaster, to the left of the great
altar, are two antique Mosaics; one represents
different birds, and the other a sea-port. Amongst
the tombs are those of Cav. Lanfranco and Ciro
Ferri, excellent painters; and of John Bottari,
well known in the republic of letters.
In the street almost opposite this church, be-
yond St. Gallican's hospital, is the

332
1
NEW PICTURE OF ROME.
!
:
CHIESA DI S. GRISOGONO,
(Church of St. Grisogono.)
!
It is supposed to have been first built under
Constantine the Great. After various repairs, it
was rebuilt by Cardinal Scipio Borghese in 1623;
the architect was John Baptist Soria, who made
a fine portico, sustained by four Doric pillars of
red granite.
In the interior of this fine church are three
naves divided by twenty-two granite pillars, taken
from ancient edifices. The great ceiling of the
choir is sustained by two exquisite porphyry
Corinthian columns. The grand altar is decorated
with a canopy, supported by four precious
alabaster columns. On the middle of the great
ceiling is an exquisite painting by Guercino, uf
St. Grisogono transported into Heaven; and over
the great altar is a Virgin and Child, by Cav.
Arpino.
Turning back, and repassing the church of
St. Mary in Trastevere, on the left side is seen the
church of St. Mary della Scala, so called, on
account of an image of the Virgin which was for-
-
1
333
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SIXTH DAY.
merly placed on the staircase of a neighbouring
house. The front was built by Octavio Mas-
cherino, and the interior by Francis da Volterra.
On the great altar is a rich tabernacle, formed of
precious stones, and decorated with sixteen small
pillars of oriental jasper. St. Theresa's chapel
is adorned with four columns of antique green
marble, and two basso relievos; the one representing
the Saint, is by Philip Valle, the other is by
M. Stodz. The pictures of the choir are by
Cav. Arpino.
The street, to the left, leads to
MONTE GIANICOLO,
(Mount Janicule.)
This mount is so named from Janus, king of
the Aborigines, who is said to have built his city
opposite the capitol, then inhabited by King
Saturn. Ancus Martius joined to Rome a part of
this mount, which extends as far as the Vatican.
Under this mount, according to Livy, was the
sepulchre of Numa Pompilius; two stone sarco-
phagi having been found there, with Greek in-
scriptions; one of which indicated that it enclosed
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334
{
the body of Numa, who died 535 years before this
discovery, but it contained neither bones nor ashes;
the other described the books which it held, com-
posed by that king, about religion, and seven La-
tin and as many Greek books were actually found,
written on the papyrus of Egypt.
This mount, on account of its yellow sand, was
also called Mons aureus (gold mount) which has
since been corrupted into Montorio.
On the mount is the
NEW PICTURE OF ROME.
CHIESA DI S. PIETRO, DETTA IN MON-
TORIO,
(Church of St. Peter in Montorio.)
This church, supposed to be one of those
founded by Constantine the Great, after frequent
repairs, was rebuilt towards the end of the fifteenth
century, by Ferdinand IV. of Spain, who employed
Baccio Pintelli.
The paintings of the first chapel to the right are
by Sebastian del Piombo, from the designs of
M. Angelo Bonarotti. The Conversion of St.
Paul, on the altar of the chapel, beyond the side
door, is by George Vasari; the statues are by Bar-
SIXTH DAY.
335
tholomew Ammanato. The paintings of St. John
Baptist's chapel, on the other side of the great al-
tar, are by Francis Salviati: the fine statues of St.
Peter and St. Paul are by Daniel da Volterra. The
fine paintings of the following chapel are supposed
to be by the celebrated Vanderstern, a Fleming, but
it has greatly suffered. The picture in the last cha-
pel, representing the prints (of nails) of St. Fran-
cis, is by John Vecchi.
But what renders this church one of the most
renowned in Rome, is the wonderful picture of the
Transfiguration, by the immortal Raphael, on the
great altar; it represents our Saviour on mount Ta-
bor, resplendent with glory, together with Moses
and Elias; and St. Peter, St. James. and St. John,
prostrate on the ground. Cardinal Julius de Me-
dicis ordered this painting to be done; it was the
last and finest work of the great Raphael.
In the middle of the cloister of the contiguous
convent, is a very pretty little temple of a round
form; it has a cupola sustained by sixteen Doric
pillars of black granite: the fine architecture is by
the celebrated Bramante. The aforementioned
Ferdinand IV. erected this temple on the very spot
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-
336
NEW PICTURE OF ROME.
where, according to tradition, St. Peter received
the palm of martyrdom.
Somewhat above this church is the
FONTANA
PAOLINA,
VOLGARMENTE
DETTA DI S. PIETRO IN MONTORIO,
(Pauline Fountain, commonly called St. Peter's in
Montorio.)
V
✩
This fountain contains more water, and is larger
than any in Rome. It was constructed by John
Fontana and Stephen Maderno, with the materials
of Nerva's Forum, under Paul V., in 1612. It is
adorned with six Ionic granite columns, on which
is an attic, with an inscription in the middle, and
the Pontiff's arms above. Between these columns
are two small and three very large niches, from
which three currents of water flow. In the two
others are dragons, who also spout water into a
very large marble basin. This great quantity of
water was conducted to Rome by Trajan, for the
benefit of Trastevere service, and was called Saba-
tina, because it proceeds from Lake Sabatino, now
Bracciano. It took the name of Pauline water,
i
5
SIXTH DAY.
337
from Paul V., who, after repairing the ancient con-
duits, brought it to Rome from Bracciano and An-
guillara, a distance of thirty-five miles. These wa-
ters pass into different canals, and serve to turn
corn, paper, and other mills.
Behind this fountain is the Botanic garden, made
by Alexander VII., for the study of simples. A
professor of Botany in the College della Sapienza
(Sapience) during the months of May and June,
visits it twice a week to make observations and
particular demonstrations.
At the summit of the mount is the
PORTA S. PANCRAZIO,
(Gate of St. Paneras.)
It was anciently called Janiculense, from the
mount on which it is placed; it was afterwards
named Aurelian, from the consul Aurelius, who
rebuilt it, and made the road called ria Aurelia.
Its present name is derived from the church to
which it leads. Urban VIII. rc-made this gate
from the designs of Anthony de Rossi.
On quitting this door, on the right side is seen
the cassino of the villa Giraud, of which the archi-
2 6

338
tecture is very singular, being in the form of a
•
ship.
NEW PICTURE OF ROME.
It was made from the designs of Basil Bricci, and
his sister Plautilla.
At a small distance is a charming cassino, be-
longing to the villa Corsini, constructed by order
of Clement XII., while Cardinal, from the designs
of Nicholas Salvi.
Continuing the road to the left, supposed to be
the ancient Via Vitellia, is seen the
CHIESA DI S. PANCRAZIO,
(Church of St. Pancras.)
It was founded by Pope St. Felix I., about the
year 272, on the cemetery of St. Calepodius.
After being repaired by several Popes, Cardinal
Louis Torres rebuilt it in 1609, with three naves,
divided by pilasters.
Returning towards the villa Corsini, and taking
the left road formerly called Via Aurelia, is seen
the villa Torlonia, and after passing under the
arch of the aqueduct of the Pauline water, appears
on the left side the

SIXTH DAY.
339
VILLA DORIA PAMFILI.
This delightful villa, now belonging to the noble
family of Doria, was constructed under Innocent
X. by Prince Pamfili; Algardi was the architect.
It is decorated with long walks, groves, gardens,
charming fountains, and a beautiful lake with
waterfalls, and a sort of amphitheatre, adorned
with small fountains, statues and antique basso re-
lievos; in the amphitheatre is a circular room, in
which is seen a marble faun, who plays different
airs on his flute, effected by a machine, which, by
means of the water, moves a kind of organ. This
villa is five miles in circumference, and is supposed
to stand on the site of the emperor Galba's gar-
dens.
The cassino, made from the designs of Algardi,
is very magnificent; it is adorned with statues,
busts, and antique basso relievos; amongst whịch
may be distinguished the statues of Marsyas, Eu-
terpe, an Hermaphrodite, a young Hercules, and
the bust of the famous Donna Olympia, by Al-
gardi; also, a fine painting of Venus, by Titian.
Returning to the city, at the foot of mount Ja-
2 G 2
340
nicule, on the left side is the Septimian gate, made
by Septimus Severus, and rebuilt by Alexander VI.
This gate leads to the fine long street called la
Lungara, on the left side of which stands the
NEW PICTURE OF ROME.
PALAZZO CORSINI,
(Corsini Palace.)
This magnificent palace, in which Christina,
queen of Sweden, lived, and died in 1689, came
into the possession of the illustrious family of Cor-
sini, under Clement XII.; it has been so much en-
larged from the designs of Cav. Fuga, that it is
become one of the principal in Rome. A magni-
ficent double staircase leads to the two floors; the
first is decorated with a rich collection of pictures;
of which we shall mention the best.
In the first antichamber is a portrait by Bron-
zino, and a St. Catherine of Geneva, by Cav. Be-
nefiale; under this, are two landscapes, by Nicho-
las Poussin, and two by Michael Angelo delle
Bambocciate; an antique Mosaic, representing a
ploughman; also a Mosaic, a copy from a picture
by Guido: there is likewise an antique sarcopha-
SIXTH DAY.
341
gus with basso relievos, representing Nereids and
Tritons.
In the second room is a large picture, by Salva-
tor Rosa, of Tityus, with the Vulture; St. Peter,
denying, by M. Valentino; a St. Jerome, by John
Bellino; two small landscapes of Poussin's school,
and a holy family, by Simon da Pesaro. There is
also a very fine bust of Seneca, and another of an
unknown man.
In the gallery is an uncommonly fine Ecce Homo,
by Guercino; a portrait of Rubens, by Campigli;
St. Peter healing St. Agatha, by Lanfranco; a na-
tivity of the Virgin, by Annibal Caracci; a holy
family, by Baroccio; a St. Jerome, by Guercino ;
a Virgin and Child, by Caravaggio; a Lucretia, by
Guercino; two landscapes, by Salvator Rosa; a
nativity, by Vandyke; a holy family, by Frate;
the Woman of Samaria, by Guercino; a holy fa-
mily, by Garofolo; St. Bartholomew, by Cav. Ca-
labrese; a hunter, by Wouvermans; the Marriage
of the Virgin, by Paul Veronese; a grotesque
painting, by Teniers; a Madona and Child, by An-
drew del Sarto; Apollo, Mercury, and other
deities, by Albano; a portrait of Julius II., by
Raphael a sketch taken from some event in Ari-
•
2 G 3

342
ދ
osto, by Lanfranco; a portrait of Philip II., by
Titian.
On the other side of the windows in this gallery
is a very striking manger, by Lanfranco; the mar-
riage of St. Catherine, by Paul Veronese; a nati-
vity, by Guercino, much in the manner of Schi-
done; Venus and Cupid, by Albano; a visitation,
by Giorgione; Jesus carrying the cross, by Garo-
folo; a kitchen, by Teniers; an old man reading,
by Guido; St. Andrew, by Annibal Caracci;
another old man, by Guido; a fine small picture,
by Castiglione; a battle, by Borgognone; two gro-
tesques, by Cerquozzi; a St. Francis, by Guido;
a half figure of a woman, by the same; a woman,
decorating herself, by Seraceni; and a St. Martin,
by Borgognone. In this gallery are also an an-
cient curule chair, with basso relievo; and a sta-
tue, representing Sleep.
NEW PICTURE OF ROME.
1
In the next room, by the side of the door, is a
small painting of a hare, an exquisite performance
of Albert Duro; Jesus carried to the Sepulchre,
by Louis Caracci; St. Francis, by Benefiale;
some Gamesters, by Cigoli; the Life of a Soldier,
in twelve small pictures, by Callot; eight crayons,
by Luti; a Madona and Child, by Sassoferrato; a

343
Virgin, by Andrew del Sarto; a portrait of a
Woman, by Julio Romano; a Village Festival, by
Breugel; two small pictures, by Vandervert; two
Gothic Views, by Peter Nef; an Annunciation,
by Bonarotti; a Venus, Cupid, and Graces, by
Albano; a Study of a Head, by Rubens; some
crayons, by Rosalba; a Madonna and Child with
St. Joseph, by Pierin del Vaga; a portrait of
Paul III. whilst cardinal, by Titian; St. Jerome,
by the same; a Noli me tangere, by Baroccio; St.
Andrew on the Cross, by Andrew Sacchi; the
Crucifixion of St. Peter, and a St. John Baptist,
by Guido; an Annunciation, and two small pic-
tures, by Guercino; the celebrated Herodiad, by
Guido; Jesus before Pilate, by Vandyke; and a
Chase of Wild Beasts, by Rubens.
In the next room is a Holy Family, by Bona-
rotti; some small pictures near the ceiling; a
Holy Family, by Simon da Pesaro; another by
Bassano; an Ecce Homo, by Guido; a Holy
Family, by Parmigiano; two views of Rome, by
Pannini; a St. John, by Guido; a Virgin, by Al-
bano; a Holy Family, by Schidone; and a small
Manger, by Bassano.
In the adjoining room are a number of portraits,
SIXTH DAY.
344
NEW PICTURE OF ROME.
a
the following are worthy of notice: one of Fulvio
Testi, by Mola; the portrait of a young man, by
Holbens; three by Vandyke; a Doge of Venice,
by Tintoretto; a picture of à Cardinal, by Albert
Duro; three Cardinals, one by Scipio Gaetano,
the others, by Domenichino; Innocent X., by
Diego Velasquez; a portrait, by Rubens; the two
Sons of Charles V., by Titian; St. Joseph and the
Virgin, by Baroccio; a portrait, by Giorgione;
and two small grotesques, by Teniers.
;
In the last room but one is a Magdalen, by
Lanfranco; two landscapes, by Salvator Rosa; a
David, by Guido; Jesus in the Garden, a fine
copy from Coreggio; a small picture, by Salvator
Rosa; the Woman taken in Adultery, by Titian
two landscapes, by Orrizonte; two exquisite land-
scapes, by Gaspard Poussin, and another, by
Breugel; two Battles, by Borgognone; St. Sebas-
tian, by Rubens; a Virgin and Child, by Smarig-
lios; and a Homer, by Mola.
In the last room is a large Mosaic, representing
Clement XII. with Cardinal Neri, his nephew; a
marble bust of that Pope; a landscape, by Ni-
cholas Poussin; and another, by Michael Angelo
delle Bambocciate; a Virgin, and an Ecce Homo,
t
SIXTH DAY.
345
by Guido; and a portrait, by Simon de Pesaro.
In the upper rooms are a number of fine paint-
ings by good masters.
This palace also contains a celebrated library
which occupies eight rooms; it is remarkable for
a rich collection of books printed in the 14th cen-
tury; and a set of very rare prints, which form
about 400 volumes.
Adjoining this palace is a delightful villa at the
declivity of Mount Janicule; in the highest part is
a Cassino which presents a view of the whole city
of Rome. At this place is supposed to have been
the country-house of Tullius Martial, according to
Martial his cousin : Hinc septem dominos videre
montes, & totam licet æstimare Romam.
Almost opposite the Corsini Palace is the
CASSINO FARNESE, CALLED THE FARNE-
SINA.
It was a sort of country-house built by Au-
gustine Chigi, a famous banker, from the fine de-
signs of Balthasar Peruzzi; in the time of Leo X.,
who was entertained with a grand repast in it.
The Farnese dukes afterwards possessed it, and it
now belongs to the court of Naples.

346
NEW PICTURE of Rome.
What renders this Cassino very interesting is the
fable of Cupid and Psyche, painted in fresco on the
ceiling of the first hall, by the best pupils of the great
Raphael, from his own designs; the Galatea, in
the room contiguous, is by himself. The fable
of Psyche is thus combined: of the two great pic-
tures, in the middle of the ceiling, in one is the
Assembly of the Gods, where Venus and Cupid are
addressing Jupiter; Mercury, without waiting for
the decision, presents a cup of ambrosia to Psyche
to render her immortal. In the other picture is
represented the Marriage of Cupid and Psyche,
which is celebrated in Olympus by a general ban-
quet of the gods.
In ten triangular pictures around this cieling is
represented the whole plot of the fable, till the
moment of the marriage: in the first picture, to
the left at entering, is Venus pointing out Psyche
to her Son, commanding him to make her feel the
most ardent passion for the vilest of mortals as a
punishment for her presumption in loving him.
In the next picture is Cupid shewing Psyche to the
Three Graces, companions to Venus, as if wishing
to prove her exquisite beauty. Raphael executed
*
b

347
part of this picture himself, especially the back of
one of the Graces, which is admirably done. In
the third picture is Venus quitting Juno and Ceres,
who are pleading in favour of the unfortunate
Psyche. In the following picture is represented
Venus enraged, in her car drawn by four doves,
going to entreat Jupiter to send Mercury in pur-
suit of the fugitive Psyche, in order to vent her
rage on her. In the fifth, is seen Venus before Ju-
piter making her request. The sixth picture re-
presents Mercury publishing the orders of Jupiter,
and the rewards promised by Venus to any one
who shall deliver Psyche into her hands. Next is
the beautiful Psyche returning from hell, carried
in the air by three little Loves, with the casket
given her by Proserpine, to appease the wrath of
Venus. Then is seen Psyche presenting the casket
to Venus. The ninth picture represents Cupid com-
plaining to Jupiter of his mother's cruelty, and
requesting permission to espouse Psyche ; Jupiter
grants it, and kisses his forehead. In the last pic-
ture is seen Psyche conducted to Olympus by
Mercury at Jupiter's command. There are also
fourteen other triangular pictures by the sides of the
others; representing a number of little Loves car-
SIXTH DAY.

348
rying their attributes disguised as spoils in triumph,
alluding to the force of love, which conquers every
thing.
In the next room is the celebrated Galatea,
painted in fresco, by Raphael; she is represented
standing on a sea-shell, drawn by two dolphins,
preceded by one Nereid, another carried by a
Triton following. The two pictures of the ceiling,
one representing Diana in her car, drawn by two
oxen, and the other, the fable of Medusa, are by
Daniel da Volterra and Sebastian del Piombo, who
also painted the ornaments and figures in chiaro
scuro, which perfectly imitate basso relievo. The
fine colossal head drawn in charcoal, on one side
of this room, is by Bonarotti, not done according
to a common opinion, to reprove Raphael for the
smallness of his figures, but merely not to remain
idle whilst he waited for his pupil Daniel, whose
works he had gone to see.
In the upper story are two rooms painted in
fresco the architectural paintings in the first room
are by Balthasar Peruzzi; Vulcan's Forge over the
chimney, and the frieze, are of Raphael's school.
The fresco in the second room, opposite the
window, representing Alexander the Great offering
NEW PICTURE OF ROME.
SIXTH DAY.
349
::
a crown to Roxana, as also the one on the middle
wall, are by John Anthony of Soddoma.
In continuing along the Strada Lungara, and
ascending Mount Janicule by a small street to the
left, appears the Villa Lante; the cassino is of the
fine architecture of Julio Romano, who painted
one of the rooms.
Returning to the Strada Lungara, is seen the
Palazzo Salviati, built by Nanni Bigio, a Floren-
tine architect; Henry III. of France lived there
for some time.
By the side of this palace is a strect leading to
Mount Janicule, on which is the
CHIESA DI S. ONOFRIO,
(Church of St. Onuphrius.)
It was erected in 1439, by Nicholas da Forca
Palena, a diocese of Sulmona, for the hermits of
the congregation of St. Jerome.
Under the portico are three lunettes representing
events in St. Jerome's life, by Domenichino. The
Virgin and Child, on the exterior door, are also by
that great master.
In the second chapel, to the right at entering, is
a Madonna of Loretto, by Annibal Caracci, in
2 11
350
NEW PICTURE OF ROME.
•
▸
another chapel is a St. Jerome, by Cav. Ghezzi.
On the great altar the under pictures are by Bal-
thasar Peruzzi, and those above are by Pinturicchio.
In this church are preserved the remains of two
celebrated Italian poets, Torquato Tasso, and Alex-
ander Guidi, whose tombs are to be seen here;
that of Tasso is to the left of the entrance door
he died in 1595, in the adjoining monastery; the
other tomb is in the chapel on the same side, op-
posite the monument of the Marchese Joseph Ron-
dinini, which is adorned with sculpture and his
picture in Mosaic.
In the monastery is a Virgin, painted in fresco,
by the celebrated Leonardo da Vinci. From the
garden terrace, is a picturesque view of the city
and the environs, as far as the sea.
Near the Strada Lungara, is the
PORTA S. SPIRITO,
(Gate of the Holy Spirit.)
Pope St. Leo XIV. enclosed the walls of the
Vatican in 850, which took the name of Citta
Leanina. This was the principal of the six gates
made by that pope, it was called di Borgo.
Paul III. having repaired the bulwarks of Rome,

SIXTH DAY.
351
rebuilt this gate, and employed Antonio da San-
gallo, who died before he finished it. When
Urban. VIII. extended the city walls to enclose the
rest of mount Janicule, this door became useless
as well as the Septimian. It is called S. Spirito,
from the neighbouring hospital.
Inside of the bulwarks, opposite the mad-house,
is the Villa Barberini, where are to be seen some
remains of a Mosaic pavement, and the ruins of
an ancient villa. From the cassino is seen a
very fine prospect, greatly admired by landscape
painters.
Returning back along the Strada Lungara, and
passing through the Septimian gate, and taking the
street to the left, one reaches the
PONTE SISTO,
(Sixtus' Bridge.)
The origin of this bridge is not known, some
say it was constructed by Trajan; and others,
without any foundation, pretend it was made of
marble by Antoninus Pius. It was formerly called
Janiculense, from the neighbouring mount: it
afterwards took its present name from Sixtus IV.,
who repaired it in 1474.
1
•
E
.
2 H 2

SEVENTH DAY.
AFTER having remarked the objects most
worthy of notice at Trastevere, and repassing the
river by the Ponte Sisto, the first object that pre-
sents itself is the
FONTANA DI PONTE SISTO,
(Fountain of Sixtus' Bridge.)
This fine fountain, which is opposite the Strada
Giulia, was constructed by John Fontana, under
Paul V. The water comes from the Pauline
fountain, at St. Peter's in Montorio. The de-
coration consists of two Ionic pillars which sustain
an attic, and a large niche containing an opening,
whence issues a copious quantity of water, which
first falls into a cup, and is then precipitated into
a large basin.
The fine long street opposite, is called Giulia,

SEVENTH DAY,
353
:
from Julius I., who built it. It is supposed to be
the via Recta, remarkable in the time of ancient
Rome, for being the way by which conquerors
passed in triumph. In this street is the
CHIESA DELLA TRINITA DE' PELLE-
GRINI,
(Church of the Trinity of Pilgrims.)
It was built in 1614, by Paul Maggi; the
front was made from the designs of Francis de
Sanctis, at the expense of John Baptist de Rossi :
it is of travertine, adorned with Corinthian and
Composite pillars, and statues of the Four Evan-
gelists, by Bernardino Ludoviso. The picture of
the Trinity, on the great altar, is one of Guido
Reni's finest works; he also painted the Eternal
Father, in the lantern of the cupola.
The annexed hospital is called de' Pellegrini
(Pilgrims), as well as the church, because they
are received in it; likewise convalescents who
quit the hospitals in Rome.
Opposite this church is the Monte di Pietà
established in 1533. It is a sort of public bank ;
money is lent there without any interest, except a
>
2 H 3

