Part 13

In the first place, our sights-man (for so they name certain persons here who get their living by leading strangers about to see the city) went to the Palace Farnese, a magnificent square structure, built by Michael Angelo, of the three orders of columns after the ancient manner, and when architecture was but newly recovered from the Gothic barbarity. The court is square and terraced, having two pairs of stairs which lead to the upper rooms, and conducted us to that famous gallery painted by Augustine Caracci, than which nothing is more rare of that art; so deep and well-studied are all the figures, that it would require more judgment than I confess I had, to determine whether they were flat, or embossed. Thence, we passed into another, painted in chiaroscúro, representing the fabulous history of Hercules. We went out on a terrace, where was a pretty garden on the leads, for it is built in a place that has no extent of ground backward. The great hall is wrought by Salviati and Zuccharo, furnished with statues, one of which being modern is the figure of a Farnese, in a triumphant posture, of white marble, worthy of admiration. Here we were shown the Museum of Fulvius Ursinos, replete with innumerable collections; but the Major-Domo being absent, we could not at this time see all we wished. Descending into the court, we with astonishment contemplated those two incomparable statues of Hercules and Flora, so much celebrated by Pliny, and indeed by all antiquity, as two of the most rare pieces in the world; there likewise stands a modern statue of Hercules and two Gladiators, not to be despised. In a second court was a temporary shelter of boards over the most stupendous and never-to-be-sufficiently-admired Torso of Amphion and Dirce, represented in five figures, exceeding the life in magnitude, of the purest white marble, the contending work of those famous statuaries, Apollonius and Taurisco, in the time of Augustus, hewed out of one entire stone, and remaining unblemished, to be valued beyond all the marbles of the world for its antiquity and workmanship. There are divers other heads and busts. At the entrance of this stately palace stand two rare and vast fountains of garnito stone, brought into this piazza out of Titus's Baths. Here, in summer, the gentlemen of Rome take the FRESCO in their coaches and on foot. At the sides of this court, we visited the palace of Signor Pichini, who has a good collection of antiquities, especially the Adonis of Parian marble, which my Lord Arundel would once have purchased, if a great price would have been taken for it.

We went into the CAMPO VACCINO, by the ruins of the Temple of Peace, built by Titus Vespasianus, and thought to be the largest as well as the most richly furnished of all the Roman dedicated places: it is now a heap rather than a temple, yet the roof and _volto_ continue firm, showing it to have been formerly of incomparable workmanship. This goodly structure was, none knows how, consumed by fire the very night, by all computation, that our blessed Savior was born.

From hence we passed by the place into which Curtius precipitated himself for the love of his country, now without any sign of a lake, or vorago. Near this stand some columns of white marble, of exquisite work, supposed to be part of the Temple of Jupiter Tonans, built by Augustus; the work of the capitals (being Corinthian) and architrave is excellent, full of sacrificing utensils. There are three other of Jupiter Stator. Opposite to these are the oratories, or churches, of St. Cosmo and Damiano, heretofore the Temples of Romulus; a pretty old fabric, with a tribunal, or tholus within, wrought all of Mosaic. The gates before it are brass, and the whole much obliged to Pope Urban VIII. In this sacred place lie the bodies of those two martyrs; and in a chapel on the right hand is a rare painting of Cavaliere Baglioni.

