rain, the fine group of the Lion tearing a | horse is reputed to have been restored by Michael Angelo. The statue of Rome triumphant sitting, with two'captive barbarian kings by her side, is remarkable, as are several fragments of colossal statues.

Eight rooms are devoted to the Protomoteca, or collection of the busts of illustrious Italians. In the first, are the regulations in Latin relative to the mode of admitting the great men of this new Pantheon, founded by Pope Pius VII., when there was no more room in the ancient Pantheon of Agrippa, which it has replaced, and which gave the idea of our Pantheon. Great men can never be admitted till after death, and when they are acknowledged as spirits and capacities of the first order, possessing the requisite qualities for immortality: the proposal of persons deserving this honour is singularly confided to the three conservators of Rome, commonly princes or great lords, who are not always very competent judges of great men; and this charge might be more fitly entrusted to the different academies, who are only consulted. The decree is issued by the pope who decides when the votes are equal. The execution of this decree, and maintenance of a kind of temple, belong to the Conservators. This first room presents the portraits of six foreigners, looked on as naturalised Italians on account of their labours and long residence in Italy, namely: Poussin, d'Agincourt, Raphael Mengs, Winckelmann, Angelica Kauffmann, and Suvée, director of the French Academy at Rome. The busts of the third room, containing the artists of the sixteenth century, were all, except Raphael, executed by the hand or at the expense of Canova; and those in the sixth room, intended for poets, were sculptured at his order, except Annibale Caro, Trissino, and Metastasio Most of these busts are of inferior execution. It is in the principal room of the Protomoteca that the famous Arcadian academy holds its grand sittings, which are independent of the Thursday meetings. The Arcadian acadeiny, presided by a custode general, two under-custodes, and twelve members, admits females. Sovereigns, princes, literati of different nations, have thought themselves honoured in being among its members, but the title, lavished rather too indiscriminately, has not always escaped ridicule.

On the staircase of the Conservators is an imitation of the celebrated_rostral column, erected to Duillius. The inscription, regarded as a copy of the original taken in the times of the emperors, one of the oldest monuments of the Latin tongue, was discovered in the sixteenth century; the column is of the same epoch. The celebrated basso-relievo of Mettius Curtius, general of the Sabines, thrown by his horse into the miry soil between the Palatine and Capitoline, is very antique. The two basso-relievos relative to the history of Marcus Aurelius, taken from his arch demolished by Alexander VII. to enlarge the Corso, are curious for the facts they represent, and because they give the aspect of several monuments.

The first of the rooms of the Conservators bears the name of the Cav. d'Arpino, because be has painted several incidents of Roman history there: the Birth of Romulus and the Battle of the Romans and Sabines are the best of his frescos. Those of Laureti, in the next room, are nowise remarkable. The friezes of Daniello da Volterra, in the third room, are not distinctly visible; the colour is faded, but the figures are in good style and well drawn. In the centre of this room is the famous shewolf, one of the most astonishing monuments of the antique arts of Rome, which manifests Etruscan art, and on which it would be easy to write a volume; this wolf was celebrated by Cicero in prose and verse, in his Catiline orations and the poem on his Consulship. The Romulus and Remus are modern. The young man, naked, who is pulling a thorn out of his foot, an Etruscan figure in bronze, is very graceful. A superb and precious bronze bust of the first Brutus still presents the physiognomy of the people of Rome, as it may be observed in the squares, markets, in fact, on all sides, where its old race has not been impaired. The next room presents on the wall the celebrated marble fragments of the Capitoline annals, formerly in the comitia, ineffaceable diplomas of the grandeur and glory of Rome, which the scientific S. Borghesi has published and illustrated. The Holy Family, attributed to Giulio Romano, in the ball of audience, does not seem very authentic, and belongs rather to his school. A Medusa in marble, by Bernini, is terrible. The bronze bust of Michael An

CHAPTER XIV.

markable paintings by Pinturicchio, restored by S. Camuccini. On the altar of the fourth chapel, the basso-relievo of St. Catherine between St. Anthony

del Popolo.-Mausoleums of Cardinals Sforza and Recanati.-Ghigi chapel.-Jonas.-Saint Charles. Count Al. Verri.- Saint Laurence in Lucina.Poussin's monument.

