10th November, 1644. We went to see Prince Ludovisio's villa, where was formerly the Viridarium of the poet, Sallust. The house is very magnificent, and the extent of the ground exceedingly large, considering that it is in a city; in every quarter of the garden are antique statues, and walks planted with cypress. To this garden belongs a house of retirement, built in the figure of a cross, after a particular ordonnance, especially the staircase. The whiteness and smoothness of the excellent pargeting was a thing I much observed, being almost as even and polished, as if it had been of marble. Above, is a fair prospect of the city. In one of the chambers hang two famous pieces of Bassano, the one a Vulcan, the other a Nativity; there is a German clock full of rare and extraordinary motions; and, in a little room below are many precious marbles, columns, urns, vases, and noble statues of porphyry, oriental alabaster, and other rare materials. About this fabric is an ample area, environed with sixteen vast jars of red earth, wherein the Romans used to preserve their oil, or wine rather, which they buried, and such as are properly called testæ. In the Palace I must never forget the famous statue of the Gladiator, spoken of by Pliny, so much followed by all the rare artists as the many copies testify, dispersed through almost all Europe, both in stone and metal. There is also a Hercules, a head of porphyry, and one of Marcus Aurelius. In the villa-house is a man's body flesh and all, petrified, and even converted to marble, as it was found in the Alps, and sent by the Emperor to one of the Popes; it lay in a chest, or coffin, lined with black velvet, and one of the arms being broken, you may see the perfect bone from the flesh which remains entire. The Rape of Proserpine, in marble, is of the purest white, the work of Bernini. In the cabinet near it are innumerable small brass figures, and other curiosities. But what some look upon as exceeding all the rest, is a very rich bedstead (which sort of gross furniture the Italians much glory in, as formerly did our grandfathers in England in their inlaid wooden ones) inlaid with all sorts of precious stones and antique heads, onyxes, agates, and cornelians, esteemed to be worth 80 or 90,000 crowns. Here are also divers cabinets and tables of the Florence work, besides pictures in the gallery, especially the Apollo – a conceited chair to sleep in with the legs stretched out, with hooks, and pieces of wood to draw out longer or shorter.
From this villa, we went to see Signor Angeloni's study, who very courteously showed us such a collection of rare medals as is hardly to be paralleled; divers good pictures, and many outlandish and Indian curiosities, and things of nature.
From him, we walked to Monte Cavallo, heretofore called Mons Quirinalis, where we saw those two rare horses, the work of the rivals Phidias and Praxiteles, as they were sent to Nero (by Tiridates King) out of Armenia. They were placed on pedestals of white marble by Sextus V., by whom I suppose their injuries were repaired, and are governed by four naked slaves, like those at the foot of the Capitol. Here runs a most noble fountain, regarding four of the most stately streets for building and beauty to be seen in any city of Europe. Opposite to these statues is the Pope's summer palace, built by Gregory XIII.; and, in my opinion, it is, for largeness and the architecture, one of the most conspicuous in Rome, having a stately portico which leads round the court under columns, in the centre of which there runs a beautiful fountain. The chapel is incrusted with such precious materials, that nothing can be more rich, or glorious, nor are the other ornaments and movables about it at all inferior. The hall is painted by Lanfranci, and others. The garden, which is called the Belvedere di Monte Cavallo, in emulation of that of the Vatican, is most excellent for air and prospect; its exquisite fountains, close walks, grots, piscinas, or stews for fish, planted about with venerable cypresses, and refreshed with water-music, aviaries, and other rarities.
12th November, 1644. We saw Dioclesian's Baths, whose ruins testify the vastness of the original foundation and magnificence; by what M. Angelo took from the ornaments about it, 'tis said he restored the then almost lost art of architecture. This monstrous pile was built by the labor of the primitive Christians, then under one of the ten great persecutions. The Church of St. Bernardo is made out of one only of these ruinous cupolas, and is in the form of an urn with a cover.
