Two Gobelins from pictures of Fra Bartolommeo at the Quirinal.

WALL OF EGRESS:

Christ with the Tribute Money: _Caravaggio_.

_5th Room._--

ENTRANCE WALL:

Entombment: _Venetian School_.

LEFT WALL:

Greek Baptism: _Pietro Nocchi_, 1840.

WALL OF EGRESS:

Holy Family: _Andrea del Sarto_.

_6th Room._--

ENTRANCE WALL:

Baptism of Christ: _Cesare da Sesto_.

LEFT WALL:

SS. Agnes and Emerentiana: _Luca Signorelli_; Annunciation: _F.

Francia_; SS. Laurence and Benedict (very peculiar, as scarcely showing their faces at all, but magnificent in colour): _Luca Signorelli_.

WALL OF EGRESS:

Coronation of the Virgin, with wings, of saints, angels, and doves: _F. Filippo Lippi_.

BETWEEN THE WINDOWS: S. Jerome, in tempera: _Giovanni Sanzio, father of Raphael_.

_7th Room._--

ENTRANCE WALL:

Pagan sacrifice: _Caravaggio_ (?).

LEFT WALL:

_Altar-piece by Antonio da Murano_, 1464.

WALL OF EGRESS:

Christ at Emmaus: _Caravaggio_.

_8th Room._--

An oil copy of the fresco of the Flagellation of St. Andrew by Domenichino, at S. Gregorio.

_9th Room._--

A set of beautiful terracotta busts and reliefs by _Pettrich_, illustrative of North American Indian life. This room is called the Hall of Council, and is surrounded by fresco portraits of popes, and pictures allegorical of their arms, &c.

The walls of the open galleries on this floor of the palace have been covered with early Christian inscriptions from the catacombs, which have been thus arranged in arches:--

1--3. Epitaphs of martyrs and others of temp. Damasus I. (366 to 384).

4--7. Dated inscriptions from 238 to 557.

8--9. Inscriptions relating to doctrine.

10.--Inscriptions relating to popes, presbyters, and deacons.

11--12. Inscriptions relating to simple ecclesiastics.

13.--Inscriptions of affection to relations and friends.

14--16. Symbolical.

17.--Simple epitaphs from different catacombs.

On the third floor of the palace are casts from the bas-reliefs on the column of Trajan.

Before leaving the Lateran altogether, we must notice amongst its early institutions, the famous school of music which existed here throughout the middle ages.

"Gregory the Great, whose object it seems to have been to render religion a thing of the senses, was the founder of the music of the Church. He instituted the school for it in the Lateran, whence the Carlovingian monarchs obtained teachers of singing and organ-playing. The Frankish monks were sent thither for instruction."--_Dyer's Hist. of the City of Rome._

Opposite the palace is the entrance of the _Villa Massimo Arsoli_, to which admission may be obtained by a permesso given at the Palazzo Massimo alle Colonne. There is little to see here, however, except a casino beautifully decorated with scenes taken from the great Italian poets by the modern German artists, Schnorr, Kock, Ph. Veit, Overbeck, and Fuhrich.

"Les sujets sont tires de Dante, de l'Arioste, et du Tasse. Dante a ete confide a Cornelius, l'Arioste a Schnorr, le Tasse a Overbeck, les trois plus celebres noms de cette ecole qui croit pouvoir remonter par une imitation savante a la navete du XVe.

siecle."--_Ampere, Voyage Dantesque._

Leading from the Piazza di San Giovanni to Sta. Maria Maggiore is the Via Immerulana, where, in the hollow, is the strange-looking _Church of SS. Pietro e Marcellino_, in which is preserved a miraculous painting of the Crucifixion; the figure upon the cross is supposed to move the eyes, when regarded by the faithful. This picture, a small replica of the magnificent Guido at S. Lorenzo in Lucina, is shown, behind a grille, by a nun of Sta. Theresa, veiled from head to foot in blue, like an immovable pillar of blue drapery.

"SS. Pietro e Marcellino stands in the valley behind the Esquiline, in the long, lonely road between Sta. Maria Maggiore and the Lateran. SS. Peter Exorcista and Marcellinus are always represented together in priestly habits, bearing their palms. Their legend relates, that in the persecution under Diocletian they were cast into prison. Artemius, keeper of the dungeon, had a daughter named Paulina, and she fell sick; and St. Peter offered to restore her to health, if her father would believe in the true God. And the jailer mocked him, saying, 'If I put thee into the deepest dungeon, and load thee with heavier chains, will thy God deliver thee? If he doth, I will believe in him.' And Peter answered, 'Be it so, not out of regard to thee; for it matters little to our God whether such an one as thou believe in him or not, but that the name of Christ may be glorified, and thyself confounded.'

"And in the middle of the night Peter and Marcellinus, in white shining garments, entered the chamber of Artemius as he lay asleep, who, being struck with awe, fell down and worshipped the name of Christ; and he, his wife, daughter, and three hundred others, were baptized. After this the two holy men were condemned to die for the faith, and the executioner was ordered to lead them to a forest three miles from Rome, that the Christians might not discover their place of sepulture. And when he had brought them to a solitary thicket overgrown with brambles and thorns, he declared to them that they were to die, upon which they cheerfully fell to work and cleared away a space fit for the purpose, and dug the grave in which they were to be laid. Then they were beheaded (June 2), and died encouraging each other.

"The fame of SS. Pietro e Marcellino is not confined to Rome. In the reign of Charlemagne they were venerated as martyrs throughout Italy and Gaul; and Eginhard, the secretary of Charlemagne who married his daughter Emma, is said to have held them in particular honour. Every one, I believe, knows the beautiful story of Eginhard and Emma,--and the connection of these saints with them, as their chosen protectors, lends an interest to their solitary deserted church. In the Roma Sotterranea of Bosio, p. 126, there is an ancient fragment found in the catacombs, which represents St. Peter Exorcista, St. Marcellinus, and Paulina, standing together."--_Mrs.

Jameson._

Behind the Santa Scala, a narrow lane leads to the _Villa Wolkonski_ (a "permesso" may be obtained through your banker), a most beautiful garden, running along the edge of the hill, intersected by the broken arches of the Aqua Claudia, and possessing exquisite views over the Campagna, with its lines of aqueducts to the Alban and Sabine mountains.

_No one should omit to visit this villa._

"Where the aqueducts, just about to enter the city, most nearly converge, and looking across the Campagna--which their arches only seem able to span--towards Albano and the hills, stands the Villa.

Embosomed in olive and in ilex trees, it is rich in hoar cypresses, in urns, and in those pathetic fragments of old workmanship which an undergrowth of violets and acanthus half hides, and half reveals."--_Vera._

About a mile beyond the Porta S. Giovanni, a road branches off on the left to the _Porta Furba_, an arch of the Aqua Felice, founded on the line of the Claudian and Marcian aqueducts. Artists may find a picturesque subject here in a pretty fountain, with a portion of the decaying aqueduct. Beyond the arch is the mound called _Monte del Grano_, which has been imagined to be the burial-place of Alexander Severus. Beyond this, the road (to Frescati) passes on the left the vast ruins, called _Sette Bassi_.