354
NEW PICTURE OF ROME.
1
pledge which is immediately restored when the
money is returned. It is a vast edifice, and con-
tains a fine chapel, decorated with statues and
basso relievos, sculptured by Domenico Guidi,
Mr. Le Gros, Mr. Teodon, and others.
In the next street to the right, is the
CHIESA DI S. CARLO A' CATINARI,
(Church of St. Charles A' Catinari.)
This church is named A' Catanari from some
potteries formerly near this part, which are called
Catini in Latin. It was built by Cardinal Leni, in
1612, from the designs of Rosato Rosati, except the
front, which is by John Baptist Soria, who de-
corated it with two orders of pillars, Corinthian
and Composite. The interior is of the Corinthian
order, and adorned with fine paintings. The
Annunciation, in the first chapel to the right, is
by Cav. Lanfranco. The great altar has four
porphyry columns, and a picture by Peter da
Cortona. Behind this altar is a fine half figure of
St. Carlo in fresco, by Guido. The pictures in
the choir are by Lanfanco; and the four Cardinal
Virtues, on the corners of the cupola, are exquisite

SEVENTH DAY.
355
works of Domenichino. The picture on the altar
of the Cross, representing the death of St. Ann, is
reckoned the master-piece of the celebrated Andrew
Sacchi.
Turning back, and taking the street de' Giub-
bonari, we reach the square of Campo di Fiori,
so called, perhaps, from the ancient Floral games
performed there. Near this square, is the
PALAZZO DELLA CANCELLERIA,
(Palace of the Chancery.)
This splendid palace, destined for the residence
of the Cardinal Vice Chancellor of the holy church,
was begun by Cardinal Mezzarota, and finished
by Cardinal Riario, nephew of Sixtus IV. It is
constructed of the travertine stones fallen from the
Coliseum; and the marbles are taken from
Gordian's arch. The famous Bramante, who was
the architect, adorned the court with two porticos
one over the other, sustained by forty-four granite
pillars, supposed to have belonged to Pompey's
portico, which was formed of a hundred, and ex-
tended to this place. The frescos in the first hall,
1

356
NEW PICTURE OF ROME.
representing traits in the life of Pope Paul III.,
are by George Vasari.
In the lane opposite this palace, is a small edi-
fice called la Farnesina; the architecture, by Bra-
mante, is much admired by connoisseurs; it is also
built of travertine belonging to the Coliseum.
We then enter the Strada Dei Baullari on the
right, leading to the Piazza Farnese, which is
decorated with two fine fountains, formed by two
large basins of Egyptian granite; one was found in
Caracalla's baths, the other in those of Titus:
they are seventeen feet long, and four and a half
deep; they are adorned with lions' heads. In this
square, is the
C
PALAZZO FARNESE,
(Farnese Palace.)
This is the finest palace in Rome, both for its
magnificence and its architecture. It was begun
by Paul III., whilst Cardinal, from the designs of
Anthony da Sangallo. Cardinal Alexander Far-
nese, that pope's nephew, afterwards finished it
from the designs of Bonarotti and James della
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Tempio di Minerva Medical.
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SEVENTH DAY.
357
Porta, who made the front towards the Strada
Giulia. This palace is also formed of travertine
from the Coliseum and Marcellus' theatre. It
belongs to the court of Naples, as well as all the
possessions of the Farnese family. This edifice is
square, each of the four sides has three rows of
windows. The principal door which leads to a
vestibule, is decorated with twelve Doric columns
of Egyptian granite. The court is surrounded-
with three orders of architecture over each other ;
the two first, which are Doric and Ionic, are
formed of arches that give light to the piazzas
around; the third is Corinthian, with windows
between the pilasters. The fine marbles, formerly
in this court, have been removed to Naples; the
sarcophagus found in Cecilia Metella's tomb, is
the only one remaining in the principal court.
On the first floor, the ascent to which is by a
magnificent staircase, is a gallery sixty-two feet
long by nineteen, painted in fresco by the celebrated
Annibal Caracci, a performance worthy of being
described and observed with particular attention.
The large middle picture of the ceiling, represents
the triumph of Bacchus and Ariadne; they are in
two different cars, side by side; the car of Bacchus is
1.

358
NEW PICTURE OF ROME.
•
::
of gold, and drawn by two tigers; Ariadne's is of
silver, drawn by two white goats: around them are
fauns, satyrs, and Bacchantes; and Silenus, who
precedes them on a beast of burden, forms one of
the finest episodes of the picture.
One of the two pictures, by the side of the last
mentioned, represents Pan offering Diana some
wool from his goats; the other is Mercury, giving
the golden apple to Paris.
Of the four other large pictures around the
ceiling, one represents Galatea amidst a troop of
Nymphs, Cupids, and Tritons, crossing the sea
on a marine monster, while one of the Cupids
discharges an arrow at her. The opposite picture
represents Aurora in her car, carrying off Cepha-
lus. In the third picture is Polypheme playing
the pipe to charm Galatea. In the fourth, is that
giant hurling a piece of rock at Acis, who flees
with Galatea.
There are four square pictures; the first repre-
sents Jupiter receiving Juno in the nuptial bed.
In the second, is Diana caressing Endymion; and
two little Loves concealed in a bush, apparently
rejoicing in their victory over Diana. The third
picture represents Hercules and Io; he is dressed
--
=
359
in women's clothes, playing on a timbrel; while
she is clothed in the skin of the Nemean Lion.
and leaning on Hercules' club. In the fourth
picture is Anchises, drawing a buskin off from the
foot of Venus. The two small paintings, over the
figure of Polypheme, represent Apollo carrying
off Hyacinthus; and Ganymede, carried away
by Jupiter in the form of an eagle.
The eight medallions, made in imitation of
bronzes, represent Leander drowning in the Hel-
lespont; Syrinx transformed into a reed; Her-
maphroditus surprised by Salmacis; Love tying a
Satyr to a tree; Apollo flaying Marsyas; Boreas
carrying away Orizia; Eurydice recalled to Hell;
and Jupiter carrying away Europa. The four
small ovals represent four Virtues.
SEVENTH DAY.
The eight small pictures, over the niches and
windows, represent Arion mounted on &
Dolphin; Prometheus animating the Statue; Her-
cules killing the Dragon at the Garden of the
Hesperides; the same hero, delivering Prometheus
on Mount Caucasus, by shooting an arrow at the
vulture which is devouring his liver; the fall of
Icarus into the sea; Calista's disgrace. discovered
in the bath; the same nymph changed into a bear
;
1
1.