Opposite to this, is the Fontana delle Therme, otherwise called Fons Felix; in it is a basso-relievo of white marble, representing Moses striking the rock, which is adorned with camels, men, women, and children drinking, as large as life; a work for the design and vastness truly magnificent. The water is conveyed no less than twenty-two miles in an aqueduct by Sextus V., ex agro Columna, by way of Præneste, as the inscription testifies. It gushes into three ample lavers raised about with stone, before which are placed two lions of a strange black stone, very rare and antique. Near this are the store-houses for the city's corn, and over against it the Church of St. Susanna, where were the gardens of Sallust. The faciàta of this church is noble, the soffito within gilded and full of pictures; especially famous is that of Susanna, by Baldassa di Bologna. The tribunal of the high altar is of exquisite work, from whose marble steps you descend under ground to the repository of divers Saints. The picture over this altar is the work of Jacomo Siciliano. The foundation is for Bernadine Nuns.
Santa Maria della Vittoria presents us with the most ravishing front. In this church was sung the Te Deum by Gregory XV., after the signal victory of the Emperor at Prague; the standards then taken still hang up, and the impress waving this motto over the Pope's arms, Extirpentur. I observed that the high altar was much frequented for an image of the Virgin. It has some rare statues, as Paul ravished into the third heaven, by Fiamingo, and some good pictures. From this, we bent toward Dioclesian's Baths, never satisfied with contemplating that immense pile, in building which 150,00 °Christians were destined to labor fourteen years, and were then all murdered. Here is a monastery of Carthusians, called Santa Maria degli Angeli, the architecture of M. Angelo, and the cloister encompassing walls in an ample garden.
Mont Alto's villa is entered by a stately gate of stone built on the Viminalis, and is no other than a spacious park full of fountains, especially that which salutes us at the front; stews for fish; the cypress walks are so beset with statues, inscriptions, relievos, and other ancient marbles, that nothing can be more stately and solemn. The citron trees are uncommonly large. In the palace joining to it are innumerable collections of value. Returning, we stepped into St. Agnes church, where there is a tribunal of antique mosaic, and on the altar a most rich ciborio of brass, with a statue of St. Agnes in oriental alabaster. The church of Santa Constanza has a noble cupola. Here they showed us a stone ship borne on a column heretofore sacred to Bacchus, as the relievo intimates by the drunken emblems and instruments wrought upon it. The altar is of rich porphyry, as I remember. Looking back, we had the entire view of the Via Pia down to the two horses before the Monte Cavallo, before mentioned, one of the most glorious sights for state and magnificence that any city can show a traveler. We returned by Porta Pia, and the Via Salaria, near Campo Scelerato, in whose gloomy caves the wanton Vestals were heretofore immured alive.
Thence to Via Felix, a straight and noble street but very precipitous, till we came to the four fountains of Lepidus, built at the abutments of four stately ways, making an exact cross of right angles; and, at the fountains, are as many cumbent figures of marble, under very large niches of stone, the water pouring into huge basins. The church of St. Carlo is a singular fabric for neatness, of an oval design, built of a new white stone; the columns are worth notice. Under it is another church of a structure nothing less admirable.
Next, we came to Santa Maria Maggiore, built upon the Esqueline Mountain, which gives it a most conspicuous face to the street at a great distance. The design is mixed partly antique, partly modern. Here they affirm that the Blessed Virgin appearing, showed where it should be built 300 years since. The first pavement is rare and antique; so is the portico built by P. P. Eugenius II. The ciborio is the work of Paris Romano, and the tribunal of Mosaic.