We next entered St. Lorenzo in Miranda. The portico is supported by a range of most stately columns; the inscription cut in the architrave shows it to have been the Temple of Faustina. It is now made a fair church, and has an hospital which joins it. On the same side is St. Adriano, heretofore dedicated to Saturn. Before this was once placed a military column, supposed to be set in the center of the city, from whence they used to compute the distance of all the cities and places of note under the dominion of those universal monarchs. To this church are likewise brazen gates and a noble front; just opposite we saw the heaps and ruins of Cicero's palace. Hence we went toward Mons Capitolinus, at the foot of which stands the arch of Septimus Severus, full and entire, save where the pedestal and some of the lower members are choked up with ruins and earth. This arch is exceedingly enriched with sculpture and trophies, with a large inscription. In the terrestrial and naval battles here graven, is seen the Roman Aries (the battering-ram); and this was the first triumphal arch set up in Rome. The Capitol, to which we climbed by very broad steps, is built about a square court, at the right hand of which, going up from Campo Vaccino, gushes a plentiful stream from the statue of Tiber, in porphyry, very antique, and another representing Rome; but, above all, is the admirable figure of Marforius, casting water into a most ample concha. The front of this court is crowned with an excellent fabric containing the Courts of Justice, and where the Criminal Notary sits, and others. In one of the halls they show the statues of Gregory XIII. and Paul III., with several others. To this joins a handsome tower, the whole faciata adorned with noble statues, both on the outside and on the battlements, ascended by a double pair of stairs, and a stately Posario.

In the center of the court stands that incomparable horse bearing the Emperor Marcus Aurelius, as big as the life, of Corinthian metal, placed on a pedestal of marble, esteemed one of the noblest pieces of work now extant, antique and very rare. There is also a vast head of a colossean magnitude, of white marble, fixed in the wall. At the descending stairs are set two horses of white marble governed by two naked slaves, taken to be Castor and Pollux, brought from Pompey's Theatre. On the balustrade, the trophies of Marius against the Cimbrians, very ancient and instructive. At the foot of the steps toward the left hand is that Colonna Miliaria, with the globe of brass on it, mentioned to have been formerly set in Campo Vaccino. On the same hand, is the palace of the Signiori Conservatori, or three Consuls, now the civil governors of the city, containing the fraternities, or halls and guilds (as we call them), of sundry companies, and other offices of state. Under the portico within, are the statues of Augustus Cæsar, a Bacchus, and the so renowned Colonna Rostrata of Duillius, with the excellent bassi-relievi. In a smaller court, the statue of Constantine, on a fountain, a Minerva's head of brass, and that of Commodus, to which belongs a hand, the thumb whereof is at least an ell long, and yet proportionable; but the rest of the _colosse_ is lost. In the corner of this court stand a horse and lion fighting, as big as life, in white marble, exceedingly valued; likewise the Rape of the Sabines; two cumbent figures of Alexander and Mammea; two monstrous feet of a _colosse_ of Apollo; the Sepulchre of Agrippina; and the standard, or antique measure of the Roman foot. Ascending by the steps of the other corner, are inserted four basso-relievos, viz, the triumph and sacrifice of Marcus Aurelius, which last, for the antiquity and rareness of the work, I caused my painter, Carlo Neapolitano, to copy. There are also two statues of the Muses, and one of Adrian, the Emperor; above stands the figure of Marius, and by the wall Marsyas bound to a tree; all of them excellent and antique. Above in the lobby are inserted into the walls those ancient laws, on brass, called the Twelve Tables; a fair Madonna of Pietro Perugino, painted on the wall; near which are the archives, full of ancient records.

In the great hall are divers excellent paintings of Cavaliero Giuseppe d'Arpino, a statue in brass of Sextus V. and of Leo X., of marble. In another hall are many modern statues of their late Consuls and Governors, set about with fine antique heads; others are painted by excellent masters, representing the actions of M. Scævola, Horatius Cocles, etc. The room where the Conservatori now feast upon solemn days, is tapestried with crimson damask, embroidered with gold, having a state or _balduquino_ of crimson velvet, very rich; the frieze above rarely painted. Here are in brass, Romulus and Remus sucking the wolf, of brass, with the Shepherd, Faustulus, by them; also the boy plucking the thorn out of his foot, of brass, so much admired by artists. There are also holy statues and heads of Saints. In a gallery near adjoining are the names of the ancient Consuls, Prætors, and Fasti Romani, so celebrated by the learned; also the figure of an old woman; two others representing Poverty; and more in fragments. In another large room, furnished with velvet, are the statue of Adonis, very rare, and divers antique heads. In the next chamber, is an old statue of Cicero, one of another Consul, a Hercules in brass, two women's heads of incomparable work, six other statues; and, over the chimney, a very rare basso-relievo, and other figures. In a little lobby before the chapel, is the statue of Hannibal, a Bacchus very antique, _bustoes_ of Pan and Mercury, with other old heads. All these noble statues, etc., belong to the city, and cannot be disposed of to any private person, or removed hence, but are preserved for the honor of the place, though great sums have been offered for them by divers Princes, lovers of art, and antiquity. We now left the Capitol, certainly one of the most renowned places in the world, even as now built by the design of the famous M. Angelo.