360
NEW PICTURE OF ROME.
3
+
and Phœbus receiving Mercury's lyre. The pic-
ture over the door, opposite the middle window,
was painted in fresco, by Domenichino, with the
cartoon of Annibal Caracci: it represents a young
girl caressing a unicorn, the arms of the Farnese
family.
The two large frescos, on the side walls of the
gallery, represent Andromeda fixed to the rock,
Perseus combating the marine monster, and the
parents of the princess in despair; the other is
Perseus petrifying Phineas and his companions, by
means of Medusa's head.
B
The three following rooms are adorned with a
frieze, painted by Daniel da Volterra. The great
hall, which comes next is painted in fresco, by
Francis Salviati, Thaddeus Zuccari, and George
Vasari. On one of the sides they have repre-
sented the peace concluded between Charles V.
and Francis I. of France, and Martin Luther
disputing with Signor Gaetani. In the next saloon
is a fine cast of the celebrated statue of Hercules,
by Glycon the Athenian.
In a cabinet likewise painted by Annibal Ca-
racci, is a picture in oil, on the ceiling, represent-
ing Hercules between Vice and Virtue; the pre-
SEVENTH DAY.
361
*
sent one is only a copy, the original having been
sent elsewhere. The frescos around the cabinet,
which are by the same master, represent Hercules
holding the celestial globe; Ulysses delivering his
companions from Circe and the Sirens; the same
hero fixed to the mast of his ship going towards the
Sirens' Island; Anapus and Amphinomus, carry
ing their parents to save them from the flames of
mount Ætna; Perseus cutting off Medusa's head;
and Hercules combating the Nemean lion. The
ornaments in chiaro scuro that divide these sub-
jects are also by Annibal, and are so perfectly ex-
ecuted, that they appear like relievos.
&
Quitting this palace by the principal door, on
the left side, is seen the
CHIESA DI S. GIROLAMO DELLA
CARITA,
(Church of St. Jerome, of Charity.)
It is supposed that this church was built on the
spot where the house of St. Paula, a Roman ma-
tron, stood; for having received St. Jerome in 382.
It was rebuilt in 1660, by the architect Domenico
Castelli. The great altar-piece, representing the
1
2 I
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NEW PICTURE OF ROME.
communion of St. Jerome, is one of the celebrated
Domenichino's best works. The statue of St. Phi
lip in the next chapel is finely sculptured by M.
Le Gros.
Returning to the Piazza Farnese, at a small dis-
tance, is the
PALAZZO SPADA,
(Spada Palace.)
;
It was built under Paul III., from the designs of
Julio Mazzoni, pupil of Daniel da Volterra. The
front and sides of the court are decorated with
stucco and basso relievo.
A very magnificent staircase leads to the first
floor. In the first room are ten frescos, believed
to be of the school of Julio Romano.
In the second room on the right side, is a gro-
tesque, by Cerquozzi; a Cardinal's portrait, by
Guido; a woman holding a compass, by Michael
Angelo da Caravaggio; a portrait, by Titian; a
sacrifice, by Bassano; a picture, by Peter Testa,
and two half figures, by Caravaggio.
In the third room is a prediction of St. John, of
the Flemish school; an assassination, by Teniers;
SEVENTH DAY.
363
a fine Flemish picture, representing books, paper,
and other things, very highly finished; two battles,
by Borgognone; a woman, by Giorgione; St. John,
by M. Valentino; a caricature, by M. Angelo da
Caravaggio; the market of Naples, and the revolt
of Massaniello, by Michael Angelo delle Bam-
bocciate; and a visitation of St. Elizabeth, by An-
drew del Sarto.
Next follows the gallery in which is a holy fa-
mily, by Rubens; two small pictures, by Borgog-
none; two others, by Cerquozzi; a small picture,
not finished, of a woman in the midst of some vil-
lains, by Domenichino; eight exquisite portraits,
by Titian; a St. Frances, by Guercino; a Vir-
gin, with St. Anne, by Baroccio; Piety, by Bas-
sano; a Magdalen, by Luke Cambiasi; St. Fran-
cis, by Annibal Caracci; under which are two
Flemish landscapes; and two by Vanvitelli; a
holy family, by George Vasari; Judith, by
Michael Angelo da Caravaggio; the massacre of
the Innocents, by Peter Testa; a Magdalen, by
Guido Cagnacci; Jesus stripped of his clothes, by
Gerard delle Notti; and a capital St. John the
Baptist, by Julio Romano.
In the next room is a perspective view, by Pan-
21 2
364
NEW. PICTURE OF ROME.
nini; a sacrifice of Iphigenia, by Peter Testa; two
cherubims' heads, supposed to be by Correggio;
two landscapes of Caracci's school; two grotesques,
by Cerquozzi: a portrait of Paul III., by Titian; a
fine one of Cardinal Spada, by Guido; a Ma-
donna and child, by Peter Perugino; a Magdalen,
by Guercino; and a female player of instruments,
by M. Angelo da Caravaggio.
On the ground-floor are several antique sculp-
tures, amongst others, a capital statue of Aris-
tides, surnamed the Just. In a small garden
near this room is a portico sustained by Doric
pillars, which appears much longer than it
really is; it was made by Cav. Borromini.
There are eight antique basso relievos, and a
colossal statue of Pompey, the Great, found in
the time of Julius III., in the little street called
de Lentari; it is supposed to be the one at whose
feet Julius Cesar was killed. }
·
•
Beyond the Farnese palace is the Strada Giulia,
one of the finest streets in Rome. It contains the
church of, St. Mary dell' Orazione, likewise called
della Morte (of death). The Falconieri palace,
made by Cav. Borromini; the church of St. Ca-
therine de' Sanesi (of Sienna); of Spirito Santo de
SEVENTH DAY.
365
Napolitani, (Holy Spirit of Naples); of St. Mary del
Suffragio (suffrage) the fine Sacchetti palace,
built by Anthony de Sangallo; and at the end of
the street is the
CHIESA DI SAN GIOVANNI DE' FIOREN-
TINI,
(Church of St. John of the Florentines.)
A company of Florentines built this magnificent
church in 1488; the architect was James della
Porta. The front, which is decorated with two
rows of Corinthian pillars, was made by Alexander
Galilei, under Clement XII. The interior has
three naves, and chapels adorned with marbles and
pictures. In St. Jerome's chapel, the altar-piece
is by Santi Titi; and the side painting is by Ci-
goli. On the altar of the cross is a fine picture,
by Salvator Rosa, of St. Cosmo and St. Damian at
the stake.
The magnificent great altar is decorated with
marbles, made from the designs of Peter da Cor-
tona, at the expense of the Falconieri family. The
group on the altar, representing Jesus baptized by
St. John, is by Anthony Raggi; of the two side
•
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2 I 3
366
NEW PICTURE. OF ROME.
**
statues of Faith and Charity, the first is by Her-
cules Ferrata; the other by Domenico Guido.
The tomb of Signor Corsini, on the side wall of
this altar, is by Algardi; and another, of Acciajoli,
is by Hercules Ferrata. The chapel of the Cru-
cifix is very finely painted by Lanfranco. St.
Mary Magdalen, on the altar of the cross, is by
Baccio Ciarpi.
On the left side of this church is a small street
leading to the Tiber, where are seen some vestiges
of the
▼
PONTE TRIONFALE,
(Triumphal Bridge.)
The walls, that are visible in the current of the
river, are remains of the pilasters of this ancient
and celebrated bridge, called Triumphal, because
the conquerors passed over it, when they received
the honours of the triumph.
To obtain this recompense, it was necessary to
have killed at least five thousand enemies in one
battle.
The conqueror was first obliged to send to Rome
letters addressed to the senate, demanding the tri-
SEVENTH DAY.
367
J
umph; during this time he approached Rome at
the head of his army, by the Flaminian or Cassian
way; he stopped at the Vatican field, near the
triumphal bridge, at the temple of Bellona, where
he renewed his request for the triumph. The se-
nate then repaired to the temple to examine the
rights of the conqueror, after which they granted
or refused the triumph. When the conqueror ob-
tained it, the day of ceremonial was immediately
fixed; he was clothed in a purple robe, and held
a palm branch in his hand; he was first obliged to
offer a sacrifice in the temple of Bellona, in honour
of the gods of the capital; he then left the temple,
mounted on a magnificent car, and accompanied by
his soldiers, passed through the gate over the tri-
umphal bridge, into the field of Mars, and advanc-
ing by the Via Recta, into the field of Flora, he
passed by Pompey's theatre, the Flaminian Circus,
Octavian's Portico, and the theatre of Marcellus,
to the grand circus; thence turning to the left, and
passing under Constantine's arch, opposite the Co-
liseum, he entered the Via Sacra. He then passed
under the arches of Titus, of Fabius, and of Septi-
mus Severus, and ascended the capitol, where he
offered a solemn sacrfice to Jupiter, and finally
368
NEW, PICTURE OF ROME.
deposited the spoils of the enemy in the temple of
Jupiter Feretrius. There have been 322 triumphs
since the time of Romulus, to whom the honour
was first decreed, till the reign of the emperor
Probus.
1
EIGHTH DAY.
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¡
THE only part of Rome remaining to be de-
scribed is the Vatican and its vicinity. The word
Vatican is derived from the Latin word Vaticinium
(prediction), on account of the temple of the god
Vatican situated in this place, where the people
assembled in crowds to consult the Oracles. In
order to reach the Vatican it is necessary to
cross the
;
PONTE S. ANGELO,
(Bridge of St. Angelo.)
This magnificent bridge which has five arches,
was constructed by Adrian before his mausoleum.
It was repaired by Clement IX.; Cav. Bernini,
by his orders, made the railing, on which are
placed ten large marble figures of Angels who
hold the instruments of the Passion. The angel,
370
NEW PICTURE OF ROME.
who shews the inscription of the cross, was made
by Cav. Bernini; the statues of St. Peter and
St. Paul, at the entrance of the bridge, had been
placed there in the time of Clement VII., the
first is by Lorenzetto, the other by Paul Romano.
Opposite this bridge, is seen the
MAUSOLEO D' ADRIANO IN OGGI
CASTEL S. ANGELO.
(Adrian's Mausoleum, now Fort St. Angelo.)
This magnificent mausoleum was erected by
Adrian, to contain his ashes, and to rival that of
Augustus, opposite to which it was built on Do-
mitia's gardens. The base was 253 feet long; on
this was placed the edifice, which was round,
576 feet in circumference, and all incrusted with
marble. This building was formed of three orders
of architecture, of which only the first is remain-
ing; it was surrounded by forty-eight beautiful
violet marble pillars, and adorned with statues ;
and the same number of statues on the entablature.
The second order was decorated with pilasters
and statues; the third order was covered with a
EIGHTH DAY.
371
sort of cupola, on the summit of which was
placed Adrian's statue.
After the fall of the Roman empire, this mar-
vellous tomb was used for the defence of the city,
Procopius says, that in the wars against the Goths,
the Romans and Greeks who had fortified them-
selves there, despoiled it of its ornaments, by
breaking the statues to throw them at their
enemies. It was reduced to a fortress by Boni-
face IX.; several other popes have augmented
the fortifications. It took the name of Fort, or
Castle St. Angelo, from the marble statue of the
Archangel St. Michael, which was placed on the
top; Benedict XIV. substituted a bronze one,
made from the model of Peter Wanchefeld a
Fleming. The hall of this edifice was painted in
fresco, by Pierrin del Vaga, a pupil of Raphael's.
This building communicates with the Vatican
palace, by means of a covered bridge sustained
by arches.
It is customary to let off some fireworks, com-
monly called la Girandola, at the top of this
castle, on the Monday and Tuesday in Easter
week, in honour of the coronation of the present
Pope Pius VII.; also, on the 28th and 29th.
372
NEW PICTURE OF ROME.
of June, St. Peter's and St. Paul's days. A better
situation could not be desired, as it can be
seen from every elevated place in the city. This
firework consists of an immense number of rockets,
wheels, &c., without reckoning two volleys com-
posed of 4,500 squibs, which all go off together,
and spread into the form of a parasol. This spec-
tacle is very remarkable of its kind, and highly
astonishing to strangers. Behind this mausoleum
was Adrian's circus. In an excavation, made
during the reign of Benedict XIV, the foundation
was discovered ten feet under ground, also the
corridors and cavities for the spectators' seats. The
building was 340 feet long, by 202.i
!
The street almost opposite the fortress, leads to
the
ப்
SPEDALE DI S. SPIRITO,
(Hospital of the Holy Spirit.)
It is the largest Hospital in Rome; poor invalids
are received in it, without any exceptions, likewise
foundlings and insane persons. It was founded in
1198, by Innocent III.; and since then, repaired
and augmented by Alexander VII., Benedict XIV.,
1
EIGHTH DAY.
373
and Pius VI., who built the large edifice opposite.
The hospital contains a cabinet of anatomy, the
celebrated Lancisi library, and a valuable collec-
tion of surgical instruments.
The annexed church, dedicated to the Holy
Ghost, was rebuilt in 1538, by the famous archi-
tect, Anthony da Sangallo; except the front, which
is by Octavius Mascherino. The paintings are by
James Zucca, Livio Agresti, Marcellus Venusti,
Paris Nogari, and others.
Taking the street opposite the hospital, and
entering the street di Borgo Nuovo, is seen the
church of St. Mary della Traspontina, built in
1563, from the designs of Paparelli and Mas-
cherino; except the front, which is by John
Peruzzi. The picture of Saint Barbara, is one of
Cav. Arpino's best works. The other pictures are
by Muziano, Anthony Pomarancio, John Baptist
Ricci, and Blase Puccini. In this church is buried
Nicholas Zabaglia, who died in 1750, one of the
most extraordinary mechanics in the world.
In the same street is a square decorated with a
fountain, and the Palazzo Giraud, finely built by
Bramante. Lastly, at the end of the street, is
seen the magnificent
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NEW PICTURE OF ROME.
PIAZZA DI S. PIETRO IN VATICANO,
(Square of St. Peter in the Vatican.)
A more majestic and magnificent square could
not be desired for St. Peter's Cathedral. It is
surrounded with a sumptuous portico of four rows
of pillars; the masterpiece of Cav. Bernini, made
by order of Alexander VII. The obelisk, erected
in the middle by Sixtus V., together with the two
magnificent fountains, form a spectacle truly
astonishing.
:
This place, which is of an oval form, appears
like a vast and grand amphitheatre. The smallest
diameter, taken at the exterior circumference, is
488 feet the largest diameter, not reckoning
the colonnade, is 557 feet. This immense square
is between two others, also very large; the first
which precedes the one we have described, is
about 248 feet long, and 209 wide: the other,
which is next to the oval one, forms an irregular
square, and finishes at the front of the temple; it
is 298 feet long, and 366 wide: the entire length
of these three squares is 1,073 feet.
The piazza which forms two semicircular wings,
EIGHTH DAY.
375
is composed of 284 immense Doric pillars of tra-
vertine, intermixed with eighty-eight pilasters,
making three galleries, likewise semicircular, the
middle one is so wide that two carriages abreast
can easily pass through it. This colonnade is
fifty-six feet wide, and sixty-one high; the base is
of the Tuscan order, the pillars are Doric, and
the entablature Ionic; on this last is a balustrade,
on which are placed 192 statues of different
saints, each one is nearly eleven and a half feet
high they were made by various sculptors, under
the directions of Cav. Bernini. The principal or-
nament of this place is the
:
OBELISCO VATICANO,
(Vatican Obelisk.)
1
Although this obelisk, which is of Egyptian
granite, is not the largest in Rome, and has not
any hieroglyphics; it is, nevertheless, the most
precious and the most esteemed of all, being the
only one which has been preserved entire. It was
raised at Heliopolis by the king of Egypt, son of
Sesostris; Caligula transported it to Rome, in a
vessel which was afterwards sunk for the con-
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NEW PICTURE OF ROME.
struction of the port of Ostia. That emperor
placed it in his circus at the Vatican, which was
called Nero's Circus, because he augmented and
adorned it. Constantine the Great destroyed this
circus to build St. Peter's, but left the obelisk
standing in the place now occupied by the sacristy.
of St. Peter. It was not till 1586, nearly a cen-
tury before the construction of the colonnade,
that Sixtus V., thinking it worthy to be placed
opposite the church, removed it, and employed
Cav. Domenico Fontana, who, with admirable
skill, succeeded in the operation. The expense
of this removal amounted to nearly 10,000l. ster-
ling. The height of this obelisk is seventy-eight
feet, and its greatest width eight feet four inches:
measuring it from the ground to the end of the
cross, it is 124 feet high.
•
At the sides of the obelisk are two magnificent
fountains, corresponding in every respect, made
from the designs of Carlo Maderno: they throw
a large quantity of water, which comes from St.
Peter in Montorio, as high as nine feet; it falls
into a round basin of oriental granite, fifty feet in
circumference, which flows into another octagon
basin of travertine, eighty-nine feet in circum-
ference.
-
↓
EIGHTH DAY.
377
The irregular square before the cathedral has
two large wings, or kind of covered galleries, each
360 feet long, and twenty-three wide, beginning
at the colonnade, and ending at the entry of the
portico of the church: these two wings are ex-
ternally adorned with twenty-two pilasters between
the windows, over which are as many colossal
statues. In the middle of this place is a magni-
ficent marble staircase, divided into three flights.
At the two angles, at the foot of the stairs, are the
statues of St. Peter and St. Paul, made by the
famous Mino de Fiesole, by order of Pius II.
This grand and commodious staircase leads into
the
BASILICA DI S. PIETRO IN VATICANO,
(Cathedral of St. Peter in the Vatican.)
A more celebrated place could not have been
selected for the finest temple in the world. It is
situated in the ancient Vatican field; in this field
were the circus and gardens of Nero, where the
tyrant massacred a number of Christians. The
bodies of these holy martyrs were buried by the
faithful in a grotto near the circus. Shortly after-
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NEW PICTURE OF ROME.
wards, St. Peter having been put to death, his
body was transported to this cemetery by Mar-
cellus, his disciple: an oratory was erected on his
tomb, by Pope St. Anaclete. In 306, Constan-
tine the Great raised a sumptuous church in form
of a Latin cross, at the same place, in honour of
the holy apostle; it was divided into five naves by
a great number of marble pillars.
This great edifice was frequently repaired during
the course of eleven centuries. Nicholas V.
wishing to erect a temple that might equal Solo-
mon's, in 1450 demolished the temple of Probius
Anicius, and began another gallery much larger
than the former one, and employed Bernardino
Rosellini, and Leo Baptist Alberti. At the death
of this pope, the work was only elevated about four
or five feet above the pavement, and was not con-
tinued until the time of Paul II. Julius II., who
had a genius for great enterprises, in 1503, ex-
amined the plans of the best architects, and chose
that of the celebrated Bramante, who, designing to
make a large cupola in the middle of the church,
the four enormous pillars were immediately raised
to sustain it.
1.
After the death of Julius II., and of Bramante,
:
EIGHTH DAY.
379
Leo X. employed Julien da Sangallo, brother Jo-
cond, and the great Raphael d' Urbino, who only
strengthened the basis of the pillars, which they
judged too weak to support such a stupendous cu-
pola. After their deaths, Leo X. substituted Bal-
thazar Peruzzi, of Sienna, who, without touching
any thing which they had done, only altered the
plan of the cathedral, on account of the immense
expense attending the execution of Bramante's de-
sign, which was a Latin cross; and reduced it to a
Greek cross; after Leo's death, the same Peruzzi
finished the gallery under Clement VII.
Paul III., who succeeded, chose Anthony da
Sangallo for the architect, whose project was to
alter it again to a Latin cross, according to Bra-
mante's plan.
Sangallo dying, Paul III. committed the edifice
into the hands of the incomparable Michael Angelo
Bonarotti, who once more reduced it to a Greek
cross, enlarged the gallery, and the two aisles of
the transversal nave, and made a new design for the
cupola, which he began to execute, and which
was continued by his successors.
Bonarotti
wished to make the front similar to that of Agrip-
pa's Pantheon, but death prevented him, and this
380
sublime idea was abandoned. Under Pope St.
Pius V., the architects James Barozzi da Vignola,
and Pirro Ligorio were employed, but ordered to
conform in every respect to Bonarotti's designs;
Vignola made the two fine side cupolas, and James
della Porta, chosen for their successor, by Gre-
gory XIII., finished the immense cupola, under
Sixtus V. Clement VIII. employed this same
architect to adorn the great cupola with Mosaics,
decorate the arch with gilt stuccos, and cover the
pavement with different marbles.
NEW PICTURE OF ROME.
Finally, under Paul V., this wonderful temple
was finished by Carlo Maderno, who again made
à Latin cross, after the ancient plan of Bra
mante; he also made the front and the porch.
Cavalier Bernini, under Urban VIII., erected a
steeple, but it was obliged to be demolished because
some crevices were perceived on the front of the
church. Pope Pius VI. perfected the work by
employing Charles Marchionni to build the sa-
cristy, which was wanting to this cathedral; he
also placed two clocks on the front of the church,
and two others inside.
The number of pontiffs and architects employed
in the construction of this immense cathedral, during
EIGHTH DAY.
381
the space of three centuries and a half, will
give an idea of the sums which have been ex-
pended to Bring it to its present perfection. Ac-
cording to the calculation of Charles Fontana, in
1694, they amounted to above eleven millions
sterling; it is therefore easy to suppose what the
repairs, the gildings, the Mosaics, and the new sa-
cristy may have cost. The expense of this latter
is said to have been above 200,000l. sterling.
All the arts have contributed to the decoration
of this superb edifice, which is the finest monu-
ment of modern Rome, and the wonder of the
whole world. The talents of the greatest artists of
every kind have been bestowed on it; so that if
Rome contained nothing else, this temple would
render it worthy of notice.
Having given an account of its history, we will
now commence a particular description, and begin
with the
FRONT OF THE CATHEDRAL.
This magnificent front was made by Carlo Ma-
derno. It is entirely of travertine, and composed
of eight pillars, four Corinthian pilasters, five
382
NEW PICTURE OF ROME.
doors, seven balconies, six niches, an entablature,
with its frontispiece, and an attic terminated by a
balustrade, over which are thirteen colossal sta-
tues, representing Jesus and the twelve Apostles,
and two magnificent clocks. By the inscription
on the frieze of the entablature, it appears that this
front was erected in 1612, by Paul V., in honour of
the prince of the apostles. To give an idea of its
size, it is sufficient to say that it is 370 feet wide,
and 149 high. The pillars are so disposed, that at
a little distance they appear much smaller than
might be imagined; but on approaching, one gra-
dually perceives their immensity; they are eight
feet three inches in diameter, and eighty-eight in
height, including the base and head. The great
cupola raised by Bonarotti, and the two smaller
side ones added by Vignola, accord very well with
the front, which Carlo Maderno for that reason has
made lower in proportion to the width, to render
the whole pyramidical; this adds singular elegance
to the grandeur of the edifice.
Although the ball of the great cupola, when
seen from the square, does not appear very large,
it is seven and a half feet in diameter, and will
contain sixteen persons.
EIGHTH DAY.
383
The cross, which is raised thirteen feet above
the ball, is worthy of notice, considering that from
the pavement of the church to the extremity of
this cross, there is a distance of 424 feet.
The effect produced by this front, the three cu-
polas, and the colonnade, by moonlight, particularly
when the whole is illuminated by 4,400 lamps,
and afterwards by 784 flambeaus, at any public
rejoicing, the evenings of the 28th and 29th of
June, the festivals of St. Peter and St. Paul, is
truly astonishing, and worthy the attention of
strangers.
*
The basso relievo, under the middle balcony, re-
presenting Jesus giving the keys to St. Peter, is by
Ambrose Buonvicino. The statues on the balus-
trade are seventeen feet high.
The five doors of the front, corresponding with
five others, which give entrance into the church,
lead to a magnificent porch, thirty-seven feet wide,
and 439 long, comprising the vestibules at the two
extremities, where are seen the equestrian statues
of Constantine the Great, and Charlemagne; the
first is by Cav. Bernini, and the other by Cornac-
chini. All the entrances have two marble pillars
at the sides. The porch is decorated all round
384
NEW PICTURE OF ROME.
•
with marble pilasters, sustaining an entablature on
which the ceiling rests; the ornaments are of gilt
stucco, made by Algardi, as also the figures on the
entablature; it is sixty-two feet above the pavement.
Opposite the principal door of the church is a
fine Mosaic, called St. Peter's Navicella (bark or
vessel) because it represents St. Peter in a ship,
agitated by the winds: this is the work of Giotto,
a Florentine, who made it in 1298, with the help of
Peter Cavallini, his pupil, for the ancient cathe-
dral.
One of the five entrance doors which has a gilt
bronze cross in the middle, is closed, and only
opened the day of the grand Jubilee, every twenty-
five years; it is therefore called Porta Santa (holy
door). The principal door is of bronze, adorned
with basso relievos, it was made under Eugene IV.,
by Anthony Filarete, and Simon Donato, for the
ancient church; the basso relievos on it, represent
the martyrdom of St. Peter and St. Paul; the co-
ronation of the emperor Sigismund, by Eugene IV.
and the audience given by that Pope to deputies
from various eastern nations; the profane figures
around these basso relievos, must be attributed to
the ignorance of the artists, who copied them from
1
EIGHTH DAY.
385
the antique, without understanding their meaning.
Over this door is a fine basso relievo of Jesus,
committing the care of his flock to St. Peter, by
Cav. Bernini. Three of the doors are adorned
with columns of violet marble; and the posts of the
Porta Santa are formed of an ancient marble,
which for that reason has taken the name of Porta
Santa.
The visitor then enters the
INTERIOR OF THE CATHEDRAL.
The fine harmony and just proportions that
reign through the edifice, enable the beholder to
view it without any confusion, each part exactly
corresponding with its extent.
St. Paul's, in London, and the cathedral at Mi-
lan, are not so large as this one; the former is 469
feet long, and 251 wide; the other is 417 feet long,
and 312 wide. The Roman one from the entrance
to St. Peter's pulpit, is 571 feet long, and at the
cross it is 417 feet wide; the middle nave is eighty-
five feet wide, and 152 high, comprising the arch;
each of the two small naves is twenty feet wide.
This cathedral is in the form of a Latin cross,
2 L
386
NEW PICTURE OF ROME.
and has three naves; the middle one is divided by
eight thick pilasters sustaining four large arches on
each side, which correspond with as many chapels:
on the wall between these arches are two fluted
Corinthian pilasters of white marble seventy-seven
feet high, including the base and head; they sup-
port a large entablature which runs all round the
church. Between these intermediate pilasters are
two rows of niches containing marble statues fifteen
feet high, representing various saints, the founders
of different orders. Over each of the arches are
two stucco figures of the Virtues, fifteen feet high.
The sides of the same pilasters are adorned with
two medallions of popes, sustained by two children,
of white marble: between the medallions are two
other children holding tiaras, mitres, keys, and other
papal attributes, all sculptured in basso relievo,
by Cav. Bernini, by order of Innocent X., to whose
arms are belonging the doves on the pilasters. The
great ceiling of this church is decorated with roses
and other ornaments of gilt stucco: the pavement
is composed of fine marbles. The four angels,
which sust in the two magnificent yellow marble
vases that contain the holy water, were sculptured
EIGHTH DAY.
387
by Joseph Lironi and Francis Moderati; they are
of white marble, and six feet high.
The marble statue of St. Theresa in the niche
above the vase on the right, is by Philip Valle;
the opposite one of St. Peter d'Alcantara, is by
Francis Vergara, a Spaniard; St. Vincent of
Paoli, is by Peter Bracci; St. Camillus of Lellis,
opposite, is by Peter Pacilli; St. Philip Neri, is
by John Baptist Maini; St. Ignatius, opposite, is
by Joseph Rusconi.
At the end of the great nave to the right under
a canopy, is a seated statue of St. Peter on an
alabaster pedestal; it is of bronze, with one foot
extended, which the devout kiss in passing by. It
is said that Pope St. Leo the Great, ordered this
statue to be made with the bronze of Jupiter Capi-
toline's, to place it in St. Martin's monastery near
the ancient church. The statue of St. Francis of
Paola in the opposite niche is by John Baptist
Maini.
Before the visitor examines the side chapels he
should observe the
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CONFESSIONE DI S. PIETRO,
(Confessional of St. Peter.)
The tomb in which this holy apostle's body is
preserved is called St. Peter's Confessional. It
was decorated under Paul V., by Carlo Maderno :
it is surrounded with a fine circular balustrade of
marble, where are 112 lamps continually burning,
supported by gilt bronze plates. A double stair-
case leads into the interior space which is adorned
with precious marbles, festoons, angels, and the
statues of St. Peter and St. Paul, by the sides of
the door, all of gilt bronze; there are also four
beautiful alabaster columns. This door opens into
an oblong niche, justly called St. Peter's Confes-
sional, because it is a part of the ancient oratory,
erected by Pope St. Anaclete on his tomb. In this
niche is an ancient image of the Saviour in Mosaic,
also two of St. Peter and St. Paul. The ground
of this niche is covered with a plate of gilt bronze,
under which is preserved St. Peter's body. The
two gilt wooden doors in this place lead to the
grottos, that is, to the ancient cathedral. The next
thing to be observed is the
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ALTARE MAGGIORE,
(The Great Altar.)
Above the Confessional, under the great cupola
and a majestic canopy, on seven steps, is situated
this magnificent altar which is isolated, and, ac-
cording to the ancient custom turned towards the
east. The superb canopy over this altar is all of
gilt bronze, sustained by four spiral Composite pil-
lars of the same metal, thirty-four feet high; it is
one of Cav. Bernini's very fine works, made by
order of Urban VIII. in 1633. Over these pillars
is an entablature; at the angles are four angels
standing, holding four lofty brackets which join in
the middle and support a globe, on which is placed
a cross. The entire height of this canopy is eighty-
six feet, not much less than the Farnese Palace,
which is the highest in Rome; although it is not
apparent on account of the immense height of the
cupola: 186,392 pounds of bronze taken from the
Pantheon portico were used for this canopy; the
workmanship alone cost 25,000, and the gilding
cost 40,000 golden crowns.
This great altar is in the middle of the cross-
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way. The next object which attracts the eye is
the
GRAN CUPOLA,
(Great Cupola.)
This dome is certainly the most astonishing part
of the cathedral: Bramante, having designed to
make the largest cupola ever seen, raised four stu-
pendous pillars, 209 feet in circumference, to sup-
port it. The celebrated Michael Angelo having
afterwards made new plans for the whole church,
formed the model of this cupola with so much art
and genius, that it may be said, if he approached
near the ancients in painting and sculpture, he sur-
passed them in this architectural work.
If Agrippa's Pantheon, which is 132 feet in
diameter, has always been considered one of the
greatest wonders in the world; this cupola is as-
suredly more astonishing, although two feet less
than the interior of the Pantheon, when it is re-
membered that it is elevated to a height of 166 feet.
The height of this edifice from the pavement of the
church to the extremity is 424 feet. This cupola
is double, between the two walls are stairs which
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lead to the ball: the thickness of these walls is
twenty-two feet, whereas those of the pantheon are
only nineteen feet thick.
The cupola is adorned with thirty-two double
Corinthian pillars, between which are sixteen
windows: the pillars sustain an entablature on
which is a base, where the concavity of the cupola
begins; it is divided into sixteen compartments,
which are adorned with gilt stuccos and Mosaics,
representing Angels, our Saviour, the Virgin, the
Apostles, and other saints. On the ceiling of the
lantern is the Eternal Father, in Mosaic, taken
from Cavalier Arpino's picture.
Over the four large pillars and the arches which
sustain the cupola, is a fine entablature; on the
frieze is written in Mosaic letters the following
words of our Saviour to St. Peter: Tu es Petrus,
& super hanc Petram ædificabo Ecclesiam meam, &
tibi dabo Claves Regni Calorum.
At the top of the pillars are the four Evangelists,
in Mosaic, copied from the pictures of John de
Vecchi, and Cesar Nebbia. Each of the pillars
is adorned with two niches,
the
one over the other;
upper ones are made in the form of a balcony
with balustrades, and two spiral columns of white
1
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NEW PICTURE OF ROME.
marble at the sides, supposed to have belonged to
Solomon's temple. In these niches are kept se-
veral relics; the most remarkable are in that over
the statue of St. Veronica, viz., a part of the Holy
Cross; the spear which pierced our Saviour's
side, given by Bajazet II. to Innocent VIII.; and
the holy handkerchief, brought to Rome by St.
Veronica.
These precious relics are shewn to the people on
Holy Thursday and Good Friday every year; and
at that time, is suspended a cross twenty-four feet
high before St. Peter's Confessional, covered with
314 lamps, each having two wicks, which are
lighted at night; it produces a singular effect and
attracts a number of people.
In the four lower niches of the pillars are co-
lossal marble statues, fifteen feet high: the first is
St. Veronica holding the holy handkerchief, by
Francis Mocchi; St. Helen, holding the cross and
the nails of the Passion, is by Andrew Bolgi; St.
Longinus, by Cav. Bernini. The fourth is St. An-
drew, by the famous Francis Quesnoy, a Fleming.
Under these statues are stairs leading to the ancient
subterranean church. Next appears the
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TRIBUNA E CATTEDRA DI S. PIETRO,
(The Gallery and St. Peter's Pulpit.)
At the upper part of the great nave, which
finishes in a semicircle, like the two extremities of
the crossway, is seen the magnificent gallery, which.
was decorated from the designs of Michael Angelo;
it is ascended by two porphyry steps; at the end
is a majestic altar made of precious marbles; it is
174 feet distant from the Confessional. Over this
altar is seen the fine structure of gilt bronze, called
St. Peter's Pulpit, because this one which is sus-
tained by four gigantic figures, contains the seat
used by St. Peter and his successors at their sacred
functions. This great work was executed by Cav.`
Bernini, under Alexander VII.
The aforementioned figures represent four doc-
tors; the two of the Latin church, St. Ambrose and
St. Augustine, are placed in front; and the two of
the Greek church, St. Athanasius and St. John
Chrysostom, are behind. Over the sides of the pulpit
are two angels standing; and over them are the two
cherubims holding the tiara, &c.; higher still is a
glory, and a number of angels seeming to adore
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NEW PICTURE OF ROME.
!
the pulpit of St. Peter; and near them, on a
crystal ground, is represented the Holy Ghost in
form of a dove. The effect of this is uncommonly
fine. The expense of this work amounted to
more than 25,000%.
Over the sides of the gallery are two superb
tombs; the one to the right is Paul III. (Farnese),
who died in 1549; a much admired work, by James
della Porta, made under Michael Angelo's direc-
tion; the statue of the pope is of bronze; the two
others, Justice and Prudence, are of marble:
Justice, which was sculptured by William della
Porta, was at first almost naked; for this reason,
Cav. Bernini was ordered to make a drapery of
bronze in imitation of marble, as it now appears.
The other is the tomb of Urhan VIII. (Barberini),
who died in 1664; his statue is of bronze; the
statues of Justice and of Charity are marble; the
whole is a fine work of Cav. Bernini. The four
niches around the gallery contain the following
statues in the niche near Paul III.'s tomb, is St.
Francis d'Assisi, by Carlo Monaldi ; St. Dominick,
in the opposite niche, is by Mr. Le Gros; St. Elias,
is by Augustin Cornacchini; and St. Benedict, op-
posite, is by Anthony Montanti.
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The ceiling of the gallery is adorned with gilt
stuccos, and basso relievos, likewise of gilt stucco;
the middle one, which represents Jesus giving the
keys to St. Peter, is taken from a design, by Ra-
phael: the crucifixion of that apostle is from
a painting by Guido Reni, and the beheading of
St. Paul, is from a basso relievo, by Algardi.
Before we proceed to the side naves of this
church, it is necessary to say, that besides the great
cupola, it contains ten others, six of which are oval,
and four round; that the pillars by the sides of the
altars, and those that sustain the ceilings of the
small naves, are all of fine marble, and ninety-six
in number; and that almost all the altar-pieces,
twenty-nine in number, and those in the cupolas,
are Mosaics, copied from the best masters; that
the great altar-pieces mostly cost 5,000l. each;
that there are 135 statues in the church, and eigh-
teen monuments, many of which cost 6,0001.
We will begin the tour of the church by the
NAVALA A DESTRA DELLA TRIBUNA,
(Nave on the right side of the Gallery.)
The first altar to the left leans against the pillar
:
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NEW PICTURE OF ROME.
of the great cupola: it is adorned with two large
pillars of black oriental granite; in the middle is
seen a Mosaic of St. Peter healing a lame man,
taken from the original of Cav. Mancini.
Opposite this altar is the tomb of Alexander
VIII., (Ottoboni), who died in 1691; his statue is
in bronze; the side ones of Religion and Prudence
are of marble, all sculptured by Angelo de Rossi;
as likewise the fine basso relievo representing the
canonization made by that Pope in 1690.
Next is the altar of St. Leo the Great, under
which his body is preserved.
On the altar between two red granite co-
lumns, is the famous basso relievo, by Algardi, re-
presenting Pope St. Leo, who orders king Attila
not to approach Rome, shewing him St. Peter and
St. Paul, irritated against him.
The next altar is adorned with four pillars, two
of black granite, the others of alabaster. An an-
cient image of the Virgin is there venerated; it is
called della Colonna, because it was painted on one
of the columns at the altar of the sacrament in the
old church.
The Mosaics of the cupola and the angles were
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taken from the designs of Lanfranco, Andrew Sac-
chi, and Romanelli.
Advancing a little farther to the right, over the
side-door of the church, is seen the tomb of Alex-
ander VII. (Chigi) who died in 1667. Although
it is Cav. Bernini's last work, it displays as much ge-
nius as the performances of his younger days.
The door being somewhat in the way, has been
so contrived as to appear the entrance into the
monument; it is covered with an immense mar-
ble drapery, under which is seen a skeleton, with
one hand lifting the pall that covers the door, as if to
indicate that every one must pass it; in the other
hand he holds an hour-glass, which he shews to
the Pontiff. The statue of the Pope is kneeling,
at his sides are the figures of Justice and Pru-
dence; Charity and Truth are before the monu-
ment.
·
Opposite this monument, at the other side of
the pillar of the great cupola, is an altar, the pic-
ture of which represents the fall of Simon the ma-
gician; it is painted on slate, by Cav. Vanni, of
Sienna.
We then pass into an arm of the
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"
CROCIATA MERIDIONALE,
(Meridional Cross.)
This part of the crossway, and also the opposite
arm, are of the same form and dimensions as the
gallery. Michael Angelo gave the designs, and
John Baptist Maini made the ornaments and bas-
so relievos on the ceiling, in gilt stucco. In this
arm are three altars, adorned with fine columns;
four are of black granite, and two of antique yel-
low marble, fluted. On the middle altar is a pic-
ture of St. Simon and St. Jude, by Augustine
Ciampelli.
On the right altar is represented the miracle re-
ported of St. Valeria, martyr, who carried her head
to St. Martial Bishop, while he was celebrating
mass; it is by John Spadarino. St. Thomas, on
the third altar, is by Domenick Passignani. The
statues in the niches near this altar, represent St.
Norbert, by Peter Bracci; and St. Juliana Falco-
nieri, by Paul Campi. In the opposite niches are
the statues of St., Peter Nolasco, by Paul Campi;
and St. John di Dio, by Philip Valle.
