Читать книгу The Diary of John Evelyn (Vol. 1&2) - Evelyn John - Страница 11

"L'Insegna della Posta, é posta a posta, In questa posta, fin che habbia à sua posta Ogn'un Cavallo a Vetturi in Posta."

Before it was dark, we went to see the Monastery of the Franciscans, famous for six learned Popes, and sundry other great scholars, especially the renowned physician and anatomist, Fabricius de Acquapendente, who was bred and born there.

4th November, 1644. After a little riding, we descended toward the Lake of Bolsena, which being above twenty miles in circuit, yields from hence a most incomparable prospect. Near the middle of it are two small islands, in one of which is a convent of melancholy Capuchins, where those of the Farnesian family are interred. Pliny calls it Tarquiniensis Lacus, and talks of divers floating islands about it, but they did not appear to us. The lake is environed with mountains, at one of whose sides we passed toward the town Bolsena, anciently Volsinium, famous in those times, as is testified by divers rare sculptures in the court of St. Christiana's church, the urn, altar, and jasper columns.

After seven miles' riding, passing through a wood heretofore sacred to Juno, we came to Montefiascone, the head of the Falisci, a famous people in old time, and heretofore Falernum, as renowned for its excellent wine, as now for the story of the Dutch Bishop, who lies buried in St. Flavian's church with this epitaph:

"Propter Est, Est, dominus meus mortuus est."

Because, having ordered his servant to ride before, and inquire where the best wine was, and there write Est, the man found some so good that he wrote Est, Est, upon the vessels, and the Bishop drinking too much of it, died.

VITERBO

From Montefiascone, we travel a plain and pleasant champaign to Viterbo, which presents itself with much state afar off, in regard of her many lofty pinnacles and towers; neither does it deceive our expectation; for it is exceedingly beautified with public fountains, especially that at the entrance, which is all of brass and adorned with many rare figures, and salutes the passenger with a most agreeable object and refreshing waters. There are many Popes buried in this city, and in the palace is this odd inscription:

"Osiridis victoriam in Gigantas litteris historiographicis in hoc antiquissimo marmore inscriptam, ex Herculis olim, nunc Divi Laurentij Templo translatam, ad conversanda: vetustiss: patriæ monumenta atq' decora his locandum statuit S.P.Q.V."

Under it:

"Sum Osiris Rex Jupiter universo in terrarum orbe."

"Sum Osiris Rex qui ab Itala in Gigantes exercitus veni, vidi, et vici."

"Sum Osiris Rex qui terrarum pacata Italiam decem a'nos quorum inventor fui."

Near the town is a sulphurous fountain, which continually boils. After dinner we took horse by the new way of Capranica, and so passing near Mount Ciminus and the Lake, we began to enter the plains of Rome; at which sight my thoughts were strangely elevated, but soon allayed by so violent a shower, which fell just as we were contemplating that proud Mistress of the world, and descending by the Vatican (for at that gate we entered), that before we got into the city I was wet to the skin.

ROME

I came to Rome on the 4th of November, 1644, about five at night; and being perplexed for a convenient lodging, wandered up and down on horseback, till at last one conducted us to Monsieur Petit's, a Frenchman, near the Piazza Spagnola. Here I alighted, and, having bargained with my host for twenty crowns a month, I caused a good fire to be made in my chamber and went to bed, being so very wet. The next morning (for I was resolved to spend no time idly here) I got acquainted with several persons who had long lived at Rome. I was especially recommended to Father John, a Benedictine monk and Superior of his Order for the English College of Douay, a person of singular learning, religion, and humanity; also to Mr. Patrick Cary, an Abbot, brother to our learned Lord Falkland, a witty young priest, who afterward came over to our church; Dr. Bacon and Dr. Gibbs, physicians who had dependence on Cardinal Caponi, the latter being an excellent poet; Father Courtney, the chief of the Jesuits in the English College; my Lord of Somerset, brother to the Marquis of Worcester; and some others, from whom I received instructions how to behave in town, with directions to masters and books to take in search of the antiquities, churches, collections, etc. Accordingly, the next day, November 6th, I began to be very pragmatical.23

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 Cœli, 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.

