Adjoining this church is the Seminario Romano, founded by Pius IV., on a system drawn up by his nephew, S. Carlo Borromeo. Eight hundred young boys are annually educated here. In order to gain admittance, it is necessary to be of Roman birth, to be acquainted with grammar, and to wish to take orders. Pupils are held to their first intention of entering the priesthood, by being compelled to refund all the expenses of their education, if they renounce it.
Nearly opposite the church is the Palazzo Altemps, built 1580, by Martino Lunghi. Its courtyard, due, like all the best palace work in Rome, to Baldassare Peruzzi, is exceedingly graceful and picturesque. Ancient statues and flowering shrubs occupy the spaces between the arches of the ground-floor, and on the first-floor is a loggia, richly decorated with delicate arabesques in the style of Giovanni da Udine. Near this loggia is a chapel of exceedingly beautiful proportions, and delicately worked detail. It has several good frescoes, especially the Flight into Egypt, and Sta. Cecilia singing to the Virgin and the Child. At the west end is a small gracefully proportioned music-gallery, in various coloured marbles; in an inner chapel is a fine bronze crucifix. The palace, of which the most interesting parts are shown on request, is now the property of the Duke of Gallese, to whom it came by the marriage of Jules Hardouin, Duke of Gallese, with Donna Lucrezia d'Altemps.
Following the Via S. Agostino by the mediæval Torre Sanguinea, whose name bears witness to the mediæval frays of popes and anti-popes, we reach the German national church of Sta. Maria dell' Anima, which derives its name from a marble group of the Madonna invoked by two souls in purgatory, found among the foundations, and now inserted in the tympanum of the portal. It was originally built c. 1440, with funds bequeathed by "un certo Giovanni Pietro," but enlarged in 1514; the façade is by Giuliano da Sangallo. The door-frames, of delicate workmanship, are by Antonio Giamberti.
The front entrance is generally closed, but one can always gain admittance from behind, through the courtyard of the German hospital.
The interior is peculiar, from its great height and width in comparison with its length. It is divided into three almost equal aisles. Over the high altar is a damaged picture of the Holy Family with saints, by Giulio Romano. On the right is the fine tomb of Pope Adrian VI., Adrian Florent (1522—23), designed by Baldassare Peruzzi, and carried out by Michelangelo Sanese and Niccolo Tribolo. This pope, the son of a ship-builder at Utrecht, was professor at the university of Louvain, and tutor of Charles V. After the witty, brilliant age of Julius II. and Leo X., he ushered in a period of penitence and devotion. He drove from the papal court the throng of artists and philosophers who had hitherto surrounded it, and he put a stop to the various great buildings which were in progress, saying, "I do not wish to adorn priests with churches, but churches with priests." Still he found the times so much too frivolous for him, that he only survived a year. In his epitaph we read:—
"Hadrianus hic situs est, qui nihil sibi infelicius in vita quam quod imperaret, duxit."[301]
and—
"Proh dolor! quantum refert in quæ tempora vel optimi.
.... Cujusque virtus incidat!"
The tomb was erected at the expense of Cardinal William of Enkenfort, the only prelate to whom he had time to give a hat.