owes its medieval battlements; 23 the tomb of the Scipios, near the Porta San Sebastiano, on the left of the Appian Way, which, after their extinction, the great consular families of the Cornelii, Cossi, and Lentuli, seem to have used as a burial-place; finally, the VIA APPIA itself, remarkable for the number of interesting sepulchral monuments which still exist. It was commenced by Appius Claudius Cæcus, the Censor, 312 years B. C., and was the highway through Capua and Brundusium. Many excavations and most interesting discoveries have been made upon it during the present papacy. The site of the Circus Maximus, which, under Constantine, could hold 250,000 spectators, still exists. It is in the valley called Murzia, between the Palatine and Aventine hills. The place which it occupied is 2,560 ft. long by 545 ft. wide. It was the scene of the Sabine rape. There are no longer to be found traces of the Temple of Jupiter Capitolinus, which is believed to have occupied the site of the church of Ara Cæli.

OBELISKS.-These ancient monuments contribute much to the character of Rome. The finest are those of the Piazze del Popolo, del Vaticano, di San Giovanni Laterano, and di Navona.

The House of Rienzi, called by the Romans the house of Pilate, is at the end of the Vicolo della Fontanella, near the Temple of Fortuna Virilis. It is of brick, two stories high, and covered with columns and ornaments of various dates. The inscriptions on an arch at one side of the house have given rise to considerable controversy among antiquarians; their true meaning is matter of conjecture. The house was inhabited by Rienzi in 1347.

BASILICAS.

ST. PETER'S.-This Basilica, by far the most magnificent church ever constructed, stands on the right bank of the Tiber, near the western extremity of the Borgo, in a hollow space between the Janiculum and the Vatican, and so closed in by them and a ridge behind, which connects them, that the church, on three of its sides, up to the height of the nave, is

virtually concealed. It is approached through a piazza, the buildings along which are concealed by a superb colonnade, forming two semicircular porticos, and consisting of 284 columns, with an entablature on which 192 statues of saints, each 11 ft in height, stand sentinel. The colonnade was designed by Bernini, during the pontificate of Alexander VI. Some idea of the magnificence of this colonnade may be formed, when we find that through the centre rows of the pillars two carriages may pass abreast, and that each of the statues which surmount them is 11 ft. in height. Forsyth has spoken in high terms of this structure: "How beautiful the colonnades, how finely proportioned to the church, how advantageous to its flat, forbidding front, which ought to have come forward, like the Pantheon, to meet the decoration. How grand an enclosure for the piazza, how fortunate a screen to the ignoble objects around it. But, advance or retire, you will find no point of view that combines these accessories with the general form of the church. Instead of describing its whole cycloid on the vacant air, the cupola is more than halfhidden by the front-a front at variance with the body, confound

ing two orders in one, debased by a gaping attic, and encumbered with colossal saints." In the centre of each of the colonnades rises a magnificent fountain, from the design of Maderno. The waters, after having been forced into jets, are received into a basin composed of a single block of granite. Between these fountains rises the obelisk of the Vatican, one of the most remarkable monuments of antiquity preserved in Rome. It appears to be one of the two obelisks mentioned by Herodotus as having been erected by Phero, the son of Sesostris, on his recovery from blindness. "So great was the anxiety of the monarch that the pillar should be raised uninjured, that he fastened his own son to the summit in order to render the engineers more careful in performing this operation." From Egypt it was transported by Caligula to Rome, a vessel being built for the purpose of conveying it. The pillar was dedicated by Caligula to Julius and Augustus Cæsar, and erected in the Circus of Caligula, afterwards called the Circus of Nero a position not far from that which it now occupies. The precise spot is within the church, and is marked by a square stone in the passage leading from the sacristy to the choir. In the year 1586, Sixtus V. directed the obelisk to be removed to its present situation. Of the difficulty of this task some idea may be formed from a statement of the magnitude and weight of the monument. The length, exclusive of the pyramid at the apex, is upwards of 77 ft.-the transverse section at the middle more than 74 ft. square; the solid contents are 166 cubic yards of granite, weighing upwards of 332 tons;

to

which must be added four tons, the weight of the pyramid at the top. It has been calculated to be fourteen times the weight of the largest block of stone at Stonehenge, and is the largest wrought stone in Europe.