Santa Maria della Vittoria presents us with the most ravishing front. In this church was sung the Te Deum by Gregory XV., after the signal victory of the Emperor at Prague; the standards then taken still hang up, and the impress waving this motto over the Pope's arms, Extirpentur. I observed that the high altar was much frequented for an image of the Virgin. It has some rare statues, as Paul ravished into the third heaven, by Fiamingo, and some good pictures. From this, we bent toward Dioclesian's Baths, never satisfied with contemplating that immense pile, in building which 150,000 Christians were destined to labor fourteen years, and were then all murdered. Here is a monastery of Carthusians, called Santa Maria degli Angeli, the architecture of M. Angelo, and the cloister encompassing walls in an ample garden.

Mont Alto's villa is entered by a stately gate of stone built on the Viminalis, and is no other than a spacious park full of fountains, especially that which salutes us at the front; stews for fish; the cypress walks are so beset with statues, inscriptions, relievos, and other ancient marbles, that nothing can be more stately and solemn. The citron trees are uncommonly large. In the palace joining to it are innumerable collections of value. Returning, we stepped into St. Agnes church, where there is a tribunal of antique mosaic, and on the altar a most rich ciborio of brass, with a statue of St. Agnes in oriental alabaster. The church of Santa Constanza has a noble cupola. Here they showed us a stone ship borne on a column heretofore sacred to Bacchus, as the relievo intimates by the drunken emblems and instruments wrought upon it. The altar is of rich porphyry, as I remember. Looking back, we had the entire view of the Via Pia down to the two horses before the Monte Cavallo, before mentioned, one of the most glorious sights for state and magnificence that any city can show a traveler. We returned by Porta Pia, and the Via Salaria, near Campo Scelerato, in whose gloomy caves the wanton Vestals were heretofore immured alive.

Thence to Via Felix, a straight and noble street but very precipitous, till we came to the four fountains of Lepidus, built at the abutments of four stately ways, making an exact cross of right angles; and, at the fountains, are as many cumbent figures of marble, under very large niches of stone, the water pouring into huge basins. The church of St. Carlo is a singular fabric for neatness, of an oval design, built of a new white stone; the columns are worth notice. Under it is another church of a structure nothing less admirable.

Next, we came to Santa Maria Maggiore, built upon the Esqueline Mountain, which gives it a most conspicuous face to the street at a great distance. The design is mixed partly antique, partly modern. Here they affirm that the Blessed Virgin appearing, showed where it should be built 300 years since. The first pavement is rare and antique; so is the portico built by P. P. Eugenius II. The ciborio is the work of Paris Romano, and the tribunal of Mosaic.

We were showed in the church a concha of porphyry, wherein they say Patricius, the founder, lies. This is one of the most famous of the seven Roman Churches, and is, in my opinion at least, after St. Peter's, the most magnificent. Above all, for incomparable glory and materials, are the two chapels of Sextus V. and Paulus V. That of Sextus was designed by Dom. Fontana, in which are two rare great statues, and some good pieces of painting; and here they pretended to show some of the Holy Innocents' bodies slain by Herod: as also that renowned tabernacle of metal, gilt, sustained by four angels, holding as many tapers, placed on the altar. In this chapel is the statue of Sextus, in copper, with basso-relievos of most of his famous acts, in Parian marble; but that of P. Paulus, which we next entered, opposite to this, is beyond all imagination glorious, and above description. It is so encircled with agates, and other most precious materials, as to dazzle and confound the beholders. The basso-relievos are for the most part of pure snowy marble, intermixed with figures of molten brass, double gilt, on lapis lazuli. The altar is a most stupendous piece; but most incomparable is the cupola painted by Giuseppe Rheni, and the present Baglioni, full of exquisite sculptures. There is a most sumptuous sacristia; and the piece over the altar was by the hand of St. Luke; if you will believe it. Paulus V. hath here likewise built two other altars; under the one lie the bones of the Apostle, St. Matthias. In another oratory, is the statue of this Pope, and the head of the Congo Ambassador, who was converted at Rome, and died here. In a third chapel, designed by Michael Angelo, lie the bodies of Platina, and the Cardinal of Toledo, Honorius III., Nicephorus IV., the ashes of St. Hierom, and many others. In that of Sextus V., before mentioned, was showed us part of the crib in which Christ was swaddled at Bethlehem; there is also the statue of Pius V.; and going out at the further end, is the resurrection of Lazarus, by a very rare hand. In the portico, is this late inscription: "Cardinal Antonio Barberino Archypresbytero, aream marmoream quam Christianorum pietas exsculpsit, laborante sub Tyrannis ecclesiâ, ut esset loci sanctitate venerabilior, Francis Gualdus Arm. Eques S. Stephani è suis ædibus huc transtulit et ornavit, 1632." Just before this portico, stands a very sublime and stately Corinthian column, of white marble, translated hither for an ornament from the old Temple of Peace, built by Vespasian, having on the plinth of the capital the image of our Lady, gilt on metal; at the pedestal runs a fountain. Going down the hill, we saw the obelisk taken from the Mausoleum of Augustus, and erected in this place by Domenico Fontana, with this epigraph: "Sextus V. Pont. Max. Obeliscum ex Egypto advectum, Augusti in Mausoleo dicatum, eversum deinde et in plures confractum partes, in via ad S. Rochum jacentem, in pristinam faciem restitutum Salutiferæ Cruci feliciùs hic erigi jussit, anno MDLXXXVIII, Pont. III"; and so we came weary to our lodgings.