The Porta del Popolo, a kind of triumphal arch, is of a good style of architecture on the outside, and this part has been attributed to Michael Angelo and Vignola. The interior, hastily finished by Bernini for the entry of Queen Christine, has something petty and affected like the heroine.

The Piazza and its pitiful statues are little better than the interior of the gate. Despite its recent regularity, this Piazza, of a confined architectural taste, seems but a poor entrance to Rome, far inferior to the gloomy, desolate, ruined aspect presented by the Coliseum as we approach by the road from Naples. The four modern sphinxes of the obelisk have the air of calves but little enigmatical. This superb obelisk of a single stone covered with hieroglyphics was raised at Heliopolis by King Ramses I. to decorate the temple of the Sun: it was brought to Rome by Augustus and placed at the Spina of the Grand Circus: its Greek inscription proves that the Egyptians knew the Trinity. It was drawn from the ruins by Sixtus V. and erected by

Fontana.

According to a popular tradition as old as the close of the eleventh century, a large tree once stood near the gate del Popolo, on which a raven used constantly to perch. The earth was dug up at the foot of this tree, and an urn was found with an inscription stating it to contain the ashes of Nero. They were scattered to the winds, and Pope Pascal II. founded, on the spot where the urn was discovered, the church of Santa Maria del Popolo. Rebuilt by Sixtus IV. on the designs of Baccio Pintelli, and embellished by Julius II. and Alexander VII., it has become very interesting as a work of art. In the chapel of the Virgin, the paintings by Pinturicchio are finished and aerial. The splendid Cibo chapel has a Conception by Carlo Maratta. The third chapel, dedicated to the Virgin

is an elegant work of the fifteenth century. The ceiling of the choir, superb, is by Pinturicchio; behind the high altar are the beautiful painted windows of the French glass-stainers Claude and Guillaume, invited by Bramante, the only painted windows at Rome, and which after more than three centuries have all their pristine brilliancy. The two celebrated tombs erected by Julius II. to the Cardinals Ascanio Sforza and Recanati present the exquisite statues and ornaments of Contucci da Sansavino. Several tombs of the middle ages are also of a grand style of their kind. In the next chapel is a fine Assumption, by Annibale Carraccio; the Crucifixion of St. Peter, and the Conversion of St. Paul, by Michelangelo di Caravaggio, beautifully executed, are so badly placed that it is difficult to see them well.

The Ghigi chapel, one of the most renowned in Rome, is from Raphael's designs; be is even said to have executed the cartoons of the four mosaics of the graceful cupola, of the paintings on the frieze, and of the altar-piece, which were finished by Sebastiano del Piombo, Francesco Salviati, and Vanni. The Daniel and the prophet Habakkuk whom an angel is carrying by the hair of his head, are by Bernini; the Elias, the elegant Jonah sitting on the whale, are by Lorenzetto: the Jonas, an imitation of the Antinous, justly enjoys great celebrity; it has even been pretended that Raphael modelled it, but the greater probability is that be only gave the design to his favourite pupil Lorenzetto. The sumptuous tomb of the princess Odescalchi Ghigi, designed by Posi and sculptured by Penna, appears at once graceful and fantastical; a lion is well executed.

Among the sepulchral stones of this church is one of a man whose death ensued from the bite of a cat on his finger, as may be seen by the epitaph, which contains a useful moral :

Hospes, disce novum mortis genus; Improba fells, Dum trahitur, digitum mordet, et intereo.

The tomb of a Roman noble, who died in 1485 of the venereal disease, as the inscription states, proves an important medical fact, curious and but little noticed, since this shameful death occurred seven years before the discovery of America.

