318 Palazzo Barberini. before whom "rosy finger'd Aurora" flies to announce his glad approach to earth, scattering fragrant flowers in her path, while the morning star, in form like a youthful cherub, and bearing a flaming torch, is wafted by gentlest breezes through the liquid, azure, air. A picture where all is celestial, aerial, lightness, taste and poetic grace. We were shown some other choice paintings, and our custode was expatiating on the immense sums given for them when I asked the price of this by Guido. The reply was very significant.-Ah! Signor, non c'è prezzo. Palazzo Barberini. The noble proprietor of this palace married a princess of the house of Colonna, one of the most illustrious of Rome. The public gallery is at the same time the resident apartment of the family; and as our visit occasioned the Princess to leave her room while we stayed, I feel myself the more bound thus to acknowledge her courtesy. Throughout this range of rooms I observed that style of furniture, comfort, and warmth, which distinguishes our mansions. The immense ceiling of the Grand Saloon is painted in fresco by Peter of Cortona with emblems, and allegories, allusive to the glories of the Barberini; and of the pictures, two chiefly demand recollection. Joseph and Potiphar's Wife by Belleverte. Admirable colouring, superadded to wonderful expression of intense, and thrilling, passion in a woman, finely Palazzo Colonna. 319 contrasted with the cool, heroic, strugglings of Joseph. The next is Guido's surprising representation of St. Andrew Corsini, kneeling at the altar; a prodigy of expression, and finish. There is an inimitable mosaic copy of this, in the Corsini chapel of the Church of St. John Lateran. Attached to the palace is also a library, said to contain 50,000 volumes, and equally liberally open to the public. Colonna Palace.-Has little left of its former grandeurs save its magnificent gallery about 200 feet long, and 35 broad. The pictures, and decorations, here, are comparatively very few, the columns that support the arched ceiling are of the finest Giall' Antico, but they lead the eye to the contemplation of a nobler scene, to the represen→ tation of that battle for which a Colonna had decreed to him all the honours of a Roman Triumph.* The blood of the Colonna family is as pure as any in Rome, and of their ancient, memorable, deeds we have also a record in Petrarch who says, Glorioso Colonna in cui s'appoggia Nostra speranza, e'l gran nome Latino. Sonnet ix.t For their arms they still bear a column. The Spada Palace has two paintings by Guido; Judith and Lucretia. * The battle of the Gulph of Lepanto. + The glorious Column on which our hopes repose, and the illustrious Roman name. 320 Pompey's Statue. It is also rich in antique sculpture, together with some very fine Grecian bassi-rilievi. These relics of ancient art are stuffed into a cold, dark, stone hall, filthy from accumulated dust, and dripping with the damps. Every object was for sale, the bassi-rilievi marked at 5000 crowns each: all to be sold, save one memorable relic, and one I was particularly anxious to see: the statue of Pompey, asserted as the identical one at whose base "great Cæsar fell." This colossal statue to the honour of Pompey was first placed in the Senate House; afterwards opposite to Pompey's theatre. Thrown down during the conflicts of the Gothic invasions it laid buried in the ground for ages, but being discovered towards the end of the sixteenth century, inclosed between two houses, so that each tenant claimed. the prize, finally agreeing to settle disputes by cutting the statue in halves; it was at this critical moment saved for the benefit, and future elucidations, of antiquarians by Pope Julius III who purchased it. When the French invaded Italy in 1798-9 one of their freaks in the flush of conquest was to act a play in the Coliseum for the amusement of the Grand Army. What so appropriate as Voltaire's Brutus, and what could give a higher dramatic zest than this very statue? This therefore they transported, first sawing off the extended arm because rather too long for easy Pompey's Statue. 321 conveyance, and then replacing it at its journey's end. I cannot say that the beauty of the statue will recommend it; its force lies in its associations. Then burst his mighty heart, And in his mantle muffling up his face, Even at the base of Pompey's statue, Which all the while ran blood, great Cæsar fell. Julius Cæsar. 20th Inst. There remain many more palaces to speak of, but I now propose, for the sake of variety, to describe a few churches, and, before I proceed further, it were better to make one general observation, viz. that in speaking of Rome I am well aware how many different, and clashing, opinions exist as to the modern names, definitions, and situations, assigned to Roman antiquities. Where so much learning has been displayed on each contending argument, how shall I attempt to decide which is the right one? but as I do not propose, or wish to enter into these deep discussions, I occasionally waive doubting, and adopt those distinctions which seem the most probable, the most generally acknowledged. Thus of the identity of Pompey's statue many scepticisms exist, but it is certain that there are equal probabilities to favour the supposition, and that it has no rival to dispute its pretensions. My object is to record correctly the historical, the genuine classical recollections of 322 Church of St, Lawrence. old Rome, and in exploring her relics to brighten the mind, and to light up the fancy, by the remembrance of the illustrious deeds, the patriotism, and the glories which the sight of them rekindles; yet it were indeed a matter of wonder if, after the convulsions of so many centuries, it could be possible to identify with mathematical accuracy every broken column, or half obliterated inscription. Be it further understood that in describing churches I shall also speak of certain miracles, of which I do not believe one single iota. The high altar of the church of St. Lawrence in Lucina, upon the Corso, contains a divine painting of Guido, a Crucifixion. The church of St. Peter in Vinculis is enriched with the famed sculpture of Michael Angelo's Moses. The prophet is colossal, sitting, and under his arm are the sacred tablets. Here is a subject just appropriate; a Frowning Legislator endued by Heaven with supernatural powers chiseled by the hands of a giant sculptor. This statue has excited many opposite opinions, as to its merits. It is, however, finely wrought, and completely expressive of that unbending, unalterable, authority which Divine command enforces. The miraculous sanctity of this church consists in its possession of the identical Chains with which St. Peter was bound both at Rome, and Jerusalem. St. Helena, mother of Constantine, found at Jeru |