  THE PINCIO—THE FRENCH ACADEMY—CHURCH OF TRINITA DEI MONTI—VIA SISTINA—PIAZZA BARBERINI—BARBERINI GALLERY—MONTE CAVALLO—THE QUIRINAL PALACE—THE ROSPIGLIOSI PALACE—COLONNA GARDENS—CAPITOLIUM VETUS—TORRE DELLE MILIZIE—VIA MAGNANAPOLI—S. AGATA—S. LORENZO IN PANE E PERNA—THE HOUSE OF PUDENS, THE BATHS OF NOVATUS, AND THE CHURCH OF S. PUDENZIANA—SCENE OF TULLIA'S IMPIETY—BASILICA OF S. MARIA MAGGIORE—CHURCH OF S. MARTINO—SETTE SALE—THE AUDITORIUM AND GARDENS OF MÆCENAS—ARCH OF GALLIENUS—S. ANTONIO—NYMPHÆUM OF ALEXANDER SEVERUS—TOMBS OF MÆCENAS AND HORACE—BATHS OF GALLIENUS—S. BIBIANA—THE AGGER OF SERVIUS TULLIUS—THE PRÆTORIAN CAMP—TEMPLE OF FORTUNA PRIMIGENIA—PIAZZA DI TERMINI—BATHS OF DIOCLETIAN, AND CHURCH OF S. MARIA DEGLI ANGELI—VIA NAZIONALE—S. PAUL'S WITHIN THE WALLS—FELICE FOUNTAIN—THE NEW MINISTRY OF FINANCE—FLAVIAN TEMPLE—THE UNFAITHFUL VESTAL'S TOMB—SALLUST'S VILLA—VILLA LUDOVISI—CHURCH AND CEMETERY OF THE CAPPUCCINI—TABLE OF EGYPTIAN OBELISKS IN ROME. ON THE HILLS, EAST. THE PINCIO.From the Piazza del Popolo, a sloping, winding road leads up to the favourite promenade of the Romans and Forestieri, who stroll and drive here every day, and listen to a military band by which the place is enlivened in the afternoons. Ascending, its terraces are interspersed with fountains and statues, and there is a fine large bas-relief on the wall opposite the two columnÆ rostratÆ adorned with the prows of ships. The name of the hill is derived from the Pincii family, whose estates were upon it towards the close of the empire. It was formerly known as the Hill of Gardens, from those of Lucullus, which passed to Valerius Asiaticus, and were coveted by Messalina. It abounds in walks and shady nooks, interspersed with fountains and the busts of Italia's great men. The side farthest from the city In the centre of the grounds is THE EGYPTIAN OBELISK,which has on it the inscription Antoninus Osiris Oracle (Utterer of truth). It was brought by Hadrian from Egypt, and erected by himself and his wife Sabina to his favourite AntinoÜs, in the Varianus Circus, amidst which ruins, near S. Croce in Gerusalemme, outside the walls, it was found. Passing out of the grounds by the road that runs parallel to the city, on our left is THE FRENCH ACADEMY,or Villa Medici, open every day from 8 till 12, and from 3 till dusk. The gardens are tastefully laid out, and several fine views may be obtained from them. The Museum of Casts (of statues not in Rome) will repay a visit. Proceeding up the avenue, just beyond, on the left, is the CHURCH OF TRINITA DEI MONTI,erected by Charles VIII. of France. Visitors should attend vespers here, the nuns singing choral service; it commences half an hour before Ave Maria. Over the altar of the side-chapel, in entering, is a beautiful Descent from the Cross, the masterpiece of Daniele da Volterra. THE EGYPTIAN OBELISKwas found in the gardens of Sallust, and placed here by Pius VI. in 1789. It is 48 feet high without the pedestal, and is supposed to have been brought to Rome by Hadrian. It is thought by some to be only a copy of the original in Egypt. Marcellinus says it stood in the gardens of Sallust. At No. 9 Piazza TrinitÀ dei Monti, Poussin lived; and Zuccari lived at 64 Via Sistina, close by. Beyond, the Via Cappo la Casa runs out to the right: adjoining the Church of S. Giuseppe is the PIAZZA BARBERINI.It has in the centre a beautiful fountain, by Bernini, with four dolphins supporting a shell, in which is a Triton; it throws water to a great height. Proceeding up the Via delle Quattro Fontane, on the left is the BARBERINI GALLERY.(Palazzo Barberini.) Open every day from 12 till 4. Catalogues are lent for the use of visitors. It contains paintings by the first masters. The statue to Thorwaldsen, in the garden, was lately erected by Mr. Wolff, Thorwaldsen's pupil. The library is open from 9 till 2 on Thursdays. First Room.—Fresco on vault, Triumph of Glory, by Cortona; 16. Joseph and Potiphar's Wife, by Beliverti; 21. S. Cecilia, by Lanfranco. Second Room.—48. Madonna, by Francia; 63. His Daughter, by Raphael Mengs; 74. Adam and Eve, by Domenichino. Third Room.—73. The Slave, by Palma Vecchio; 81. Portrait, called the Stepmother of Beatrice Cenci (?) by Caravaggio; 82. The Fornarina, by Raphael; 83. Lucrezia Cenci, the mother of Beatrice Cenci (?), by Scipione Gaetani; 85. The so-called Beatrice Cenci, by Guido. This is nothing more or less than Guido's model, and the same face can be seen in the Aurora, and in the fresco at S. Gregory's. It could not possibly be Beatrice, for Guido did not come to Rome till sixteen years after her death. 