[To the divine Augustus, son of the divine Julius, and to the divine Tiberius, son of the divine Augustus.]

The Nuncorcus of Pliny is supposed to stand for Menophtheus, the king Meneph-Pthah.

Pliny (xvi. 76) gives the following particulars of how it was brought over:—

"A fir tree of prodigious size was used in the vessel which, by the command of Caligula, brought the obelisk from Egypt, which stands in the Vatican Circus, and four blocks of the same sort of stone to support it. Nothing certainly ever appeared on the sea more astonishing than this vessel; 120,000 bushels of lentils served for its ballast; the length of it nearly equalled all the left side of the port of Ostia—for it was sent there by the Emperor Claudius. The thickness of the tree was as much as four men could embrace with their arms."

Suetonius ("Claudius," xx.) says: "He sank the vessel in which the great obelisk had been brought from Egypt, to secure the foundation of the mole at Ostia."

Pliny (xvi. 76), says: "As to the one in which, by order of the Emperor Caius, the other obelisk had been transported to Rome, it was brought to Ostia, by order of the late Emperor Claudius, and sunk for the construction of his harbour."

Marcellinus says: "Subsequent ages to Augustus brought also other obelisks, one of which is in the Vatican."

VESTIBULE.

Over the entrance outside is a relief of Christ giving the keys to Peter; inside the vestibule is Giotto's (1298) celebrated mosaic, representing our Lord sustaining Peter when he was about to sink whilst walking on the sea. Opposite are the great bronze doors, opened only on special occasions, the work of Antonio Filareto and Simone Donatello in the fifteenth century. The upper panels represent in relief our Saviour and the Virgin, below whom are SS. Peter and Paul; Peter is giving the keys to Pope Eugenius IV. Beneath are the martyrdoms of Peter and Paul: in the former is represented the pyramidal tomb which stood in the Borgo Nuovo, and which was destroyed by Alexander VI. The smaller reliefs represent scenes from the life of the Emperor Sigismund—his coronation, the council of Florence, and his entry into Rome. The framework represents satyrs, nymphs, fauns, Leda and the Swan, Ganymede, the Fox and the Stork, with reliefs of fruit and flowers, and medallions of Roman emperors. The walled-up side door, on the right, is the Porta Santa, which was formerly opened on Christmas-eve of the years of jubilee—every twenty-fifth year.

The first inscription relates the gift of olive-yards to provide oil for the lamps given by Gregory II.

The second, the Bull of Boniface VIII., of the indulgence granted at jubilee.

The third, Panegyric of Charlemagne on Pope Adrian I.

INTERIOR.

Five portals give access to the edifice, which faces east.

"The most extensive hall ever constructed by human art expands in magnificent perspective before you. Advancing up the nave, you admire the beauty of the variegated marble under your feet, and the splendour of the golden vault overhead, the lofty Corinthian pilasters with their bold entablature, the intermediate niches with their statues, the arcades with the graceful figures that recline on the curves of their arches. But how great your astonishment when you reach the foot of the altar, and, standing in the centre of the church, contemplate the four superb vistas that open around you; and then raise your eyes to the dome, at the prodigious elevation of 440 feet, extended like a firmament over your head, and presenting, in glowing mosaic, the companies of the just and the choirs of celestial spirits....

"Around the dome rise four other cupolas, small, indeed, when compared with its stupendous magnitude, but of great boldness when considered separately; six more, three on either side, cover the different divisions of the aisles; and six more of greater dimensions canopy as many chapels. All these inferior cupolas are, like the grand dome itself, lined with mosaics. Many, indeed, of the masterpieces of painting which formerly graced this edifice have been removed [to the Church of S. Maria degli Angeli, see page 265 ], and replaced by mosaics, which retain all the tints and beauties of the originals, impressed on a more solid and durable substance. The aisles and altars are adorned with numberless antique pillars that border the churches all around, and form a secondary order" (Eustace).

The variegated walls are in many places ornamented with festoons, wreaths, crosses, and medallions representing the effigies of different pontiffs. Various monuments rise in different parts of the church, of exquisite sculpture, and form very conspicuous features in the ornament of this grand temple.