We were showed in the church a concha of porphyry, wherein they say Patricius, the founder, lies. This is one of the most famous of the seven Roman Churches, and is, in my opinion at least, after St. Peter's, the most magnificent. Above all, for incomparable glory and materials, are the two chapels of Sextus V. and Paulus V. That of Sextus was designed by Dom. Fontana, in which are two rare great statues, and some good pieces of painting; and here they pretended to show some of the Holy Innocents' bodies slain by Herod: as also that renowned tabernacle of metal, gilt, sustained by four angels, holding as many tapers, placed on the altar. In this chapel is the statue of Sextus, in copper, with basso-relievos of most of his famous acts, in Parian marble; but that of P. Paulus, which we next entered, opposite to this, is beyond all imagination glorious, and above description. It is so encircled with agates, and other most precious materials, as to dazzle and confound the beholders. The basso-relievos are for the most part of pure snowy marble, intermixed with figures of molten brass, double gilt, on lapis lazuli. The altar is a most stupendous piece; but most incomparable is the cupola painted by Giuseppe Rheni, and the present Baglioni, full of exquisite sculptures. There is a most sumptuous sacristia; and the piece over the altar was by the hand of St. Luke; if you will believe it. Paulus V. hath here likewise built two other altars; under the one lie the bones of the Apostle, St. Matthias. In another oratory, is the statue of this Pope, and the head of the Congo Ambassador, who was converted at Rome, and died here. In a third chapel, designed by Michael Angelo, lie the bodies of Platina, and the Cardinal of Toledo, Honorius III., Nicephorus IV., the ashes of St. Hierom, and many others. In that of Sextus V., before mentioned, was showed us part of the crib in which Christ was swaddled at Bethlehem; there is also the statue of Pius V.; and going out at the further end, is the resurrection of Lazarus, by a very rare hand. In the portico, is this late inscription: "Cardinal Antonio Barberino Archypresbytero, aream marmoream quam Christianorum pietas exsculpsit, laborante sub Tyrannis ecclesiâ, ut esset loci sanctitate venerabilior, Francis Gualdus Arm. Eques S. Stephani è suis ædibus huc transtulit et ornavit, 1632." Just before this portico, stands a very sublime and stately Corinthian column, of white marble, translated hither for an ornament from the old Temple of Peace, built by Vespasian, having on the plinth of the capital the image of our Lady, gilt on metal; at the pedestal runs a fountain. Going down the hill, we saw the obelisk taken from the Mausoleum of Augustus, and erected in this place by Domenico Fontana, with this epigraph: "Sextus V. Pont. Max. Obeliscum ex Egypto advectum, Augusti in Mausoleo dicatum, eversum deinde et in plures confractum partes, in via ad S. Rochum jacentem, in pristinam faciem restitutum Salutiferæ Cruci feliciùs hic erigi jussit, anno MDLXXXVIII, Pont. III"; and so we came weary to our lodgings.
At the foot of this hill, is the church of St. Prudentia, in which is a well, filled with the blood and bones of several martyrs, but grated over with iron, and visited by many devotees. Near this stands the church of her sister, S. Praxedeis, much frequented for the same reason. In a little obscure place, canceled in with iron work, is the pillar, or stump, at which they relate our Blessed Savior was scourged, being full of bloody spots, at which the devout sex are always rubbing their chaplets, and convey their kisses by a stick having a tassel on it. Here, besides a noble statue of St. Peter, is the tomb of the famous Cardinal Cajetan, an excellent piece; and here they hold that St. Peter said his first mass at Rome, with the same altar and the stone he kneeled on, he having been first lodged in this house, as they compute about the forty-fourth year of the Incarnation. They also show many relics, or rather rags, of his mantle. St. Laurence in Panisperna did next invite us, where that martyr was cruelly broiled on the gridiron, there yet remaining. St. Bridget is buried in this church under a stately monument. In the front of the pile is the suffering of St. Laurence painted á fresco on the wall. The fabric is nothing but Gothic. On the left is the Therma Novatii; and, on the right, Agrippina's Lavacrum.