That St. Peter's appears at first sight less than it really is, is an observation at least as old as Addison, who, like many others, endeavours to account for it on the principle, that so much attention has been paid to preserve the relative proportion of the parts, that for some time we do not perceive the largeness of the scale. "The proportions," says he, “are so well observed, that nothing appears to an advantage, or distingushes itself above the rest. It seems neither extremely high, nor long, nor broad, because it is all in a just equality. As, on the contrary, in our Gothic cathedrals, the narrowness of the arch makes it rise in height, or run out in length; the lowness often opens in breadth, or the defectiveness of some other particular makes any single part appear in great perfection." This, some regard as a merit; others, on the contrary, who consider it the object of art to make the small appear great, rather than the great appear small, look upon it as a defect.

In spite of all the objections that may be brought against it, St. Peter's is still the noblest structure ever reared to the worship of the Supreme Being; and the man who has not seen it can hardly form a notion of what a "temple made with hands" may be. So many beauties does it possess in detail, and so striking is it as a whole, that we may well overlook a few fancied or even real blemishes.

the

The interior surpasses wildest dreams of the imagination it is a spectacle that never tires; you may visit it every day, and always find something fresh to admire:

"Rich marbles-richer paintingshrines where flame

The lamps of gold-and haughty dome which vies

In air with earth's chief structures, tho' their frame

Sits on the firm-set ground-and this the clouds must claim!"

The extreme length within the walls is 607 ft., and its width 445 ft.; the height from the pavement to the cross is 458 ft. Owing to these immense proportions, objects within the area lose much of their effect by contrast, and appear comparatively diminutive. Thus the Baldacchino, a splendid bronze canopy over the high altar, and immediately under the dome, though 120 ft. high, appears not more than 30 ft.; and the chair of St. Peter, behind the altar, seems scarcely to rise from the pavement, though 70 ft. above it.

The same effect is perhaps still more strikingly manifested in regard to the Mosaic paintings on the interior of the great dome, which, seen from below, are so much diminished, that the pen in the hand of the Prophet in one of the lower compartments, seen from below, seems to be less than 18 inches in length, though in reality 6 ft.

The cupola of St. Peter's has always been represented as one of the most sublime efforts of architectural science. "The Cupola," says Mr. Forsyth, "is glorious. Viewed in its design, its altitude, or even in its decoration, as a whole, or as a part, it enchants the eye, it satisfies the taste, it expands the soul. The very air

His Holy of Holies, nor be blasted by his brow."

Upon the four pillars (in one of which is a spiral staircase), and the great arches which sustain the dome, is a magnificent entablature, upon the frieze of which is the famous inscription: "Tu es Petrus et super hanc petrani ædificabo ecclesiam meam; et tibi dabo claves regni cœlorum." (Thou art Peter, and upon this rock will I build my Church; and to thee will I give the keys of the kingdom of Heaven). At the extremity of the great nave, on the right, is the statue in bronze of St. Peter, said to have been a statue of Jupiter Capitolinus! Under the great dome, and the high altar, is seen

The Chapel of the Confessum, where are preserved the remains of St. Peter.

Paul V. caused this chapel to be ornamented by Carlo Maderno: 142 lamps are always kept burng. Pius VI. is interred in it. His kneeling statue in marble is a fine work by Canova.

The High Altar, under a canopy, executed (1633) after the designs of Bernini, is all in bronze gilt, supported by four twisted columns of the composite order, 90 ft. high.

The chair of St. Peter, at the bottom of the tribune, is a bronze chair, enclosing the wooden one, which is said to have been used by St. Peter and his successors. Four figures by Bernini, which support the chair, represent four doctors of the church, St. Ambrose, St. Augustine, St. Athanasius, and St. John Chrysostom. On each side are tombs: on the left, of Paul 111. (Farnese) the work of G. della Porta; and on the right, of Urban VIII. (Barberini), the work of Bernini.

Coming from the tribune, turning to the right, and going round the church, the visitor will see, in several chapels, fine copies in mosaic of celebrated paintings, and the tombs of several Popes, and others, of which we will note the most interesting. Beginning at the right of St. Peter's chair, the first is the mausoleum of Paul III. The statue is in bronze; the marble figures represent Prudence and Justice. Opposite is the monument of Urban VIII., with a bronze statue of the Pope, and marble figures representing Justice and Charity. Proceeding along the south side of the church by the left transept, we see the tomb of Alexander VIII., with his bronze statue, and figures of Religion and Prudence in marble. Near this is the altar of St. Leo, over which is the enormous mar