Below the steps of the altar, and, of course, some distance from it, at the corners, on four massive pedestals, four twisted pillars, 50 feet in height, rise and support an entablature, which bears the canopy itself, topped with a cross. The whole is 95¼ feet from the pavement. This brazen edifice—for so it may be called—was constructed of bronze stripped from the dome of the Pantheon, and is so disposed as not to obstruct the view by concealing the chancel and veiling the chair of S. Peter. This ornament is also of bronze, and consists of a group of four gigantic figures, representing the four principal doctors of the Greek and Latin Churches, supporting the chair at an elevation of 70 feet. Under the high altar of S. Peter's is the tomb of that apostle, the descent to which is in front, where a large open space leaves room for a double flight of steps. The rails that surround this space above are adorned with one hundred and twelve bronze cornucopiÆ, which support as many silver lamps, burning during the day in honour of the apostle. Upon the pavement of the small area enclosed by the balustrade is the kneeling statue of Pius VI., by Canova.

DIMENSIONS.

Interior.

613½ feet	long.
152½ feet,	height of Nave.
87½ feet,	width of Nave.
33¾ feet,	width of Aisles.
197¾ feet,	width of Basilica.
446½ feet,	length of Transepts.
95¼ feet,	height of Baldacchino complete.
139 feet	Cupola, interior diameter.
179 feet	Cupola high.
277 feet	above Floor.
440 feet	from Pavement to Base of Lantern.

Area.

240,000 square feet.

A PROMENADE IN S. PETER'S.

On entering, the size of objects may be judged by noticing the cherubs that support the holy water basins; they present no extraordinary appearance, but stand by them and their immense size will be appreciated. The first chapel, on the right, contains Michael Angelo's Mary with the Dead Christ; hence it is called the Chapel of La PietÀ. It was executed by the great master when only twenty-four, and bears his name across Mary's girdle. This work of art is unfortunately very badly placed for proper observation. Opening out of this chapel are two side chapels, kept closed: in that of the left are kept the relics belonging to the basilica; and in the right, a column, ornamented with flutings and reliefs, and said to be the column against which Jesus leaned when disputing with the doctors.

Proceeding up the aisle, on the right, is Fabris's statue of Leo XII.; and opposite, Carlo Fontana's monument to Christina, Queen of Sweden, who died in Rome in 1689, after her abjuration of Protestantism. The chapel beyond contains a beautiful mosaic copy of the Martyrdom of S. Sebastian; the original was by Domenichino. Next is the monument to Innocent XII., supported by Charity and Justice, by Filippo Valle; and opposite is one to the Countess Matilda, by Bernini; the relief is Gregory VII. giving absolution to Henry IV.

The Chapel of the Sacrament contains, above the altar, a fresco by Cortona; over the side-altar is a mosaic copy of Caravaggio's Entombment. The principal altar is formed with a model in lapis lazuli and gilt bronze of Bramante's chapel; the original is erected over the spot pointed out as the scene of Peter's martyrdom. Before the side-altar is the bronze tomb of Sixtus IV., with reliefs by Antonio del Pollajuolo; near by is interred Julius II., whose monument, now in S. Pietro in Vincoli, was to have been the grand masterpiece of Michael Angelo.

Beyond, on the right, is the monument to Gregory XIII., supported by Religion and Power, with a relief representing the correction of the calendar, the work of Rusconi. Opposite is Gregory the Fourteenth's simple marble urn.

The next chapel is named Madonna del Soccorso, containing the monument to Gregory XVI., erected by the cardinals he had made. On the left is a mosaic copy of Domenichino's Last Communion of S. Jerome. In the aisle, proceeding on the right, is the monument to Benedict XIV. (with figures of Science and Charity), by Pietro Bracci. Opposite is a mosaic copy of S. Basil Celebrating Mass before the Emperor Valens, after Subleyra's picture.