Advancing farther on to the left is seen an altar,
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on which is a Mosaic taken from Cav. Roncalli's
picture, representing Ananias and Sapphira falling
down dead in presence of St. Peter and St. An-
drew, for having deceived them; it is therefore
called the altar della Bugia (Lie.) Opposite this
altar is a door between two black granite columns
leading into the sacristy. The fresco, over the door
representing St. Peter casting out a devil, is by
Francis Romanelli,
Next comes the
CAPELLA CLEMENTINA,
(Clementine Chapel.)
It is so called from Clement VIII., who con-
structed it, similar to the Gregorian one opposite.
The Mosaic on the altar is taken from Andrew
Sacchi's picture, and represents one of St. Gregory
the Great's miracles, whose body is preserved un-
der this altar. The Mosaics of the cupola of this
chapel are copied from Cav. Roncalli.
One then enters the small nave; near one of
the pillars of the great cupola is an altar, on which
is a Mosaic, copied from Raphael's celebrated
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NEW PICTURE OF ROME.
picture of the Transfiguration, at St. Peter's in
Montorio.
Under the arcade, opposite this altar, on the
right side, is the tomb of Leo XI. de' Medicis, who
was Pope only for twenty-seven days in April,
1605; it is by Algardi: the basso relievo in front
represents the abjuration of Henry IV. of France.
Opposite is the tomb of Innocent XI. (Odescal-
chi) who died in 1689. There are two marble
figures, one of Justice, the other Religion; there
is also a basso relievo, which represents the Turks
raising the siege of Vienna; it is by Stephen
Monot.
Near the principal doors of the church are the
three chapels added by Paul V.
The first is the
CAPELLA DEL CORO,
(Chapel of the Choir)
It is here that the chapter of St. Peter's assem-
ble every day to celebrate divine service; there are
three rows of seats of walnut wood, and the an-
cient organ of the celebrated Mosca. This chapel
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1
is decorated with an oval cupola, adorned with
Mosaics taken from pictures, by Ciro Ferri, Carlo
Maratti, and Nicholas Ricciolini.
This magnificent chapel is surrounded with an
iron grating, adorned with gilt bronze; it is deco-
rated with gilt stucco ornaments, and basso relie-
vos, made from the designs of James della Porta;
the Mosaic of the altar represents the Conception
of the Virgin, copied from the picture of Peter
Bianchi.
Under the next to this chapel, on the left, is
the tomb of Innocent VIII., (of the family of Cibo)
who died in 1492; it is all of bronze, made by
Anthony Pollajuolo.
There are two statues of the Pope here, one is
seated, and in the act of blessing; the other re-
clines on the monument.
Opposite is a door leading to the Singer's choir.
Over this door is a stucco urn, with the name of
Pius VI., who died in 1799; his ashes are pre-
served in it.
Next comes the
the
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CAPELLA DELLĄ PRESENTAZIONE,
(Chapel of the Presentation.)
On the altar, between two fine columns of Por-
ta Santa, is a Mosaic, representing the presenta-
tion of the Virgin to the Temple, taken from
the picture, by Francis Romanelli. The cupola
of the chapel is adorned with Mosaics, copied
from Carlo Maratti.
Under the arch which follows, on the right side,
is the tomb of Mary Clementina Sobieski Stuart,
who died at Rome, in 1755. This fine monu-
ment, which cost above 4,000l., was made by Pe-
ter Bracci, from the designs of Philip Barigioni.
The sarcophagus is porphyry, adorned with gilt.
bronze, and covered with an alabaster drapery;
above, is the figure of Charity, and a Genius, hold-
ing a medallion, on which is a Mosaic portrait
of that princess; this is a work of Cav. Chris-
tofari.
The door, under this tomb, leads to the great
arch, and to the ball of the cupola.
Next is the
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403
CAPELLA DEL FONTE BATTESIMALE,
(Chapel of the Baptismal Fonts.)
This is the last chapel in the church, or the first
to the left on entering by one of the principal
doors. The fonts are formed by a superb por-
phyry urn, twelve feet long, and six wide; it co-
vered the sarcophagus of the Emperor Otho II.,
who died at Rome, in 974. It is something like
a pyramid, and adorned with festoons of gilt
bronze, and four small angels of the same metal;
two of which hold a medallion, where is seen
the Trinity; at the top of the pyramid is a Lamb,
symbol of the Redeemer; it was made in 1698,
from the designs of Cav. Fontana.
There are three Mosaics in this chapel; the mid-
dle one represents Jesus baptized by St. John, co-
pied from Carlo Maratti; the one on the right of
St. Peter, in the Mamertine prison, is taken from
the picture, by Joseph Passeri; the third repre-
sents St. Peter baptizing Cornelius the Centurion;
it is copied from Andrew Procaccini. The Mo-
saics of the cupola are taken from the paintings of
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NEW PICTURE OF Rome.
Francis Trevisani, Joseph Passeri, and Nicholas
Ricciolini.
Having examined one of the side naves, we will
proceed to the other, which is on the right side, on
entering the church by the great door.
First is seen the
CAPELLA DELLA PIETA,
(Chapel of Piety.)
It is opposite the chapel of the Baptismal Fonts,
and called della Pietà, because on the altar is a
group representing the Virgin holding her dead son
on her knees; this celebrated work was Michael
Angelo's first performance, done at the age of
twenty-four.
At the sides of this altar are two small chapels:
in the one to the right, on the altar is an ancient
cross, made by Peter Cavalini; and a St. Nicholas
de' Bari, in Mosaic. In the other chapel is pre-
served a pillar, against which, it is said, our
Saviour leaned, when he disputed with the doctors
in the temple and an antique marble urn, adorned
with basso relievo; it was the sarcophagus of
Probus Anicius, prefect of Rome; and was long
J
EIGHTH DAY.
405
used for a baptismal font in this church. The
frescos in the chapel della Pietà, were painted by
Lanfranco: the Mosaics of the cupola are copied
from pictures, by Peter da Cortona and Ciro
Ferri. Over the Holy door is St. Peter in Mosaic,
copied from Cav. Arpino.
Under the arcade, leading to the second chapel
in this nave, and which is adorned like all the
other arches, with four columns of marble of
Cottanello, on the right side is a sarcophagus of
stucco without any ornament, containing the body
of Innocent XIII., of the noble Conti family, who
died in 1724. Opposite is the tomb of Christina,
Queen of Sweden, who died at Rome in 1689.
It was erected by Innocent XII., from the designs
of Cav. Charles Fontana. The basso relievo in
front, representing her abjuration of Lutheranism
in the cathedral of Inspruck, is by John Teudon.
Then follows the
·
CAPELLA DI S. SEBASTIANO,
(Chapel of St. Sebastian.)
The Mosaic on the altar, representing the mar-
tyrdom of St. Sebastian, is copied from Domeni-
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NEW PICTURE OF ROME.
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!
chino's famous picture. The Mosaics, in the
cupola, are taken from Peter da Cortona's
paintings.
Under the next arch is the tomb of Inno-
cent XII. (Pignatelli), who died in 1700: his
statue is seated, with the figures of Charity and
Justice by the sides: all made by Philip Valle.
Opposite is the tomb of the Countess Matilda,
who died in 1115: it was erected by Urban VIII.,
who had her body removed from St. Benedict's
monastery, near Mantua. Cav. Bernini made
the designs for it, and sculptured the head of the
Countess the basso relievo is by Stephen Spe-
ranza: it represents the absolution given by St.
Gregory VII. to the Emperor Henry IV., in pre-
sence of this Countess, and other illustrious per-
sons. Next is the
CAPELLA DEL SACREMENTO,
(Chapel of the Sacrament.)
This magnificent chapel is surrounded by an
iron railing adorned with gilt bronze, similar to
the chapel of the choir opposite. On the altar is
a splendid Pix of gilt bronze: it is in the form of
į
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a round temple, decorated with twelve pillars of
lapis lazuli, in imitation of the one in the cloister
at St. Peter's, in Montorio. It is nineteen feet high;
and was made from the designs of Cav. Bernini,
as were the two Angels by the sides, of gilt
bronze. The altar-piece, representing the Holy
Trinity, was painted in fresco, by Peter da Cor-
tona. In this same chapel is another altar, adorned
with two pillars of the ancient confessional of St.
Peter; in the middle is a picture of St. Maurice,
painted by Cav. Bernini. Before this altar is the
tomb of Sixtus IV., who died in 1484: it is of
gilt bronze, with basso relievos, by Anthony Pol-
lajuolo. The stucco basso relievos of the ceiling,
and the Mosaics in the cupola of this chapel, are
all copied from the designs and paintings of Peter
da Cortona. Here are two doors, one leading
into the Sacristy, and the other to the Vatican
palace.
Under the next arch are two tombs: the one to
the right, of Gregory XIII. (Boncompagni), who
died in 1585, was made by Cav. Rusconi: the
statue of the Pope is accompanied by the figures
of Religion and Fortitude: the basso relievo in
front, represents the alteration made by that
é
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NEW PICTURE OF Rome.
I
..
pontiff in the calendar. The other is the tomb of
Gregory XIV. (Sfrondati), who died in 1591; it is
of stucco; except the statues of Faith and Justice,
which are of marble. .
At the end of this nave, in front of the pillar of
the great cupola, is an altar, on which is a
Mosaic copied from Domenichino's celebrated
picture of the Communion of St. Jerome. Then
follows the
·
CAPELLA DELLA MADONNA,
(Chapel of the Madonna.)
It is also called Gregorian, because it was
erected by Gregory XIII., from the designs of
Michael Angelo. The altar is adorned with
alabaster and precious stones: and here is venerated
an ancient image of the Virgin, called del Soccorso
(Succour). Under the altar is placed the body of
St. Gregory. The Mosaics are taken from the
pictures of Muziano.
In advancing towards the crossway, on the
right side, is seen the tomb of Benedict XIV.
(Lambertini), who died in 1758. Besides the
statue of the Pope, are two others, Science and
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Charity, by Peter Bracci. Opposite this tomb is
the altar of St. Basil the Great, whose picture in
Mosaic is copied from M. Subleyras. The next
object is the
CROCIATA SETTENTRIONALE,
(Septentrional Cross.
At the end of this crossway are three altars
adorned with fine pillars. On the middle altar is
a Mosaic, copied from Valentino: it represents
the martyrdom of St. Processus and St. Martinian.
On the right altar, is a Mosaic, representing the
martyrdom of St. Erasmus, taken from Nicholas
Poussin. The Mosaic, on the other altar, of St.
Vinceslaus, is copied from Angelo Carosello. In
the two niches near this altar, are the colossal
statues of St. Jerome Emeliani, by Peter Bracci ;
and St. Cajetan, by Carlo Monaldi. Opposite
are the statues of St. Joseph Calasanzio, by Inno-
cent Spinazzi; and St. Bruno, by Mr. Slodos.
On the altar, at some distance to the left, is a
Mosaic copied from Lanfranco; it represents St.
Peter walking on the water, by the command of his
divine Master. Opposite this altar is the mag-
}
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NEW PICTURE OF ROME.
+
nificent monument of Clement XIII. (Rezzonico),
who died in 1769, executed by the celebrated Mar-
quis Canova. There are three large figures, namely,
that of the Pope kneeling in prayer; a very ma-
jestic one of Religion holding the cross, and a
Genius, signifying the Angel of the Church, seated
near the sarcophagus holding a torch in front are
two seated figures sculptured in basso relievo,
representing Charity and Fortitude and two
couched Lions on the base, emblems of the
strength of mind which distinguished the Pope.
A little farther on is the chapel of the archangel
St. Michael; on the altar, which is decorated with
four fine pillars, is a Mosaic of St. Michael,
copied from Guido. The Mosaics in the cupola
of this chapel, are taken from the works of
Andrew Sacchi, Romanelli, and Cav. Benefiale.
In this same chapel is another altar, where is seen
the finest Mosaic in St. Peter's; it was made by
Cav. Cristofori, and copied from Guercino's cele-
brated picture of St. Petronilla: it represents the
disinterment of that saint. Near the altar of St.
Petronilla, is the tomb of Clement X. (Altieri),
who died in 1676: it was made from the designs
of Cav. Matthias Rossi; the Pope's statue is by
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Hercules Ferrata; the figure of Clemency is by
Joseph Mazzuoli; Benignity is by Lazarus Mo-
relli; the fine basso relievo, representing the open-
ing of the holy door in 1675, is by Leonard Reti.
Opposite this tomb is an altar with a Mosaic,
copied from the painting by Placido Costanzi; it
represents St. Peter recalling Tabitha to life.
Having arrived at the gallery where we com-
menced, we have finished the tour of the interior
of this church. Although we have endeavoured
to describe every remarkable object it contains,
something may possibly be omitted, as connois-
seurs always discover some new beauty which had
escaped them before.
Previous to quitting the church, it is necessary
to return to St. Veronica's statue, placed in front
of one of the pillars of the great cupola; under
which is a staircase leading to the
GROTTE VATICANE
(Vatican Grottos.)
·
We have mentioned that the ancient church
built by Constantine the Great, stood on the
Vatican grottos, or cemetery; at the construction
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J
of the new cathedral, the popes ordered the archi-
tects not to touch the pavement that covered the
ancient cemetery; for this reason the new one
was raised eleven feet higher than the old; and
arcades and pillars were placed to support the
upper one: the space between them forms these
grottos.
In this subterranean place are four small chapels
corresponding to the pillars of the great cupola :
they were made from the designs of Cav. Bernini;
on the altars are Mosaics copied from Andrew
Sacchi.
On entering the circular corridor, is seen the
chapel of the Confessor, in the form of a Latin
cross, and placed under the great altar of the new
cathedral; Clement VIII. decorated it with pre-
cious marbles, gilt stuccos, and twenty-four
bronze basso relievos, representing various traits
in the lives of St. Peter and St. Paul. On the
altar are some very ancient images of these apostles,
painted on silver. This altar is much venerated,
because it is placed on the tomb of St. Peter.
In these grottos are a number of tombs ; amongst
others, those of the Emperor Otho II; of Char-
lotte queen of Jerusalem and Cyprus; a grand
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Master of Malta; Adrian IV.; Boniface VIII. ;
Nicholas V.; Urban VI.; and of James Stuart, son
of James II. of England. There are also several basso
relievos, statues, paintings, Mosaics, inscriptions,
and other sacred monuments, all precious remains
of the old church, which render these grottos
highly interesting and venerable. Ladies are never
allowed to enter this sacred place, except on
Whit-Monday. On quitting these grottos, the
visitor enters the
SAGRESTIA DI S. PIETRO,
(St. Peter's Sacristy.)
This sumptuous edifice was built by Pius VI.,
from the designs of Carlo Marchionni. On enter-
ing by the door near the chapel of the choir, is
seen a fine vestibule, decorated with four beautiful
pillars, and pilasters of red oriental granite: it
contains a very fine colossal statue of St. Andrew.
This vestibule leads into three fine galleries,
adorned with pillars of antique grey marble, and
pilasters of African green marble, between which
are some ancient and modern inscriptions, and
busts of some of the popes.
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The first of these galleries, leading into the
sacristy of the Beneficiati (Incumbents), commu-
nicates with the second gallery, in the middle. of
which are two doors: the one to the right enters
the common sacristy; the other leads into the street
by a fine double staircase; on the landing-place is
a marble statue of Pius VI., made by Augustine
Penna. From that gallery we pass to the third
which is parallel with the first; it leads on the
right side into the canon's sacristy, and on the left,
to the chapel of the choir. The common sacristy
in the middle has an interior communication with
the other two; it is of an octagon form and is
forty-eight feet in diameter; eight fluted pillars of
antique grey marble and as many fluted pilasters of
antique yellow marble support the cupola; all
adorned with stucco; the chapel is decorated with
four fluted pillars of very precious marble.
The sacristy of the canons, on the right, is
adorned with closets made of Brazil wood: it has
a chapel, where, on the altar between two alabaster
columns is a capital picture, by Fattori, Raphael's
scholar, of the Virgin and Child, St. Ann, St.
Peter, and St. Paul; opposite this altar is an ex-
cellent painting of the Virgin and Child, and St.
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John, by Julio Romano; over the door and win-
dows are two pictures, by Anthony Cavallucci.
The chapter room is surrounded by seats of Brazil
wood, and contains a large marble statue of St.
Peter as well as various paintings.
In the sacristy of the Beneficiati are closets of
Brazil wood; it has a chapel similar to the other
of the canons; on the altar is a fine picture, by
Jerome Muziano, representing our Saviour giving
the keys of Paradise to St. Peter. Opposite
the altar is an ancient image of the Virgin,
formerly in the old sacristy. The two paintings
over the door and window are by Anthony Caval-
lucci. Near this sacristy is another destined for
the incumbent clerks; it contains closets of walnut
wood in which the sacred utensils are kept.
In this edifice, besides a number of rooms for
different purposes, are some magnificent apart-
ments for the habitation of the canons and incum-
bents: each has several chambers at his own
disposal.
On returning to the church by the door, under
the monument of Mary Sobieski Stuart, we
ascend to the
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NEW PICTURE OF Rome.
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UPPER PART OF ST. PETER'S. ·
It is impossible to judge of the immense size of
this temple, except at this place. The ascent is
by means of a winding staircase of 142 steps, the
declivity is so gentle that a loaded horse could
ascend. At the top of this staircase is a vast plat-
form where are two octangular cupolas (besides
the great one), each 136 feet high. On the balus-
trade in front of the church are the thirteen statues
before mentioned; they are of a surprising size,
but when viewed from the square appear only
of an ordinary height.
The great cupola, from this platform is 285 feet
high; it is the boldest achievement of modern
architecture. The entrance to the interior is by
galleries made in the base itself; the interior en-
tablature, which runs all round, is seven feet wide,
and 380 in circumference. This place commands
a perfect view of the inside of the cupola and the
whole church; the persons on the pavement appear
like children. The visitor then ascends to the
part where the cupola is double; and by means
of several staircases between the two superficies of
the edifice, reaches the lantern; some other stairs
EIGHTH DAY.
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​Outside of this
lead to the great bronze ball.
ball is an iron ladder which forms the ascent to
t
the top of the cross.
Having seen all that belongs to the first church
in the world, we next pass to the
PALAZZO DEL VATICANO,
(Vatican Palace.)
According to some writers, Constantine the
Great, after building the ancient cathedral, erected
a magnificent palace near it for the habitation of
the Popes; others attribute the foundation to St.
Liberius, or Pope St. Symmachus, about the year
498. But whoever was the founder, it is known
that Charlemagne resided in it, when he was
crowned emperor by Pope St. Leo III. Celestine
III. was the first who repaired it, for in his time
it was half ruined. Nicholas III. in 1278, greatly
enlarged it. Gregory XI., having removed the holy
see from Avignon to Rome, inhabited this palace;
and in 1378 the first conclave was held there.
Amongst the popes who have embellished and
augmented this palace, Julius II. is distinguished;
he sent to Florence for the great Raphael Sanzio
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NEW PICTURE OF ROME.
d'Urbino, and employed him to paint the four
rooms, well known by the name of that immortal
artist. Leo X., who succeeded, made the triple
portico in St. Damaso's court, from the designs of
Raphael, who adorned it with stuccos and paint-
ings, whence it has taken the name of Raphael's
Lodges. Paul III., Pius IV., Sixtus V., greatly
augmented and embellished this palace; the last
mentioned added another magnificent palace to-
wards the eastern part of St. Damaso's court.
Various popes have, since that time, repaired and
beautified it; particularly Pius VI., who con-
structed a magnificent building to enlarge the
museum made by Clement XIV., and which the
reigning pontiff, Pius VII., has carried to per-
fection.
This immense edifice which, it may be said, is
composed of several palaces, is 1,080 feet long by
720. Although the architecture is neither sym-
metrical nor regular, having been built at different
times, it is nevertheless the production of the most
famous architects, such as Bramante, Raphael,
Pyrrhus Ligorio, Domenick Fontana, Charles
Maderno, and Bernini. It has three stories which
contain numerous apartments, immense halls, large
EIGHTH DAY.
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galleries, majestic chapels, long corridors, a mag-
nificent library, a vast museum, and a delightful
garden, twenty courts, eight large staircases, be-
sides smaller ones, which amount to the number
of 200.
The principal staircase is by the side of the
equestrian statue of Constantine the Great, placed
in the vestibule of the porch of St. Peter's: it has
two flights decorated with Ionic columns, from the
designs of Cav. Bernini. It leads to the first and
principal floor, and directly to the state-room,
made by Anthony da Sangallo, under Paul III.
All the ornaments were painted by Pierin del Vaga
and Daniel da Volterra. The frescos on the walls,
representing various historical events, explained by
inscriptions under the pictures, were painted by
George Vasari, Horace Sommachini, Thaddeus
and Frederic Zuccari, Francis Salviati, and Jerome
Sicciolante. This splendid room leads to two mag-
nificent chapels; the one to the left, which is
much handsomer than the other, is the
CAPELLA SISTINA,
(Sixtus Chapel.)
Its name is derived from Sixtus IV., who built
it from the designs of Baccio Pintelli. The cele
+
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NEW PICTURE OF ROME.
brated Michael Angelo Bonarotti, in the space of
twenty months, without any help, painted the great
ceiling in fresco, he has represented the creation
of the world, and other events of the Old Testa-
ment; on the angles and lunettes are prophets and
sibyls; the whole is exquisitely designed and ex-
ecuted.
The immense fresco over the altar, representing
the Last Judgment, is by the same great artist,
he was three years employed in it; it is regarded
by every one as a masterpiece. In the middle of
the picture is our Saviour and his Mother, sur-
rounded by the apostles and a multitude of saints;
above are angels carrying the symbols of his pas-
sion in triumph; and lower is a group of angels
sounding the trumpet; and underneath are seen
several skeletons resuming their bodies; some are
endeavouring to remove the earth that covers them;
and others are rising in the air to go to judgment.
But the principal expression of the work is de-
rived from the angels who aid the elect to ascend
into heaven; and, on the other side, the demons
who are dragging the condemned to hell; while
their resistance produces horrible combats. To
render this fine
fine composition poetical, the
painter has introduced Charon at the bot-
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tom of the picture, filling his boat with the con-
demned; he has represented that demon as des-
cribed by Dante; "Charon the demon, with fiery
eyes, collects all the souls with a sign, and strikes
those with his oar, who follow too slowly."
A
The fourteen pictures, painted under the entab-
lature of this chapel, are by Luke Signorelli,
Cosmo Roselli, and Peter Perugino. The other
is the
}
CAPELLA PAOLINA,
(Pauline Chapel.)
It was erected by Paul III. from the designs of
Anthony Sangallo. On the side-walls are six
frescos: the first and third, to the right on entering,
are by Frederic Zuccari; the middle one, and the
one opposite it on the other side, are by Bonarotti;
the two others are by Laurence Sabbatini. The
paintings of the ceiling are by Frederic Zuccari.
In this chapel, during the Passion Week, is made
the sumptuous exposition of the Sacrament.
The door opposite the Sistina chapel leads into
the Ducal hall, painted by Raphael da Reggio,
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Paris Nogari, and Matthew da Sienna. Next to
this hall is the
i
APPARTAMENTO BORGIA,
(Borgia Apartments.)
Built by Alexander VI. of that family. The
ceiling of the first hall is painted in arabesque, by
Pierin del Vaga and John da Udine, Raphael's
scholars. Between these paintings are the seven
planets, the twelve signs of the zodiac, and other
celestial figures, done by Pierin del Vaga, from
Raphael's designs. In the following rooms are
some paintings, by Peter Perugino and Bernard
Pinturicchio, his scholars.
1
!
Next comes a suite composed of seven rooms,
in which is the chapel of St. Peter the Martyr, a
Dominican; erected by Pope St. Pius V. The
altar-piece is painted on wood, by George Vasari;
all the other pictures were executed by his scho-
lars, from his designs.
The visitor then enters the hall of Paul V.,
where are three capital pictures, by Guido Reni,
representing Samson's life.
In the chapel of Nicholas V., dedicated to the
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protomartyr St. Stephen, are some fine paintings
by John Angelico de Fiesole, Dominican, a pupil
of Masaccio. The altar-piece is by George Vasari.
On the second floor are the
LOGGE DI RAFFAELLO,
(Raphael's Lodges.)
Leo X. constructed these lodges from the designs
of the great Raphael d' Urbino; they are composed
of three floors, each having three wings, which
surround the court of St. Damaso; in the first and
third floors are pictures by John d' Udine, Roncalli,
Pomarancio, Tempesta, Cavalier Arpino, Paul
Brilli, and others.
In the second floor of these lodges, and in the
first wing are the famous paintings of the great
Raphael, which have given name to the lodges;
his portrait, finely sculptured by Signor Alexander
Deste, has been placed there. This wing is com-
posed of thirteen arcades, sustained by pilasters,
which are adorned with antique basso relievos,
and arabesques from Raphael's designs, by John
d'Udine, his best scholar in that style of painting.
But the most remarkable are the four fresco
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NEW PICTURE OF ROME.
pictures on each of the ceilings, making altogether
fifty-two; they represent the principal events of
the Old Testament, and were executed from
Raphael's cartoons, by Julio Romano, Pierin del
Vaga, Pellegrino da Modena, Polydore and Ma-
thurin da Caravaggio, and other of his excellent
scholars.
Of the first four pictures, the one over the
entrance-door representing the Eternal Father
dividing the light from darkness, is entirely by
Raphael. The action of the Creator is expressed
with a poetic enthusiasm, and an energy truly
astonishing. The pictures of the second and third
wings are by Mark da Faenza, Octavian, Mas-
cherini, James Semenza, Raphael da Reggio, Paris
Nogari, John Naldini, Anthony Tempesta, and
Cav. Lanfranco. Between the first and second
wings is a door leading into the
CAMERE DI RAFFAELLO,
(Raphael's Chambers.)
These are the celebrated Vatican rooms, to
which the amateurs of the fine arts run in crowds
from all parts of the world to admire the master-
EIGHTH DAY.
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pieces of the immortal Raphael d'Urbino, and his
best scholars.
The greater part of these rooms had already
been painted under Julius II., by Peter dal Borgo,
Bramante da Milano, Peter della Francesca, Luke
Signorelli, and Peter Perugino; when, at the re-
quest of Bramante da Urbino, that Pope sent to
Florence for Raphael to come and paint with the
others, and ordered him to represent the dispute
about the sacrament on one of the walls. When
the work was finished, the pope was so astonished,
that he suspended all the performances of the other
painters; and even commanded all that had been
done to be effaced, wishing the same incomparable
artist to paint the whole of the rooms. But Ra-
phael, out of respect for his master Peter Perugino,
would not allow the ceiling he had painted, to be
destroyed, it is therefore still remaining.
There are four of these rooms, the first of which
from the subjects of the pictures, is called
SALA DI COSTANTINO,
(Constantine's Room.)
Raphael, after making the designs of the pic-
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NEW PICTURE OF ROME.
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tures in this room, began an oil painting on the
wall opposite the windows, where is seen the vic-
tory of Constantine the Great over Maxentius at
Ponte Molle. But being prevented by death, he
only did the two side figures, Justice and Benig-
nity; Julio Romano, his best pupil, having re-
moved all the oil preparations, finished this great
work in fresco, by order of Clement VII., leaving
the two Virtues as Raphael painted them.
Julio Romano also painted the first picture to
the left on entering; it represents the Appari-
tion of the Cross to Constantine, while he ha-
rangued his soldiers, before the battle with Max.
entius it is a capital performance. In the pic-
ture opposite, is Pope St. Sylvester baptizing the
Emperor Constantine; it is by Francis Penni,
called the Fattore (Doer or Maker).
On the fourth side, between the windows, is re-
presented the Donation made by Constantine to
St. Silvester, of the city of Rome : it is by Raphael
del Colle. The Eight Popes between these pic-
tures, are by Julio Romano; and the fine chiaro
scuros on the bases of the paintings, are by Poly-
dore da Caravaggio; which, having been damaged,
were re-touched by Carlo Maratti. On the ceiling
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of this room, between several ornaments, is painted
a Temple with a crucifix in it, expressing the ex-
altation of the Faith; all by Thomas Laurenti, of
Palermo; done long afterwards under Gregory
XIII. The pictures around the ceiling are by the
brothers Zuccari. Then follows the
SECOND CHAMBER.
In the first picture of this room, is represented
Heliodorus, Prefect of Seleucus, king of Syria,
who was sent by that prince 176 years before the
Christian era, to pillage the temple of Jerusalem.
Whilst preparing to commit this sacrilege; at the
prayer of the high-priest Onias, two angels and a
cavalier were sent against him, who threw him
down, and drove him from the temple. By an
anachronism, Julius II. is introduced. This
picture was designed by Raphael, who painted the
first group; the other, in which are various
women, is by Peter da Cremona, Correggio's
scholar; all the rest was done by Julio Romano.
In the opposite picture is represented Pope
St. Leo I., going against Attila, king of the Goths,
who was advancing to pillage Rome: and who,
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NEW PICTURE OF ROME.
frightened by the apparition in the air, of St. Peter
and St. Paul with drawn swords in defence of the
pope, hastens to return back. The third picture
in this room represents the miracle which hap-
pened at Bolsena to a priest, who doubting of the
real presence of Jesus Christ in the Eucharist,
while going to consecrate it, saw some blood drop
upon the communion cloth. Julius II. is intro-
duced in this picture hearing mass.
In the opposite picture is St. Peter in prison,
when the angel frees him from his chains, and
takes him out this is also by Raphael's hand.
He has expressed four different lights in the most
admirable manner; namely, that of the angel in
the prison; and the same angel on the outside of
it; the light of the moon in the midst of clouds ;
and a torch held by a soldier, which reflects in an
extraordinary manner on his arms. Raphael
executed this before Gherard delle Notti came to
Rome. The ceiling of this room is painted in
chiaro scuro, by Raphael. The figures on the
bases of the fore-named pictures, are by Pierin del
Vaga, and the basso relievos painted in yellow,
are by Polydore Caravaggio. The visitor then
enters the
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THIRD CHAMBER.
One o Raphael's most sublime works is as-
suredly the school of Athens, or school of ancient
philosophers. The scene is in a fine portico de-
corated with magnificent architecture. In the
middle of four large raised seats, are placed Plato
and Aristotle, who are easily known as the fathers
of the Grecian philosophy by their grave and im-
posing air; their disciples are arranged in rows
on both sides of them. On the right side, among
other figures, is Socrates, reasoning with Alci-
biades. Diogenes is extended on the second seat
with a book in his hand, and his porringer by
his side. Underneath, on the right hand, is
Pythagoras writing in a book; among his scholars
that surround him, is one holding a little tablet, in
which are engraved some musical consonants.
Under the forms of different sages, the excel-
lent painter has represented some of the most
noted men at that time. Under the figure of
Archimedes, who is bending and tracing a sex-
agonal line with his compass, is represented Bra-
mante Lazzari the celebrated architect, a relation
430
NEW PICTURE OF ROME.
of Raphael's. The young man who is kneeling,
and attentively observing, is Frederick II., Duke
of Mantua. Another, with his hand on his breast,
is Francis de la Rovera Duke da Urbino, nephew
of Julius II. The two figures to the left, of Zoro-
aster, who holds a globe, are the portraits of
Peter Perugino and Raphael himself. This capital
picture contains fifty-two persons, which, in repre-
senting a school of ancient philosophers, is at the
same time a true school of painting; it has been
considered as such by all artists, who think it in-
imitable. The opposite picture is the Dispute
about the Sacrament: it is the first fresco painted
in these rooms by Raphael, and one of his finest
performances. The invention of the subject, con-
sists of an Altar in the middle, over which is a
Sun, with the Sacrament. In the air is seen the
Holy Trinity, the Virgin, and St. John Baptist.
By the sides of the altar are Four Doctors of the
Latin church, with other holy fathers, and various
saints of the Old and New Testaments, disputing
about this profound mystery. The third picture,
over the window, is also by Raphael, and repre-
sents Mount Parnassus, where are seen in various
fine groups, the Nine Muses, and Apollo in the
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midst playing on an instrument. Several poets,
both ancient and modern, are dispersed upon the
mount, amongst others are Homer, Horace, Virgil,
Ovid, Ennius, Propertius, Dante, Boccaccio,
Sappho, &c. &c.
The fourth picture, over the opposite window,
represents Jurisprudence, expressed by the three
Virtues, companions of Justice, namely, Prudence,
Temperance, and Fortitude. By the sides of this
window are two historical pieces: the one, to the
right, is Justinian giving the Digests to Trebonian;
the other represents Gregory IX. committing the
Decretals to a Consistorial Advocate. It is also
by Raphael. The ceiling of this room was painted
by Raphael: it is divided into nine pictures,
separated by an ornament of chiaro scuro, on a
gold ground. In the middle picture are several
small Angels sustaining the arms of the church.
The four round paintings which correspond with
the four underneath, represent Philosophy, Jus-
tice, Theology, and Poetry: the four oblongs,
express Fortune; the Judgment of Solomon;
Adam and Eve tempted by the Serpent; and
Marsyas flayed by Apollo. The chiaroscuros
around the base of the room, are by Polydore da
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NEW PICTURE OF ROME.
Caravaggio, from Raphael's designs; the others
are by John d' Udine. Next comes the
FOURTH CHAMBER.
The finest painting, in this last room, is the
Conflagration of the Borgo S. Pietro, which hap-
pened in 847, under St. Leo IV. In this astonish-
ing picture Raphael seems poetically to have
imagined the burning of Troy, having introduced,
among various episodes, a group of figures, that
may be supposed to be Eneas carrying his Father
Anchises on his shoulders, followed by Creusa
his wife. This exquisite group was painted by
Julio Romano: all the rest is by Raphael.
In the opposite picture, over the window, is re-
presented the justification of St. Leo III., before
Charlemagne, the Cardinals, and Archbishops;
and his oath against the calamities alleged against
him.
The third picture is the victory obtained by
St. Leo IV. over the Saracens at Ostia; this is by
John d' Udine, from Raphael's designs.
On the opposite wall is the coronation of Char-
lemagne, by St. Leo III., in St. Peter's, by Pierin
del Vaga.
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EIGHTH DAY.
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The paintings on the ceiling of this room are
those which Raphael would not allow to be effaced
out of respect to his master, Peter Perugino. The
base of the room is painted in chiaro scuro, by
Polydore Caravaggio.
On descending to the first floor of Raphael's
lodges, at the end of the first wing, is an arch
leading into a long gallery, called Bramante or
Belvedere, containing a number of antique marble
inscriptions enchased on the wall, divided into nu-
merous classes; namely, the Greek and Latin
monuments of the old christians; the offices; the
arts and commerce; the military; the consuls; the
magistrates and the dignities; the Augustus' and
Cesars; and lastly, sacred things and their minis-
ters. This treasure of erudition has been collected
by Pius VI., and Pius VII.
There are also several altars, pillars with in-
scriptions, and other antique marbles.
The iron door in the middle of this gallery leads
into the
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BIBLIOTECA VATICANA,
(Vatican Library.)
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It surpasses every other in Italy, in magnifi-
cence, and contains a rich collection of precious
books, in every language, and nearly thirty thou-
sand volumes in manuscript. It owes its origin to
Pope St. Hilary, who in 465 commenced it in the
Laterano palace. It has been augmented by se-
veral popes, especially Nicholas V., who removed
it hither. Sixtus V., finding the old library be-
come too small, built the new edifice from the de-
signs of Domenick Fontana.
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The immense room, forming the principal body
of the library, is 216 feet long by forty-eight, and
twenty-eight high; the seven pillars that sustain the
roof, divide it into two naves.
The books are all
enclosed in forty-six closets. The paintings are
by Anthony Viviani, Paul Baglioni, Anthony Sal-
viati, Ventura Salimbeni, Paul Guidotti, Paris No-
gari, Cesar Nebbia, Avanzino Nucci, and others of
that time.
- 4
To the right of the entrance door, Scipio Gae-
tano has painted Sixtus V., and Domenick Fon-
tana presenting him the plan of the library. It is
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1
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a fine painting in oil colour. Over the entabla-
ture and windows, are represented some of the
principal actions of that pope. Between the win-
dows, on the left side, are painted the most cele-
brated ancient libraries. On the pillars that sus-
tain the ceiling are seen the first inventors of the
letters of different languages, which are formed
over each figure, and explained by an inscription
below.
In the middle of this grand saloon are two su-
perb tables of Egyptian granite, black and white,
with feet, and ornaments of gilt bronze. Near the
last pillar is preserved a calendar in the form of a
cross. There is also a superb spiral pillar of ori-
ental álábaster, nine feet high, found in the Ap-
pian way.
Opposite this pillar is a sarcophagus of white
marble, found two miles beyond the Porta Mag-
giore. Also an antique consular seat of marble.
Then follow two galleries opposite each other,
being together 400 paces in length; they also con-
tain closets filled with books; over these closets are
placed some valuable Etruscan väses.
The left gallery is composed of six rooms; the
two first are adorned with paintings, which repre-
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NEW PICTURE OF ROME.
436
sent different events under Sixtus V.; the design of
the cathedral, by Bonarotti, and the machine made
by Fontana, for the erection of the Vatican obelisk,
are worthy of attention.
At the end of the third room are two famous an-
tique statues, seated; one represents St. Hyppo-
lito, bishop of Porto; on his seat is engraved the
celebrated Pascal Calendar. The other is the sta-
tue of Aristides of Smyrna, a celebrated Grecian
philosopher and orator; his name is written on the
base, in Greek. In the middle of this room is an
antique bronze chariot.
The fourth room contains a sacred museum,
that is, a collection of antiquities belonging to
Christianity. The basso relievos enchased on the
walls, have been taken from different sarcophagi
of the ancient christians, found in their cemeteries.
The Church and Religion painted on the ceiling,
are by Stephen Pozzi.
Then follows a very fine room called de' Papiri,
because it is hung with a number of ancient writ-
ings on the Papyrus of Egypt. This room is
decorated with fine marbles, pillars of black and
white granite, a porphyry frieze, and a beautiful
marble pavement. The ceiling is painted in fres-