14th November, 1644. We passed again through the stately Capitol and Campo Vaccino toward the Amphitheater of Vespasian, but first stayed to look at Titus's Triumphal Arch, erected by the people of Rome, in honor of his victory at Jerusalem; on the left hand whereof he is represented drawn in a chariot with four horses abreast; on the right hand, or side of the arch within, is sculptured in figures, or basso-relievo as big as the life (and in one entire marble) the Ark of the Covenant, on which stands the seven-branched candlestick described in Leviticus, as also the two Tables of the Law, all borne on men's shoulders by the bars, as they are described in some of St. Hierom's bibles; before this, go many crowned and laureated figures, and twelve Roman fasces with other sacred vessels. This much confirmed the idea I before had; and therefore, for the light it gave to the Holy History, I caused my painter, Carlo, to copy it exactly. The rest of the work of the Arch is of the noblest, best understood composita; and the inscription is this, in capital letters:
S. P. Q. R
D. TITO, D. VESPASIANI, F. VESPASIANI AVGVSTO
Santa Maria Nova is on the place where they told us Simon Magus fell out of the air at St. Peter's prayer, and burst himself to pieces on a flint. Near this is a marble monument, erected by the people of Rome in memory of the Pope's return from Avignon. Being now passed the ruins of Meta-Sudante (which stood before the Colosseum, so called, because there once stood here the statue of Commodus provided to refresh the gladiators), we enter the mighty ruins of the Vespasian Amphitheatre, begun by Vespasian, and finished by that excellent prince, Titus. It is 830 Roman palms in length (i. e. 130 paces), 90 in breadth at the area, with caves for the wild beasts which used to be baited by men instead of dogs; the whole oval periphery 2888-4/7 palms, and capable of containing 87,000 spectators with ease and all accommodation: the three rows of circles are yet entire; the first was for the senators, the middle for the nobility, the third for the people. At the dedication of this place were 5,000 wild beasts slain in three months during which the feast lasted, to the expense of ten millions of gold. It was built of Tiburtine stone, a vast height, with the five orders of architecture, by 30,000 captive Jews. It is without, of a perfect circle, and was once adorned thick with statues, and remained entire, till of late that some of the stones were carried away to repair the city walls and build the Farnesian palace. That which still appears most admirable is, the contrivance of the porticos, vaults, and stairs, with the excessive altitude, which well deserves this distich of the poet:
"Omnis Cæsareo cedat labor Amphitheatro;
Unum pro cunctis fama loquatur opus."
Near it is a small chapel called Santa Maria della Pieta nel Colisseo, which is erected on the steps, or stages, very lofty at one of its sides, or ranges, within, and where there lives only a melancholy hermit. I ascended to the very top of it with wonderful admiration.
The Arch of Constantine the Great is close by the Meta-Sudante, before mentioned, at the beginning of the Via Appia, on one side Monte Celio, and is perfectly entire, erected by the people in memory of his victory over Maxentius, at the Pons Milvius, now Ponte Mole. In the front is this inscription:
IMP. CAES. FL. CONSTANTINO MAXIMO
P. F. AVGVSTO S. P. Q. R
QVOD INSTINCTV DIVINITATIS MENTIS
MAGNITVDINE CVM EXERCITV SVO
TAM DE TYRANNO QVAM DE OMNI EIVS
FACTIONE VNO TEMPORE IVSTIS
REMPVBLICAM VLTVS EST ARMIS
ARCVM TRIVMPHIS INSIGNEM DICAVIT
Hence, we went to St. Gregorio, in Monte Celio, where are many privileged altars, and there they showed us an arm of that saint, and other relics. Before this church stands a very noble portico.
15th November, 1644. Was very wet, and I stirred not out, and the 16th I went to visit Father John, Provincial of the Benedictines.