In the transept are mosaic copies of S. Wenceslaus, king of Bohemia, by Caroselli; Martyrdom of SS. Processus and Martinianus, after Valentin; and that of Erasmus, after Poussin. In the aisle, leading out, is Canova's celebrated tomb of Clement XIII. It took eight years to execute. The pope is represented praying: on one side is the genius of Death with inverted torch (the finest piece of sculpture in S. Peter's), and on the other Religion with the cross; at the angles are a wakeful and a sleeping lion. Opposite is a mosaic of S. Peter Walking on the Sea, after Lanfranco. In the next chapel is a mosaic of Guido's S. Michael and Guercino's S. Petronilla. On the left, coming towards the apse, S. Peter Resuscitating Tabitha, from Costanzi's painting; and opposite is the tomb of Clement X., by Ferrata.

In the centre of the apse is S. Peter's chair. January 18th is the feast of the chair of S. Peter in Rome. Some remarks on the chair which does duty for S. Peter's may be of interest to our readers. A photograph of this famous object was taken in 1867, when it was last exposed to view, and can be had at any of the shops in Rome. Visitors must be content with looking at the photograph, for the chair itself is not to be seen. At present it is enclosed in the bronze covering which is supported by the four colossal figures of the doctors of the Church—SS. Gregory, Jerome, Ambrose, and Augustin.

It is encased in a framework, in which are the rings through which the poles were inserted in order to carry the person seated. This casing, consisting of four posts and sides, is made of oak, and is very much decayed. The straight vertical joints are easily distinguished where the frame is attached to the chair itself, which is composed of dark acacia wood. The front panel is ornamented with three rows of square plates of ivory, six in a row, eighteen in all, upon twelve of which are engraved the labours of Hercules, and on the other six, constellations, with thin laminÆ of gold let into the engraved lines. Some of the ivories are put on upside down, and had evidently nothing to do with the original chair: they are Byzantine in style, of the eleventh century. The ivory band decorations of the back and sides evidently belonged to the chair, and correspond with its architecture and fit into the woodwork. They are sculptured in relief, representing combats of men, wild beasts, and centaurs. The centre point of the horizontal bars has a portrait of Charlemagne crowned as emperor. In his right hand is a sceptre (broken), and in his left a globe; two angels on either side offer him crowns and palms, they having combatants on each side. The chair is 4 feet 8¾ inches high at back, 2 feet 10½ inches wide, 2 feet 2? inches deep, and 2 feet 1½ inch high in front. Fancy Peter using such a chair as this!

It is asserted by the Roman Church that this chair was used by S. Peter as his episcopal throne during his rule over the Church at Rome. Even if we grant, for argument's sake, that he was bishop in Rome, there is no evidence to prove that this was his chair; in fact, every evidence to the contrary. All the primitive episcopal chairs are of marble, and as unlike this one in construction as possible; for it is not an episcopal throne, but a sella gestatoria or cathedra, similar to the chairs introduced into Rome in the time of the Emperor Claudius, mentioned by Suetonius ("Nero," xxvi.), and Juvenal (i. 64, vi. 90). It is not unlike in shape the one used to carry the Pope in grand ceremonies in S. Peter's. Some early authors speak of a sella gestatoria which was placed in the baptistery of old S. Peter's by Damasus, and which, formerly on the 22nd of February, was carried hence to the high altar, where the Pope, with much ceremony, was enthroned upon it.

The chair which was originally assigned as that of S. Peter was eventually passed on from one chapel to another, till, it is said, that, when Rome was sacked by the imperialists in 1527, they stripped it of its ornaments and covering, for the sake of their value; and that beneath they found an old carved wooden chair, with the inscription, "There is only one God, and Mohammed is his prophet"—which same formula is engraved upon the back of the marble episcopal chair in the Church of S. Pietro in Castello at Venice. In 1558, the feast of the chair of S. Peter was fixed in Rome for the 18th of January, and in Antioch for February 22nd; and in 1655 Pope Alexander VII. placed this chair where it now stands. The present chair is medieval, ninth century, and is unlike early representations in art of the chair used by the Apostle Paul, which we may look upon as episcopal.

