water, which fall into a prodigious basin. This water was first conducted to Rome by Trajan, from the lake Braciano, through aqueducts of thirty-five miles extent. Passing on from this Pauline fountain, we drove into the gardens of the Villa Pamfilia Doria, amidst groves, and fountains, and waterfalls, and an amphitheatre of jets-d'eau, ornamented with antique busts and sarcophagi, with various bas-reliefs. Rome is no more seen; but St. Peter's sits, majestic and alone, amidst Mons Marius, Soracte, the Tiburtine range, and the snowy tops of the lofty Apennines. Crossing the garden, in an opposite direction, the eye is led on over the dreary extent of the desert Campagna. Its malaria rises to these gardens-no one sleeps in its casina. The effects of the malaria are exhibited in various ways; but they are all varieties of fever, ague, typhus, &c., &c. The very ornaments flung over these gardens to adorn them, remind one of death. Tombs, and the constant dripping of waters, speak of the lapse of time. The lofty and sombre maritime stone-pines form a dark shadowing wing on the horizon, producing an effect quite peculiar to Rome: looking between their high trunks, the eye rests on ruins. Even the little French flower-garden looked dreary-no one is there: one asks for whom do these fountains flow? Over walks covered with grass, you reach a little wood, in which has been placed the sarcophagi found in the Aurelian way, and on which are sculptured the funeral rites of the ancients. Here, as in the gardens of the Borghese, tombs and heathen gods occupy the territory; nature is robbed of her charms, and the Christian hope is nowhere proclaimed.

The Palazzo Farnese is a very noble building, finished by the genius of Michael Angelo. Its walls were formed with Travertine stone, taken from the Coliseum. In the

square of the Baullari are two very large basins, of Egyptian granite, found in the Therme di Caracalla, seventeen feet in diameter and four and a half high: they receive a copious fountain. The whole of the Farnesian property belongs now to the King of Naples, including the greater part of the Palatine and Aventine, through the wife of Philip the Fifth of Spain, sole heiress of the Farnesian house, and mother to Charles the Third of Naples. Most of the fine marbles found in the baths of Caracalla, or the Aventine, are gone to Naples; amongst them the Farnesian bull, now in the museum there. The Palazzo Farnese is the residence of the Neapolitan ambassador. On the first floor is a noble saloon, sixty-two feet long, painted in fresco by Annibale Carracci: the centre picture represents the triumph of Bacchus and Ariadne. They are placed on separate cars:-the car of Bacchus is golden, that of Ariadne silver; the one drawn by tigers, the other by bucks. They are surrounded by fauns, satyrs, Bacchantes, and old Silenus leads the train. The next is Pan, offering the fleece of his flock to Diana; and then the light-winged Mercury, offering the golden apple to Paris. In another compartment is Galatea, encompassed by a troop of Tritons, crossing the sea. Aurora bears away Cephalus ; Polypheme plays on his flute of hundred reeds to charm Galatea; and the same one-eyed monster overwhelms Acis with a rock, as he flies with Galatea.

At the end of the saloon, Carracci has represented Andromeda fastened to a rock, and Perseus petrifying Proteus and his companions by the head of Medusa. The contrast between the figures turned to stone, and the living ones, displays great ingenuity. The whole saloon exhibits

noble composition and design, and the most graceful and harmonious colouring.

The three next rooms are in fresco, by Vasari, full of character and strength. Vasari has given a representation of the peace between Charles the Fifth and Francis the First.

In one compartment is seen Martin Luther disputing with Cajetan. The finely-cultivated genius of Leo the Tenth could not be insensible to the brilliant powers of Luther; he is said to have remarked, in the beginning of the controversy, "Brother Martin is a man of very fine genius-these squabbles are the effect of monastic envy." But, alas! self-interest silenced the dictate of better knowledge. Vasari has represented Cajetan in front of a palace-I suppose at Augsburg. He appears to be dismissing Luther with contempt, who stands firmly before him; and I fancied him saying, "I cannot recant but on scriptural grounds. Our peace consists in coming to Christ in lively faith. Without this, we may be absolved a thousand times by the Pope himself, but we shall never obtain on good grounds a quiet conscience."

In the next compartment the troops of Paul III. are barbarously destroying the Protestants in the Netherlands. This should have been blotted, even from the memory, in such a noble palace; above all, it should not stand boldly out to public detestation.

On one of the walls of the saloon is a rough head, sketched by Michael Angelo, with charcoal, done whilst he was inspecting the works of his élêve Vasari. It is in his gigantic style,-quite an Anakim.

CHAPTER XVII.

La Musica nella Chiesa di Gesù-Nuns-The Corso-Trifles-The Fountain of Egeria-Italian Marbles-Studio of Thorswalden.

January 1st, 1827.

SOME one saying to us-" Si canta in musica" il Veni Creator spiritus "alla chiesa de Gesù," we went to hear it. The singing and accompaniments were exceedingly beautiful, and the church was lighted up with great splendour. On the right of the cross aisle, is a fine picture of the death of St. Francis Xavier. I remember they told me at the convent of the Sœurs de la Charité, at Friburg, that wherever the body of St. Francis passed, in India, the plague (then raging dreadfully) immediately stopped, and that in consequence of this miracle the "Neuvième" was instituted.

The general of the Jesuits resides at this Convent of Gesù. Thinking the service would be long, we permitted our Italian servant to go for some affair of his own, desiring him to be sure to return in time. On coming out of the church we found it dark, and no servant at the door, and, taking a wrong turn, were surprised by the noble (but then alarming) portico of the Pantheon. We made our way to a shop, and got an old woman to escort us to the coach-stand on Monte Citorio. For the first time we found our knowledge of Italian essential to safety; as we are not quite so fond of moonlight walks in Rome as Co

rinne. Indeed, " l'enthousiasme, l'amour, et la gloire," must have put all sober thoughts out of our heads, had we enjoyed such untimely freaks. The very kind good nature of the old woman to two benighted forestiere, gave us a very pleasing impression of her feeling.

From many of the convents the young ladies of Rome are permitted to attend the high festivals at the Church of Gesù. We saw very many dressed in mourning; black flat hats, black tippets, sashes and gloves, and white frocks. We were told that all the young ladies of Rome are educated at convents, till they are quite grown up, and are seldom removed till the marriage is settled. We scarcely saw any young Italian girls about Rome either genteel or ungenteel. At so early an age as seven years they begin to confess. We had a most amusing account from a cavaliere, of the curiosity of those poor nuns, who never leave their convents. He was called upon to paint a picture for the benefit of the convent; nuns were to be introduced in it. The abbess entered with a young nun, desired her to kneel down, and cast her eyes to the ground; she did so, and kept herself in the same position for two hours, never lifting her eyes, or attempting to go, till the lady abbess desired her to rise; but the abbess herself, and two or three of the superior nuns, never ceased to importune him with questions. The painter introduced two or three friends, females, English ladies. One understood Italian, the rest did not. "Oh! how much is your friend to be pitied," said the abbess, "she cannot hear what we are telling you! How long do you stay in Rome? How long does it take you to go to England? Is this the fashion? What works do you do? Who reigns in England?" &c. &c., with the most garrulous haste. It was