17th November, 1644. I walked to Villa Borghese, a house and ample garden on Mons Pincius, yet somewhat without the city walls, circumscribed by another wall full of small turrets and banqueting-houses; which makes it appear at a distance like a little town. Within it is an elysium of delight, having in the centre of it a noble palace; but the entrance of the garden presents us with a very glorious fabric, or rather door-case, adorned with divers excellent marble statues. This garden abounded with all sorts of delicious fruit and exotic simples, fountains of sundry inventions, groves, and small rivulets. There is also adjoining to it a vivarium for ostriches, peacocks, swans, cranes, etc., and divers strange beasts, deer, and hares. The grotto is very rare, and represents, among other devices, artificial rain, and sundry shapes of vessels, flowers, etc.; which is effected by changing the heads of the fountains. The groves are of cypress, laurel, pine, myrtle, and olive. The four sphinxes are very antique, and worthy observation. To this is a volary, full of curious birds. The house is square with turrets, from which the prospect is excellent toward Rome, and the environing hills, covered as they now are with snow, which indeed commonly continues even a great part of the summer, affording sweet refreshment. Round the house is a baluster of white marble, with frequent jettos of water, and adorned with a multitude of statues. The walls of the house are covered with antique incrustations of history, as that of Curtius, the Rape of Europa, Leda, etc. The cornices above consist of fruitages and festoons, between which are niches furnished with statues, which order is observed to the very roof. In the lodge, at the entry, are divers good statues of Consuls, etc., with two pieces of field artillery upon carriages, (a mode much practiced in Italy before the great men's houses) which they look on as a piece of state more than defense. In the first hall within, are the twelve Roman Emperors, of excellent marble; between them stand porphyry columns, and other precious stones of vast height and magnitude, with urns of oriental alabaster. Tables of pietra-commessa: and here is that renowned Diana which Pompey worshiped, of eastern marble: the most incomparable Seneca of touch, bleeding in an huge vase of porphyry, resembling the drops of his blood; the so famous Gladiator, and the Hermaphrodite upon a quilt of stone. The new piece of Daphne, and David, of Cavaliero Bernini, is observable for the pure whiteness of the stone, and the art of the statuary plainly stupendous. There is a multitude of rare pictures of infinite value, by the best masters; huge tables of porphyry, and two exquisitely wrought vases of the same. In another chamber, are divers sorts of instruments of music: among other toys that of a satyr, which so artificially expressed a human voice, with the motion of eyes and head, that it might easily afright one who was not prepared for that most extravagant sight. They showed us also a chair that catches fast any one who sits down in it, so as not to be able to stir out, by certain springs concealed in the arms and back thereof, which at sitting down surprises a man on the sudden, locking him in by the arms and thighs, after a true treacherous Italian guise. The perspective is also considerable, composed by the position of looking-glasses, which render a strange multiplication of things resembling divers most richly furnished rooms. Here stands a rare clock of German work; in a word, nothing but what is magnificent is to be seen in this Paradise.
The next day, I went to the Vatican, where, in the morning, I saw the ceremony of Pamfilio, the Pope's nephew, receiving a Cardinal's hat; this was the first time I had seen his Holiness in pontificalibus. After the Cardinals and Princes had met in the consistory, the ceremony was in the Pope's chapel, where he was at the altar invested with most pompous rites.
19th November, 1644. I visited St. Peter's, that most stupendous and incomparable Basilica, far surpassing any now extant in the world, and perhaps, Solomon's Temple excepted, any that was ever built. The largeness of the piazza before the portico is worth observing, because it affords a noble prospect of the church, not crowded up, as for the most part is the case in other places where great churches are erected. In this is a fountain, out of which gushes a river rather than a stream which, ascending a good height, breaks upon a round emboss of marble into millions of pearls that fall into the subjacent basins with great noise; I esteem this one of the goodliest fountains I ever saw.