The ivory diptych of St. Paul (A.D. 400), the property of Mr. Carrand of Lyons, engraved by the Arundel Society, represents Paul seated on a chair, holding in his left hand a roll, the symbol of apostleship, whilst the right hand is raised in the act of blessing Linus, who carries a book in his hand. At the back of the chair is S. Mark, holding a roll in his left hand. The chair is light, and not unlike a modern library one in shape. Later art agrees with the present chair. A fresco at S. Clement's, Rome (1050), represents Peter installing Clement into the Papal chair—a chair, so far as can be seen, not unlike the present one of S. Peter, which was made after the coronation of Charlemagne as Emperor of the Holy Roman Empire (A.D. 800).

Upon our right is the tomb of Urban VIII. His bronze statue is by Bernini, with Justice and Charity in marble. On our left is Della Porta's monument to Paul III.; likewise a bronze figure, with Prudence (the Pope's mother, Giovanna Gaetani) and Justice (his sister, Giulia Farnese). Justice is a beautiful figure, but the tin drapery put on to cover its nakedness by Bernini destroys its beauty. It is necessary to re-paint the tin every now and then. There is a deal of this mock modesty in S. Peter's.

Turning into the south aisle, on our right, is the tomb of Alexander VIII. The bronze statue is by Arrigo, and the figures of Religion and Prudence by Rossi. The relief represents the Pope canonizing five saints. Opposite is the mosaic of S. Peter at the Gate of the Temple. It is said that this scene, here represented, gave to President Lincoln the idea for his proposed motto for the greenbacks. When the commission applied to him for a motto to put upon the notes, he said, "I can think of nothing better than what Peter said to the sick man at the gate of the temple—'Silver and gold have I none, but what I have that give I unto thee.'"

Beyond, upon the right, is a splendid alto-relief by Algardi, representing Leo threatening Attila with the vengeance of Peter and Paul if he should attack the holy city of Rome. It is the largest relief ever executed. A circular marble slab below it marks the tomb of Leo XII. Upon the right, coming down the aisle, is the tomb of Alexander VII., by Bernini. Justice, Prudence, Charity, and Truth surround the kneeling pontiff. A bronze gilt figure of Death supports the marble canopy. The naked Truth was clothed in tin by Innocent XI. Opposite is Vanni's oil-painting, the Fall of Simon Magus. The south transept contains mosaics of S. Thomas by Camuccini, the Crucifixion by Guido, and S. Francis by Domenichino. On the left is the chair of the Grand Penitentiary, where great princes have to make their public confession as pilgrims. Returning to the aisle, on the right is the tomb of Pius VIII., by Tenerani. Our Saviour is blessing the Pope; Peter and Paul are on either side; Justice and Mercy are represented in relief below. Opposite is a mosaic of Ananias and Sapphira after Roncalli. Beyond is the Miracle of Gregory the Great, by Sacchi. Facing us is the tomb of Pius VII., by Thorwaldsen. History and Time support him on either side, with Power and Wisdom below. On the left, nearly opposite, is a mosaic copy of Raphael's Transfiguration. Proceeding down the aisle, on our right, is the tomb of Leo XI., with a relief, by Algardi, representing the abjuration of Henry IV. of France. Opposite is the tomb of Innocent XI., with relief of the raising of the siege of Vienna by John Sobieski, with figures of Religion and Justice, by Monot.

On our right is the Chapel of the Choir, decorated by Giacomo della Porta. The mosaic altar-piece of the Conception is after Pietro Bianchi. Over the door, in the pier on the left of the chapel, is a niche closed with a wooden sarcophagus; here the body of the Pope is placed till his tomb is prepared. Opposite is the bronze memorial to Innocent VIII. by the brothers Pollaiolo. The spear-head held in the hand of the Pope refers to the spear which pierced our Saviour's side, it being presented to this Pope by the Emperor Bajazet II. On our right is a fine mosaic by Romanelli, the Presentation of the Virgin in the Temple. Beyond, on the left, is Canova's memorial to the "last of the Stuarts," who died in Rome, and are buried in the crypt below. It takes the form of an entrance to a tomb, which is guarded by beautiful genii. Over the door are the words—"Blessed are the dead that die in the Lord." Above are medallions of the Chevalier S. George, Prince Charlie, and the Cardinal York, the whole being surmounted by the British coat-of-arms, in which is quartered that of France. This monument was erected by George IV. Opposite, over the door leading to the dome, is the monument to Maria Clementina, wife of the Chevalier S. George, whose portrait in mosaic is by Barigioni. Beyond is the baptistery. The font is of red porphyry, which was once the top of the tomb of Otho II., and originally, it is said, of Hadrian. In front is Carlo Maratta's Baptism of Christ in mosaic; upon the left Peter baptizing the jailers in the Mamertine prison, a fiction from Passeri; and opposite is Procaccini's Baptism of the Centurion. This baptistery is said to be on the site of a temple to Apollo, upon what authority we cannot say.