EIGHTH DÀY.
437
co, by the celebrated Raphael Mengs. He has re-
presented History writing on the back of Time,
with a Genius 'on' one side, and Jañus and Fame
sounding a trumpet on the other.
#
The same master has also painted two figures
seated over the door, and opposite, representing
St. Peter and Moses. In this room are two su-
perb candelabras, made at Paris.
The other galléry, to the right, is also composed
of several rooms, containing closets full of valu-
able books, with large Etruscan vases over them;
and fine pillars, six of which are of porphyry.
The two first rooms are adorned with pictures of
Cav. Arpino's school.
From the third room the visitor proceeds to a
cabinet, containing a number of ancient and mo-
dern prints, collected by Pius VI. Bernardino
Nocchi painted the four small pictures and the
ceiling, on which are portraits of the most famous
engravers.
Beyond this room is another, the doors of which
have porphyry columns; there is a fine basso re-
lievo over two of them.
This gallery is terminated by an elegant cabinet
filled with fine marbles and closets, in which are
·
2 P 3
438
new picture of Rome.
kept a number of precious antiques, such as inta-
glios, cameos, little statues of bronze, &c. The
iron door here, communicates with the principal
staircase of the Pio Clementino museum.
Quitting this library, and continuing along the
Belvedere gallery, between two columns, is an iron
door, leading to the
MUSEO CHIARAMONTI,
(Chiaramonti Museum.)
The reigning pontiff Pius VII., a great lover and
protector of the fine arts, has formed this superb
museum, and it completes the one called Pio Cle-
mentino, to which it joins. In a long and magni-
ficent gallery is seen a large collection of statues,
busts, basso relievos, and other monuments of an-
cient sculpture.
It is arranged with the greatest possible taste and
art, by the Marquis Canova, who was both the
director and promoter of it.
*=
Not to be too diffuse, we shall only mention the
most remarkable objects.
At the beginning of the right side, is seen a ca-
pital statue of Mercury, larger than life.
EIGHTH DAY.
439
On the left, are the statues of M. Aurelius and
Commodus, naked, in the heroic style, holding a
globe and a victory. On the other side of the gal-
lery is a small statue of Pluto, seated, with the
dog Cerberus. Above are two Fauns dancing,
and a small Mercury in the middle. Oppo-
site is a basso relievo, with some masks finely sculp-
tured. On the right hand, is a very fine colossal
trunk of a statue. Opposite is a group of Ariadne
and Bacchus, placed on a beautiful urn, adorned
with basso relievo; it is between two superb vases
found at Ostia.
Opposite the iron door, between two Augustus'
sacrificing, is a capital colossal statue of Antoni-
nus Pius.
Next is a fine naked statue of C. Verus, with a
globe and victory in his hand. Opposite, is an
Esculapius, and a Venus, larger than life. On the
right side is the god Mithras, killing a bull, in
grey marble. Near it is a capital and almost co-
lossal seated statue of Tiberius; it is in good pre-
servation, of superior workmanship, and was found.
at Piperino.
Next is a Silenus and Tiger, between two
Fauns.
•
440
NEW PICTURE OF ROME.
•
Opposite is a colossal head of Isis or Cybele,
veiled, with a necklace: On the right hand is a
fine colossal statue of Antinoüs, and a head of
Neptune.
Next is a veiled statue of Fortune, in good pre-
servation; it was found at Ostia; by her side is a
Priestess of Isis.
1
J
A fine statue of Diana, larger than life, in the
act of running. A small statue of Venus Anadio-
mene. Opposite is a fine group of Bacchus, and
Bacchantes!
!
1
On the right side of the gallery is a fine bust of
Pallas. A philosopher" seated, and above is a
fragment of Juno and Thetis.
Next is a capital Caryatide, half colossal, bé-
tween Silenus and Faunus: Opposite is a fine
statue of Peace, with a child, and cornucopia.
Above, is seen a very fine small head, appa
rently Bacchus crowned with poplar.
At the end of this gallery is a staircase adorned
with granite columns, and some grotesque paint-
ings, by Daniel da Volterra.
At the head of these stairs is an iron door lead-
ing to the
}
EIGHTH DAY.
441
MUSEO PIO CLEMENTINO,
(Museum of Pius Clementinus.)
This splendid Museum; which owes the greater
part of its magnificence to Pius VI., excels every
other collection of antiquities from its size and the
immense quantity of valuables of all descriptions
that it possesses. The sublime productions of the
Greek and Roman artists contained in it, and the
valuable collection of curiosities from the ancient
forums, baths, theatres, &c. &c., render it an ob-
ject of the greatest interest.
We will now proceed to the
VESTIBOLO QUADRATO,
(Square Vestibule.)
It is adorned with arabesques, by Daniel da Vol-
terra. On the right side entering, is seen a recum-
bent sepulchral statue of a Matron, with drapery,
lying on a bed. Opposite the window are placed
all the monuments found in 1780, in the tomb of
the Scipios, in the Sassi vineyard. They consist
of a sarcophagus of Albanian marble, now called
442
NEW PICTURE OF ROME.
•
3
peperino; with roses and triglyphs carved on it;
the inscription, engraved in front in very ancient
Latin, proves it to have been the tomb of Cornelius
Lucius Scipio Barbatus, great grandfather of Sci-
pio Africanus, and consul in the year of Rome,
456. On this same sarcophagus is a bust of a
young man crowned with laurels, supposed to be
that of Ennius or L. Scipio, son of Gneus; and
perhaps one of the three portraits mentioned by
Cicero, as on the Scipios' tomb, two of which be-
longed to the Scipios themselves, and the other to
the Poet Ennius. Above are several inscriptions,
enchased on the wall, which were found in the
same tomb.
In the middle of this vestibule is the celebrated
fragment of a statue of Hercules, called the Torso
di Belvedere (Belvedere trunk). The famous Bo-
narotti made this mutilated statue his study for a
long time. It has always been greatly admired
by artists. The inscription mentions it to be the
work of Apollonius, son of Nestor of Athens.
We then pass into the
EIGHTH DAY.
443
VESTIBOLO ROTONDO,
(Round Vestibule.)
In the first niche to the right is a fragment of a
statue with drapery, and Grecian sandals; of ex-
cellent workmanship. In the following niche is
another fragment of a statue with drapery, very
finely sculptured; it was much admired by the
great Raphael. There are two other fragments,
one of a woman seated; the other, a man with a
cornucopia at his feet. In the middle of this ves-
tibule is a large basin of violet marble fluted. Next
is the
Czy keys
CAMERA DI BACCO,
(Chamber of Bacchus.)
1
+
#
•
In the middle of the room is a fine group of
Bacchus with a faun, found at Murena, a farm of
the Giraud family. Opposite the window is a
large side of a sarcophagus, representing a sea-
port, found in the Muiraga Vineyard in the Ap-
pian Way. On the wall facing, is another basso
relievo, belonging to a sarcophagus, on which are
some sepulchral figures, with the nine Muses.
The next object is the
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A
444
NEW PICTURE OF ROME.
PORTICO AL CORTILE,
(Portico of the Court.)
This portico surrounds a large octagon court,
and is sustained by sixteen granite pillars and se-
veral pilasters, finely intermixed with arches, some
flat and others round. It contains a number of
capital sculptures; it is sometimes called the
Statue Court. On the right side is a sarcophagus.
with a fine basso relievo, representing a Bacchanal;
it was found in building the new sacristy of St.
Peter's. The next sarcophagus is remarkable for
its inscription in Latin and Greek, proving it to
have been the sepulchre of Sextus Varius Marcel-
lus, father of Heliogabalus. Opposite is a re-
cumbent figure of a woman.
On entering the first cabinet in the great niche,
is seen the exquisite statue of Perseus holding
Medusa's head, from the sublime chisel of the
Marquis Canova; as also the two Pugilists, ad-
mired for their style and expression. The sarco-
phagus, on the right side of this statue, is adorned
with several figures of Bacchantes; it has a basso
relievo, representing marine monsters; in the
middle is this inscription: Clani Navatilani, &c.
1
EIGHTH DAY.
445
On this sarcophagus is a funeral urn of alabaster,
finely preserved; and on the wall is enchased a
basso relievo, representing a Bacchanal. The op-
posite sarcophagus has a basso relievo, represent-
ing Agamemnon's death. In the niches by the
arch, are the statues of Mercury and Pallas.
After this cabinet, continuing under the piazza,
is seen a sarcophagus with a basso relievo, repre-
senting Bacchus followed by all his retinue. On
the front of another sarcophagus are seen the
Games of the Circus, performed by Genii; a
statue of Fortune is placed on this marble. On
another sarcophagus is an old man kneeling be-
fore the conqueror. Over this is part of a sarco-
phagus with a basso relievo, of the four Seasons,
of exquisite workmanship.
In the great niche following, is a statue larger
than life, of Sallustia Barbia Orbiana, wife of
Alexander Severus, represented as Venus with
Cupid; on the base is engraved this inscription:
Veneri Felici Sacrum Sallustia Helpidus, D.D. On
the opposite side over the arch, is a small urn with
Q. Vitelli inscribed. Next is a large sarcophagus
with a basso relievo, representing Achilles killing
Penthesilea, Queen of the Amazons.
2 Q
446
1
NEW PICTURE OF ROME.
In the second cabinet, in a large niche, is one of
the finest statues in the museum; although com-
monly called the Antinous of Belvedere, it really
represents a Mercury, from which, time has taken
away the attributes found on the other statues of
that divinity. There are also the statues of the
god of gardens, and a young Hercules with a
cornucopia.
Quitting this cabinet, appears a sarcophagus
with the fable of Diana and Endymion; another
sarcophagus with various Nereiads carrying
Achilles' arms; on which is placed a very fine
fragment of a nymph on a marine monster. By
the sides of the door leading to the room of ani-
mals, are two beautiful columns of antique green
marble; and two mastiffs, capitally sculptured.
In the piazza likewise is a sarcophagus, on
which is represented a battle with the Amazons ;
and another sarcophagus where is seen the seizure
of Leucippus' daughters by Castor and Pollux.
Above is seen enchased on the wall, a basso re-
lievo representing the Genii of the Bacchanals;
oyer which is a Bacchante or Nymph sleeping.
In the great niche of the following cabinet, is.
placed the celebrated group of Laocoon with his.
EIGHTÁ DAY.
447
two sons; found in Titus's palace near his baths.
This group was regarded by Pliny as a miracle of
the art, and is superior to every other work of that
kind, for the forms, the composition, and particu-
larly the look of violent agony expressed by these
three figures, occasioned by the bites and windings
of two immense serpents, sent by Minerva. Ít
was the work of Agesander, Polydore, and Athe-
nodorus, celebrated Rhodian sculptors.
Next is a very fine basso relievo, representing
the daughters of Niobe shot by Apollo and Diana.
Over this is a sarcophagus enchased on the wall,
on which are two Bacchantes with a bull. In the
niches by the sides of the arch are two statues,
one of the muse Połyhymnia, the other is a Nymph,
found near the Temple of Peace. On quitting
the cabinet is seen a large granite urn; over
which, on the wall, is enchased a large fragment
of basso relievo, representing Rome, accompany-
ing a victorious emperor; it probably belonged to
some triumphal arch. In a large niche near it, is
seen a statue of the Genius of Augustus, in a
Toga, veiled, with a cup and cornucopia. There
is also a hermes, with a very fine head of Antis-
thenes, found at Tivoli in Adrian's villa.
2Q2
448
NEW PICTURE OF ROME.
1
In the next cabinet in the great niche, is the ce-
lebrated and incomparable statue, called the Apollo
of Belvedere. It was found towards the end of
the 15th century, at Capo d'Anzio, and brought to
the Vatican under Bonarotti's direction, by com-
mand of Julius II. It has been considered by
every one as the finest of all the Greek statues
existing, expressing at the same time a perfect
idea of beauty and the majesty of a deity.
On the wall is a basso relievo, representing a
chase. In the niches under the, arch are the
statues of Pallas and Venus victorious. On the
outside of the cabinet is a basso relievo of Gany-
mede. On another sarcophagus is a basso relievo,
representing the history of Protesilas; he was the
first of the Greeks killed under the walls of Troy
by a dart. The subject is expressed by the soul
quitting his body, by Mercury receiving it, and
by the favour granted to Laodamia. Next are two
pillars differently worked. Continuing the tour of
the piazza, may be seen a fine basin of green ba-
saltes, found near the baths of Antoninus.
The court also contains some fine basso relievos
and other antique marbles.
The visitor next passes to the
LIGHTA DAY
449
SALA DEGLI ANIMALI,
(Hall of the Animals.)
It is divided into two parts by a vestibule, des
corated with four pillars, and four granite columns.
The pavement of this vestibule is covered with
Mosaics; the one' near the entrance represents a
she-wolf; in the middle, amongst various birds and
arabesques, is an eagle devouring a hare; this
Mosaic was found at Palestrina; and on the other
side, near the entrance to the chamber of the
Muses, is an antique Mosaic of a tiger.
1
:
This large hall containis a valuable collection of
animats placed on stone tables, &c., the principal
is a griffin of beautiful alabaster, on a basé finely
worked; a small naked figure on a horse gallop-
ping; a fine group of Hercules killing the triple
Geryon and carrying away the oxen. In a niche,
ornamented with two columns of red granite, is the
famous statue of Meleager. This figure is placed
on a pedestal formed of two sides of a sarcophagus,
on which is a basso relievo, of two lions tearing
two horses.
:
In the middle of this hall is the celebrated
2 Q3
$
450
NEW PICTURE OF ROME.
colossal statue of the Nile, surrounded by figures of
sixteen children..
S
The sphinx, the crocodile, the ichneumon, and
the basso relievos on the base, allude to the navi-
gation and productions of Egypt. This fine group
was found near the church of Minerva.
In the other part of this great hall is an ox al-
most as large as life, on a marble base, with a
figure, in a Phrygian cap, about to kill it; it re-
presents a sacrifice; Europa seated on the bull; a
fine group of Hercules killing Diomede and his
horses; and a tiger tearing a lamb. In the middle
of this part is a very fine statue of Tiberius, almost
colossal. There are a number more animals and
other fine antique marbles, too many to be de-
scribed. Next to this hall is the
GALERIA DELLE STATUE,
(Statue Gallery.)
Amongst the numerous statues in this magnificent
gallery, the most remarkable on the right side are,
Cladius Albin in armour; a half figure of Cupid,
an heroic statue naked, unknown; a veiled statue of
Pudicity; a Minerva with a bare head, a bronze hel-
..
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​EIGHTH DAY.
451
met on her right side and an olive branch on the
left; a capital statue of Caligula; a charming
group of a Nymph seated with a Satyr; a fine
Amazon; a Juno; and a young Hercules. The two
seated statues before the arch at the end of this
gallery are very remarkable; they represent Posi-
dippus and Menander, Greek poets.
On the other side may be seen an Apollo with a
portrait of Nero; a Septimus Severus; Neptune;
Adonis wounded; Bacchus recumbent; a fine
group of Esculapius and Hygeia; a Venus,
supposed to be an ancient copy from the fa-
mous Venus, by Praxiteles; a recumbent statue
of Faema Nicopolis; a half naked statue of a
Danaïd with the bucket full of holes; a fine Diana
Huntress with her dog; the busts of the Nile and
Tiber; an equestrian statue of Commodus; a Si-
lenus; Hygeia; Jupiter with thunder; a spear and
eagle. Between two columns of antique yellow
marble is a beautiful statue, supposed to be Cleo-
patra, but more probably Ariadne deserted by
Theseus. Then come the
452
NEW PICTURE OF ROME.
3
STANZE DE' BUSTI,
(Rooms of the Busts.)
These busts are distributed into three rooms,
divided by three arches, sustained by columns of
antique yellow marble and fine pilasters. The
most remarkable in the first room are, a Head,
supposed to be Domitia's; a Titus; a bust of Mark
Aurelius; Julia Mammea, a head of a Woman
laughing; a bust of Alexander Severus; a capital
head of Julius Cesar; one of Augustus; a fine
head of a Man; a bust of Philip the younger, of
porphyry; a very fine head of an old Woman;
in the middle of this room is a group of Nymphs
dancing, sculptured round a pillar.
✓
The most distinguished in the second room are,
the busts of Septimus Severus, Antoninus Pius;
Serapis in basaltes, Tiberius Cesar, Nerva,
Scipio, Claudius, Antinoüs, a very fine Sabina,
Adrian, and a capital head of Julian Didius. The
third room contains a great number of marbles;
amongst the finest are the busts of Isis, veiled and
crowned with serpents; Silenus; a Faun; in the
EIGHTH DAY.
453
niche, at one end of the room, is the celebrated
statue of Jupiter, seated on the Eagle, with the
sceptre and thunder in his hands. A head of
Marcia Ottacilia, wife of Philip the elder; Fla-
minius with a sacerdotal cap on his head, and a
head of one of the prisoners on Constantine's arch;
and two portraits on one block of marble, sup-
posed to be Cato and Portia.
From this room we enter an apartment, con-
taining several antique marbles. Near it is the
GABINETTO,
(Cabinet.)
Pius VI. made this cabinet under the direction
of Michael Angelo Simonetti; the ceiling was
painted in oil by Dominick de Angelis: in the
middle picture he has represented the marriage of
Ariadne and Bacchus ; on the four pictures around,
are seen Paris giving the apple to Venus; Diana
and Endymion; Venus and Adonis; and Paris
refusing to give the apple to Minerva. This
cabinet is decorated with eight columns, and as
many pilasters of alabaster. There is a frieze all
round carved with festoons, &c., of ancient
4:54
NEW PICTURE OF ROME.
In the first
workmanship. Over the door is a basso relievo,
with 'several of Hercules' labours.
niche, to the right, is a statue of a Faun in red
marble, found at Adrian's villa. Between the
columns is a statue of Paris in a Phrygian dress.
Above is a basso relievo, representing various
traits of Hercules, In the niche, between the
windows, is a fine statue of Minerva, over it is
enchased an antique Mosaic, representing some
objects of the Nile. Beyond the second window
is seen a charming statue of Ganymede, above
which is another basso relievo, representing the
strength of Hercules. In the niche near it is a
very fine statue of Adonis or Apollo. Over the
door leading to the gallery is another basso relievo
of the strength of Hercules. At the other side of
the cabinet, is the statue of a female dancer,
placed on an antique Cippus, with the inscription
Liciniae Crassi, &c.; over this, on the wall, is a
basso relievo, on which is the Chariot of the Sun.
Near it, is a beautiful statue of Venus issuing from
the bath; and on the wall is a basso relievo, of
the Apotheosis of Adrian. The last statue, near
the entrance door, is a fine one of Diana; in the
basso relievo over it, is another chariot of the
sun with several divinities.
EIGHTH DAY.
455
Under the niches are four porphyry seats, with
bronze feet. The pavement of this cabinet is
covered with a superb Mosaic, exquisitely worked,
found at Adrian's villa; it is surrounded with a
festoon of different fruits and leaves intermixed
with ribbons; and on a ground of white Mosaic,
are four small pictures, three representing ancient
masks; and the fourth a landscape, with goats,
and shepherds.
*
In the passage leading to the gallery is a statue
of a Faun dancing; and opposite is a small one
of Diana; near which is seen on the wall a basso
relievo, of three Conquerors at the Athletic games,
with vases, palm branches, and the names of the
conquerors in Greek, of very fine workmanship.
Opposite the room of the animals, is an antique
pedestal, sculptured on the sides, in front is an
old Bacchus with Fauns. Upon this pedestal is a
capital equestrian statue of Commodus combating
with wild beasts.
Returning to the Hall of the Animals, and
crossing its vestibule, by the right side, the visitor
enters the
d
456
NEW PICTURE OF ROME.
SALA DELLE MUSE,
(Chamber of the Muses.)
This splendid room is sustained by sixteen
pillars of Carrara marble, with antique capitals.
The pavement is composed of antique Mosaic, re-
presenting different Actors, and in the middle is a
head of Medusa. The ceiling is painted by Cav.
Thomas Conca; the subjects allude to the monu-
ments contained in the room. Around this room
are a number of hermes, and the statues of the
Muses, found in 1774, in Cassius' villa at Tivoli,
together with the hermes of the seven Sages of
Greece. The first to the right is Melpomene,
whose head, crowned with vine-leaves, is very
beautiful; it is distinguished as Tragedy by the
mask and the poniard which she holds. Next is a
hermes of Aristippus. Next is Thalia, the comic
Muse, seated with a timbrel and a comic mask ;
the hermes of Eschines, his name written on his
breast in Greek; it is the only portrait remaining
of that great orator. Next is the statue of Urania,
Muse of Astronomy; the hermes of Demosthenes
the orator; the statue of Calliope, muse of epic
EIGHTH DAY.
457
poetry. Then comes the hermes of Antisthenes, with
his name in Greek; the first likeness discovered
of the founder of the Cynic sect; the statue
crowned with flowers, with the hands enveloped
in drapery, represents Polyhymnia, muse of rhe-
toric. Near it is a hermes of Metrodofus. Next
is a double hermes, one with a likeness of Thales,
the other is Bias; a hermes of Alcibiades, with
his name in Greek, the first portrait found of him
with an inscription; a hermes of Aspasia veiled,
her name written in Greek, at the foot, the only
portrait of her; a statue of a woman seated with a
book, probably Sappho; a hermes of Pericles
unique, with a helmet on his head, and his name
in Greek, found at Tivoli, in Cassius' villa; a
hermes with an unknown head; one of Solon,
without a head, having a Greek inscription; a
hermes of Pittacus, without a head; an unknown
hermes; a hermes of Bias, his name, and a Greek
sentence written on his breast; a unique statue of
Lycurgus; a fine hermes of Periander of Corinth,
with his name, and a sentence in Greek; an un-
known head; a double hermes, one of Homer,
the other supposed Archilocus; a head of Dio-
genes the Cynic; the statue of Erato, muse
2
2 R
458
NEW PICTURE OF ROME.
lyric poetry, with a lyre; a hermes with closed
1
:
eyes; a seated statue of Clio, muse of history; a
hermes of Socrates, with his name in Greek; a
fine statue of Apollo, with Marsyas, sculptured
on his lyre in basso relievo. A hermes of a war-
rior with. a helmet; and a seated statue of Terpsi-
chore, muse of dancing, with a lyre in her hand;
a hermes of Zeno, with his name in Greek; a
statue of Euterpe, holding flutes; a hermes of
Euripides, the famous: Greek tragic writer; a
double hermes with Bacchanal heads; a small
hermes of Sappho; an unknown head; a young.
man disguised as: Diana; a hermes of Aratus, a
Greek poet; a small bust of Sophocles the tragic
poet, his name written in Greek; and a hermes
of Thales, without a head, his name and a sen-
tence are written in Greek. There are some
basso, relievos enchased on the wall, representing
combats of the Centaurs, and the birth of Bac-
chus
S
t
Under the arch of the great door, leading to the
Round Hall, are two niches, with the statues of
审
​Pallas, under which is a basso relievo, with a-
festoon, and a Medusa; in the opposite niche is the
statue of Mnemosyne, mother of the Muses, with
EIGHTH DAY.
459
the name on the base in Greek.
a medallion of Juno.
Over the arch is
One then enters the
SALA ROTONDA,
(Round Hall.)
It is sustained by ten large fluted columns of
Carrara marble; the capitals are exquisitely
worked, by Franzoni; it is lighted by ten windows,
and a large circular opening in the middle. The
whole of the architecture is by Simonetti. This
superb hall.contains statues and colossal busts;
they are placed on blocks of porphyry, with bases
very finely sculptured, some ancient and some
modern. The pavement is the largest antique
Mosaic existing, it was found at Ostricoli; in the
middle of it is a Medusa's head; it is adorned around
with festoons, marine monsters, &c..
On the right side, near the entrance door, is a
large bust of Jupiter; Faustina the elder; one of
Adrian, formerly in his mausoleum; another of
Antinoüs; a hermes representing the Ocean; a
bust of Jupiter Serapis, crowned with the seven
planets; a head of Claudius, with a crown; a
colossal bust of Plautina, Trajan's wife; a colossal
P
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460
new picturE OF ROME.
.
head of Julia Pia; a colossal bust of Pertinax, with
a helmet; by the sides of the entrance door, are
two large hermes as Bacchantes, representing
Tragedy and Comedy; they were found at Tivoli,
in the theatre of Adrian's villa.
The colossal statue in this room, on the right
side, represents Melpomene. Next are the sta-
tues of Juno and Nerva, almost colossal, of
Grecian sculpture; another colossal Juno, clothed
with a goat's skin, and armed; another of Com-
modus. Lastly, is the famous statue of the sleep-
ing Faun, of Greek workmanship, a master-piece of
sculpture. In the middle of this room is a large
porphyry basin, forty-one feet in circumference.
We next enter the
SALA A CROCE GRECA,
(Hall of the Greek Cross:)
The door of this room is singularly magnificent,
the posts are of red oriental granite, and of the
same marble are the two pieces of columns by
the sides, over which are two colossal Egyptian
statues of red granite found at Tivoli : they sustain
an entablature under the form of Caryatides, on
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EIGHTH DAY.
461
the frieze we read in letters of gilt bronze, Muṛ
scum Pium. On the same entablature are two fine
vases of red granite, and in the middle is an ex-
quisite antique basso relievo, representing Gladia-
tors combating wild beasts.
Beginning the tour of the room on the right
side, first is seen a half naked statue of Augustus.
On the wall over it is enchased a griffin, in basso
relievo. On an antique bracket is placed an
Egyptian idol of antique black marble. On a
cippus is a naked statue, almost colossal, of Lucius
Verus, as a youth, found at Palestrina.
Before the window is placed the large urn of red
porphyry, which served as a tomb for St. Con-
stance, daughter of the Great Constantine, and
was found in her church; it is adorned with basso
relievo. Opposite the statue of Lucius Verus is
another of a Muse seated holding a book. On the
pilaster is a small Egyptian idol of black marble;
and underneath is a very fine sphinx of red gra-
nite. On a cippus is a statue of Venus near a
vase. A large sphinx of black and white granite;
on the wall, by the side of the arch sustained by
two granite columns, is a basso relievo of two
children and a lion's head; and on the other side
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NEW PICTURE OF ROME.
a Bacchanal.
Underneath is a colossal sphinx.
In a niche is a statue of Erato holding a lyre;
over which on the wall is a basso relievo with
three Muses, which correspond with three others
opposite. On a large base is an Egyptian idol of
black marble; and under it, is a sphinx of red
granite; in a niche is a seated statue of Euterpe ;
and near her is a woman veiled. Above on the
wall is enchased a Victory, and opposite to it is
another.
Here is also the large porphyry urn of St.
Helen, found at Tor Pignattara; it was the tomb
of that empress; it rests on two lions' heads; and
on the sides are sculptured prisoners, almost in
relievo ; the cover is adorned with children, festoons,
lions, &c.; there are also the busts of St. Helen
and Constantine the Great. Near this is a naked
statue of a man; and another larger than life, in
a toga. On an antique bracket is an Egyptian
idol; and in the last niche is the statue of a young
man veiled. The pavement of this fine room is
adorned with Mosaic, found at the ancient Tuscu-
lum. We pass from this room to the
EIGHTH DAY.
463
PRINCIPAL STAIRCASE OF THE
MUSEUM.
This magnificent staircase is of Carrara marble,
and is divided into three flights, two of which lead
to the upper galleries, and the other to the library.
It is decorated with twenty-two columns of oriental
granite, the rails are of bronze, and the entablature
is sculptured in marble. On the first landing-
place are two fine statues of rivers, the white
marble one represents the Tigris, the other of
grey marble is the Nile. Below, at the head of
the middle flight, is seen the door of the library,
with posts of red granite, and an iron grating with
glass. In a niche here is a statue of Ceres with
ears of corn. The principal door, made from the
designs of Joseph Camporesi, forms a grand en-
trance to the museum on the outside; it is adorned
with two columns of Cipollino, four arches in the
interior lead to the museum, the gardens, the
street, and the court of the archives. Around
these arches are eight niches; the whole is of
marble.
Returning back to the middle division of the
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NEW PICTURE OF ROME.
staircase, and then ascending the two others to go
to the upper galleries, on the right side is the
CAMERA DELLA BIGA,
(Chamber of the Biga.)
This fine room is round, and adorned with four
niches between eight fluted columns of marble.
In the middle of the room is an ancient marble
Biga, finely sculptured. On the right side is a
statue of Perseus; and in the niche is a statue with
a long beard, and the name of Sardanapalus,
founder of the Assyrian empire, engraved on his
mantle. Next is a Bacchus, of fine workmanship.
On the other side is a statue of Alcibiades with
his foot upon a helmet, mentioned in the Greek
inscription in the chamber of the Muses: in the
niche is a veiled statue in the act of sacrificing,
with singular drapery; underneath is a small sarco-
phagus, with the Genii of the games of the Circus.
Next is a naked statue of Apollo with a lyre;
on the other side is an Athlete; and in the niche
is a statue of Tiberius, in a toga, with excellent
drapery; under it is another sarcophagus with
games of the Circus. The next statue is the Ath-
•
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EIGHTH DAY.
465
lete, copied from that of Myron; on the other
side of the window is a statue of an Auriga
of the Circus; in the niche is a robed statue of
Augustus holding a book; and, lastly, the statue
of an Apollo, called Sauroctone. Next comes
the
GALLERIA DE CANDELABRI,
(Gallery of the Candelabras.)
The entrance to this long and magnificent gal-
lery is through an iron grating; it was made by
M. Angelo Simonetti, under Pius VI. It is di-
vided into six parts by as many arches, each sus-
tained by two marble columns. It contains a great
quantity of antique marbles, consisting of Egyptian
statues, pillars, cups, vases, candelabras, &c.
Descending the grand staircase of the museum,
we enter the
GIARDINO VATICANO DETTO DI
BELVEDERE,
(Vatican Garden, called the Belvedere.)
Nicholas V. constructed this delightful garden
which was greatly enlarged by Julius II. under the
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NEW PICTURE OF ROME.
direction of Bramante Lazzari, who made the de-
signs of the four sides that surround a vast par-
terre. In the middle of the principal side are two
peacocks, and a large niche, before which is an
immense bronze pine apple, said to have been
placed on the top of Adrian's mausoleum. On
the ground is the Egyptian obelisk with hierogly-
phics broken in three pieces, found near the Cas-
trense amphitheatre; it formerly stood in Aure-
lian's Circus. Near this garden is another, in
which Pius IV. built a fine cassino, from the designs
of Pyrrhus Ligorio. Besides some fine columns and
statues, there are several paintings, by Baroccio,
Frederic Zuccari, and Santi Titi. There are some
very fine water-falls in this garden.
•
In the other garden is the pedestal of the pillar
of Antoninus Pius, which was erected in his
Forum, by his sons M. Aurelius and L. Verus.
This fine monument was found in 1705, at Mount
Citorio, in the garden of the missionary priests;
together with its pillar made of one piece of red
granite, seventeen feet in circumference and fifty-
three long; but being greatly damaged by a fire,
in 1759, it has been used to repair the three obe-
lisks erected by Pius VI.
EIGHTH DAY.
467
2
1
This pedestal is made of one block of white
marble, eleven feet high and twelve wide, and
adorned with capital sculptures. On one side is a
modern inscription in bronze, corresponding to the
ancient one; on the opposite side is a basso re-
lievo, representing the Apotheosis of Antoninus
Pius, and Faustina, his wife, who are carried to
heaven on the back of a winged genius; holding a
globe in his left hand on which is a serpent. At-
the foot of the genius is an allegorical figure holding
an obelisk, symbol of immortality. Opposite this
figure is a seated one representing Rome, the left
hand leaning on a shield, on which is the wolf with
Romulus and Remus. On the other sides are
figures in semi relievo, of soldiers on horseback
with military ensigns, such as used to be carried
round the funeral pile of the Cesars. Quitting
this garden, near the back part of St. Peter's, we
have a fine view of the exterior architecture of that!
astonishing edifice, executed in travertine, by
Vignola, from the designs of the great Bonarotti.
On the place before St. Peter's sacristy is St.
Martha's church, erected by Paul III. It contains
some fine paintings; two are by Lanfranco, they
represent St. James with St. Anthony, and St.
Į
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NEW PICTURE OF ROME.
"
Ursula. The crucifix, in the last chapel, is finely
sculptured, by Algardi.
گے۔
At a short distance is the Mosaic school. In a
number of rooms are disposed 17,000 enamels.
The Mosaic pictures in St. Peter's, and else-
where, prove the utility of this art as ancient
as it is valuable, since, by its exact imitation, it
renders the best pictures almost eternal, by pre-
serving them from the ravages of time.
At a little distance is the
"
CHIESA DI S. MARIA, IN CAMPO SANTO.
(Church of St. Mary, in Holy Ground or Field.)
It was erected by St. Leo IV., and called Campo
Santo, because there once was a cemetery in the
place, where it is said St. Helen placed a quantity
of earth, brought from the Holy Sepulchre at Je-
rusalem. The deposition of the cross on the great
altar, is by Caravaggio; the side pictures are by
James de Hasse d'Aversa; on the right side of the
altar is a child weeping, an exquisite sculpture,
by the celebrated Quesnoy. The altar-piece in
the next chapel, and the frescos, are by Polydore
da Caravaggio.
EIGHTH DAY.
469
Crossing the Piazza S. Pietro, behind the co-
lonnade is the Porta Angelica, through which we
pass to the
MONTE MARIO,
(Mount Marius.)
Most travellers ascend this mount in order to
enjoy the delightful view of Rome and its environs.
It was anciently called Clivus Cinna; it after-
wards took its present name from Marius Millini,
who built a charming villa on the summit, now
possessed by the Falconieri family.
On the side of this mount is the villa Madama,
so called because it belonged to Margaret, daughter
of Charles V.; it is now the property of the court
of Naples. The fine cassino was begun from the
designs of Raphael, and finished after his death
by Julio Romano, who painted the portico, the
frieze of a hall, and the cieling of a room, assisted
by John da Udine, both excellent scholars of the
immortal Raphael.
2 s
3
1
THERE ARE
ENVIRONS.
1
1
As there are many very interesting objects in
the environs of Rome, we shall give a succinct ac-
count of the most remarkable; beginning with
the
CITTA' DI TIVOLI,
(Town of Tivoli.)
1
wi
•
Quitting Rome by the Porta S. Lorenzo (St.
Laurence's gate) at a distance of eighteen miles,
stands this town, situated in the ancient Latium,
now called Campagna Romana (Roman country);
its former name was Tibur, from Tiburtus, who
founded it 462 years before Rome. It was sub-
jected to Rome, by Camillus, in the year 403, of
that city. It was much frequented by the most
—
1
ENVIRONS.
471
noble Romans, on account of its fine situation, and
Several magnificent edi❤
the salubrity of the air.
fices were built round it.
*
In the consular road, leading to Tivoli, were
many magnificent tombs, of which different re-
mains are still to be seen.
Four miles beyond St. Laurence's gate, is the
river Teverone, anciently Anio, which has its
source in Abruzzo, a province of Naples; after
passing through Tivoli, where it forms the great
cascade, it unites with the Tiber, near Ponte
Molle. We cross this river over Ponte Mammolo,
built by Mammea, mother of Alexander Se-
verus.
Eight miles beyond this bridge, is another
called
PONTE DELLA SOLFATARA.
The water that passes under this bridge is al-
most blue, and bas a very unpleasant smell of sul-
phur; whence the name Solfatara. The source
which is only about a mile distant to the left of the
consular road, forms a lake, that often inundates
the neighbouring country; Cardinal Hyppolito
+
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472-
NEW PICTURE of rome.
d'Este, therefore, whilst governor of Tivoli, made
the canal, by which the water of the lake, for a
space of two miles, leads to the Teverone, and dis-
charges itself.
Continuing in the left road along the canal, at a
mile's distance, is the forenamed
LAGO DELLA SOLFATARA, DETTO
DELLE ISOLE NATANTI,
(Lake della Solfatara, called Lake of the Floating
Islands.)
It is somewhat less than a mile in circum-
ference, and about 135 feet deep. The bituminous
and other vapours that continually exhale from
this lake, uniting with the dust, herbs, &c., blown
about by the wind, become condensed, and form
different bodies on the water, which, from their
lightness, swim on the surface, and are called for
that reason Isole Natanti (floating Islands.)
The ancients attributed great virtues to this wa-
ter, by them called Albulae; for which reason
they consecrated a neighbouring wood and foun-
tain to the god Faunus, where the people ran in
crowds to consult the oracle; and to which king
•

