is “as near” to her, as she herself says, as Mr. Page. The Storys left the Porta Pinciana to live at No. 93 in the Piazza di Spagna, and in the same house with the Brownings, in the Bocca di Leone, Mr. Page had his apartment. To Lowell, Mr. Story wrote of the Brownings:—
“The Brownings and we became great friends in Florence, and, of course, we could not become friends without liking each other. He, Emelyn says, is like you. He is of my size, but slighter, with straight black hair, small eyes, a smooth face, and manner nervous and rapid. He has great vivacity, but not the least humor; some sarcasm, considerable critical faculty, and very great frankness and friendliness of manner and mind. Mrs. Browning will sit buried up in a large easy-chair listening and talking very quietly and pleasantly. Very unaffected is she. … I have hundreds of statues in my head, but they are in the future tense. Powers I knew very well in Florence. He is a man of great mechanical talent and natural strength of perception, but with no poetry in his composition, and I think no creative power. … I have been to hear Allegri’s ‘Miserere’ in the Sistine Chapel, with the awful and mighty figures of Michael Angelo looking down from the ceiling; to hear Guglielmi’s ‘Miserere’ in St. Peter’s, while the gloom of evening was gathering in the lofty aisles and shrouding the frescoed domes, was a deeply affecting and solemnly beautiful experience. Never can one forget the plaintive wailing of the voices that seemed to implore pity and pardon.”
It was in 1856 that the Storys located themselves in Palazzo Barberini, which Bernini designed and which was built “out of the quarry of the Coliseum” by Urban VIII. It is one of the wonderful old palaces of Rome,—this mass of Barberini courts, gardens, terraces, and vast apartments, with the interminable winding stairs, where on one landing Thorwaldsen’s lion lies before the great doors decorated with the arms of Popes and princes. Here the old Cardinal Barberini lived his stormy life; here are the gallery and the library—the latter stored with infinite treasures of ancient documents, old maps whose portrayal of the earth bears little resemblance to the present, and famous manuscripts and volumes in old vellum, some fifty thousand in all. In the Barberini gallery are a few noted works—Raphael’s “Fornarina,” Guido’s “Beatrice Cenci,” a “Holy Family” by Andrea del Sarto, and others.
SPANISH STEPS, PIAZZA TRINITÀ DEI MONTI, ROME
The Via delle Quattro Fontane, on which the Palazzo Barberini stands, might well be known as the street of the wonderful vista. One strolls down it to the Via Sistina and to Piazza Trinità de’ Monti at the head of the Spanish steps (the Scala di Spagna), pausing for the loveliness of the view. Across the city rises the opposite height of Monte Mario, and to the left the Janiculum, now crowned with the magnificent equestrian statue of Garibaldi, which is in evidence from almost every part of Rome. As far as the eye can see the Campagna stretches away, infinite as the sea—a very Campagna Mystica. The luminous air, the faint, misty blue of the distance, the deep purple shadows on the hills, make up a landscape of color. At the foot of the Spanish steps the flower venders spread out their wares—great bunches of the flame-colored roses peculiar to Italy, the fragrant white hyacinths, golden jonquils, baskets of violets, and masses of lilies of the valley.
On many a night of brilliant moonlit glory the artistic sojourners in Rome lingered on the parapet of the Pincian Hill watching the moonlight flood the Eternal City until churches and palaces seemed to swim in a sea of silver. Or in the morning, when the rose-red of dawn was aglow, there seemed to hover over the city that wraith of mist whose secret Claude Lorraine surprises in his landscapes. These dawn visions of mysterious, incredible beauty are a part of the very identity of Rome.
