40. Herodias with the Head of John the Baptist: _Pordenone_. A grand bust of Andrew Doria.

50. "The Confessor:" _Rubens_.

53. Joanna of Arragon: _School of Leonardo da Vinci_.*

56. Magdalene: _School of Titian_.

61. Adoration of the Infant Jesus: _Gio. Batt. Benvenuti_ ('_l'Ortolano_').

66. Holy Family: _Garofalo_.

69. Glory crowning Virtue (a sketch): _Correggio_.

80. Portrait of Titian and his Wife: _Titian_. Also a number of pictures of the Creation: _Breughel_.

_3rd Gallery._--

1, 6, 28, 34. Landscapes (with figures introduced): _Ann. Caracci_.

5. Landscape, with Mercury stealing cattle: _Claude Lorraine_.

10. Titian's Wife: _Titian_.

11. "Niccolaus Macchiavellus Historiar. Scriptor:" _Bronzino_.

12. "The Mill:" _Claude Lorraine_.*

"The foreground of the picture of 'the Mill' is a piece of very lovely and perfect forest scenery, with a dance of peasants by a brook-side; quite enough subject to form, in the hands of a master, an impressive and complete picture. On the other side of the brook, however, we have a piece of pastoral life; a man with some bulls and goats tumbling head foremost into the water, owing to some sudden paralytic affection of all their legs. Even this group is one too many; the shepherd had no business to drive his flock so near the dancers, and the dancers will certainly frighten the cattle. But when we look farther into the picture, our feelings receive a sudden and violent shock, by the unexpected appearance, amidst things pastoral and musical, of the military; a number of Roman soldiers riding in on hobby-horses, with a leader on foot, apparently encouraging them to make an immediate and decisive charge on the musicians. Beyond the soldiers is a circular temple, in exceedingly bad repair; and close beside it, built against its very walls, a neat water-mill in full work; by the mill flows a large river with a weir across it.... At an inconvenient distance from the water-side stands a city, composed of twenty-five round towers and a pyramid. Beyond the city is a handsome bridge; beyond the bridge, part of the Campagna, with fragments of aqueducts; beyond the Campagna the chain of the Alps; on the left, the cascades of Tivoli.

"This is a fair example of what is commonly called an 'ideal'

landscape; _i.e._ a group of the artist's studies from nature, individually spoiled, selected with such opposition of character as may insure their neutralizing each other's effect, and united with sufficient unnaturalness and violence of association to insure their producing a general sensation of the impossible."--_Ruskin's Modern Painters._

"Many painters take a particular spot, and sketch it to perfection; but Claude was convinced that taking nature as he found it, seldom produced beauty. Neither did he like exhibiting in his pictures accidents of nature. He professed to pourtray the style of general nature, and so his pictures were a composition of the various draughts which he had previously made from beautiful scenes and prospects."--_Sir J. Reynolds._

18. Pieta: _Ann. Caracci_.

23. Landscape, with the Temple of Apollo: _Claude Lorraine_.

26. Portrait: _Mazzolino_.

27. Portrait: _Giorgione_.

33. Landscape, with Diana hunting: _Claude Lorraine_.

At the end of this gallery is a small cabinet, containing the gems of the collection:--

1. Portrait of a "Letterato:" _Lucas V. Leyden?_*

2. Portrait of Andrea Doria: _Sebastian del Piombo_.*

3. Portrait of Giannetto Doria: _Bronzino_.*

4. Portrait of S. Filippo Neri, as a boy: _Barocci_.

5. Portrait of Innocent X.; Gio. Battista Pamfili (1644--55): _Velasquez_.*

6. Entombment: _John Emelingk_.*

Here, also, is the bust of the late beloved Princess Doria (Lady Mary Talbot), which has always been veiled in crape since her death.

The _4th Gallery_ is decorated with mirrors, and with statues of no especial merit.

"In the whole immense range of rooms of the Palazzo Doria, I saw but a single fire-place, and that so deep in the wall that no amount of blaze would raise the atmosphere of the room ten degrees.

If the builder of the palace, or any of his successors, have committed crimes worthy of Tophet, it would be a still worse punishment to him to wander perpetually through this suite of rooms, on the cold floors of polished brick tiles, or marble, or mosaic, growing a little chiller and chiller through every moment of eternity--or at least, till the palace crumbles down upon him."--_Hawthorne, Notes on Italy._

Opposite the Palazzo Doria is the _Palazzo Salviati_. The next two streets on the left lead into the long narrow square called _Piazza Santi Apostoli_, containing several handsome palaces. That on the right is the _Palazzo Odescalchi_, built by Bernini, in 1660, for Cardinal Fabio Chigi, to whose family it formerly belonged. It has some fine painted and carved wooden ceilings. This palace is supposed to be the scene of the latest miracle of the Roman Catholic Church. The present Princess Odescalchi had long been bedridden, and was apparently dying of a hopeless disease, when, while her family were watching what they considered her last moments, the pope (Pius IX.) sent, by the hands of a nun, a little loaf (panetello), which he desired her to swallow. With terrible effort, the sick woman obeyed, and was immediately healed, and on the following day the astonished Romans saw her go in person to the pope, at the Vatican, to return thanks for her restoration!

The building at the end of the square is the _Palazzo Valentini_, which once contained a collection of antiquities.

Near this, on the left, but separated from the piazza by a courtyard, is the vast _Palazzo Colonna_, begun, in the fifteenth century, by Martin V., and continued at various later periods. Julius II. at one time made it his residence, and also Cardinal (afterwards San Carlo) Borromeo.

Part of it is now the residence of the French ambassadors. The palace is built very near the site of the ancient fortress of the Colonna family--so celebrated in times of mediaeval warfare with the Orsini--of which one lofty tower still remains, in a street leading up to the Quirinal.