Returning home by Ara Coeli, we mounted to it by more than 100 marble steps, not in devotion, as I observed some to do on their bare knees, but to see those two famous statues of Constantine, in white marble, placed there out of his baths. In this church is a Madonna, reported to be painted by St. Luke, and a column, on which we saw the print of a foot, which they affirm to have been that of the Angel, seen on the Castle of St. Angelo. Here the feast of our Blessed Savior's nativity being yearly celebrated with divers pageants, they began to make the preparation. Having viewed the Palace and fountain, at the other side of the stairs, we returned weary to our lodgings.

On the 7th of November, we went again near the Capitol, toward the Tarpeian rock, where it has a goodly prospect of the Tiber. Thence, descending by the Tullianum, where they told us St. Peter was imprisoned, they showed us a chapel (S. Pietro de Vincoli) in which a rocky side of it bears the impression of his face. In the nave of the church gushes a fountain, which they say was caused by the Apostle's prayers, when having converted some of his fellow-captives he wanted water to make them Christians. The painting of the Ascension is by Raphael. We then walked about Mount Palatinus and the Aventine, and thence to the Circus Maximus, capable of holding 40,000 spectators, now a heap of ruins, converted into gardens. Then by the _Forum Boarium_, where they have a tradition that Hercules slew Cacus, some ruins of his temple remaining. The Temple of Janus Quadrifrons, having four arches, importing the four Seasons, and on each side niches for the months, is still a substantial and pretty entire antiquity. Near to this is the Arcus Argentariorum. Bending now toward the Tiber, we went into the Theater of Marcellus, which would hold 80,000 persons, built by Augustus, and dedicated to his nephew; the architecture, from what remains, appears to be inferior to none. It is now wholly converted into the house of the Savelli, one of the old Roman families. The people were now generally busy in erecting temporary triumphs and arches with statues and flattering inscriptions against his Holiness's grand procession to St. John di Laterani, among which the Jews also began one in testimony of gratitude for their protection under the Papal State. The Palazzo Barberini, designed by the present Pope's architect, Cavaliero Bernini, seems from the size to be as princely an object, as any modern building in Europe. It has a double portico, at the end of which we ascended by two pair of oval stairs, all of stone, and void in the well. One of these led us into a stately hall, the _volto_ whereof was newly painted _á fresco_, by the rare hand of Pietro Berretini il Cortone. To this is annexed a gallery completely furnished with whatever art can call rare and singular, and a library full of worthy collections, medals, marbles, and manuscripts; but, above all, an Egyptian Osiris, remarkable for its unknown material and antiquity. In one of the rooms near this hangs the Sposaliccio of St. Sebastian, the original of Annibal Caracci, of which I procured a copy, little inferior to the prototype; a table, in my judgment, superior to anything I had seen in Rome. In the court is a vast broken guglia, or obelisk, having divers hieroglyphics cut on it.