At the foot of this hill, is the church of St. Prudentia, in which is a well, filled with the blood and bones of several martyrs, but grated over with iron, and visited by many devotees. Near this stands the church of her sister, S. Praxedeis, much frequented for the same reason. In a little obscure place, canceled in with iron work, is the pillar, or stump, at which they relate our Blessed Savior was scourged, being full of bloody spots, at which the devout sex are always rubbing their chaplets, and convey their kisses by a stick having a tassel on it. Here, besides a noble statue of St. Peter, is the tomb of the famous Cardinal Cajetan, an excellent piece; and here they hold that St. Peter said his first mass at Rome, with the same altar and the stone he kneeled on, he having been first lodged in this house, as they compute about the forty-fourth year of the Incarnation. They also show many relics, or rather rags, of his mantle. St. Laurence in Panisperna did next invite us, where that martyr was cruelly broiled on the gridiron, there yet remaining. St. Bridget is buried in this church under a stately monument. In the front of the pile is the suffering of St. Laurence painted á fresco on the wall. The fabric is nothing but Gothic. On the left is the Therma Novatii; and, on the right, Agrippina's Lavacrum.

14th November, 1644. We passed again through the stately Capitol and Campo Vaccino toward the Amphitheater of Vespasian, but first stayed to look at Titus's Triumphal Arch, erected by the people of Rome, in honor of his victory at Jerusalem; on the left hand whereof he is represented drawn in a chariot with four horses abreast; on the right hand, or side of the arch within, is sculptured in figures, or basso-relievo as big as the life (and in one entire marble) the Ark of the Covenant, on which stands the seven-branched candlestick described in Leviticus, as also the two Tables of the Law, all borne on men's shoulders by the bars, as they are described in some of St. Hierom's bibles; before this, go many crowned and laureated figures, and twelve Roman fasces with other sacred vessels. This much confirmed the idea I before had; and therefore, for the light it gave to the Holy History, I caused my painter, Carlo, to copy it exactly. The rest of the work of the Arch is of the noblest, best understood composita; and the inscription is this, in capital letters:

S. P. Q. R.

D. TITO, D. VESPASIANI, F. VESPASIANI AVGVSTO.

Santa Maria Nova is on the place where they told us Simon Magus fell out of the air at St. Peter's prayer, and burst himself to pieces on a flint. Near this is a marble monument, erected by the people of Rome in memory of the Pope's return from Avignon. Being now passed the ruins of Meta-Sudante (which stood before the Colosseum, so called, because there once stood here the statue of Commodus provided to refresh the gladiators), we enter the mighty ruins of the Vespasian Amphitheatre, begun by Vespasian, and finished by that excellent prince, Titus. It is 830 Roman palms in length (i.e. 130 paces), 90 in breadth at the area, with caves for the wild beasts which used to be baited by men instead of dogs; the whole oval periphery 2888–4/7 palms, and capable of containing 87,000 spectators with ease and all accommodation: the three rows of circles are yet entire; the first was for the senators, the middle for the nobility, the third for the people. At the dedication of this place were 5,000 wild beasts slain in three months during which the feast lasted, to the expense of ten millions of gold. It was built of Tiburtine stone, a vast height, with the five orders of architecture, by 30,000 captive Jews. It is without, of a perfect circle, and was once adorned thick with statues, and remained entire, till of late that some of the stones were carried away to repair the city walls and build the Farnesian palace. That which still appears most admirable is, the contrivance of the porticos, vaults, and stairs, with the excessive altitude, which well deserves this distich of the poet:

"Omnis Cæsareo cedat labor Amphitheatro; Unum pro cunctis fama loquatur opus."