ENVIRONS.
478
Latinus also went, before he concluded the mar-
riage of his daughter Lavinia, with Turnus.
M. Agrippa's baths, frequented also by Augus-
tus, were near this lake. Some fine marble pil-
lars, and pieces of a leaden conduit have been
found.
Not far from the lake are two smaller ones, call-
ed delle Colonette (little columns) and St. John's,
which probably communicate with the other
one.
After walking a mile towards Rome, we see
the
LAGO DE' TARTARL,
(Tartar Lake.)
It is called the Tartar lake, from its waters,
which deposit tartareous and calcareous matter.
These continual depositions have much diminish-
ed its circumference; and there are seen herbs,
reeds, &c., enveloped with this matter, which af-
ford great pleasure to the lovers of natural his-
tory.
Returning to the great road, after passing the
Solfatara bridge, at two and a half miles' distance,
:
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NEW PICTURE OF ROME.
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we again cross the Teverone, on the Ponte Lucano,
built by Plautius Lucanus, in order to pass to his
possessions, which were separated by the river.
Near this bridge is the
SEPOLCRO DELLA FAMIGLIA
PLAUZIA,
(Tomb of the Plautius Family.)
This magnificent tomb was erected in Vespasi-
an's time by the illustrious Plautius family. It is
made of Tivoli stone, called Travertine, in the
form of a round tower, with the entablature in the
middle, similar to Cecilia Metella's tomb. It
stands on a square base which was surmounted by
many Ionic pillars, of which only a few fragments
are remaining near the road. Some remains of
inscriptions are still seen. The repairs, at the top
of this monument, prove that it was used as a for-
tress during the civil wars in the dark ages.
Two miles beyond this tomb is the
VILLA ADRIANA,
(Adrian's Villa.)
The Emperor Adrian, after having travelled