8th November, 1644. We visited the Jesuits' Church, the front whereof is esteemed a noble piece of architecture, the design of Jacomo della Porta and the famous Vignola. In this church lies the body of their renowned Ignatius Loyola, an arm of Xaverius, their other Apostle; and, at the right end of their high altar, their champion, Cardinal Bellarmine. Here Father Kircher (professor of Mathematics and the oriental tongues) showed us many singular courtesies, leading us into their refectory, dispensatory, laboratory, gardens, and finally (through a hall hung round with pictures of such of their order as had been executed for their pragmatical and busy adventures) into his own study, where, with Dutch patience, he showed us his perpetual motions, catoptrics, magnetical experiments, models, and a thousand other crotchets and devices, most of them since published by himself, or his industrious scholar, Schotti.

Returning home, we had time to view the Palazzo de Medicis, which was an house of the Duke of Florence near our lodging, upon the brow of Mons Pincius, having a fine prospect toward the Campo Marzo. It is a magnificent, strong building, with a substruction very remarkable, and a portico supported with columns toward the gardens, with two huge lions, of marble, at the end of the balustrade. The whole outside of the _facciata_ is incrusted with antique and rare basso-relievos and statues. Descending into the garden is a noble fountain governed by a Mercury of brass. At a little distance, on the left, is a lodge full of fine statues, among which the Sabines, antique and singularly rare. In the arcade near this stand twenty-four statues of great price, and hard by is a mount planted with cypresses, representing a fortress, with a goodly fountain in the middle. Here is also a row balustred with white marble, covered over with the natural shrubs, ivy, and other perennial greens, divers statues and heads being placed as in niches. At a little distance are those famed statues of Niobe and her family, in all fifteen, as large as the life, of which we have ample mention in Pliny, esteemed among the best pieces of work in the world for the passions they express, and all other perfections of that stupendous art. There is likewise in this garden a fair obelisk, full of hieroglyphics. In going out, the fountain before the front casts water near fifty feet in height, when it is received in a most ample marble basin. Here they usually rode the great horse every morning; which gave me much diversion from the terrace of my own chamber, where I could see all their motions. This evening, I was invited to hear rare music at the Chiesa Nova; the black marble pillars within led us to that most precious oratory of Philippus Nerius, their founder; they being of the oratory of secular priests, under no vow. There are in it divers good pictures, as the Assumption of Girolamo Mutiano; the Crucifix; the Visitation of Elizabeth; the Presentation of the Blessed Virgin; Christo Sepolto, of Guido Rheno, Caravaggio, Arpino, and others. This fair church consists of fourteen altars, and as many chapels. In it is buried (besides their Saint) Cæsar Baronius, the great annalist. Through this, we went into the _sacristia_, where, the tapers being lighted, one of the Order preached; after him stepped up a child of eight or nine years old, who pronounced an oration with so much grace, that I never was better pleased than to hear Italian so well and so intelligently spoken. This course it seems they frequently use, to bring their scholars to a habit of speaking distinctly, and forming their

## action and assurance, which none so much want as ours in England. This

being finished, began their _motettos_, which in a lofty cupola richly painted, were sung by eunuchs, and other rare voices, accompanied by theorbos, harpsichords, and viols, so that we were even ravished with the entertainment of the evening. This room is painted by Cortona, and has in it two figures in the niches, and the church stands in one of the most stately streets of Rome.