The church of Saint Charles is splendid, but of bad taste. The architects were Onorio Lunghi, his son Martin, and Pietro da Cortona, who finished it. The heavy front, disfigured by the enormous size of its columns and their disproportion to the confined space where they are set, is by the priest Menicucci and the Capuchin Mario da Canepina. In the richest chapel of the church are the formal statues of David with his harp, by Pacilli, and Judith, by Lebrun. The St. Charles presented to Jesus Christ by the Virgin, at the high altar, is the largest and one of the most esteemed paintings of Carlo Maratta. In this church reposes Count Alessandro Verri, author of the Roman Nights, a generous writer, full of the spirit of antiquity, though his exaggerated, turgid, redundant, monotonous style, as well as his pure and honourable life, are not unlike an Italian Thomas. Verri has left an inedited history of the French revolution to the Consulate; it would be interesting to know in what light such a man has considered and judged it.

The ancient church of Saint Laurence, which retains the Pagan surname of Lucina, presents a Crucifix, a fine painting by Guido. Poussin is interred here. I Sought the tomb of the great and poetic French painter with singular emotion, and I found only the funereal inscriptions of cardinals, of an engraver and an Aulic counsellor. M. de Chateaubriand, when ambassador, has since remedied this culpable neglect; a late mausoleum, confided to French artists, of which Lemoine supplied the design and the bust, has been erected to Poussin : on it is sculptured, at the suggestion of M. de Chateaubriand, the melancholy landscape of the Arcadia, which its simple disposition renders very suitable for sculpture.

Marco Antonii equitis Romani filio ex nobill Albertouum familia corpore animoque insigni qui annum agens XXX peste inguinaria Interilt an. salutis christiana M.CCCCLXXXV, die XXIII Julli beredes b. m. p.

CHAPTER XV.

Saint Ignatius.-Roman College.-Jesuits.—Library. - Christina's notes. Kircher museum. - Saint Marcellus-Pierre Gilles.-Cardinal Consalvi.Gesù.-Bellarmin.

The grandeur, the richness, the ornaments of Saint Ignatius are offensive from their bad taste. The faulty front, by Algardi, is nevertheless imposing; the paintings on the roof of the gallery are the most considerable work of the famous Jesuit Pozzi, who, with all his Vagaries, there exhibits imagination and clever effects of perspective. The tomb of Pope Gregory XV., by our compatriot Legros, is highly spoken of, as well as

the basso-relievo of St. Ludovico of

Gonzaga, of good mechanical execution, and remarkable for the noble and modest expression of the principal figure.

The Roman college, of Ammanato's architecture, one of the greatest and most solid masses of building known, adjoins Saint Ignatius. The court is one

of the finest in Rome: if the whole has no essential faults, it is still deficient, despite its enormous proportions, in character and grandeur. The Roman college, directed by the Jesuits, has some piety; such as P. Pianciani, a great exmonks distinguished for learning and perimental philosopher and chemist; P. Secchi, a good Grecian and archeologist; and P. Grassi. Several of the students belonged to the highest class of European society; such as M. Ch. de C********* nephew of the author of the Génie du Christianisme; ; Count C***********, a Pole formerly distinguished for his accomplishments, and some others, sincere men, priests worthy of all respect, who from conviction have relinquished the most brilliant scenes of worldly greatness for the humble life and condition of simple monks. The Jesuits, though in the very heart of their empire, had numerous enemies, and a well-informed observer expressed his conviction that they could not maintain their ground.

which is considerable in number, but The library of the Roman college, greatly behindhand, and has lately expe

2 M. d'Agincourt, to put down the pretensions of the Italians, who claimed Poussin on account of his long residence in Italy, had bis bust executed at his own expense, and placed it in the Pantheon with the inscription, Nic. Poussin Pictori Gallo.