ENVIRONS.
475
1
through the Roman empire, wished to collect in
this villa the most curious and valuable objects that
he had seen in Greece, in Asia, and in Egypt; it
therefore contained a number of edifices in a cir-
cuit of seven miles. His successors despoiled it of
great part of its riches; it was also ruined by the
Goths, who took refuge there.
The remains of buildings still seen, and the ex-
traordinary number of marbles which have been
dug up, and that are now in the museums and gal-
leries of Rome, serve as testimonies to the mag-
nificence of this celebrated place.
This superb villa contained three theatres; one
of which is better preserved than any other known;
for there are still seen, some vestiges of the seats, of
the scenery, the orchestra, and the actors' rooms;
a riding school; the temple of the Stoicks, with
seven niches for statues; a maritime theatre sur-
rounded by piazzas; a library, of which some
rooms, with paintings on the ceiling, are still
seen; the temples of Diana and Venus; the Im-
perial palace, two stories high; the temple of
Apollo, where are the niches for the nine Muses;
the quarters of the Pretorian Guards, vulgarly call-
476
NEW PICTURE OF ROME.
!
ed the Cento Camerelle, so named from a number
of small rooms divided into three floors, which had
no interior communication, but a door to each
chamber, that served as a window; the Baths for
the men and for the women, of which four saloons
are remaining; the Temple made to imitate that of
Serapis, in Egypt; the Elysian Fields, and several
edifices, of which scarcely any traces remain.
Returning to the Tivoli road, before we enter
that town, is seen a delightful walk, corruptly
called Strada di Casciano, because the country-
house of Cassius was there; the conspiracy against
Julius Cesar was planned in this house.
Entering Tivoli, by the Porta Santa Croce
(Holy Cross) is seen the celebrated
TEMPIO DELLA SIBILLA,
(Temple of the Sibyl.)
It is of very elegant architecture. Plutarch
says, that Numa Pompilius made the temple,
erected by him to Vesta, of a round form, to re-
present the Universe; all the antiquaries therefore
believe this to have been Vesta's temple, and that
ENVIRONS.
477
>
the real temple of the Tiburtine Sibyl is the one
near it, now converted into St. George's church.
But this one is commonly called the Sibyl's Tem-
ple. The exterior and interior walls are covered
with small squares, a sort of work called by the
ancients opus reticulatum. This superb temple is
circular, twenty-one feet and a half in diameter:
it was surrounded by eighteen pillars; but only
ten are left; they are of travertine, fluted, of the
Corinthian order, and eighteen feet high, without
the head; the entablature is adorned with fes-
toons, and heads of oxen. The beauty and pic-
turesque effect of this temple is greatly augment-
ed by its situation on the summit of a rock, above
a large valley, and opposite the great cascade of
the river.
To the left of this temple is the one commonly
thought Vesta's, but by the best antiquaries be-
lieved to be the real temple of the Tiburtine
Sibyl. It is in travertine, of an oblong form,
adorned with four Ionic pillars in front.
At a short distance is the
478
NEW PICTURE OF ROME.
1
GROTTA DI NETTUNO,
(Neptune's Grotto.).
1
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The descent into this grotto is by a winding
staircase. The waters of the Teverone, after mak-
ing the great cascade, are precipitated down a
narrow path into this horrible abyss, called Nep-
tune's Grotto; where they have formed arches and
caverns. The different reflections of the light in
this place, on the arcades and shelves, and
the quantity of water dashing with fury against the
rocks, and then breaking, form a contrast highly
astonishing and interesting to strangers.
Returning up from this grotto, and then descend-
ing a narrow staircase hewn in the ground, we
enter the
GROTTA DELLE SIRENE,
(Sirens' Grotto.)
The road, leading into this terrible but delight-
ful grotto, has not long been discovered, and into
which the waters of the Teverone fall a third time.
It is not less curious and picturesque than Nep-
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479
1
tune's, from the reflection of the water, and the quan-
tity of shelves: this contrast, of the horrible and
the beautiful, has given it the name of the Sirens?
Grotto.
On returning to the road, at a little distance, is
the bridge from which one sees the
GRAN CADUTA DEL FIUME ANIENI,
(Great Cascade of the Anio or Teverone.
The waters of the Teverone, form this fine and
astonishing waterfall, then flow among the rocks,
whence they are precipitated into a gulph that is
seen on the other side of the same bridge; then fall
into the grottos of Neptune and the Sirens; and,
lastly, into the Tiber.
This bridge leads to the Porta.St. Angelo, be-
yond which, are the
CASCATELLE DI TIVOLI,
(Cascades of Tivoli.)
The waters of the Teverone, after serving the
manufactories of copper, iron, &c., form these
small cascades, not less interesting and picturesque
480
NEW PICTURE OF ROME.
than the others. The first, which is the largest,
is formed by water-falls; the other by three which
issue from the villa of Mecenas.
The country-house of Quintilius Varus was in
this neighbourhood; a few vestiges are still seen:
the statues, pillars, Mosaics, and other treasures
found among the ruins, prove that it was not less
magnificent than Mecenas' villa.
Returning to the town, is seen the
(VILLA D'ESTE.)
This magnificent villa was constructed in 1542,
by Cardinal Hyppolito d' Este, son to Alphonso,
Duke of Ferrara. Its fine situation, gardens,
groves, fountains, cascades, statues, and numerous
other fine objects, rendered it one of the most
sumptuous and delightful houses in Italy; it is
supposed that Ariosto wrote his poem here.
The cassino is very magnificent, and adorned
with paintings, by Frederic Zuccari, Muziano,
and other good artists of those times. Notwith-
standing the present ruinous condition of the
villa, it still retains vestiges of its ancient splen-
dour.
ENVIRONS.
481
Going towards the Porta Romana, we see
remains of Mecenas' villa, above which was the
consular road; there are seen some fragments of a
lower portico, consisting of two orders of arches,
the public road passed under these.
In a neighbouring vineyard may be seen all the
ruins of this villa: there are the remains of a
square edifice, with Doric columns and arcades;
built with small square stones; the arches lead
into a portico, where, at one end, is a small
cascade, that renders it very picturesque. Behind
this portico are rooms, after which is a second
portico looking towards the Teverone; it has also
Doric pillars and arcades. These porticos and rooms
are built over a subterranean room, commonly
called Mecenas' stables; it is supposed to have
been a reservoir of water. On one side of this
room a canal has been cut, through which a rapid
torrent runs; its fall forms a fine sheet of water,
seen near the Cascatelle.
Quitting Tivoli, in the Valerian way, near the
church of St. Cosimato, is the subterranean aque-
duct of the Claudian and Marcian waters, which
is a canal cut in the mountain.
Fifteen miles beyond Tivoli, is Licenza, a village
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NEW PICTURE OF ROME.
anciently called Digentia; in this place was
Horace's villa, so often mentioned by that great
poet in his works.
Returning to Tivoli, and passing through the
Porta Romana, in a vineyard on the left, is
seen an ancient edifice of a round form, well pre-
served, and called Tempio della Tosse (Temple of
the Cough).
A little farther, in another vineyard, are seen
two ancient monuments resembling pilasters, sup-
posed to be the remains of some tombs. The one
'which is best preserved, and is commonly called
the Pilaster of Tivoli, is adorned with a fine basso
relievo în marble; it represents a man standing,
and holding a horse by the snaffle.
Twelve miles from Tivoli, and twenty-two from
Rome, is situated the
TOWN OF PALESTRINA.
1
It is the ancient Preneste, a celebrated town in
the Roman history; its origin was anterior to the
Trojan war; the poets mention Caeculus, Vulcan's
son, as the founder; but historians attribute
it to Preneste, the son of King Latinus. It was
ENVIRONS.
483
much frequented by the emperors and other dis-
tinguished persons, on account of its elevated
situation, and fine air. The most renowned build-
ing that adorned it was the Temple of Fortune,
built or repaired by L. Sylla: it was so large
that it occupied almost the whole of the mountain.
The town, after being destroyed in 1432, was
rebuilt on the ruins of this temple, of which some
remains are visible on all sides. It had a fine
Mosaic pavement, part of which is in the Palazzo
Barberini. On this Mosaic are seen different
animals, various plants, a tent with soldiers, a
galley, Egyptian figures playing on musical in-
struments, towers, obelisks, cottages, figures em-
ployed in rural labours, and other objects. Many
antiquaries have given explanations of the subject,
but not any satisfactory ones.
Six miles from Palestrina, is a small village,
called Colonna, near which is the source of the
Virgin, or Trevi water. The ancient town of
Collatia was hereabouts, near the lake of Pontano;
not far from this lake was the ancient town of
Gabia, discovered in the last century, in the ex-
cavations made by Mr. Hamilton. In Domitia's
country-house were found several fine statues,
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busts, &c. now in the Royal Museum at Paris.
-Two miles from Colonna, and twelve from
Rome, is the
CITTA' DI FRASCATI,
(Town of Frascati.)
It is the ancient Tusculum, said to have been
built on the summit of the hill, by Telegonus,
son of Ulysses; and enlarged by the Tuscans,
from whom it took its name. It was the native
country of Cato, the Censor, great grandfather of
Cato of Utica, and head of the Porcia family.
Cicero's celebrated country-house was there; it
has given the name of Tusculans to the philoso-
phic dissertations that he composed in his retreat.
After the fall of Rome this town still con-
tinued considerable, but in 1191, it was at-
tacked and entirely ruined by the Romans; the
inhabitants then established themselves under the
ancient town; and to prevent the injuries of weather
constructed cottages covered with branches, called
Frasche in Italian, from which the name of Fras-
cati was given to the new town. Passing through
the principal gate of Frascati, we enter a fine
4
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485
square, on which stands the cathedral church of
St. Peter's; and a fountain with three spouts.
The agreeable situation and salubrious air of
this town, make it much frequented by the
Romans, especially in the fine season: there are
consequently many magnificent country-houses,
amongst which is distinguished the Villa Aldo-
brandini, likewise called Belvedere, from its de-
lightful situation. It belongs to the Borghese
family, and was constructed under Clement VIII.,
by his nephew Cardinal Aldobrandini; James
della Porta was the architect. The cassino is
adorned with fine marbles and paintings, by Cav.
Arpino. The gardens contain fountains, cas-
cades, &c.
Opposite the cassino is an edifice, in which are
cascades and statues; amongst others, a Centaur
sounding a trumpet; Pan playing a flute, which
sounds like an organ, by means of the water ;
in a room, near the great cascade, is a view of
Mount Parnassus in relievo, where are several
figures, playing different instruments by means of
the water; this room is decorated all Found
with Mosaics, and painted in fresco by the cele-
brated Domenichino.
2T 3
486
NEW PICTURE OF ROME.
The villa Conti is one of the finest villas about
Frascati. The Borghese family has another villa
here, commonly called villa Taverna; it was con-
structed by Cardinal Scipio Borghese, nephew of
Paul V. The magnificence of the cassino, the
statues and paintings that decorate it, and the fine
gardens, fountains, cascades, &c., render it very
distinguished. From this villa we pass imme-
diately into that of Mondragone, also belonging to the
Borghese family. The cassino, made from the de-
signs of Flaminio Ponzio, is extremely magnificent..
There is a gallery adorned with antique statues
and pictures. At one part of the garden is a fine
portico, made by Vignola; it is composed of five
arcades, decorated with Ionic columns and pilas-
ters. There is also a small building in the antique
style, with six niches containing statues.
The Rufina is another fine villa with a cassino,
adorned with paintings, by Cav. Ghezzi, and
various other pictures. Bernini was the architect;
it belongs to the Falconieri family.
At a short distance is the villa Bracciano; in
the cassino are various pictures, with a ceiling
painted in Domenichino's manner.
At the top of the mount, where the ancient
*
་
T
ENVIRONS.
487
#
Tusculum stood, is a charming villa, called
La Rufinella, belonging to Prince Lucien Buona-
parte. It is very splendid, and from the cassino
one has a very fine view of all Rome, and the sea.
Cicero's country-house was on this mount, the
remains are called Cicero's Grottos. Some ruins
of an amphitheatre are also to be seen, in a very
elevated situation.
At two miles' distance from Frascati, is the
:
GROTTA FERRATA.
In this small village is the church of St. Mary,
belonging to the Greek Monks of St. Basil. It was
erected by St. Bartholomew Nileo, in A. D. 1000,
who fled thither from the Arabs when they ravaged
Calabria. When this church was repaired by
Cardinal Farnese, who held the benefice, the
chapel adjoining was painted in fresco by the
celebrated Domenichino, who has represented
different events in the life of St. Bartholomew
Nileo; that great artist seems to have excelled
himself in this fine work: the altar-piece is in oil,
and was painted by his master, Annibal Caracci.
Under this village, in the valley, runs the Mar-
488
NEW PICTURE OF ROME.
rana, which was the Crabra water; its source is
two miles farther on, and it enters Rome near the
great circus. At about two miles and, a half from
Grotta Ferrata, is
MARINO,
1
This small but delightful village took its name
from Marinus, or Lucius Murenus, whose country-
houses were there. It is much frequented by the
Romans, on account of its charming situation, and
fine air.
In the church of St. Barnabas, on the altar of
the cross near the sacristy, is a very fine picture
representing the martyrdom of St. Bartholomew,
in Guercino's best manner; the martyrdom of St,
Barnabas, on the great altar, is likewise of his
school.
In the church of the Trinity is, an exquisite
painting by Guido, representing the Holy Trinity.
Lastly, in the church of the Madonna delle
Grazie (Virgin of Grace or Favour), behind the
great altar is a St, Roche, by Domenichino,
Three miles distant from Marino, is
*
•
489
ENVIRONS.
CASTEL GANDOLFO.
This small village is so finely situated, and the
air is so salubrious, that the popes have built a
magnificent palace and gardens, where they pass
a part of the autumn. The principal church of
this village is in the square; it was built from the
designs of Cav. Bernini, in form of a Greek cross.
On the great altar is a painting, by Peter da Cor-
tona; and on the altar to the left, is an Assump-
tion, by Carlo Maratti.
At the entrance of this village is the villa Bar-
berini, which contains considerable part of Domi-
tian's country-house.
The lake, surrounded by hills, near this village,
seems to have been the crater of a volcano, and
presents a very picturesque view: it is between
five and six miles in circuit, and 480 feet deep.
On a level with the lake are two grottos, said to
have contained rooms adorned with statues of
nymphs. The canal of this lake is one of the
most singular works of ancient Rome: the waters
discharge themselves into the plain beyond the
hills; this discharge is called emissario (emissary).
•
•
-490
NEW PICTURE OF ROME.
It was made 398 years before the Christian era, on
account of an extraordinary increase of the waters,
at the time the Romans were engaged at the siege
of the Veians; the waters rose 309 feet above the
ordinary level, and threatened Rome with a ter-
rible inundation; deputies were sent to consult the
oracle at Delphos: the oracle replied that the Ro-
mans would only conquer the Veians after having
made a conveyance for the waters of Lake Albano
(its ancient name), for which reason the mountain
near the lake on the village side, was immediately
penetrated; and the work prosecuted with so
much assiduity that at the end of a year a canal
was formed, two miles long, three feet and a half
wide, and six feet high. It cost an immense sum
of money, and was made with such solidity, that
it still serves for the same purpose, without ever
having been repaired.
A fine road, planted with trees, about a mile
long, leads from Castel Gandolfo to the
?
CITTA' D'ALBANO,
City of Albano.
About 400 years before the foundation of Rome,
Ascanius, son of Eneas, built the city of Alba
ENVIRONS.
491
Longa, which was afterwards called Albano.
This town being destroyed by Tullius Hostilius,
was rebuilt shortly before Nero, not on the hill as
formerly, but on the plain, just where the sump-
tuous villas of Pompey the Great, and Domitian,
and the temples of Venus and the goddess Bona
had stood. Previous to entering Albano, on the
left hand, is seen a high edifice, covered with square
stones, and containing in the inside a room eleven
feet long and seven wide. Although despoiled of
its ornaments it was evidently a magnificent sepul-
chral monument; as no inscription or memorial
remains, some have supposed it to be the tomb
of Ascanius himself; but being opposite Pompey's
palace it is rather believed, according to Plutarch,
to have been raised by that hero to contain the
ashes of Julia his wife, and Cesar's daughter.
On the other side of Albano, near the church
of the Madonna della Stella (Star), is seen another
magnificent tomb formed of a large square base,
fifty-five feet in circumference, on which were raised
five round pyramids, but only two are remaining.
In the middle pyramid was a place for the ashes;
this pyramid is almost entirely ruined. The ex-
traordinary architecture of this tomb has made
H
492
NEW PICTURE OF ROME.
.
many persons attribute it to the Horatii and Cu-
riatii: but Livy says they were buried,where they
fell, which was near the Latin Way, five miles
from Rome. Plutarch assures us, that Pompey's
ashes were brought from Egypt to his widow Cor-
nelia, who placed them near his villa at Alba
Longa; the first antiquaries therefore agree in
thinking this to be the tomb of that hero. In
its present ruinous state it forms a very picturesque
view.
In the city of Albano are a number of churches,
cassinos and fine promenades; which attract a
number of visitors in the fine season of the year.
Above the town are seen the remains of an am-
phitheatre, and a reservoir of water, supposed to
have been made by Domitian. At a mile's dis-
tance is
RICCIA.
This small village, formerly called Aricia, is
situated on the Appian Way; it was founded by
Archilous Siculus 500 years before the Trojan
war. It is said, that the statue of Scythian Diana,
being placed there by Orestes, who brought it
ENVIRONS.
493
from Tauris, caused it to be named Aricia; it
was the birth-place of Accia, mother of Octavius
Augustus. Pope Alexander VII., of the Chigi
family (to whom the manor belongs), employed
Cav. Bernini to build a fine church there, opposite
his palace; it is of a round form, adorned with
Aluted Corinthian pillars, and the gallery was
painted in fresco, by Borgognone.
!
FINIS.
1
2 V
F
肛
​I
INDEX.
A.
¡Aqueduct of the Marcian
water, 114, 119, 481
Nero, 93,
Pauline wa-
Academy, Arcadian, 188
Ecclesiastic, 230
French, 175
of the Arts, 24, 246
ofSt. Luke, 65, 246
Acetosa, Water of, 2
Adrian's Villa, 474
Adrian's Mausoleum, 370
Albano, City of, 490
Almone, The River, 290
Amphitheatre, Castrense, 111
Flavian, com-
monly called the Coliseum,
Tepula wa-
Virgin wa-
82
of Statilius