Next is the obelisk transported out of Egypt, and dedicated by Octavius Augustus to Julius Cæsar, whose ashes it formerly bore on the summit; but, being since overturned by the barbarians, was re-erected with vast cost and a most stupendous invention by Domenico Fontana, architect to Sextus V. The obelisk consists of one entire square stone without hieroglyphics, in height seventy-two feet, but comprehending the base and all it is 108 feet high, and rests on four lions of gilded copper, so as you may see through the base of the obelisk and plinth of the pedestal.
Upon two faces of the obelisk is engraven
DIVO CAES. DIVI
IVLII F. AVGVSTO
TI. CAES. DIVI AVG
F. AVGVS. SACRVM
It now bears on the top a cross in which it is said that Sextus V. inclosed some of the holy wood; and under it is to be read by good eyes:
SANCTISSIMAE CRVCI
SEXTVS V. PONT. MAX
CONSECRAVIT
E. PRIORE SEDE AVVLSVM
ET CAESS. AVG. AC TIB
I. L. ABLATUM M.D.LXXXVI
On the four faces of the base below:
1. CHRISTVS VINCIT
CHRISTVS REGNAT
CHRISTVS IMPERAT
CHRISTVS AB OMNI MALO
PLEBEM SVAM DEFENDAT
2. SEXTVS V. PONT. MAX
OBELISCVM VATICANVM DIIS GENTIVM
IMPIO CVLTV DICATVM
AD APOSTOLORVM LIMINA
OPEROSO LABORE TRANSTVLIT
AN. M.D.LXXXVI. PONT. II
3. ECCE CRVX DOMINI
FVGITE PARTES
ADVERSAE
VINCIT LEO
DE TRIBV IVDA
4. SEXTVS V. PONT. MAX
CRVCI INVICTAE
OBELISCVM VATICANVM
AB IMPIA SVPERSTITIONE
EXPIATVM IVSTIVS
ET FELICITVS CONSECRAVIT
AN. M.D.L.XXXVI. PONT. II
A little lower:
DOMINICVS FONTANA EX PAGO MILIAGRI NOVOCOMENSIS
TRANSTVLIT ET EREXIT
It is reported to have taken a year in erecting, to have cost 37,975 crowns, the labor of 907 men, and 75 horses: this being the first of the four Egyptian obelisks set up at Rome, and one of the forty-two brought to the city out of Egypt, set up in several places, but thrown down by the Goths, Barbarians, and earthquakes. Some coaches stood before the steps of the ascent, whereof one, belonging to Cardinal Medici, had all the metal work of massy silver, viz, the bow behind and other places. The coaches at Rome, as well as covered wagons also much in use, are generally the richest and largest I ever saw. Before the facciata of the church is an ample pavement. The church was first begun by St. Anacletus, when rather a chapel, on a foundation, as they give out, of Constantine the Great, who, in honor of the Apostles, carried twelve baskets full of sand to the work. After him, Julius II. took it in hand, to which all his successors have contributed more or less.
The front is supposed to be the largest and best-studied piece of architecture in the world; to this we went up by four steps of marble. The first entrance is supported by huge pilasters; the volto within is the richest possible, and overlaid with gold. Between the five large anti-ports are columns of enormous height and compass, with as many gates of brass, the work and sculpture of Pollaivola, the Florentine, full of cast figures and histories in a deep relievo. Over this runs a terrace of like amplitude and ornament, where the Pope, at solemn times, bestows his Benediction on the vulgar. On each side of this portico are two campaniles, or towers, whereof there was but one perfected, of admirable art. On the top of all, runs a balustrade which edges it quite round, and upon this at equal distances are Christ and the twelve Disciples of gigantic size and stature, yet below showing no greater than the life. Entering the church, admirable is the breadth of the volto, or roof, which is all carved with foliage and roses overlaid with gold in nature of a deep basso-relievo, à l'antique. The nave, or body, is in form of a cross, whereof the foot-part is the longest; and, at the internodium of the transept, rises the cupola, which being all of stone and of prodigious height is more in compass than that of the Pantheon (which was the largest among the old Romans, and is yet entire) or any other known. The inside, or concave, is covered with most exquisite Mosaic, representing the Celestial Hierarchy, by Giuseppe d'Arpino, full of stars of gold; the convex, or outside, exposed to the air, is covered with lead, with great ribs of metal double gilt (as are also the ten other lesser cupolas, for no fewer adorn this glorious structure), which gives a great and admirable splendor in all parts of the city. On the summit of this is fixed a brazen globe gilt, capable of receiving thirty-five persons. This I entered, and engraved my name among other travelers. Lastly, is the Cross, the access to which is between the leaden covering and the stone convex, or arch-work; a most truly astonishing piece of art! On the battlements of the church, also all overlaid with lead and marble, you would imagine yourself in a town, so many are the cupolas, pinnacles, towers, juttings, and not a few houses inhabited by men who dwell there, and have enough to do to look after the vast reparations which continually employ them.
Having seen this, we descended into the body of the church, full of collateral chapels and large oratories, most of them exceeding the size of ordinary churches; but the principal are four incrusted with most precious marbles and stones of various colors, adorned with an infinity of statues, pictures, stately altars, and innumerable relics. The altar-piece of St. Michael being of Mosaic, I could not pass without particular note, as one of the best of that kind. The chapel of Gregory XIII., where he is buried, is most splendid. Under the cupola, and in the center of the church, stands the high altar, consecrated first by Clement VIII., adorned by Paul V., and lately covered by Pope Urban VIII.; with that stupendous canopy of Corinthian brass, which heretofore was brought from the Pantheon; it consists of four wreathed columns, partly channelled and encircled with vines, on which hang little puti birds and bees (the arms of the Barberini), sustaining a baldacchino of the same metal. The four columns weigh an hundred and ten thousand pounds, all over richly gilt; this, with the pedestals, crown, and statues about it, form a thing of that art, vastness, and magnificence, as is beyond all that man's industry has produced of the kind; it is the work of Bernini, a Florentine sculptor, architect, painter, and poet, who, a little before my coming to the city, gave a public opera (for so they call shows of that kind), wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy, and built the theater. Opposite to either of these pillars, under those niches which, with their columns, support the weighty cupola, are placed four exquisite statues of Parian marble, to which are four altars; that of St. Veronica, made by Fra. Mochi, has over it the reliquary, where they showed us the miraculous Sudarium indued with the picture of our Savior's face, with this inscription: "Salvatoris imaginem Veronicæ Sudario exceptam ut loci majestas decentèr custodiret, Urbanus VIII. Pont. Max. Marmoreum signum et Altare addidit, Conditorium extruxit et ornavit."
Right against this is that of Longinus, of a Colossean magnitude, also by Bernini, and over him the conservatory of the iron lance inserted in a most precious crystal, with this epigraph: "Longini Lanceam quam Innocentius VIII. à Bajazete Turcarum Tyranno accepit, Urbanus VIII. statuâ appositâ, et Sacello substructo, in exornatum Conditorium transtulit."
The third chapel has over the altar the statue of our countrywoman, St. Helena, the mother of Constantine the Great; the work of Boggi, an excellent sculptor; and here is preserved a great piece of the pretended wood of the holy cross, which she is said to have first detected miraculously in the Holy Land. It was placed here by the late Pope with this inscription: "Partem Crucis quam Helena Imperatrix è Calvario in Urbem adduxit, Urbanus VIII. Pont. Max. è Sissorianâ Basilicâ desumptam, additis arâ et statuâ, hìc in Vaticano collocavit."
The fourth hath over the altar, and opposite to that of St. Veronica, the statue of St. Andrew, the work of Fiamingo, admirable above all the other; above is preserved the head of that Apostle, richly enchased. It is said that this excellent sculptor died mad to see his statue placed in a disadvantageous light by Bernini, the chief architect, who found himself outdone by this artist. The inscription over it is this: