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Mercury, conducting the shades of a pair bound with the hymeneal chain. This was found under the Piazza di Minerva. Another sarcophagus represents the battle of Theseus with the Amazons: strange fancy! to represent the most violent actions of life on the cold marble receptacles of death!

In the next room is a young Hercules, found on Mount Aventine; not as when he destroyed Cacus, but like a cub, before his enormous fat had been moulded into due proportion. Near is Esculapius in nero antico: Venere e Marte ritrovato nell' Isola sacra, che forme il Tevere vicinanze del mare. Caius Marius in a consular habit: the countenance is most expressive; he looks as if he had been already mourning amidst the ruins of Carthage. Isis, with the lotus on her head and the sistrum in her hand.

Then follow" Una delle Prefeche" (che piansero i defonti). Old age and grief in one horrible union! “Palatino Liberto, lacciatore, in atto d'innalzare un Lépre :" most spirited attitude; found near the Porta Libina. Then come the antique busts of great men.-A very elegant head of Virgil. Poor Socrates! Plato-a nose of sharp and delicate form: Demosthenes-the nose very fine; Mr. Brougham's forehead: Homer and Euripides-perfect poetic inspirations: old Socrates and Aspasia, side by side! Epicurus-not Epicurean: Julian-apostacy embodied--very bad indeed. Young Hercules strangling the serpents: he and the serpents eye each other with a steady gaze; each secure in conquest; the attitudes are wonderfully expressive. Diogenes seems so to have turned up his eyes as to have no chance of seeing terrestrial things again. Archimedes : I think a craniologist would not have guessed

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the name. Pythagoras and Aristophanes are most strikingly characteristic. We had our feet now icy cold, and we were glad to warmthem at the brazen laver of the Costode.

We then crossed the Capitol to the Galleria di Quadra. "Bacco e Ariadna" is so like a Guido, that I should not have discovered that it was not from his pencil. The next objects were-the Sibilla Persica del Guercino; two Madonnas by Caracci; L' Anima Beata di Guido Reni; an Angel, without blood (in the Apocalypse, souls are clothed with "white robes and have palms in their hands") -Europa, di Guido Reni; Polefemo, di Guido Reni; S. Petronilla, cavata del sepolcro, e mostrata a Flacco, nobile Romano, a cui era destinata; opera del Guercino : the mosaic in St. Peter's is from this painting. La Madonna con il Bambino, e San Francisco, di Caracci. St. Francis, appearing just to have received the five wounds. The Strega of Salvator Rosa; amid wild, rocky scenery, an enchanter is seated, surrounded by books of astrology, and a circle of torches emitting blue flames; his hair, long and white, hangs on his shoulders, and his shaggy head is covered with ivy. I could fancy Salvator seated among the Abruzzian Apennines, giving wing to his fancy, and forming this composition.

Endimione che dorme al chiaro della Luna, by Mola. In this picture, Diana is actually seated in the body of the moon. Are poesy and painting allowed to allegorize and yet preserve the original body? Is Diana the moon-or is the moon Diana? It is too much, Mola! In the midst of our interesting dilemma, the clock strikes four, and we are constrained to quit. Before we dined, we ran up to enjoy the sunset on Monte Pincio: such a one as Claude might

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have felt delicious. Rome reposing with its domes on a sky of indescribable brightness; and, on the opposite side of the horizon, the dark bases and rosy tops of the lofty Apennines.

On another most beautiful day, January 11, we had a delightful drive in the Borghese gardens. At the end of a long walk and terrace is a very pretty lake, and in it a modern temple dedicated to Esculapius. On the front is Esculapius Saviour" in Greek. This should not be

now; the times of ignorance are passed: there should be no dedication but to Him who is, indeed, able to

save.

We now took a farewell view of the fine old church of St. John Lateran. The magnificent altar of the holy sacrament is decorated with a tabernacle made with precious stones. The entablature and front, of gilt bronze, which is over the altar, rest on four columns of gilt brass. They are said to have been taken from the Capitol, and to be the same that Augustus caused to be made of the bronze rostra that formed the prows of the Egyptian ships taken at Actium. There are two most beautiful pillars, of giallo antico, at the side door, beneath the organ.

In one of the side chapels I observed a picture of the Virgin standing on the moon. In the portico of the façade, we saw a fine statue of Constantine, found in his therme. Here are likewise the gates of brass taken from the façade of the Basilica Emilius.

St. John Lateran and St. Paulo appear to have been built originally very much on the same plan: both have five naves, and both were sumptuous with marbles and pillars. They have each suffered by the ravages of fire.

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BORGHESE GARDENS.

Beyond these churches are endless ruins-temples, and palaces, and tombs.

"Here I track

Fallen states and buried greatness, o'er a land
Which was the mightiest in its old command,
And is the loveliest: and must ever be
The master-mould of Nature's heavenly hand,
Wherein were cast th' heroic and the free,

The beautiful, the brave, the lords of earth and sea."

CHAPTER XXIII.

Quit Rome for Naples-Sepolcro di Ascanio-The Alban Mount The Alban Lake—The Campagna-Circean Point-Velletri-Palazzo Lanceoletti-Convents-Tres Tabernæ of St. Paul-" Linea Pia," over the Appian Way--Pontine Marsh-Terracina.

THE rapid flight of time obliged us at length to resign our researches amidst the really astonishing productions of man in Rome, for the no less wonderful works of nature in the kingdom of Naples. We quitted this intensely interesting city by St. John Lateran and the Santa Scala, and stopped at St. Giovanni's gate to shew our passports. Whilst this affair was arranging, I kept my eye on the east. Morn was just rising, decked with orient hues; and Soracte lifted her wavelike form beautifully over the aqueducts which stretched in long lines across the desolate Campagna; and the city walls-the walls of Rome! with their dark hue added age to desolation.

During two or three miles, on our left were long lines of aqueducts, in various states of decay. On our right, the Appian way kept parallel to us, edged with tombs and mounds of earth of every shape.

We passed the Fossa Colia, the theatre of the combat of the Horatii and Curiatii. The soil continued a succession of uncultivated mounds, of dark muddy earth, with volcanic rock as a foundation.

We stopped a short time at a very solitary dwelling— Torre di Mezza Via. The inmates looked sallow and

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