86. Death of Germanicus, by Poussin; 90. Holy Family, by Sarto. The inscription on the right side of the palace records the campaign of Claudius in Britain. Proceeding up the Quattro Fontane, at the top of the hill are four river gods acting as fountains. The church at the left corner of Via del Quirinale is S. Carlo, its space being equal to the area of one of the piers which supports the dome of S. Peter's. Turning down this street, the church on the left is S. ANDREW'S,on the site of the Temple of Quirinus (Romulus). It contains the tomb of Emanuele IV. of Sardinia, who abdicated in 1802, and died a monk in 1818. The church is a little gem. At the end of the street is the square MONTE CAVALLO.In the centre is a fountain, with granite basin 26 feet in diameter, which formerly stood in the Forum; also two beautiful colossal horse-tamers in marble, supposed to be Castor and Pollux by some, by others, Alexander and Bucephalus. The Latin inscriptions state one of these colossi to be the work of Phidias, the other of Praxiteles. Both were presented to Nero by Tiridates, king of Armenia. They once ornamented the Baths of Constantine, and have never been buried. The whole is surmounted by an Egyptian obelisk found near the Mausoleum of Augustus. On the left is the king's QUIRINAL PALACE.It numbers some splendid apartments, containing many works of art; and the gardens are of considerable extent. It is the residence of King Humbert, and is accessible to the public; but should the royal family be at home, the private apartments are not shown; otherwise it may be readily viewed on presenting your card at the entrance. Guido Reni's beautiful picture of the Annunciation is in the small private chapel, as also the frescoes of the life of the Virgin, by Albani. The casino in the gardens is decorated with frescoes by Oritonti, Battoni, and Paolini. The palace was founded by Gregory XIII. in the year 1574, and completed by Clement X., several intermediate popes having done much for its extension and embellishment, notably Clement VIII. Urban VIII. enclosed and added the present garden, and Gregory XVI. and Pius IX. made the palace what it is—that is to say, one of the most sumptuous and attractive palaces in Italy. Few of our readers will require to be informed that the Quirinal was the place appointed for the conclave when the new Pope was elected, and that Pope Pius IX. was the last successor of S. Peter who was proclaimed from the balcony overhanging the principal entrance. On the left, beyond the fountain, within the high wall, is the ROSPIGLIOSI PALACE.Open on Wednesdays and Saturdays from 9 till 3; entrance upstairs to left of gate. It is celebrated for its casino, containing Guido Reni's Aurora; it also contains many pictures, ancient sculptures, and fragments of frescoes, from the Baths of Constantine, on a portion of the site of which it is built. The principal paintings in the palace are:— Centre Room.—Head of Christ, by Jesse; Vanity, by Titian; Mater Doloroso, by Sassoferrato. Left Room.—Our Saviour Bearing the Cross, by Daniele da Volterra; Head of Goliath, by Domenichino; the Deposition, a sketch by Rubens; Perseus Rescuing Andromeda, by Guido Reni. Right Room.—Diana and Venus, by Lawrence Lotto; Adam and Eve, by Domenichino; Samson's Death, by Caracci. Opposite is the entrance to THE COLONNA GARDENS.They contain several antiques and remains of the cornice of Aurelian's Temple of the Sun. Looking down a chasm, we see remains of the Baths of Constantine. Under the cypress trees are several sarcophagi, and the stem of the pine tree planted on the day Rienzi died. There is also a fine piece of the tufa wall that made the seven hills one city. THE CAPITOLIUM VETUS.To the right from the gardens, the Via Quirinale brings us to the new Via Nazionale. Where this winds round is a piece of a wall of the kings. Plutarch ("Numa," xiv.) and Solinus (i. 21) tell us that Numa lived upon the Quirinal, where he built an arx (Hieron. i. 298), called, after the Capitoline Hill was so named, Capitolium Vetus. In it was a temple to Jupiter (Varro, "L. L." v.; Martial, v. 22). In those days a tongue jutted out here towards the Capitoline Hill, and this piece of wall bars the way to it, so it is probably a piece of the arx that defended the tongue. The lofty brick tower is THE TORRE DELLE MILIZIE,within the precincts of the Convent of S. Catherina di Sienna, supposed to have been built upon a cella formerly occupied by Trajan's soldiers. This tower is called by the Roman valets de place "Nero's Tower," from his having sat there and fiddled whilst Rome was burning. Now, as this tower was built in 1210 by Pandolfo della Suburra, the senator, it could not have been the tower Nero fiddled on. Besides, Suetonius says, "This fire he [Nero] beheld from a tower in the house of MÆcenas," which was on the Esquiline, where remains have been recently found. The Via Panisperna, to the left, descends into the valley between the Quirinal and Viminal hills. In the valley to the left of the street is THE CHURCH OF S. AGATA IN SUBURRA,where the heart of O'Connell is deposited. Keeping straight on, up the slope of the Viminal, Via Panisperna, at the top of the hill is THE CHURCH OF S. LORENZO,who is said to have been martyred under Claudius II., A.D. 269, having been cooked to death on a gridiron. Here are also the relics of S. Crispin and S. Crispinian. The church is on the site of the baths of the daughter-in-law of Constantine, Olympia. The two seated statues, Menander and Posidippus, in the Vatican, were found here, and were for a long time worshipped as saints. Close by is the Church of S. Lorenzo in Fonte, said to be over the site of the prison of S. Lawrence, and a fountain is shown where he baptized his converts. Descending the slope of the Viminal, we strike the Via Urbana, on the line of the ancient Vicus Patricius. Proceeding up the Via Urbana, on the left is the HOUSE OF PUDENS.