ble bas-relief, representing the Pope threatening Attila with the vengeance of SS. Peter and Paul, if he approached Rome. Further on toward the transept, is the tomb of Alexander VII., on which the Pope is represented kneeling, surrounded by figures representing Justice, Prudence, Charity, and Truth. The figure of Truth was originally so nude, that Innocent XI. ordered the drapery which now covers it to be added. We now enter the south transept, and see the mosaic copy of Guido's Crucifixion of St. Peter. Over the altar of St. Peter and St. Andrew, farther on, is the mosaic copy of Roncalli's Ananias and Sapphira, the original of which is in the Church of S. Maria degli Angeli. Opposite, over the door, is the monument of Pius VIII., representing him in a kneeling posture, and our Lord behind, in the act of giving his benediction, with St. Peter and St. Paul on either side. The mosaic over the altar of St. Gregory is a copy of Sacchi's Miracle of St. Gregory. Close by is the tomb of Pius VII., by Thorwaldsen. It represents the Pope seated between two figures, representing History and Time, and lower down, two figures representing Power and Wisdom. Opposite is the mosaic copy of Raphael's Transfiguration. Entering the left aisle, we see the tomb of Leo IX., opposite that of Innocent XI. Passing the Capella del Coro, we see under the arch the tomb of Innocent VIII., a fine work in bronze. Opposite is the stucco memorial of Gregory XVI., and in the niche occupied by it, repose, until the death of his successor, the remains of the last Pope. Passing the chapel of the Presentazione, we see on the right, over the door

leading to the roof of the church, the monument of Maria Clementina Sobieski, wife of James 11I. the Pretender. Opposite is the monument of the Stuarts by Canova, representing the entrance to a mausoleum, guarded by genii. Beginning at the entrance door of the church, and following the north side, we see in the chapel della Pietà, the marble group of Michael Angelo," the Pietà," representing the Virgin with the dead body of the Saviour on her knees. It was executed by M. Angelo, at the age of twenty-four, but having, it is said, been ascribed to a Milanese sculptor, M. Angelo vindicated his claim to the work by carving his name on the girdle of the Virgin. On each side of the last named chapel, are two smaller chapels, closed with bronze doors. In the one on the left are preserved the relics of St. Peter; the other contains a marble column, said to be the one against which our Saviour leaned when he disputed with the doctors in the Temple at Jerusalem. Farther

on, in the aisle, is the statue of Leo XII., and opposite is the monument of Christina of Sweden. In the adjoining chapel, is the mosaic copy of the martyrdom of St. Sebastian, by Domenichino. Next, under the archway, are the monuments of Innocent XII., representing him sitting, supported by Charity and Justice, and that of the Countess Matilda. In the chapel of the Holy Sacrament, is a beautiful tabernacle of lapis lazuli and gilt bronze, resembling the circular temple by Bramante, in the church of S. Pietro in Montorio. In this chapel is the tomb of Sixtus IV., underneath which Julius 11. is buried. Under the adjoining arch is the tomb of Gregory XIII.,

whose statue is supported by figures of Religion and Power. Opposite is the tomb of Gregory XIV., consisting of a simple urn. On the great pier is the mosaic copy of the Communion of St. Jerome, by Domenichino. In the chapel of the Madonna del Soccorso, is the tomb of Gregory XV., and on one side the superb monument of Gregory XVI. Near it is the tomb of Benedict XIV., with his statue, and figures representing Science and Charity. The next tomb is that of Clement XIII., by Canova. It represents the Pope in the attitude of prayer; on one side is the figure of Death, with torch reversed; on the other, Religion holding the cross.

At

the angles are the celebrated lions, one sleeping, which are esteemed among the finest works of modern sculpture. Beyond is the mosaic copy of Guido's St. Michael. That of S. Petronilla, at the end of the aisle, is from Guercino's painting in the gallery of the Capitol. Close by is the tomb of Clement X., with a statue of that Pope.

The Grotte Vaticane, or subterranean church. Admission for gentlemen by applying at the Sacristy from 9 to 12. Ladies are admitted on Whitsunday, or by a special permission, which may be had through a consul or banker. It contains the tombs of a great number of Popes, of the three last princes of the house of Stuart, Otho II., many Cardinals and others.

ST. JOHN LATERAN is said to have been originally built by Constantine in the precincts of his own palace. Constantine's work having been destroyed by fire in the beginning of the 14th century, Clement V. began a new church on the site of the old one, and