Near it is a small chapel called Santa Maria della Pieta nel Colisseo, which is erected on the steps, or stages, very lofty at one of its sides, or ranges, within, and where there lives only a melancholy hermit. I ascended to the very top of it with wonderful admiration.

The Arch of Constantine the Great is close by the Meta-Sudante, before mentioned, at the beginning of the Via Appia, on one side Monte Celio, and is perfectly entire, erected by the people in memory of his victory over Maxentius, at the Pons Milvius, now Ponte Mole. In the front is this inscription:

IMP. CAES. FL. CONSTANTINO MAXIMO

P. F. AVGVSTO S. P. Q. R.

QVOD INSTINCTV DIVINITATIS MENTIS

MAGNITVDINE CVM EXERCITV SVO

TAM DE TYRANNO QVAM DE OMNI EIVS

FACTIONE VNO TEMPORE IVSTIS

REMPVBLICAM VLTVS EST ARMIS

ARCVM TRIVMPHIS INSIGNEM DICAVIT.

Hence, we went to St. Gregorio, in Monte Celio, where are many privileged altars, and there they showed us an arm of that saint, and other relics. Before this church stands a very noble portico.

15th November, 1644. Was very wet, and I stirred not out, and the 16th I went to visit Father John, Provincial of the Benedictines.

17th November, 1644. I walked to Villa Borghese, a house and ample garden on Mons Pincius, yet somewhat without the city walls, circumscribed by another wall full of small turrets and banqueting-houses; which makes it appear at a distance like a little town. Within it is an elysium of delight, having in the centre of it a noble palace; but the entrance of the garden presents us with a very glorious fabric, or rather door-case, adorned with divers excellent marble statues. This garden abounded with all sorts of delicious fruit and exotic simples, fountains of sundry inventions, groves, and small rivulets. There is also adjoining to it a vivarium for ostriches, peacocks, swans, cranes, etc., and divers strange beasts, deer, and hares. The grotto is very rare, and represents, among other devices, artificial rain, and sundry shapes of vessels, flowers, etc.; which is effected by changing the heads of the fountains. The groves are of cypress, laurel, pine, myrtle, and olive. The four sphinxes are very antique, and worthy observation. To this is a volary, full of curious birds. The house is square with turrets, from which the prospect is excellent toward Rome, and the environing hills, covered as they now are with snow, which indeed commonly continues even a great part of the summer, affording sweet refreshment. Round the house is a baluster of white marble, with frequent jettos of water, and adorned with a multitude of statues. The walls of the house are covered with antique incrustations of history, as that of Curtius, the Rape of Europa, Leda, etc. The cornices above consist of fruitages and festoons, between which are niches furnished with statues, which order is observed to the very roof. In the lodge, at the entry, are divers good statues of Consuls, etc., with two pieces of field artillery upon carriages, (a mode much practiced in Italy before the great men's houses) which they look on as a piece of state more than defense. In the first hall within, are the twelve Roman Emperors, of excellent marble; between them stand porphyry columns, and other precious stones of vast height and magnitude, with urns of oriental alabaster. Tables of pietra-commessa: and here is that renowned Diana which Pompey worshiped, of eastern marble: the most incomparable Seneca of touch, bleeding in an huge vase of porphyry, resembling the drops of his blood; the so famous Gladiator, and the Hermaphrodite upon a quilt of stone. The new piece of Daphne, and David, of Cavaliero Bernini, is observable for the pure whiteness of the stone, and the art of the statuary plainly stupendous. There is a multitude of rare pictures of infinite value, by the best masters; huge tables of porphyry, and two exquisitely wrought vases of the same. In another chamber, are divers sorts of instruments of music: among other toys that of a satyr, which so artificially expressed a human voice, with the motion of eyes and head, that it might easily afright one who was not prepared for that most extravagant sight. They showed us also a chair that catches fast any one who sits down in it, so as not to be able to stir out, by certain springs concealed in the arms and back thereof, which at sitting down surprises a man on the sudden, locking him in by the arms and thighs, after a true treacherous Italian guise. The perspective is also considerable, composed by the position of looking-glasses, which render a strange multiplication of things resembling divers most richly furnished rooms. Here stands a rare clock of German work; in a word, nothing but what is magnificent is to be seen in this Paradise.