The nave has marked in the centre of its pavement the measurement of all the principal churches in the world, whereby it can be seen that S. Peter's is 93 feet longer than S. Paul's, London. The large porphyry circular slab is that upon which the holy Roman emperors were crowned, and where the priest who is made judge of ecclesiastical matters in the Roman Church is ordained. In a niche in each of the piers supporting the vault are colossal statues, 16 feet high, of the founders of the various religious orders; and in the piers of the dome are S. Longinus, the soldier who pierced our Saviour's side, S. Helena, who found the cross, S. Veronica, who wiped his face, and S. Andrew. Above are kept the relics of these saints, which are only shown to those who hold the title of a canon of the church. On the spandrels of the arches of the dome are four large mosaics, representing Matthew, Mark, Luke, and John, with their emblems. S. Luke's pen is 7 feet long, and the letters on the frieze are 6 feet high.

The great piers are 253 feet in circumference; which space is exactly occupied by the church and house of S. Carlo, in the Via Quattro Fontane. Near the first pier of the right side is the celebrated bronze seated statue of S. Peter, with the keys in one hand, the other raised in the act of blessing, under a canopy erected by Pius IX., whose portrait in mosaic surmounts it. It is asserted by some that this was a statue of Jupiter, supremely good and great, that stood in the Capitoline temple, and that it was altered into S. Peter; others say they recast Jupiter into the "Jew Peter."

THE SACRISTY

is connected with S. Peter's by a long gallery, and is adorned with pillars, statues, paintings, and mosaics. It is entered by passing through a door under the monument to Pius VIII., in the left aisle. There is a very rich collection of church plate and vestments kept in the guardaroba, which visitors should not fail to see.

THE CRYPT.

Orders must be obtained of Cardinal Ledockowski, Palazzo Cancelleria. It must be visited before 11 A.M. The entrance is at the side of the statue of S. Veronica. It contains the tombs of the early Popes, and also some old bas-reliefs, and some very ancient statues of S. Peter. Adrian IV., the only English Pope, is buried here, and also several distinguished historical characters, including "the last of the Stuarts."

THE DOME.

Orders must be obtained of Monsignor Fiorani, in the Sacristy, for visiting the dome, which is only open without an order on Thursdays, between 8 and 10 A.M.

It is reached by a winding ascent, the entrance being opposite the Stuart monument. On the platform of the roof the cupolas, domes, and pinnacles are seen to advantage; and hence, by different staircases between the walls of the cupola, the ball is reached. During the ascent, a fine view may be obtained of the lower parts of the church, as well as of the mosaics and stuccoes which embellish the interior of the dome.

On reaching the summit, a panoramic view of Rome and the Campagna is had, quite repaying the labour of the ascent.

THE VATICAN.

From the vestibule of S. Peter's we see, to the fullest advantage, the fine piazza, with the Vatican on our left, which presents very much the appearance of a large factory. Having been erected by different architects in various eras, it has no systematic design, and is, in fact, a collection of palaces built by different Popes. The entrance is at the bend of the colonnade. Permission to visit the Museum, Galleries, Library, &c., must be obtained from Monsignor Macchi, at his office, between the hours of 10 and 1, thus enabling a party of five to pay a visit any day, except Saturdays, Sundays, and festas, between 9 and 3, except the Museum of Statues, which is closed every Thursday, when the Egyptian and Etruscan Museums and the Gallery of Tapestries are only open. The galleries are gained by

THE SCALA REGIA,

built in the pontificate of Urban VIII., from the design of Bernini. The first flight is composed of Ionic columns, the second of pilasters. The ornamental stucco work is from the designs of Algardi. The equestrian statue of Constantine is by Bernini. On the first landing, a passage leads to a small flight of steps. At the top, on the right, through a small red baize door, is the entrance to

THE SISTINE CHAPEL,

built by Sixtus IV. in 1473. It is celebrated for its paintings in fresco by Michael Angelo; the roof alone occupied twenty months in the painting.