rienced losses to the amount of about eleven thousand volumes, did not seem to me very well arranged, and notwithstanding the kindness of the guardians, it was not in reality very easy of access. A Quintus Curtius is annoted in Christina's hand; and she treats Alexander's conduct very shrewdly: He reasoned badly in this case, says she in one place; and in another: I should have done just the contrary; I should have pardoned; and further on: I should have shown clemency. The clemency of Christina may seem singular after the murder of Monaldeschi. It appears that it was not the queen, but the woman, the mistress, who took vengeance of the traitor. Christina had a taste for marginal notes. To induce a belief in her strength of mind, she had written on a Seneca, Elzevir: Adversus virtutem possunt calamitates, damna et injuriæ, quod adversus solem nebula possunt. At page 141 of vol. 1 of the copy of the Bibliotheca Hispana (Rome, 1672, 2 vols. fol.), in the library of Santa Croce in Gerusalemme, is the following curious note relating to the work of D. Francesco della Cartera, entitled Conversion de la Reina de Svecia in Roma, 1656, which was there alluded to: Chi l' ha | scritta, non lo sa; chi lo sa, non l' ha mai scritta. The books and manuscripts of Muret, which he bequeathed to his disciple and friend P. Benci, were added to the library of the Roman college, but only a small part remains there, the greater number being at the Vatican. The compilation of various readings and materials collected by P. Lagomarsini for a complete edition of Cicero, which has not appeared and which it was reserved for a learned Frenchman to publish first,' formed thirty large folio volumes; some leaves have been cut out and two volumes lost, one of which contained the explanations of the referential signs, so that it is almost impossible to make any use of this long labour. His first work in twelve thick folio volumes had been suppressed on account of some inaccuracies, by this laborious and persevering admirer of Cicero, who had examined for the Milonian oration alone eighty-four ma

M. J. V. Le Clerc, professor of Latin eloquence

and president of the Faculty of Letters in the Academy of Paris.

nuscripts and thirteen editions. Sixty Chinese volumes on the mathematics and astronomy, collected by Jesuit missionaries, would perhaps afford some interesting discoveries.

The museum of the learned, laborious, but very chimerical P. Kircher, the creator of hieroglyphic erudition, is curious, though badly arranged, for its figurines, inscriptions, earthen lamps, medals, cameos, glass, and other minor antiquities. It has been very considerably augmented by another learned Jesuit, P. Contucci, whose shop of paintings from Pompeii was, however, discovered by the abbé Barthélemy to be the fabrication of some clever counterfeiter. Among the simple curiosities of this museum, I observed a fine cameo of Savonarola, with an inscription giving him the title of martyr, ordered by the fanaticism of his partisans, which seemed to have been worn round the neck; and the unfaithful sword of the constable of Bourbon, whose iron armour is at the Vatican. The constable's name is written on the blade, as well as those of two Italian generals to whom it had previously belonged; the sword has also some Malabar characters, which prove that it came from India, and not Da

mascus.

The church of Saint Marcellus, with a front by Carlo Fontana in detestable taste, has some good paintings in the chapel of the Crucifix: the Creation of Eve, by Perino del Vaga, which recalls the Florentine style and has two little angels that are lifelike; the St. Mark, nearly all the St. John, by the same, and the rest of the chapel, completed on his designs by Daniello da Volterra, assisted by Pellegrino of Modena. At Saint Marcellus was interred the ancient French naturalist and traveller, Pierre Gilles, who died in 1555, the author of a superficial catalogue of the fish of the Mediterranean, whom Rabelais has Pantagruellically described: “Ung urinal en main, considérant en profonde contemplation l'urine de ces beaulæ poissons." A more serious and contemporary tomb is that of Cardinal Consalvi in the chapel of the Crucifix, in which his last will directed his body to be united to his beloved brother's. The mausoleum of this accomplished seductive diplomatist, this moderate and dexterous reformer of the Roman court, is a much