The next day, I went to the Vatican, where, in the morning, I saw the ceremony of Pamfilio, the Pope's nephew, receiving a Cardinal's hat; this was the first time I had seen his Holiness in pontificalibus. After the Cardinals and Princes had met in the consistory, the ceremony was in the Pope's chapel, where he was at the altar invested with most pompous rites.

19th November, 1644. I visited St. Peter's, that most stupendous and incomparable Basilica, far surpassing any now extant in the world, and perhaps, Solomon's Temple excepted, any that was ever built. The largeness of the piazza before the portico is worth observing, because it affords a noble prospect of the church, not crowded up, as for the most part is the case in other places where great churches are erected. In this is a fountain, out of which gushes a river rather than a stream which, ascending a good height, breaks upon a round emboss of marble into millions of pearls that fall into the subjacent basins with great noise; I esteem this one of the goodliest fountains I ever saw.

Next is the obelisk transported out of Egypt, and dedicated by Octavius Augustus to Julius Cæsar, whose ashes it formerly bore on the summit; but, being since overturned by the barbarians, was re-erected with vast cost and a most stupendous invention by Domenico Fontana, architect to Sextus V. The obelisk consists of one entire square stone without hieroglyphics, in height seventy-two feet, but comprehending the base and all it is 108 feet high, and rests on four lions of gilded copper, so as you may see through the base of the obelisk and plinth of the pedestal.

Upon two faces of the obelisk is engraven

DIVO CAES. DIVI

IVLII F. AVGVSTO

TI. CAES. DIVI AVG.

F. AVGVS. SACRVM.

It now bears on the top a cross in which it is said that Sextus V. inclosed some of the holy wood; and under it is to be read by good eyes:

SANCTISSIMAE CRVCI

SEXTVS V. PONT. MAX.

CONSECRAVIT.

E. PRIORE SEDE AVVLSVM

ET CAESS. AVG. AC TIB.

I. L. ABLATUM M.D.LXXXVI.

On the four faces of the base below:

1. CHRISTVS VINCIT.

CHRISTVS REGNAT.

CHRISTVS IMPERAT.

CHRISTVS AB OMNI MALO

PLEBEM SVAM DEFENDAT.

2. SEXTVS V. PONT. MAX.

OBELISCVM VATICANVM DIIS GENTIVM

IMPIO CVLTV DICATVM

AD APOSTOLORVM LIMINA

OPEROSO LABORE TRANSTVLIT

AN. M.D.LXXXVI. PONT. II.

3. ECCE CRVX DOMINI

FVGITE PARTES

ADVERSAE

VINCIT LEO

DE TRIBV IVDA.

4. SEXTVS V. PONT. MAX.

CRVCI INVICTAE

OBELISCVM VATICANVM

AB IMPIA SVPERSTITIONE

EXPIATVM IVSTIVS

ET FELICITVS CONSECRAVIT

AN. M.D.L.XXXVI. PONT. II.

A little lower:

DOMINICVS FONTANA EX PAGO MILIAGRI NOVOCOMENSIS

TRANSTVLIT ET EREXIT.

It is reported to have taken a year in erecting, to have cost 37,975 crowns, the labor of 907 men, and 75 horses: this being the first of the four Egyptian obelisks set up at Rome, and one of the forty-two brought to the city out of Egypt, set up in several places, but thrown down by the Goths, Barbarians, and earthquakes. Some coaches stood before the steps of the ascent, whereof one, belonging to Cardinal Medici, had all the metal work of massy silver, viz, the bow behind and other places. The coaches at Rome, as well as covered wagons also much in use, are generally the richest and largest I ever saw. Before the facciata of the church is an ample pavement. The church was first begun by St. Anacletus, when rather a chapel, on a foundation, as they give out, of Constantine the Great, who, in honor of the Apostles, carried twelve baskets full of sand to the work. After him, Julius II. took it in hand, to which all his successors have contributed more or less.