The Roof.—On the flat part are nine compartments illustrative of—(1) The Separation of Light from Darkness; (2) Creation of the Sun and Moon; (3) Land and Sea; (4) Adam; (5) Eve; (6) the Fall and Expulsion (the figure of Eve is considered to be the most perfect painting of the female form in existence); (7) the Sacrifice of Noah; (8) the Deluge; (9) Noah inebriated. These are bordered by sitting figures of prophets and sibyls: over the altar, Jonah; on the left, Joel, the Sibyl ErithrÆa, Ezekiel, the Sibyl Persica, Jeremiah and Zechariah; on the right, the Sibyl Lybica, Daniel, the Sibyl CumÆa, Isaiah, and the Sibyl Delphica. In the four corners are—Moses lifting up the Brazen Serpent, King Artaxerxes, Esther and Haman, David and Goliath, Judith and Holofernes. In the arches over the windows, and in the recesses, Genealogy of Christ from Abraham to Joseph.

The Walls.—Behind the altar is the great fresco of Michael Angelo, representing the Last Judgment, designed by him when in his sixtieth year, and completed in eight years (1540). At the top is our Saviour, with the Virgin seated on his right, above angels bearing the instruments of the passion. On one side of our Lord are saints and patriarchs, and on the other martyrs. Below, a group of angels sounding the last trump and bearing the books of judgment. On the right is represented the fall of the condemned; Charon ferrying some of them across the river Styx, striking the tumultuous with his oar. The figure in the right-hand corner, representing Midas with ass's ears, is Messer Biagio of Casena, the Pope's master of the ceremonies, who said the nude figures were indecent; on which account the Pope ordered Daniele da Volterra to cover them with drapery, which obtained for him the cognomen of Braghettone (breeches-maker). Michael Angelo said, "Let the Pope reform the world, and the pictures will reform themselves." And to spite Biagio, he represented him in hell, whereat he complained to the Pope in order to have his figure removed. The Pope replied that as he was in hell he must stop there, as he had no power to release from hell, but from purgatory! On the left, the blessed are ascending to heaven assisted by angels and saints.

Between the windows, portraits of the Popes of the time, by the artist of the subject below. The lower part of the walls is painted in imitation of drapery, over which were hung on grand ceremonies tapestries from Raphael's cartoons.

On the side walls are scenes from the life of Moses typical of the life of our Lord. On entering, to the right—

TYPE.	FULFILMENT.
Moses and Zipporah going down into Egypt. By Luca Signorelli.	Baptism of Christ in Jordan. By Perugino.
Moses slaying the Egyptian. Driving away the shepherds. The Lord appearing in the burning bush. By Sandro Botticelli.	Our Lord being tempted. By Sandro Botticelli.
Pharaoh overwhelmed in the Red Sea. By Cosimo Rosselli.	Christ calling Peter and Andrew. By Dom Ghirlandajo.
Moses receiving the tables of the law. Destruction of the Golden Calf. By Cosimo Rosselli.	The Sermon on the Mount. By Cosimo Rosselli.
Destruction of Korah, Dathan, and Abiram, and the sons of Aaron. By Sandro Botticelli.	Christ giving unto Peter "the keys of the kingdom of heaven" (Matt. xvi. 19). By Perugino.
Death of Moses. Reading of the law. By Luca Signorelli.	The Last Supper. By Cosimo Rosselli.
The Archangel contending about the body of Moses.[7] By Francesco Salviati.	Christ's Resurrection. By Dom Ghirlandajo.

Apply to the custodi of the Sistine Chapel to visit the Pauline Chapel, which is entered from the

SALA REGIA,

built as an audience hall for the ambassadors to the Papal Court. It is decorated with frescoes representing different important events in Papal history.

