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pillars of which still support the roof; the Jesuits' church-after St. Peter's, the richest in Rome; the San Stephano Rotondo, formerly a temple of a circular

and the S. Pietro in Vincoli, in which will be admired the figure of Moses seated, which is considered the chef d'æuvre of Michel Angelo :


“ Quel ch'a par sculpe e colora

Michel piu che mortale, Angel divino.”

The church of St. Paul, two miles from Rome, will, when completed, surpass all the others, St. Peter's excepted, in size and richness of decoration.

The Doria is perhaps the handsomest of the Roman palaces, and contains one of the richest galleries of pictures, among which the attention will be more especially attracted to the two celebrated Claudes, viz., the Molino, and the Sacrifice to Apollo; the Madonna, by Sasso-Ferrata ; the Flight into Egypt, the Assumption, and the Visitation, by Annibale Caracci; a Magdalen, by Murillo; Belisarius, by Salvator Rosa; and Queen Joan of Naples, by Leonardo da Vinci. In the Borghese palace will be particularly remarked Diana and her Nymphs, by Domenichino; the Cumean Sibyl, by the same painter; the Deposition from the Cross, by Raphael; the same subject, by Garofolo; four pictures of the Seasons, by Albano; and Cesar Borgia, by Raphael.

The Barbarini contains three of the best pictures in Rome, viz., the Cenci, by Guido; the Fornarina, by Raphael ; and a Female Slave, by Titian. Joseph and Potiphar's Wife is also a fine picture.

In the Sciarra Palace will be especially noticed two small landscapes by Claude ; Moses, by Guido;


Modesty and Vanity, by Leonardo da Vinci ; Gamesters, by Caravaggio ; the Magdalen, delle Radici, by Guido; Landscapes, by Paul Brill; Beheading of St. John, by Valentin ; Portrait of a Youth, by Raphael ; Shepherds Regarding a Skull on a Tomb, by Schidone. In the Quirinal are Saul and David, by Guercino; the Ascension, by Vandyck; and the Annunciation, by Guido, which forms the altar-piece of the Pope's private chapel. The Rospigliosi also contains a few good pictures, but the principal attraction to this palace is the fine fresco painting on the ceiling of one of the apartments, Aurora, by Guido :

60! mark again the coursers of the sun,
At Guido's call their round of glory run;
Again the rosy hours resume their flight,
Obscured and lost in floods of golden light.”Rogers.

But perhaps the most interesting as well as the largest of all the private collections, since the dispersion of Cardinal Fesch's, is that of the Corsini Palace. The following are a few of the best pictures :-several representations of the Madonna, by Carlo Maratti ; three heads of the Saviour, by Carlo Dolce, Guido, and Guercino--the latter is the most esteemed ; Madonna and Infant, by Caravaggio ; Herodias with the Head of St. John, by Guido ; a large Murillo, the Madonna and Child, one of the finest productions of this painter; a splendid landscape, by Poussin ; Sleeping Cupid, by Guido; an Interior with Cattle, by Teniers; Prometheus Bound, by Salvator Rosa; a Water-piece, by the same; and a similar subject by Vernet.


In the Palazzo Spada is shown the statue of Pompey, said to be the same at the base of which “great Cæsar fell.” Here likewise are, a fine picture, representing the Death of Dido, by Guercino ; Paul III., by Titian ; Cardinal Spada, by Guido; and a Head of Seneca, by Salvator Rosa. In the court-yard is an admirable perspective, from which the plan of the great staircase of the Vatican is said to have been taken.

The Palazzo Colonna contains the handsomest saloon in Rome, and some good pictures, as do also several other palaces mentioned in the guide-books, where will be found detailed accounts of the different galleries, of which I have only mentioned a few of the most striking pieces. In the garden of the Colonna lies an immense fragment of an entablature, supposed to have been part of the Temple of the Sun. Here also are some of the ruins of the baths of Constantine.

The pictures in the Vatican are few in number, but all choice ones. Among them may be particularized the large picture of the Transfiguration, by Raphael, considered his chef d'auvre; the Communion of St. Jerome, by Domenichino, second only to the former, and placed opposite to it. These pictures are seen to great advantage from the outer rooms, by looking through the doorway, the light being thus more strongly concentrated upon them. In the same room is the Madonna di Foligno. In the adjoining rooms, the Martyrdom of St. Peter, by Guido; St. Sebastian, by Titian; the Saviour with the Globe at his Feet, by Correggio; and Cows, by Paul Potter.

The walls and ceiling of the Stanze di Raffaelle are

covered with the celebrated fresco paintings of this great master, the description of which, with those of the Loggia, or open galleries, would fill a volume. Among the statues, the first objects naturally sought for are the Apollo Belvedere and the Laocoon, which one can scarcely tire of beholding; the latter especially has a fine appearance by torchlight. They are judiciously placed by themselves in separate cabinets, as are also the Antinous and Meleager. The celebrated Torso, immediately at the top of the staircase, produces a fine effect, seen through the long vista of the gallery, In the Hall of the Nile, the statues of Minerva, Esculapius, Demosthenes, and the large group of the Nile, will be more particularly remarked. Some of the figures and colossal masks in this hall are also seen to the greatest advantage by torchlight. In other parts of this immense edifice, which may be repeatedly visited with interest, are the museums of the Egyptian and Etruscan antiquities; the richly decorated hall of the library, the Sistine Chapel, containing the celebrated fresco of the Last Judgment, by Michel Angelo, the Mosaic Manufactory, &c., which have been repeatedly described by travellers, but of which no description can convey an accurate idea:

“I peregrini marmi in varie forme sculti
Pitture e getti, e tant altro lavoro,
Mostran che non bastaro a tante mole,
Di venti re insieme le ricchezze sole."

“Go, and insatiate o’er and o'er,
Th' exhaustless Vatican explore;
Thro' labyrinthine courts pursue,
Thro' galleries lengthening on the view,

Hall after hall, dome after dome,
Treasuries of Egypt, Greece, and Rome,
Where all above, around, beneath,
The marble generations breathe,
And plunder'd tombs their wrecks supply,
To line the walls with imag'ry;
And golden roofs their radiance throw
O’er rich mosaics spread below,
And fountains in perpetual play
Temper with sparkling show'rs the day.”

Sotheby. The ascent to the square of the Capitol is by easy steps, on the side of the modern city, and also from the Forum. In the centre stands the fine equestrian statue of Marc Aurelius, of bronze gilt, though but little of the gilding remains. The large hall, with the tower, occupy the extremity of the Place. On one side is the rich collection of sculpture, where will be more particularly noticed, on the ground floor, the basreliefs on the sarcophagus of Severus ; in the centre of the first room, on ascending, the celebrated gladiator

“ Whose manly brow

Consents to death, but conquers agony ;" with several other fine statues. Among those in the adjoining apartments, the most remarkable are the Faun, in rosso-antico; the Centaurs, in nero-antico ; Caius Marius ; a Prefica, or hired mourner ; the colossal Hercules, in bronze gilt ; and the busts of the emperors, senators, and philosophers of ancient Rome, especially those of Augustus, Caligula, Galba, Virgil, Socrates. The Venus of the Capitol is one of the finest and best preserved pieces of ancient sculpture, preferred by some to the Venus de Medicis. It is

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