10th November, 1644. We went to see Prince Ludovisio's villa, where was formerly the _Viridarium_ of the poet, Sallust. The house is very magnificent, and the extent of the ground exceedingly large, considering that it is in a city; in every quarter of the garden are antique statues, and walks planted with cypress. To this garden belongs a house of retirement, built in the figure of a cross, after a particular ordonnance, especially the staircase. The whiteness and smoothness of the excellent pargeting was a thing I much observed, being almost as even and polished, as if it had been of marble. Above, is a fair prospect of the city. In one of the chambers hang two famous pieces of Bassano, the one a Vulcan, the other a Nativity; there is a German clock full of rare and extraordinary motions; and, in a little room below are many precious marbles, columns, urns, vases, and noble statues of porphyry, oriental alabaster, and other rare materials. About this fabric is an ample area, environed with sixteen vast jars of red earth, wherein the Romans used to preserve their oil, or wine rather, which they buried, and such as are properly called _testæ_. In the Palace I must never forget the famous statue of the Gladiator, spoken of by Pliny, so much followed by all the rare artists as the many copies testify, dispersed through almost all Europe, both in stone and metal. There is also a Hercules, a head of porphyry, and one of Marcus Aurelius. In the villa-house is a man's body flesh and all, petrified, and even converted to marble, as it was found in the Alps, and sent by the Emperor to one of the Popes; it lay in a chest, or coffin, lined with black velvet, and one of the arms being broken, you may see the perfect bone from the flesh which remains entire. The Rape of Proserpine, in marble, is of the purest white, the work of Bernini. In the cabinet near it are innumerable small brass figures, and other curiosities. But what some look upon as exceeding all the rest, is a very rich bedstead (which sort of gross furniture the Italians much glory in, as formerly did our grandfathers in England in their inlaid wooden ones) inlaid with all sorts of precious stones and antique heads, onyxes, agates, and cornelians, esteemed to be worth 80 or 90,000 crowns. Here are also divers cabinets and tables of the Florence work, besides pictures in the gallery, especially the Apollo--a conceited chair to sleep in with the legs stretched out, with hooks, and pieces of wood to draw out longer or shorter.

From this villa, we went to see Signor Angeloni's study, who very courteously showed us such a collection of rare medals as is hardly to be paralleled; divers good pictures, and many outlandish and Indian curiosities, and things of nature.

From him, we walked to Monte Cavallo, heretofore called Mons Quirinalis, where we saw those two rare horses, the work of the rivals Phidias and Praxiteles, as they were sent to Nero (by Tiridates King) out of Armenia. They were placed on pedestals of white marble by Sextus V., by whom I suppose their injuries were repaired, and are governed by four naked slaves, like those at the foot of the Capitol. Here runs a most noble fountain, regarding four of the most stately streets for building and beauty to be seen in any city of Europe. Opposite to these statues is the Pope's summer palace, built by Gregory XIII.; and, in my opinion, it is, for largeness and the architecture, one of the most conspicuous in Rome, having a stately portico which leads round the court under columns, in the centre of which there runs a beautiful fountain. The chapel is incrusted with such precious materials, that nothing can be more rich, or glorious, nor are the other ornaments and movables about it at all inferior. The hall is painted by Lanfranci, and others. The garden, which is called the Belvedere di Monte Cavallo, in emulation of that of the Vatican, is most excellent for air and prospect; its exquisite fountains, close walks, grots, piscinas, or stews for fish, planted about with venerable cypresses, and refreshed with water-music, aviaries, and other rarities.

12th November, 1644. We saw Dioclesian's Baths, whose ruins testify the vastness of the original foundation and magnificence; by what M. Angelo took from the ornaments about it, 'tis said he restored the then almost lost art of architecture. This monstrous pile was built by the labor of the primitive Christians, then under one of the ten great persecutions. The Church of St. Bernardo is made out of one only of these ruinous cupolas, and is in the form of an urn with a cover.

Opposite to this, is the Fontana delle Therme, otherwise called _Fons Felix_; in it is a basso-relievo of white marble, representing Moses striking the rock, which is adorned with camels, men, women, and children drinking, as large as life; a work for the design and vastness truly magnificent. The water is conveyed no less than twenty-two miles in an aqueduct by Sextus V., _ex agro Columna_, by way of Præneste, as the inscription testifies. It gushes into three ample lavers raised about with stone, before which are placed two lions of a strange black stone, very rare and antique. Near this are the store-houses for the city's corn, and over against it the Church of St. Susanna, where were the gardens of Sallust. The faciàta of this church is noble, the _soffito_ within gilded and full of pictures; especially famous is that of Susanna, by Baldassa di Bologna. The tribunal of the high altar is of exquisite work, from whose marble steps you descend under ground to the repository of divers Saints. The picture over this altar is the work of Jacomo Siciliano. The foundation is for Bernadine Nuns.