THE PAULINE CHAPEL

was erected by Paul III. Its walls are painted in fresco, the conversion of S. Paul and the execution of S. Peter being by Michael Angelo. The painted roof and the portraits of twenty-eight Popes are by Lorenzo Sabatini and Frederigo Zucchero.

Retracing our steps through the Sistine Chapel, and going up a narrow stair, we enter, through a small white door, two rooms containing

GALLERY OF MODERN PAINTINGS.

(First Room, right.)

1. Beatitude of Benedict of Urbino (Capuchin).—Guido Guidi, 1865. He is being presented, with other missionaries, to Clement VIII.

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

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

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

STANZE OR CAMERE OF RAPHAEL,

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

In the First Room.—On the right, the Incendio del Borgo, A.D. 847; over the window, Justification of Leo III.; in front, Victory of Leo IV. over the Saracens at Ostia; and opposite, Coronation of Charlemagne. The chiaro-oscuro portraits, below, by Caravaggio, represent the princes who first gave tribute to the Church. The roof is by Perugino, Raphael's master.

Second Room.—Illustrative of Theology, on the entry wall; Poetry, over the window; Philosophy, in front; and Jurisprudence, on the right. Representations of the Fall of Man, the Flaying of Marsyas, the Study of the Globe, the Judgment of Solomon, on the ceiling. On the walls corresponding—the Dispute on the Sacrament, Mount Parnassus, the School of Athens (a portico crowded with philosophers, which gives its name to the room), Prudence, Fortitude, and Temperance.

Third Room.—In front, the Miraculous Expulsion of Heliodorus from the Temple; on the right, the Mass of Bolsena; on the entry wall, Attila driven back from Rome by Leo I.; over the left window, S. Peter's Release from Prison (notice the four different lights here). The ceiling represents subjects from the Old Testament.

Fourth Room.—On the right, Battle between Constantine and Maxentius at the Ponte Molle; entry wall, Baptism of Constantine; left wall, Rome presented by Constantine to Silvester; in front, the Cross appearing to Constantine (the dwarf is Gradasso da Norcia, from Berni's Poetry); on the vault, the pagan statue thrown down represents the Triumph of Faith, by Lauretti (notice the wonderful bit of perspective here); on the right-hand corner, a door leads into the Anticamera of the Stanze, originally painted by Raphael, restored by Carlo Maratta. Out of this room is

THE CHAPEL OF S. LORENZO.

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

THE LOGGIE OF RAPHAEL,

to the right on entering.

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

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

A flight of stairs on the left leads to the Upper Loggia, painted with maps and landscapes. Entrance to the Picture Gallery—ring the bell at the second door on the left of the Central Loggia.

THE PICTURE GALLERY.

(The Pinacotheca.)

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

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

Second Room.—The Last Communion of S. Jerome, by Domenichino; Madonna di Foligno, by Raphael; The Transfiguration, Raphael's masterpiece.

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

Fourth Room.—S. Peter's Crucifixion, by Guido; Annunciation, by Baroccio; Christ Enthroned, by Correggio.

THE MOSAIC MANUFACTORY.

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

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

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

THE VATICAN MUSEUM.

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

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

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

THE HALL OF THE GREEK CROSS.

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

THE ROTUNDA.

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

THE HALL OF THE MUSES.

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

THE HALL OF THE ANIMALS.

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

THE GALLERY OF STATUES.

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

THE HALL OF BUSTS.

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

CABINET OF MASKS.

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

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

MERCURY OF THE BELVEDERE.

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

CANOVA'S CABINET.

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

APOLLO BELVEDERE.

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

CABINET OF THE LAOCOON.

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

"Two serpents ... their destined way they take,

And to LaocoÖn and his children make:

And first around the tender boys they wind,

Then with their sharpened fangs their limbs and bodies grind.

The wretched father, running to their aid

With pious haste, but vain, they next invade;

Twice round his waist their winding volumes rolled,

And twice about his gasping throat they fold.

The priest thus doubly choked, their crests divide,

And towering o'er his head in triumph ride."

Virgil, "Æn.," ii. 209: Dryden.