Taurus, 14
Androcles, recognised by the
lion, 280
Anio, the river, see Te-
verone
Aqueduct of the Anio Novus,
116
Claudian
water, 96, 97, 108, 481
Felix water,
114
Julian water,
114, 119
108
ter, 338
ter, 114, 19
ter, 181, 186
Ara Maxima, 49
Arch della Cimbella, 229
of Constantine, 88
Dolabella and Silanus,
96
273
Drusus, 289
Gallienus, 121
Horatius Cocles, 311
Janus Quadrifront,
Marcus Aurelius, 47
Nero, 29
Pantani, 211
Septimus Severus, 60
Septimus Severus in
the Velabrum, 275
Titus, 71
Armilustrum, 314
202
496
:
INDEX.

Athenæum, 31
Atrium Publicum, 31
Baboon-street, 178
Bacchus' Chamber, 443
Banco di S. Spirito, 249
Baptistery of Constantine,
100
Constance,153
Barberini Palace, 172
Library, 173
Bartholomew's Bridge, 325
Baths of Caracalla, 283
Dioclesian, 143
Holy Water, 109
Livia, 77
Paulus Emilius, 198
Titus, *134
Base and Inscription on Sta-
tue of Esculapius, 324
B.
Bent Wall, 177
Buonaparte Palace, 181
Borghese Palace, 217
Borgia Apartments, 422
Braschi Palace, 259
Bridge Broken, 319
Cestius, 325
Janiculense, 351
Palatine, 319
Salaro, 165
Sixtus, 351
Solfatara, 471
St. Angelo, 369
Triumphal, 366
Busta Gallica, 213
Agrippa, 229
Campagna Romana, 470
Campo di Fiori, 263, 355
Campus Veranus, 119
Canova's Cabinet, 7
Capitol, Modern, 31
Old, 30, 173
Capitoline Mount, 27
Capo di Bove, 297
Caracalla's Baths, 283
Circus, 295
C.
Cabinet of Marquis Canova, 7 | Casanatense Library, 232
Calidarium of the Baths of Cascade of the Anio di Te-
making an
Aurelian, extended the city
walls, 289, 306




verone, 479
Cascades of Tivoli, 479
Cassino Farnese, 345
of Pope Julius, 2
Castel Gandolfo, village of,
489
Castle of the ClaudianWater,
116
Julian Water,
116
Catacombs of St. Calixtus, 293
INDEX.
497

Catacombs of St. Ciriaca, 119 | Cemetery of St. Calistus, 293
Cathedral of Caius and Lu-
St. Ciriaca, 119
cius, 115
Cestius Bridge, 325
Chapel of Sancta Sanctorum,
107
the Monte di Pietà,
Pauline, 421
Sixtus, 419
Chiaramonti Museum, 438
Church of St. Adrian, 65
St. Agnes (outside
the walls), 152
the Holy Cross
of Jerusalem, 109
66
Paulus Emilius,
St. John La-
terano, 101
St. Lawrence,
119
Great, 123
St. Paul, 302
St. Peter in the
Vatican, 377; History of
its erection, 377; Front,
381; Interior, 385; Con
fessional, 388.; Great Altar,
389; Great Cupola, 390;
Gallery and; Pulpit, 393
Nave, 395; Meridional
Cross, 398; Clementine
Chapel, 399; Chapel of
the Choir, 400; Chapel of
the Presentation, 402;
Chapel of the Baptismal
Fonts, 403; Chapel of
Piety, 404; Chapel of St.
Sebastian, 405; Chapel of
the Sacrament, 406; Cha-
pel of the Madonna, 408 ;
Septentrional Cross, 409;
Grottos, 411; Sacristy,
413; Upper Part, 416
Cathedral of St. Sebastian,
St. Mary the
292
Cemetery of Pope St, Ana-
stasius, 118
Cavern of Cacus, 314 :
3,53
Fratte, 185;
St. Andrew at
Monte Capallo, 140
St. Andrew, outside
the Gate of the People, 2
St. Andrew in Por
tugallo, 213
St. Andrew. della
Valle, 262
St. Angelo, 270-
St. Anthony of the
Portuguese, 245
207
St. Agnes, 256
St. Alexis, 314.
St, Anastasia, 273
St. Andrew delle
323
St. Apollinaire, 245
the Holy Apostles,
Araceli, 26
St. Athanasius, 178
St. Augustine, 243
St. Bartholomew,
St. Bernard, 141
St. Bibiana, 117
the Capuchins, 170
+
2U 3
498
INDEX.
Church of St. Catherine de Church of Jesus and Mary, 7
Funari, 268
St. John Colabita,
St. Catherine of 322
Sienna, 364
St. John beheaded,
273
St. Cecilia, 326
St. Cesareus, 286
St. Charles a' Cati-
St. John in Fonte,
St. John of the
Florentines, 365
St. John Latrano,
nari, 354
Course, 8
S
Four Fountains, 139
St. Charles in the
332
.
258
St. Charles of the
St. Damian, 67
St. Constance, 153
the Holy Cross of
Jerusalem, 109
St. Domenico and
St. Sixtus, 197
St. Eusebius, 118
St. Eustace, 233
the Four Saints
St. Clement, 92
St. Cosmo and of
crowned, 93
St. Francis, 329
the FortySaints,330
St. Francis at the
Forum Romanum, 71
St. George in l'e-
labro, 274
St. Gregory, 280
St. Grisogono,
St. James of Spain,
St. James of the
Incurables, 7
St. Jerome of Cha-
rity, 361
Jesus, 25
i
99
101
Paul, 96
242
Lucina, 9
St. Lawrence in
Miranda, 66
St. Lawrence out-
side the walls, 119
St. Louis of France,
St. John and St.
220
St. Ignatius, 17
St. Isidore, 171
St. Lawrence in
Angels, 144
St. Mary in Aquiro,
St. Mary d' Araceli,
26
St. Mary in Cam-
pitelli, 268
St. Mary of Conso-
lation, 273
St. Mary in Cos-
medin, 315
St. Mary in Domi-
S
1
St. Luke, 63
St. Mark, 209
St. Marcellus, 18
St. Mary of the
nica, 95
INDEX.
499
1
Church of St. Mary of Egypt,| Church of St. Mary del Suf-
318
fragio, 365
St. Mary della
Traspontina, 373
St. Mary in Traste-
liverer, 77
St. Mary in Holy
Ground, 468
retto, 201
123
St. Mary the De-
lene, 219
cles, 6
St Mary of Lo-
St. Mary Magda-
tires, 221
327
252
St. Mary the Great,
nerva, 231
St. Mary ad Mar-
St. Mary on Mi-
St. Mary of Mira-
santo, 6
St. Mary della
Navicella, 95
St. Mary dell' Ora-
zione, 364
St. Mary of Monte-
St. Mary dell' Orto,
St. Mary of Peace,
St. Mary of the
People, 4
St. Mary of the
Priory of Malta, 314
St. Mary della
Scala, 332
St. Mary Scala
Cæli, 305
St. Mary of the
Soul, 253
317
St. Mary of the Sun,
vere, 330
cella, 250
St. Mary in Valli-
tory, 149
.
St. Mary of Vic-
St. Mary in Via
Lata, 18
St. Martin, 130
St. Nereus and St.
Achilleus, 285
132
St. Nicholas in
Prison, 272
St. Nicholas of
Lorrain, 254
St. Nicholas of To-
lentino, 168
St. Onuphrius, 349
St. Pancras, 338
St. Pantaleo, 260
St. Paul outside
the walls, 302
St. Paul of the
Three Fountains, 305
St. Panl, first Her-
mit, 137
St. Peter impri-
soned, 61
St. Peter in Mon-
torio, 334
St. Peter at the
Vatican, 377
St. Peter in Vincoli,
St. Praxede, 129
St. Prisca, 310
B
500
INDEX.
Church of St. Pudenziana, Church of St. Urban, 299
136
Cicero's Grottos, 487
Circus of Adrian, 372
I
ro, 247
pite, 9
285
St. Roch, 215
the Rotunda, 221
St. Sabas, 309
St. Sabina, 313
St. Saviour in Lau-
Monte Cavallo, 195
St. Sebastian, 292
St. Silvester in Ca-
St. Silvester at Citta Leonina, 350
Clivus Scauri, 98,
Coliseum, the, 82
College, Roman, 17
1
St. Sixtus, Pope,
tondo, 94
delle Stimmate,233,
St. Stephen Ro-
Naples, 365
St. Susanna, 142
the Holy Spirit of
St. Theodore, 80
the Trinity, 184
the Trinity of the
Mount, 174
the Trinity of Pil-
grims, 353
St. Vincent and St.
Anastasius at the Three
Fountains, 305
St.Vincent and St.
Anastasius at Trevi, 188
St. Vitale, 138
num, 56
Agonal, 254
Caracalla, 294
Flaminian, 266
Flora, 169
Great, 278
of Heliogabalus, 112
Nero, 376
Sallust, 166
of Wisdom, 234
Colonna, village of, 483
Colossus of Nero, 75
Column of the emperor Pho-
cas, 79
12
Marcus Aurelius,
Miliary, at the ca-
pitol, 33
Palace, 202
Square, 12
of the Temple of
Peace, 122
Trajan, 198
E.
Extent of the Field of Mars, Extending Rome by Aure-
lian, 113, 306
218
Forum Roma-i
Columnu Lactaria, 273
Corsini Palace, 340
Costaguti Palace, 267
INDEX.
501
F.
Fabricius Bridge, 321
Falconieri Palace, 364
Farnese, gardens of, 77
-Palace, 356
Farnesina, the, 345, 356
Field of Mars, 218
Flaminian Way, 2
Flavian Amphitheatre, 82
Fortress and Tarpeian Rock,
55
Fort, St. Angelo, 370
Forum of Antoninus Pius,
12
Boarium, 276
of Domitian, 211
Nerva, 211
Olitorium, 271
Palladium,see Nerva
Piscarium, 270
Romanum, 57
of Trajan, 201
Fountain of Acetosa, 2
Babbuino, 178
Gabia, town of, 483
Gallery of pictures of the
Capitol, 52
Fountain of della Barcaccia,
180

G.
Chigi, 8
Corsini, 340
Costaguti, 267
Doria, 20
Farnese, 357
of the Farnesina, 346
Giustiniani, £40
Montorio, 336
352
Egeria, 301
Felix water, 142
Pauline, 336
of St. Peter, in
Sixtus Bridge,
berini, 169
Spaiu, 180
vone, 256
the Square Bar-
Square of
Square Na-

tian
267
Trevi, 186
Fountains of the Square of
St. Peter at the Vatican,
376
Frascati, town of, 484
of Termini, 142
of the Tortoises,
Gallery of Mattei, 266
Rospigliosi, 193
Spada, 363
Gate Angelica, 469
Asinaria, 109

Capene, see St. Sebas-
Carmentale, 271
Great, or Door, 113
of the Holy Spirit, 350
502
INDEX.
E
[
Gate Janiculense, 337
Latin, 286
'Ostiensis, 306
of the People, 2
Pius, 151
Pinciana, 175
Portese, 329
Salara, 155
Septimian, s40
of St. John, 108
St. Lawrence, 119
St. Pancras, 337
St. Paul, 306
372
Chapel of theSaviour,107
Hospital of St. Michael, 328
of the Holy Spirit,
Isle of Tiber, 322
•
Gate of St. Sebastian, 289
Girandola of Fort St. An-
H.
Holy Staircase of the Sa- House of Manlius, 31
viour, 107
Niccolini, 13
Raphael, 248
Romulus, 31
Tatius, 31
gelo, 371
Giraud Palace, 373
Giustiniani Palace, 237~-~
Great Circus, 278
Great Drain, or Sewer, 276
Grotto Ferrata, 487
of the Nymph Ege-
ria, 300
I & J.
Lätium, 470
Library of St. Augustine, 245
Barberini, 173
Neptune, 478
Sirens, 478
[ Janiculense Bridge, 351
L.
Lake of Little Columns, 473, Library of Casanatense, 232
Solfatara, 472
St. John, 473
Tartar, 473
Chigi, 11
Lancisi, 373
of the Roman Col-
lege, 18
of the Vatican, 434
Licenza, village of, 481
f
INDEX.
503
Navalia, anciënt, 311
M.
Maccarini Palace, 234
Madama Palace, 235
Villa, 469
Mamertiné Prison, 61
Mandosi Vineyard, 165
Marino, village of, 488
Marrana, the, 488
Massimi Palace, 261
Mattei Palace, 264
Mausoleum of Augustus, 214
Minerva's Square, 230
Modern Capitol, 31
Mons aureus, 334
Monte Caprino, 28
Monte di Pieta, 353
Montorio, 334
Palace Alfieri, 24
Mount Aventine, 313
Janicule, 333
Marius, 469
Palatine, 73
Pincius, 3
Testaccio, 308
Museum of the Capitol, 35,
Room of the Vases, 38,
Room of Hercules, 39,
Saloon, 40, Philosopher's
Room, 42, Room of the
Emperors, 42, Gållery, 44,
Room of Miscellanies, 45
Museum Chiaramonti, 438
of Pius Clementi.
nus, 441

•

N.
0.
Obelisk of the Trinity of the Orsini Palace, 270
Mount, 173
Buonaparte, 181
Borghese, 217
Braschi, 259
of the Cesars, 73
of the Chancery, 355
| Neptune's Grottó, 478
P.
Palace Chigi, 10
46
Cicciaporci, 249
of the Conservators,
Corsini, $40
Costaguti, 267
504
INDEX.
*

Palace of the Council, 191
Doria, 19
Ercolani, 24
Falconieri, 364
Farnese, 356
Giraud, 373
Giustiniani, 237
Maccarani, 234
Madama, 235
Massimi, 261
Mattei, 264
of Mount Citorio,
14
Orsini, 270
Pontifical, 190
Rinuccini, 23
Rospigliosi, 192
Ruspoli, 8
Sachetti, 365
Salviati, 349
Sciarra, 16
Senatorial, 34
Simonetti, 18
Spada, 13, 362
Torlonia, 23
Tortonia, 10
of the Vatican, 417 Pyramid of Caius Cestius,
Venetian, 23
307
4
Raphael's Lodges, 423
Chambers, 424
Constantine's Room, 425,
Second Chamber, 427
Third Chamber 429,
Fourth Chamber, 432
Remains of Nerva's Forum,
211
Palace of the Villa Medici,
174
Palatine Bridge, 319
Palestrina, town of, 482
Pantheon of Agrippa, 221
Pauline Chapel, 421
Fountain, 336
Piazza Barberini, 169
Farnese, 356
Picture Gallery of the Ca-
pitol, 52
Pilaster of Tivoli, 482
Pinacotheca, the, 145
Pius Gate, 151
Ponte Lucano, 474
Mammolo, 471
Molle, 1, 471
Pontifical Palace, 190
Port of the Great Coast, or
Shore, 327
Porta St. Angelo, 479
Romana, 481
Portese Gate, 329
Portico of Octavia, 269
Portuense Gate, 329
Post Office, 13
1
R.
Riccia, village of, 492
Ripetta Harbour, 216
Street, 213
Rospigliosi Palace, 192
Rotunda Square, 220
Round Vestibule, 443
INDEX.
505
Salaro Bridge, 165
Gate, 155
Sanctuary of Romulus, 29
Seven Rooms, 131
Sewer, or Great Drain, 276
Ship Square, 254
Sirens' Grotto, 478
Sixtus Bridge, 351
Chapel, 419
Solfatara Bridge, 471
Lake, 472
218
Spada Palace, 362
Square Barberini, 169
of the Capitol, 33
Column, 12
of the Four Foun-
tains, 139
Field of Mars,
of Minerva, 230
Faustina, 66
286
301
Taberna Meritoria, 330
Tartar, Lake, 473
Temple of Antoninus Pius, 15
Antoninus and
S.
Square of MountCavallo,188
Mount Citorio, 13
the People, 3
Spain, 179
St. John Laterano,
A
98
the Camenes, 299
Claudius, 94
Concord, 59
Fortuna Virile, 318
Fortune Muliebre,
the God Ridicule,
Vatican, 374
St. Peter in the
or Pillar, 198
Trajan's Column,
T.
Temple of Jupiter Capitolin
30
115
Vestibule, 441
Stables of Caracalla's Cir-
cus, 294
Street of the Course, 6
St. Angelo Bridge, 369
St. John's Door, 108
St. Michael's Hospital, 328
St. Peters in Montorio, Foun-
tain of, 336
Sublicius Bridge, 312

2 x
derer, 58
Feretrius,29
Stator, 78
the Thun-
Minerva Medica,
Nerva, 212
Pallas, 211
Peace, 69
Remus, 67
Romulus, 80
506
INDEX.
Temple of the Sun and Tomb of the Plautius fa-
Moon, 88
the Sibyl, 476
― of Veiove, 29
Venus and Cupid,
110
Vesta, 317
Teverone, the, 154, 471,'479
Theatre of Marcellus, 270
Tivoli, town of, 470
Tomb of C. P. Bibulus, 210
Cecilia Metella,
297
Vestibule, Round, 443
Square, 441
Via Aurelia, 337
Latina, 286
Ostia, 306
Recta, 353
Vitellia, 338
mily, 474
the Scipios, 287
Triumphal Bridge, 366
Trophies of Marius, 116
Tusculum, 484
Vatican, the, 369
Villa of Adrian, 474
Albani, 155
Altieri, 117
Barberini, 351, 489
Borghese, 176
Bracciano, 486
Garden, 465
Library, 434.
Obelisk, 375
Palace, 417
V.
Villa of Doria Pamfili, 339
Este, 480
Ludovisi, 166
Madama, 469
Mondragone, 486
Polambara, 117
Poniatowski, 2
Ponti, 486
Pope Julius, 2
Rufina, 486
Rufinella, 487
Taverna, 486
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PUBLISHED BY
SAMUEL LEIGH, 18, STRAND.
NEW PICTURE OF LONDON,
With upwards of One Hundred Views, Plan, &c. 9s. bound.
LEIGH'S NEW PICTURE OF LONDON: or,
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36. Somerset House, Front.
37.
from the
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minster.
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22. Westminster Hall.
Thames.
38. Horse Guards, from the Park.
39. Temple Bar.
40. Trinity House.
41. The Bank.
42. Mansion House.
43. Foundling Hospital.
44. British Museum.
26. Buckingham House.
27. Guildhall, Westminster.
28. Giltspur Street Compter.
29. Sessions' House, Old Bailey.
30. Whitehall.
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32. Cold Bath Fields Prison.
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52. Deaf and Dunib Asylum.
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59. Auction Mart.
60. New Custom House.
61. St.Bride's Church.
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76. Lambeth Palace.
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Fricassees, Soups, Gravies, &c., Foreign and English. By
FREDERICK NUTT. Price 6s. boards.
1
Preparing for Publication, under the Auspices of an eminent
Artist,
55. SCRIPTURE. COSTUME; or, An accurate
Delineation of the Costume of the Principal Characters
recorded in the Old and New Testament. Appropriate
descriptive Letter-press will be introduced with each
plate, to prove the accuracy of the various Dresses, &c."
P
This Work is in. considerable forwardness, and will appear in
the course of the present year.
or,


56. MORNING AND EVENING PRAYERS,
for the Use of Families; also Prayers for particular occa
sions. By the Rev. ISAAC SAUNDERS, A. M., Rector of the
United Parishes of St. Andrew by the Wardrobe and
St. Ann's, Blackfriars, &c. &c. In one handsome Vo-
lume, 8vo.
1.
;
*
I 1
1
S. LEIGH has constantly on Sale, at No. 18, Strand, a
great Variety of BIBLES and COMMON PRAYER-
BOOKS, of various Sizes, and in neat and curious
Bindings. The Public will there meet with a larger
Assortment, and in a greater Variety of Bindings, than at
any other Establishment in the Kingdoni.
Printed by W. Clowes, Northumberland-court, Strand.
·

UNIVERSITY OF MICHIGAN
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A 539213

Kawaidachu.