The front is supposed to be the largest and best-studied piece of architecture in the world; to this we went up by four steps of marble. The first entrance is supported by huge pilasters; the volto within is the richest possible, and overlaid with gold. Between the five large anti-ports are columns of enormous height and compass, with as many gates of brass, the work and sculpture of Pollaivola, the Florentine, full of cast figures and histories in a deep relievo. Over this runs a terrace of like amplitude and ornament, where the Pope, at solemn times, bestows his Benediction on the vulgar. On each side of this portico are two campaniles, or towers, whereof there was but one perfected, of admirable art. On the top of all, runs a balustrade which edges it quite round, and upon this at equal distances are Christ and the twelve Disciples of gigantic size and stature, yet below showing no greater than the life. Entering the church, admirable is the breadth of the volto, or roof, which is all carved with foliage and roses overlaid with gold in nature of a deep basso-relievo, à l'antique. The nave, or body, is in form of a cross, whereof the foot-part is the longest; and, at the internodium of the transept, rises the cupola, which being all of stone and of prodigious height is more in compass than that of the Pantheon (which was the largest among the old Romans, and is yet entire) or any other known. The inside, or concave, is covered with most exquisite Mosaic, representing the Celestial Hierarchy, by Giuseppe d'Arpino, full of stars of gold; the convex, or outside, exposed to the air, is covered with lead, with great ribs of metal double gilt (as are also the ten other lesser cupolas, for no fewer adorn this glorious structure), which gives a great and admirable splendor in all parts of the city. On the summit of this is fixed a brazen globe gilt, capable of receiving thirty-five persons. This I entered, and engraved my name among other travelers. Lastly, is the Cross, the access to which is between the leaden covering and the stone convex, or arch-work; a most truly astonishing piece of art! On the battlements of the church, also all overlaid with lead and marble, you would imagine yourself in a town, so many are the cupolas, pinnacles, towers, juttings, and not a few houses inhabited by men who dwell there, and have enough to do to look after the vast reparations which continually employ them.

Having seen this, we descended into the body of the church, full of collateral chapels and large oratories, most of them exceeding the size of ordinary churches; but the principal are four incrusted with most precious marbles and stones of various colors, adorned with an infinity of statues, pictures, stately altars, and innumerable relics. The altar-piece of St. Michael being of Mosaic, I could not pass without particular note, as one of the best of that kind. The chapel of Gregory XIII., where he is buried, is most splendid. Under the cupola, and in the center of the church, stands the high altar, consecrated first by Clement VIII., adorned by Paul V., and lately covered by Pope Urban VIII.; with that stupendous canopy of Corinthian brass, which heretofore was brought from the Pantheon; it consists of four wreathed columns, partly channelled and encircled with vines, on which hang little puti birds and bees (the arms of the Barberini), sustaining a baldacchino of the same metal. The four columns weigh an hundred and ten thousand pounds, all over richly gilt; this, with the pedestals, crown, and statues about it, form a thing of that art, vastness, and magnificence, as is beyond all that man's industry has produced of the kind; it is the work of Bernini, a Florentine sculptor, architect, painter, and poet, who, a little before my coming to the city, gave a public opera (for so they call shows of that kind), wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy, and built the theater. Opposite to either of these pillars, under those niches which, with their columns, support the weighty cupola, are placed four exquisite statues of Parian marble, to which are four altars; that of St. Veronica, made by Fra. Mochi, has over it the reliquary, where they showed us the miraculous Sudarium indued with the picture of our Savior's face, with this inscription: "Salvatoris imaginem Veronicæ Sudario exceptam ut loci majestas decentèr custodiret, Urbanus VIII. Pont. Max. Marmoreum signum et Altare addidit, Conditorium extruxit et ornavit."

Right against this is that of Longinus, of a Colossean magnitude, also by Bernini, and over him the conservatory of the iron lance inserted in a most precious crystal, with this epigraph: "Longini Lanceam quam Innocentius VIII. à Bajazete Turcarum Tyranno accepit, Urbanus VIII. statuâ appositâ, et Sacello substructo, in exornatum Conditorium transtulit."