(S. Pudenziana.) The church stands back from the street, with a handsome new front, restored by Cardinal Buonaparte. Cardinal Wiseman was titular cardinal of this church. It is only open at a very early hour—on May 19th all day, and on the third Tuesday in Lent. The custodian is to be found at 161, next door to the church. A flight of steps leads down to the church. The door is formed with ancient spiral columns, and eighth century Christian reliefs; above are some modern frescoes of Peter, Pudens, Pudentiana, and Praxedes. There is a picturesque campanile. The present church was formed out of the great hall of the Baths of Novatus after A.D. 108; the baths being erected in the time of Domitian adjoining the house of Pudens, who founded in his house a Christian oratory before A.D. 96. This oratory exists below the present church, which was formed by Bishop Pius, who died in A.D. 157. The church below is the oldest Christian church in the world, and existed in the time of S. Paul, who, writing to the Romans (xvi. 13), says, "Salute Rufus chosen in the Lord, and his mother and mine." This Rufus was Aulus Rufus Pudens, who held an official position in the southern province of Britain, and married Gladys (Claudia), the daughter of Caractacus, the British chief. He From Cyllinus, the eldest son of Caractacus, descended Constantine the Great, born and bred, and proclaimed emperor, in Britain. Thus the first Bishop of Rome and the first Christian emperor were undoubtedly Britons of royal British blood. In the tribune of the church is a beautiful mosaic of the time of Adrian I., A.D. 772–795, who built the apse inside the wall of the large hall. The old wall can be seen on the outside, the mosaic representing our Saviour on a throne, with four of the apostles on each side, and Pudentia and Praxedes behind; the paintings above are by Pomarancio. In the left aisle is a well, containing, it is said, remains of the martyrs—some remains are shown. At the end of this aisle is the chapel of S. Peter; the mosaic pavement belonged to the baths. On the left is a copy of the inscription from the catacomb of S. Priscilla: "Bene Merenti CorneliÆ PudenzianÆ." Under the altar is a sponge said to have been used by the two sisters to collect the blood of the martyrs. Above is a relief, by Giacomo della Porta, of Peter receiving the keys from Christ. On the left of this aisle opens the Chapel of the Gaetani—rich in marbles. The roof is in mosaic, representing the four Evangelists, and over the door are representations of the sisters Pudentia and Praxedes collecting the blood of martyrs. They are by Rossetto, designed by F. Zuccari (1600). The altar-piece, by Paolo Olivieri, is the Adoration of the Magi. For a more detailed account of this interesting church, see our "Footsteps of S. Paul in Rome." Retracing our way down the Via Urbana, we come to where the Via di S. Lucia in Selci goes off at an angle to the left. Here was THE SCENE OF TULLIA'S IMPIETY.With our face towards the angle, it will be noticed that the Via S. Lucia divides the Esquiline Hill into two spurs: that on our left was called the Cispius, that on our right the Oppius. The Via Leonina Suburra, at our back, was the ancient Vicus Cyprius; the point of the angle being its summit; the Via S. Lucia was the Clivus Urbius. Up this latter street, on the right, an ascent, the ancient Clivus Pullius, leads to S. Martino a Monti. "Tarquinius Superbus Having thus fixed the topography, we shall see how Livy's account of the murder and impiety (i. 48) agrees with it. "Servius Tullius had arrived at the top of the Vicus Cyprius, when he was overtaken and slain by some sent after him by Tarquinius. Tullia, in returning home from the Forum, had arrived at the top of the Vicus Cyprius, where the Temple of Diana lately stood. She was just turning to the right to ascend the Clivus Urbius, which led to the top of the Esquiline Hill, when the charioteer stopped and showed her her father's dead body lying across the street; but she bade him drive over the dead body, and arrived home bespattered with her father's blood. From this unnatural deed the name of the street was changed to Vicus Sceleratus, the wicked street." (See Dionysius iv. 39.) From here follow the Via Urbana, turn to the right up the Via S. Maria Maggiore to the church, which we enter at the back, and pass through THE CHURCH OF S. MARIA MAGGIORE.In the foreground is an Egyptian obelisk 63 feet high. The church was founded A.D. 352. It is 120 yards long by 50 wide. Its columns are of the Ionic and Corinthian orders. The interior is of three aisles, and has thirty-six Ionian columns of white marble, from the Villa of Hadrian at Tivoli. The high altar is formed of a large urn of porphyry, covered by a slab of marble, which is supported by four angels in gilt bronze. The canopy, erected by Benedict XIV., is supported by four columns of porphyry, surrounded by gilt palms. The four angels in marble were sculptured by P. Bracci. Under the high altar is the beautiful Confession, done by Vespignani, by order of Pius IX., in 1863, in which is preserved the relic of the cradle of the Saviour, and the bodies of S. Matthew and other saints. Here the late Pope was to be buried; but he would not allow his successor to ask leave of the Italian government, burial inside the walls being prohibited, and in his will he directed that his body should be interred in S. Lorenzo outside the walls. The monument is by Jacometti. The mosaic pictures over the arches on each side are of the fifth century—a long series of panels of Scripture subjects, the historical books of the Old Testament. BASILICA OF S. MARIA MAGGIORE. The Arch of Triumph over the altar is of the same period. Those on the vault of the tribune are of the thirteenth century. On the BORGHESE CHAPEL.The altar-piece is of jasper; the painting of the Virgin and Child is said to be by S. Luke. Above is the bronze bas-relief representing the miracle of the snow which fell in August A.D. 352 upon the exact space occupied by the basilica. The frescoes are by Guido, Lanfranco, Arpino, and Cigoli. The monuments of Paul V. and Clement VIII. are composed of beautiful bas-reliefs representing scenes in their lives. Opposite is the SIXTINE CHAPEL,erected by, and containing the tomb of, Sixtus V. It was lately restored by Pius IX., who was to have had his temporary resting-place here, behind the altar. The altar is a representation of the tomb of our Saviour at Jerusalem, and is a splendid piece of workmanship. Beneath it is preserved part of the manger. Opposite the lower altar is a statue of S. Gaetano, by Bernini. The frescoes of the dome, representing the hosts of heaven, are beautifully executed by Podesti. The monument to Sixtus V. is by Valsoldo; that to Paul V. by L. de Sarzana. The bas-reliefs represent historical subjects of the two pontificates. Leaving the church by the end opposite to that by which we entered, we find ourselves in the piazza, which contains a handsome column, taken from the Basilica of Constantine by Paul V. It is surmounted by a figure in bronze representing the Virgin. The column is forty-seven feet high, without the base and capital. On the left of the church is the COLUMN OF HENRY IV.In 1873 the column of an inverted cannon, which stood in front of the Church of S. Antonio Abate, erected in 1596 to commemorate the reconciliation of Henry IV. of France to Clement VIII., was removed in altering the level of the road. At the time of its removal, a majolica vase was discovered under the base, which on being lately opened was found to contain a large brass medal, bearing the following inscription:— IN HONOREM PASSIONIS D. N. JESU CHRISTI ET B. V. MARIÆ AC S. Carolus Anison Galeus, preceptor generalis preceptoriÆ ejusdem S. Antoini prope Albam, terram Petragoricensis Dioceseos et Vicarius The column has now been re-erected, but not inverted, on the east side of S. Maria Maggiore, and the vase and its coin re-interred beneath it. It appears that Louis XIV. caused the original inscription on the base of the column to be removed, and this has lately been found in the convent of S. Antony, recording that the column was erected in memory of the Christian absolution of Henry the Fourth of France and Navarre. In front of S. Maria Maggiore, on the right, Via S. Prassede, is THE CHURCH OF S. PRAXEDES,erected in 823 by Paschal I., and restored by Nicholas V. in 1450, and more lately by Carlo Borromeo. The main entry from the Via di S. Martino, consisting of the original portico, sustained by two granite Ionic columns, is seldom open. The entrance in use is on the side from the Via S. Praxedes. Sixteen granite columns, with composite capitals, divide the nave from the aisles. Double flights of steps of rosso antico lead up to the tribune. On each side of the altar, over choir gallery, are remarkable columns of white marble, with foliage ornaments. In the middle of the nave is a so-called well, in which Praxedes is said to have collected the remains of martyrs. The Mosaics are a striking feature of this church. They belong to the time of Pope Paschal I., and, like those in S. Cecilia and S. Maria in Navicella, are interesting as illustrating the low depth to which this art had sunk in Rome at that period. On the tribunal, our Lord stands on a mound, from which issues the river of life, Jordanes. On his left are S. Paul, S. Pudentiana, and S. Zeno; on his right S. Peter, S. Praxedes, and Paschal, the last carrying a model of the church which he built. He has a square nimbus, which shows that he was alive when the mosaic was executed. Beneath is a lamb with a nimbus, and with six sheep on either side, representing Christ and his apostles; at the extremities, Bethlehem and Jerusalem. Below is the inscription:— "This holy fabric shines decorated with varied metals in honour of Praxedes, pleasing to our Lord above the heavens, by the care of the Sovereign Pontiff Paschal, nursling of the apostolic chair; who, burying many bodies of saints, puts them under these walls, that by the benefit of their prayers he may merit to enter the gates of heaven." The oil painting of Praxedes is by Maria Dominico Muratori of Bologna. On the vault of the arch are flowers growing from two pots, and in the centre the monogram of Paschal. On the face of the tribunal are, in the centre of the arch, the Lamb, with three candlesticks on one side and four on the other, allegorical of the seven mysteries; on either side angels and the emblematical figures of the four apostles; then the four and twenty elders casting down their golden crowns, as at St. Paul's. These mosaics are evidently copied from those at SS. Cosmo and Damiano. On the face of the Arch of Triumph is the vision of S. John—our Saviour, with angels, Pudentiana, Praxedes, and the apostles, within the walls of the heavenly Jerusalem, the gates of which are guarded by angels. Other angels approach leading groups of the faithful, below whom are the martyrs with their palms. On the vault of this arch are mosaics similar to those of the tribunal. The sacristy in the right aisle contains a Crucifixion by the Florentine artist Augustino Campelli, 1581, and a Flagellation by Giulio Romano. The second chapel contains Christ Bearing the Cross, by F. Zucchero, and on the roof the Ascension, Prophets and Sibyls, by D'Arpino. The next chapel has pictures from the life of Carlo Borromeo, and his chair and table. By the main door is a slab of nero-bianco granite, on which S. Praxedes is said to have slept. The second chapel on the right, coming up, contains the Eternal Father, by Borgognone, and a Deposition, by Vecchi. The next is the Chapel of S. Zeno. Two columns of rare gray porphyry support the sculptured frieze of the doorway, above which are mosaics of heads in two rows: top row, Christ and the Apostles; second row, Virgin and Child, with members of the family of Pudens. Over the altar is a piece of a column, in black and white marble, said to be that to which Jesus was tied at his flagellation. The mosaic on the roof represents the Saviour supported by four angels. Over the altar is a Virgin and Infant, with Pudentiana and Praxedes. Opposite is the Lamb on a Rock, from which flows a stream, with four harts drinking. Opposite the entrance is S. John the Baptist and the Virgin. On the left are SS. Agnes, Pudentiana, and Praxedes, and over the door the throne of God, with SS. Peter and Paul. On the right are James, Andrew, and John. Ladies are forbidden to enter this chapel, under pain of excommunication, except on the first Sunday in Lent, and on Palm Sunday. The adjoining chapel contains the tomb of Cardinal Cetivej, 1474, on which is his recumbent statue, with reliefs of Paul, Peter, Pudentiana, In the crypt, beneath the high altar, are some fourth century Christian sarcophagi, said to contain Pudentiana, Praxedes, and others; also a beautiful cosimati altar and a ninth century fresco of the Madonna and Child. The custodian will here tell you that there is a subterranean communication between this crypt and the Catacombs, but that it is now walled up. This passage exists only in his fertile imagination; the Catacombs do not communicate with any of the churches in Rome. The first floor of the tower contains remains of a fresco, time of Paschal, illustrating the life of S. Anne. The Via dello Statuto, on the right of the Via Merulana, contains A ROMAN VILLA,discovered on the right in forming this street in 1884–5. Considerable remains of a nymphÆum were found, and a beautiful Ædicula, with its statues in situ; from this some steps led down into a Mithraic cave. As soon as the building going on here is finished, these remains will be opened to the public. PRIMITIVE TOMBS.Not the least interesting discovery in this neighbourhood was that of a number of primitive tombs formed with local stone, shaped like the Campagna huts. It is curious that after upwards of two thousand five hundred years of burial, the remains of the early inhabitants of the Palatine, Coelian, and Quirinal hills, should be brought to light on the Esquiline, which was the burial-ground till the days of MÆcenas, and be another confirmation of the truth of early Roman history. THE CHURCH OF S. MARTINOwas erected by Symmachus, A.D. 500, on the site of the Church of S. Silvester, in the time of Constantine. The nave is formed by twenty-four ancient columns, said to have come from Hadrian's Villa. The Confession, beneath the high altar, leads to the more ancient church formed out of part of the Baths of Hadrian. It was here that the Councils of A.D. 352–356 were held, when the acts of the Council of NicÆa were condemned and burned. The landscape frescoes in the upper church are by the brothers Poussin. From here we can best visit (No. 10 up the lane, turn round to the left) THE SETTE SALE,which was a reservoir for the Colosseum. It consists of nine parallel chambers, communicating with each other by arches placed obliquely, to prevent the pressure of the water on the walls. Between this and S. Maria Maggiore was found the Laocoon, now in the Vatican, by Felix de Freddis, as we are informed by the inscription on his tomb in the Church of Ara Coeli. It was found in 1506, in the same niche where Pliny tells us it was admired in his time. Returning down the lane into the Via Merulana, turn right. Upon our left were THE GARDENS OF MÆCENAS,which, we learn from various ancient authors, were situated on the Esquiline. Horace, speaking of them, says: "Now it is possible to live on the Esquiline, for it is a healthy spot, especially to wander on the sunny agger." Suetonius, speaking of the great fire in Nero's time: "This fire he [Nero] beheld from a tower in the house of MÆcenas on the Esquiline." "Here was a common burying-place for wretched paupers" (Horace). Hence it must have been outside the Wall or agger of Servius Tullius, remains of which have been found on the left-hand side of the road leading from S. Maria Maggiore to S. Giovanni in Laterano. Close to this part, and inside the agger, a chamber has been excavated, evidently THE AUDITORIUM,or lecture-hall of MÆcenas, the entrance being formed through the agger. It is 24 metres 40 centimetres long, by 10 metres 60 centimetres broad. The wall supporting the roof, in which was the window, is nearly eight metres high. On each side of the hall the walls contain six niches decorated in the Pompeian style. At the farther end of the hall is a sort of tribune composed of seven circular steps in tiers, once faced with marble. From here the author recited. In the circular wall behind these, which forms the end of the hall, are five more niches. The floor is below the surrounding level, probably to keep the building cool during the summer months. Its height was about forty feet. It may be that in this auditorium Virgil read his "Georgics" to MÆcenas, as he says,— "I sing, MÆcenas, and I sing to thee.... O thou! the better part of my renown, Inspire thy poet, and thy poem crown; Without thee, nothing lofty can I sing." Or Horace, his Odes recited to MÆcenas' praise,— "You that are both my shield and glory dear." The auditorium now serves as a local museum. It is open every Thursday from 9 till 11 and 3 till 5. Permissions must be obtained at the ArchÆological Office at the Capitol. N.B.—Owing to the new quarter of Rome being built here, the roads are very much cut up and changed in this neighbourhood. Retracing our steps towards the Basilica, turn to the right up the Via S. Vito. At the corner is the Gothic Church of the Holy Redeemer, built by a Mr. Douglas, who went over to the Roman Church. Up the street is THE ARCH OF GALLIENUS,erected in 262 in honour of the emperor, by Marcus Aurelius Victor. It is plain and unadorned, and only the central arch is preserved. Passing under the arch, turn to the left, there are some remains of the agger. Beyond, on the opposite side of the street, is the CHURCH OF S. ANTONIO ABBATE,where the animals are blessed on January 17th. The round doorway is the only one of its sort in Rome. To the right we reach the new Piazza Vittorio Emanuele. On our left is THE NYMPHÆUMof Alexander Severus, called the Trophies of Marius. It derives this appellation from the marble trophies formerly placed in the two side niches, and thence transferred to the parapet of the flight of steps leading up to the Capitol. This splendidly decorated reservoir was the nymphÆum of the Emperor Alexander Severus, and is represented on a coin. It was to the Aqua Julia what the Trevi Fountain was to the Aqua Virgo. A portion of the aqueduct which supplied the water is still standing. Just beyond are THE TOMBS OF MÆCENAS AND HORACE.The first consists of a sepulchre of rubble work in a circular form, now surmounted by a cottage; the second, near it, is a stable, with two columns in front. Horace was buried near MÆcenas. Suetonius tells us: "He was interred, and lies buried on the skirts of the Esquiline Hill, near the Tomb of MÆcenas." These tombs were ruthlessly destroyed by the municipality in 1884. From the square the road leads to some remains of THE BATHS OF GALLIENUS,miscalled the Temple of Minerva Medica, from a statue of the goddess discovered here. It is a circular building, 80 feet in diameter, and its walls contain numerous niches for statues; it was surmounted by a lofty cupola, which fell in a short time ago. This building was no doubt the sudatorium of the baths of Gallienus, which stood in his gardens and occupied this ground. In the fragments of chambers adjoining, terra-cotta pipes for the supply of hot water may still be seen. The road from here leads to THE CHURCH OF S. BIBIANA,built in commemoration of her martyrdom. At the early age of eighteen, during the prefecture of Apronianus, she was first scourged, and then stoned to death. The church contains eight antique columns, and frescoes from the saint's life by Cortona and Ciampelli. Her statue at the high altar is the work of Bernini, and is considered to be his masterpiece. The fÊte of S. Bibiana is the S. Swithin's day of the Romans, who have a saying that "if it rain on this day it will continue to do so for the next forty." We are not superstitious, but we cannot help wishing that the saint will smile upon us. The Church of S. Bibiana was built in the fifth century, on the site of the house where the virgin-martyr is believed to have lived. It was in a great measure rebuilt by Pope Urban VII., and is only open on the Friday after the fourth Sunday in Lent, and on the 2nd of December, the anniversary of the saint. Passing by the church, the road leads us through the new quarter of the town. Passing the remains of a tower in the Agger, we turn to the right, and pass the railway station through another section of the new quarter. Behind the custom-house is a fine piece of the Agger and the Porta Viminalis. Beyond, the barracks occupy the site of THE PRÆTORIAN CAMP,founded by Sejanus, the minister of Tiberius CÆsar, and destroyed by Constantine. The walls consist of brickwork, and have corridors on the inside, decorated with stucco and paintings. The camp was between the PortÆ Viminalis and Nomentana, and forms a square projection in the present wall. It was outside the agger of Servius Tullius. The north wall is of the time of Tiberius; the east was rebuilt in the fourth century; the south has been reconstructed out of old square stones, probably material taken from the west or city wall (which has never Near the camp stood THE TEMPLE OF FORTUNA PRIMIGENIA.Its site is now occupied by the Piazza del Macao. Fragments of the temple were found in August 1873, and an inscription to the goddess; also the statue of a female member of the Claudian family. "Quintus Marcius Ralla, constituted commissioner for the purpose, dedicated the Temple of Fortuna Primigenia on the Quirinal Hill. Publius Sempronius Sophus had vowed this temple ten years before, in the Punic War, and, being afterwards censor, had employed persons to build it," A.U.C. 558 (Livy, xxxiv. 53). Returning past the station, we come to the open space of the PIAZZA DI TERMINI,a rather pleasant garden square, surrounded with trees, in the midst of which spouts up the Aqua Marcia. Passing along our right, we come to the BATHS OF DIOCLETIAN, AND CHURCH OF S. MARIA DEGLI ANGELI.The magnificent bathing establishments, called ThermÆ, to distinguish them from the ordinary baths, consisted of a long series of halls, chambers, and courts, all lying on the same level, so that the extent of surface required for laying out had to be artificially formed either by the removal or the elevation of the soil. The thermÆ founded by Diocletian and Maximian, and completed by Constantius and Maximinus, constituted the largest edifice of this kind. At present, only the great hall, 350 feet by 80 feet, and 96 feet high, converted into a church by Michael Angelo, exists in a state of tolerable preservation. The original massive granite pillars, 40 feet high, and 5 feet in diameter, though so sunk into the ground (imitation pedestals have been put to them) that their full height is nowhere visible, are still standing; the antique vaulted roof has also been preserved entire. This circumstance is of great importance for the lighting up of this vast space—the masses of light falling upon Several considerable portions of the adjoining hall are still to be seen, but, being included within the buildings of the neighbouring schools and asylums, and partly converted into hay magazines, a clear and complete survey of them cannot easily be obtained. The pictures in the church were brought from S. Peter's, and the court of the monastery, formed with one hundred columns, was designed by Michael Angelo. Salvator Rosa and Carlo Maratta were both buried here. The Government is forming a new museum in these buildings. On the right of the high altar is Domenichino's S. Sebastian. Opposite to it, Maratta's Baptism of our Lord. The Presentation in the Temple is by Romanelli; the Death of Ananias by Roncalli. In the transept are copies of Guido's Crucifixion of S. Peter, and Vanni's Fall of Simon Magus; S. Peter resuscitating Tabitha, by Mancini; S. Jerome and S. Francis, by Musciano; Assumption, by Bianchini; Resuscitation of Tabitha, by Costanzi; Fall of Simon Magus, by Battoni; S. Basil celebrating Mass before the Emperor Valens, by Subleyras. On leaving the church, opposite are the remains of the Theatridium belonging to the baths, the space in front being the Stadium. THE VIA NAZIONALEcommences here, and runs down to the south end of the Corso. The street is traversed by a line of tram-cars, which run down to the Piazza di Venezia. It is the handsomest street in Rome, and is lined by several fine blocks of buildings. It is on the line of the ancient Vicus Longus. Upon the right is the Quirinal Hill; and on the left, the Viminal; the street, artificially raised, occupying the valley between the two hills. A short distance down on the left is the Quirinal Hotel, the largest in Rome, fitted up with every modern comfort, and on one of the healthiest sites in the city. Behind is Costanzi's new theatre. Just below is the CHURCH OF S. PAUL'S WITHIN THE WALLS,the new American Episcopal Church under Dr. Nevin; designed by Mr. George Street in the Gothic style. It has a fine campanile, and a beautiful peal of bells. The vault of the tribunal in mosaic was designed by Mr. Burne THE EXHIBITION OF FINE ARTS.The new Palace of Fine Arts is on the right, about half-way down. In it is held an annual exhibition of modern works of art of every description. Admission, one lira; Sundays, fifty centesimi. It occupies a space of 22,030 square mÈtres—the permanent building being 5,280 square mÈtres; the Crystal Hall, 1,250 square mÈtres; the gardens, 5,000 square mÈtres; and the temporary galleries, 10,500 square mÈtres. The palace comprises two floors, and may be entered from the Via Nazionale, Via Genova, and Via del Quirinale. The main front is 25 mÈtres high and 60 long. Sixteen statues decorate the top of the faÇade, the work of Roman artists. On the top of the pediment is a group, Italy crowning Art, by Adalberto Cencetti, the groups in relief on the face being the Finding of the Laocoon Group, by Filippo Ferrari, and Carrying Cimabue's Madonna in Triumph, by Puntoni. Signor Pio Piacentini designed the edifice; and the works have been carried out with the assistance of the architect Augusto Fallani, at a cost of two and a half million lire. On the faÇade of the entrance is the inscription:— ESPOSIZIONE From Santa Maria degli Angeli we turn to the right. At the corner of the Piazza S. Bernardo is the NEW MUSEUM OF AGRICULTURE.Open free to the public, Tuesday, Thursday, and Sunday, from 10 to 3. Opposite is THE FELICE FOUNTAIN.The Acqua Felice aqueduct was made, A.D. 1587, by Sixtus V. (Felice Peretti), from whom it took its name. The fountain was designed by Bresciano. In the centre of the group is seen Moses striking the rock, and the water issuing forth; on the left, Aaron leading the Jews; and on the right, Gideon bringing them to the brink of the stream. Four lions guard the basins below. It is said that the work of the artist was so criticised that he put an end to his life. Turning down the Via Venti Settembre, on our right is the New Ministry of Finance, in erecting which remains of the Porta Collina in the Servian walls were found. Also remains of THE FLAVIAN TEMPLE,erected by Domitian on the site of his parents' house near the Porta Collina. A marble head of Titus was found in the excavations. "Whatever Domitian's unconquered hand has erected is imperishable as heaven" (Martial, ix. 1). "What of the Flavian Temple which towers to the Roman sky?" (Ibid., ix. 3). The following is amusing:— "To CÆsar, on the Temple of the Flavian Family.—Jupiter, when he saw the Flavian temple rising under the sky of Rome, laughed at the fabulous tomb erected to himself on Mount Ida; and, having drunk abundantly of nectar at table, exclaimed, as he was handing the cup to his son Mars, and addressing himself at the same time to Apollo and Diana, with whom were seated Hercules and the pious Arcos: 'You gave me a monument in Crete; see how much better a thing it is to be a father of CÆsar!'" (Martial, ix. 34). THE UNFAITHFUL VESTAL'S TOMB.Livy (xxii. 57) tells us that this was "near the Colline Gate." We learn from Pliny's "Letters" (iv. 11) that it was "a subterranean cavern." Plutarch, in "Numa," gives the following interesting details:— "She that broke her vows of chastity was buried alive at the Colline Gate. There, within the walls, is raised a little mound of earth, called in Latin agger; near which is prepared a small cell, with steps to descend into it. In this cell are placed a bed, a lighted lamp, and some slight provisions, such as bread, water, milk, and The remains of the Colline Gate were found in building the present Ministry of Finance in the Via Venti Settembre. The Via Servio Tullio, on the left, leads to the site of THE VILLA SALLUSTIANA,upon the site of which a new quarter is being erected. Clear of the houses is an interesting ruin miscalled the Temple of Venus Erycina. This ruin is octagonal in form, with a domed roof. The interior is divided into halls, and a vestibule leads into the central hall. The walls have recesses for sculpture. The building was probably a nymphÆum. Besides the palace, baths, and gardens, there was a portico, called Milliarensis, from its thousand columns, in which the Emperor Aurelian used to take exercise on horseback. The buildings were fired by the soldiers of Alaric, who entered the city at the Salarian gate. From the Piazza S. Bernardo we take the Via Susanna into the Via S. Niccolo da Tolentino. The first turning on the right, Vicolo Fiamme, leads into the Via di S. Basilio, which leads to the LUDOVISI MUSEUM.Open every day from 12 till 4, with permission to be had at the consuls or bankers. The beautiful villa has been cut up into building plots, and a new quarter now occupies its site. On the left of the entry is the Museum. The principal objects are—1. Second Room.—Group of Mars and Cupid, found in the portico of Octavia. 7. Theseus and Æthra, by Menelaos. 9. Satyr. 17. Julius CÆsar. 28. Gallic group, of which the wounded Gaul in the Capitol Museum formed a part. 41. Juno, the finest head of the goddess known. 43. Pluto carrying off Proserpine. Towards the Porta Pinciana is the casino containing Guercino's beautiful fresco of Aurora driving away Night. A beautiful view is to be had here. Leaving the Museum, we pass down the Basilio into the Piazza Barberini. On the right, up under the trees, are THE CHURCH AND CEMETERY OF THE CAPPUCCINI.In the first chapel on the right in the church is Guido Reni's beautiful picture of S. Michael, and in the third chapel two pictures by Domenichino. But the most interesting part, the cemetery, is beneath the church, though entirely above ground, and lighted by a row of iron-grated windows without glass. "A corridor runs along beside these windows, and gives access to three or four vaulted recesses, or chapels, of considerable breadth and height, the floor of which consists of consecrated earth from Jerusalem. It is smoothed decorously over the deceased brethren of the convent, and is kept quite free from grass or weeds, such as would grow even in these gloomy recesses if pains were not bestowed to root them up. But as the cemetery is small, and it is a precious privilege to sleep in holy ground, the brotherhood are immemorially accustomed, when one of their number dies, to take the longest-buried skeleton out of the oldest grave, and lay the new slumberer there instead. Thus each of the good friars, in his turn, enjoys the luxury of a consecrated bed, attended with the slight drawback of being forced to get up long before daybreak, as it were, and make room for another lodger. The arrangement of the unearthed skeletons is what makes the special interest of the cemetery. The arched and vaulted walls of the burial recesses are supported by massive pillars and pilasters made of thigh-bones and skulls; the whole material of the structure appears to be of a similar kind, and the knobs and embossed ornaments of this strange architecture are represented by the joints of the spine, and the more delicate tracery of the smaller bones of the human frame. The summits of the arches are adorned with entire skeletons, looking as if they were wrought most skilfully in bas-relief. There is no TABLE OF EGYPTIAN OBELISKS IN ROME.
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