The _Gallery_ is shown every day, except Sundays and holidays, from 11 to 3. It is entered by the left wing. The first room is a fine, gloomy old hall, containing the family dais, and hung with decaying Colonna portraits. Then come three rooms covered with tapestries, the last containing a pretty statue of a girl, sometimes called Niobe. Hence we reach the pictures. The _1st Room_ has an interesting collection of the early schools, including Madonnas of _Filippo Lippi_; _Luca Longhi_; _Botticelli_; _Gentile da Fabriano_; _Innocenza da Imola_; a curious Crucifixion, by _Jacopo d'Avanzo_; and a portrait by _Giovanni Sanzio_, father of Raphael.

The ceiling of the _3rd Room_ has a fresco, by _Battoni_ and _Luti_, of the apotheosis of Martin V. (Oddone Colonna, 1417--24). Among its pictures, are St. Bernard, _Giovanni Bellini_; Onuphrius Pavinius, _Titian_; Holy Family, _Bronzino_; Peasant dining, _Annibale Caracci_; St. Jerome, _Spagna_; Portrait, _Paul Veronese_; Holy Family, _Bonifazio_.

Hence we enter the _Great Hall_, a truly grand room, hung with mirrors and painted with flowers by _Mario de' Fiori_, and with genii by _Maratta_. The statues here are unimportant. The ceiling is adorned with paintings, by _Coli_ and _Gherardi_, of the battle of Lepanto, Oct. 8, 1571, which Marc-Antonio Colonna assisted in gaining. The best pictures are the family portraits:--Federigo Colonna, _Sustermanns_; Don Carlo Colonna, _Vandyke_; Card. Pompeio Colonna, _Lorenzo Lotto_; Vittoria Colonna, _Muziano_; Lucrezia Colonna, _Vandyke_; Pompeio Colonna, _Agostino Caracci_; Giacomo Sciarra Colonna, _Giorgione_. We may also notice an extraordinary picture of the Madonna rescuing a child from a demon, by _Niccolo d'Alunno_, with a double portrait, by _Tintoret_, on the right wall, and a Holy Family of _Palma Vecchio_ at the end of the gallery. Near the entrance are some glorious old cabinets, inlaid with ivory and lapis-lazuli. On the steps leading to the upper end of the hall is a bomb left on the spot where it fell during the siege of Rome in 1848.

(Through the palace access may be obtained to the beautiful Colonna Gardens; but as they are generally visited from the Quirinal, they will be noticed in the description of that hill.)

"On parle d'un Pierre Colonna, depouille de tous ses biens en 1100 par le pape Pascal II. Il fallait que la famille fut deja passablement ancienne, car les grandes fortunes ne s'elevent pas en un jour."--_About._

"Si n'etoit le different des Ursins et des Colonnois (Orsini and Colonna) la terre de l'Eglise seroit la plus heureuse habitation pour les subjects, qui soit en tout le monde."--_Philippe de Comines._ 1500.

"Gloriosa Colonna, in cui s' appoggia Nostra speranza, e'l gran nome Latino, Ch'ancor non torte del vero cammino L'ira di Giove per ventosa pioggia."

_Petrarca, Sonnetto_ X.

Adjoining the Palazzo Colonna is the fine _Church of the Santi Apostoli_, founded in the sixth century, rebuilt by Martin V., in 1420, and modernized, _c._ 1602, by Fontana. The portico contains a magnificent bas-relief of an eagle and an oak-wreath (frequently copied and introduced in architectural designs).

"Entrez sous la portique de l'eglise des Saints-Apotres, et vous trouverez la, encadre par hasard dans le mur, un aigle qu'entoure une couronne d'un magnifique travail. Vous reconnaitrez facilement dans cet aigle et cette couronne la representation d'une ensigne romaine, telle que les bas-reliefs de la colonne Trajane vous en ont montre plusieurs; seulement ce qui etait la en petit est ici en grand."--_Ampere, Emp._ ii. 168.

Also in the portico, is a monument, by _Canova_, to Volpato, the engraver. Over the sacristy door is the tomb of Pope Clement XIV. (Giov.

Antonio Ganganelli, 1769-74), also by Canova, executed in his twenty-fifth year.

"La mort de Clement XIV. est du 22 Septembre, 1774. A cette epoque, Alphonse de Liguori etait eveque de Sainte-Agathe des Goths, au royaume de Naples. Le 22 Septembre, au matin, l'eveque tomba dans une espece de sommeil lethargique apres avoir dit la messe, et, pendant vingt-quatre heures, il demeura sans mouvement dans son fauteuil. Ses serviteurs s'etonnant de cet etat, le lendemain, avec lui:--'Vous ne savez pas, leur dit-il, que j'ai assiste le pape qui vient de mourir.' Peu apres, la nouvelle du deces de Clement arriva a Sainte Agathe."--_Gournerie, Rome Chretienne_, ii. 362.

In 1873 the traditional grave of St. Philip and St. James, the "Apostoli" to whom this church is dedicated, was opened during its restoration. Two bodies were found, enclosed in a sarcophagus of beautiful transparent marble, and have been duly enshrined. In the choir are monuments of the fifteenth century, to two relations of Pope Sixtus IV., Pietro Riario, and Cardinal Raffaelo Riario. To the right is the tomb of the Chevalier Girard, brother-in-law of Pope Julius II., and maitre d'hotel to Charles VIII. and Louis XII. of France. The tomb of Cardinal Bessarion was removed from the church, in 1702, to the cloisters of the adjoining Convent, which is the residence of the General of the Order of "Minori Conventuali" (Black Friars). The altar-piece represents the martyrdom of SS. Philip and James, by _Muratori_.