The third chapel has over the altar the statue of our countrywoman, St. Helena, the mother of Constantine the Great; the work of Boggi, an excellent sculptor; and here is preserved a great piece of the pretended wood of the holy cross, which she is said to have first detected miraculously in the Holy Land. It was placed here by the late Pope with this inscription: "Partem Crucis quam Helena Imperatrix è Calvario in Urbem adduxit, Urbanus VIII. Pont. Max. è Sissorianâ Basilicâ desumptam, additis arâ et statuâ, hìc in Vaticano collocavit."

The fourth hath over the altar, and opposite to that of St. Veronica, the statue of St. Andrew, the work of Fiamingo, admirable above all the other; above is preserved the head of that Apostle, richly enchased. It is said that this excellent sculptor died mad to see his statue placed in a disadvantageous light by Bernini, the chief architect, who found himself outdone by this artist. The inscription over it is this:

"St. Andreæ caput quod Pius II. ex Achaiâ in Vaticanum asportandum curavit, Urbanus VIII. novis hic ornamentis decoratum sacrisque statuæ ac Sacelli honoribus coli voluit."

The relics showed and kept in this church are without number, as are also the precious vessels of gold, silver, and gems, with the vests and services to be seen in the Sacristy, which they showed us. Under the high altar is an ample grot inlaid with pietra-commessa, wherein half of the bodies of St. Peter and St. Paul are preserved; before hang divers great lamps of the richest plate, burning continually. About this and contiguous to the altar, runs a balustrade, in form of a theater, of black marble. Toward the left, as you go out of the church by the portico, a little beneath the high altar, is an old brass statue of St. Peter sitting, under the soles of whose feet many devout persons rub their heads, and touch their chaplets. This was formerly cast from a statue of Jupiter Capitolinus. In another place, stands a column grated about with iron, whereon they report that our Blessed Savior was often wont to lean as he preached in the Temple. In the work of the reliquary under the cupola there are eight wreathed columns brought from the Temple of Solomon. In another chapel, they showed us the chair of St. Peter, or, as they name it, the Apostolical Throne. But among all the chapels the one most glorious has for an altar-piece a Madonna bearing a dead Christ on her knees, in white marble, the work of Michael Angelo. At the upper end of the Cathedral, are several stately monuments, especially that of Urban VIII. Round the cupola, and in many other places in the church, are confession seats, for all languages, Hebrew, Greek, Latin, Spanish, Italian, French, English, Irish, Welsh, Sclavonian, Dutch, etc., as it is written on their friezes in golden capitals, and there are still at confessions some of all nations. Toward the lower end of the church, and on the side of a vast pillar sustaining a weighty roof, is the depositum and statue of the Countess Matilda, a rare piece, with basso-relievos about it of white marble, the work of Bernini. Here are also those of Sextus IV. and Paulus III., etc. Among the exquisite pieces in this sumptuous fabric is that of the ship with St. Peter held up from sinking by our Savior; the emblems about it are the Mosaic of the famous Giotto, who restored and made it perfect after it had been defaced by the Barbarians. Nor is the pavement under the cupola to be passed over without observation, which with the rest of the body and walls of the whole church, are all inlaid with the richest of pietra-commessa, in the most splendid colors of polished marbles, agates, serpentine, porphyry, calcedon, etc., wholly incrusted to the very roof. Coming out by the portico at which we entered, we were shown the Porta Santa, never opened but at the year of jubilee. This glorious foundation hath belonging to it thirty canons, thirty-six beneficiates, twenty-eight clerks beneficed, with innumerable chaplains, etc., a Cardinal being always archpriest; the present Cardinal was Francisco Barberini, who also styled himself Protector of the English, to whom he was indeed very courteous.