There were mornings when the Hawthornes with Mrs. Jameson or some other friend would drive out to the old San Lorenzo (fuori le mura), the church founded by Constantine in 330 on the site where the body of St. Lawrence was buried. At various periods the church was enlarged and finally, as recently as in 1864, Pio Nono had great improvements made under the architect Vespignani. In the piazza in front was placed an immense column of red granite, some sixty feet high, with the statue of St. Lawrence, a standing figure, at the top. It is most impressive. The colonnade at the entrance of the church is decorated with frescoes and contains two immense sarcophagi, whose sides are beautifully sculptured with reliefs. The roof is supported by six Ionic columns. Entering the church one finds an interior of three aisles divided by colossal columns of Oriental granite. In the middle aisle, on both sides the galleries, are fresco paintings illustrating the martyrdom of St. Lawrence and of St. Stephen, one series on the right and the other on the left. One of these paintings, especially, of the life of St. Lawrence, is strangely haunting to the imagination. It represents the youthful, slender figure, nude, save for slight drapery, laid on the gridiron while the fire is being kindled under it and the fagots shovelled in. The physical shrinking of the flesh—of every nerve—from the torture, the spiritual strength and invincible energy of the countenance, are wonderfully depicted. The great aisle was painted by order of Pius IX by Cesare Fracassini; in it are two pulpits of marble. A double staircase of marble conducts to that part of the Basilica of Constantine which by Honorius III was converted into the presbytery. It is decorated at the upper end by twelve columns of violet marble which rise from the level of the primitive basilica beneath. At the end is the ancient pontifical seat, adorned with mosaic and precious marbles. The papal altar is under a canopy in the Byzantine style. The pavement of this presbytery is worthy of particular attention. Descending to the confessional which is under the high altar the tomb of the martyred saints, Lawrence, Stephen, and Justin, is found.
TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME
It was the request of Pio Nono that his mortal body should rest here, where it is placed in a simple tomb, according to his own instructions; but the chapel is very rich in decoration which was paid for by money sent from all parts of the world.
The chapel walls are entirely encrusted in mother-of-pearl, gilt bronze, and beautiful marbles. The mosaic paintings are formed of gold and precious stones of fabulous value. This interior is perhaps the richest in the world in its decoration. San Lorenzo is a patriarchal church, and one of the seven pilgrimage churches of Rome. Near San Lorenzo is the Campo Verano, a cemetery containing many beautiful memorial sculptures.
In those days, half a century ago, the entrance most often used by visitors to Rome was through the Via Flaminia and the Porta del Popolo, opening on the Piazza del Popolo, rather the most picturesque and impressive place in all Rome. On the left is the Pincian Hill (Monte Pincio), with its rich terraces, balustrades, its beautiful porticos filled with statuary, its groves of cypress and ilex trees; a classic vision rising on the sight and enchanting the imagination. On the side opposite the Porta three roads diverge in fan shape—the Via Babuino, the Corso, and the Ripetta, with the “twin churches” side by side; one between the Babuino and the Corso, the other between the Corso and the Ripetta.
The Corso (which was the ancient Flaminian Way) runs straight to the Piazza Venezia at the foot of the Capitoline Hill. This Piazza del Popolo was widened and decorated by Pius VII. It is formed by two semicircles, adorned with fountains and statues, and terminated by four symmetrical edifices. In the semicircles are colossal groups in marble, and a road opposite the Pincio leads to the Ponte Margherita and the Prati di Castello.
The obelisk in the centre of the piazza was brought to Rome from Heliopolis by Cæsar Augustus and originally stood in the Circus Maximus. It was erected here by Pope Sixtus V, and it is nearly a hundred feet in height. It is formed of red granite, and while it has been broken in three places, the hieroglyphics are still legible. This obelisk was first erected in Egypt as a part of the Temple of the Sun at Heliopolis, in a period preceding that of Rameses II. After the battle of Actium, Augustus transported it to Rome, and it was first placed in the Circus Maximus, but during the reign of Valentinian it fell from its pedestal and lay buried in the earth, until in the sixteenth century Pope Sixtus V had it placed in the centre of the Piazza del Popolo, and consecrated it to the cross. The two inscriptions are on opposite sides. One thus reads:—
“The