20th November, 1644. I went to visit that ancient See and Cathedral of St. John di Laterano, and the holy places thereabout. This is a church of extraordinary devotion, though, for outward form, not comparable to St. Peter's, being of Gothic ordonnance. Before we went into the cathedral, the Baptistery of St. John Baptist presented itself, being formerly part of the Great Constantine's palace, and, as it is said, his chamber where by St. Silvester he was made a Christian. It is of an octagonal shape, having before the entrance eight fair pillars of rich porphyry, each of one entire piece, their capitals of divers orders, supporting lesser columns of white marble, and these supporting a noble cupola, the molding whereof is excellently wrought. In the chapel which they affirm to have been the lodging place of this Emperor, all women are prohibited from entering, for the malice of Herodias who caused him to lose his head. Here are deposited several sacred relics of St. James, Mary Magdalen, St. Matthew, etc., and two goodly pictures. Another chapel, or oratory near it, is called St. John the Evangelist, well adorned with marbles and tables, especially those of Cavaliére Giuseppe, and of Tempesta, in fresco. We went hence into another called St. Venantius, in which is a tribunal all of Mosaic in figures of Popes. Here is also an altar of the Madonna, much visited, and divers Sclavonish saints, companions of Pope John IV. The portico of the church is built of materials brought from Pontius Pilate's house in Jerusalem.

The next sight which attracted our attention, was a wonderful concourse of people at their devotions before a place called Scala Sancta, to which is built a noble front. Entering the portico, we saw those large marble stairs, twenty-eight in number, which are never ascended but on the knees, some lip-devotion being used on every step; on which you may perceive divers red specks of blood under a grate, which they affirm to have been drops of our Blessed Savior, at the time he was so barbarously misused by Herod's soldiers; for these stairs are reported to have been translated hither from his palace in Jerusalem. At the top of them is a chapel, whereat they enter (but we could not be permitted) by gates of marble, being the same our Savior passed when he went out of Herod's house. This they name the Sanctum Sanctorum, and over it we read this epigraph:

Non est in toto sanctior orbe locus.

Here, through a grate, we saw that picture of Christ painted (as they say) by the hand of St. Luke, to the life. Descending again, we saw before the church the obelisk, which is indeed most worthy of admiration. It formerly lay in the Circo Maximo, and was erected here by Sextus V., in 1587, being 112 feet in height without the base or pedestal; at the foot nine and a half one way, and eight the other. This pillar was first brought from Thebes at the utmost confines of Egypt, to Alexandria, from thence to Constantinople, thence to Rome, and is said by Ammianus Marcellinus to have been dedicated to Rameses, King of Egypt. It was transferred to this city by Constantine the son of the Great, and is full of hieroglyphics, serpents, men, owls, falcons, oxen, instruments, etc., containing (as Father Kircher the Jesuit will shortly tell us in a book which he is ready to publish) all the recondite and abstruse learning of that people. The vessel, galley, or float, that brought it to Rome so many hundred leagues, must needs have been of wonderful bigness and strange fabric. The stone is one and entire, and (having been thrown down) was erected by the famous Dom. Fontana, for that magnificent Pope, Sextus V., as the rest were; it is now cracked in many places, but solidly joined. The obelisk is thus inscribed at the several faciátas:

Fl. Constantinus Augustus, Constantini Augusti F. Obeliscum à patre suo motum diuq; Alexandriæ jacentem, trecentorum remigum impositum navi mirandæ vastitatis per mare Tyberimq; magnis molibus Romam convectum in Circo Max. ponendum S.P.Q.R.D.D.

On the second square:

Fl. Constantinus Max: Aug: Christianæ fidei Vindex & Assertor Obeliscum ab Ægyptio Rege impuro voto Soli dicatum, sedibus avulsum suis per Nilum transfer. Alexandriam, ut Novam Romam ab se tunc conditam eo decoraret monumento.

On the third:

Sextus V. Pontifex Max: Obeliscum hunc specie eximiâ temporum calamitate fractum, Circi Maximi ruinis humo, limoq; altè demersum, multâ impensâ extraxit, hunc in locum magno labore transtulit, formàq; pristinâ accuratè vestitum, Cruci invictissimæ dicavit anno M.D.LXXXVIII. Pont. IIII.

On the fourth:

Constantinus per Crucem Victor à Silvestro hìc Baptizatus Crucis gloriam propagavit.

Leaving this wonderful monument (before which is a stately public fountain, with a statue of St. John in the middle of it), we visited His Holiness's palace, being a little on the left hand, the design of Fontana, architect to Sextus V. This I take to be one of the best palaces in Rome; but not staying we entered the church of St. John di Laterano, which is properly the Cathedral of the Roman See, as I learned by these verses engraven upon the architrave of the portico: