We ascend to the lantern by an easy stairway, where we have a magnificent view of the surrounding country, extending to the blue waters of the Mediterranean. The ball on the summit affords room for sixteen persons, though from the ground it appears little larger than a man's hat.
Previous to the Papal states being incorporated into the Italian kingdom, it was customary, on certain days in the year, to present from this church a grand spectacle—a vast illumination of the dome, facade and colonnades by four thousand four hundred lamps. It is thought that this great display will never be repeated. The Pope has remained singularly quiet, refusing to officiate at public festivals since Victor took possession of Rome. Some attribute this inaction to a design to awaken sympathy and create a stirring interest in his favor with Catholic communities throughout the world. We were informed to-day that the Pope had just received a delegation of distinguished gentlemen from England, representing a large body of men, who had solemnly engaged to render whatever assistance he might require.
We called at the American minister's to-day; not finding him at home, we left our cards with his secretary. We shall probably have an interview with him before leaving Rome. Our tour under Mr. Cook's management thus far has proved perfectly satisfactory. Our railroad transits have invariably been first-class, and our hotels generally. We remain here three days, then go to Naples.
Naples, Italy, January 28th, 1873.
We were much interested in the Vatican Palace, the residence of the Pope. It embraces an immense area—one thousand one hundred and fifty-one feet in length, seven hundred and sixty-seven in breadth, eight grand staircases, two hundred smaller ones, twenty courts and four thousand four hundred and twenty-two apartments. It contains a vast collection of the most celebrated marble statuary and paintings in the world.
The ingenuity and wealth of the Roman pontiffs during many centuries have been employed to make this palace suitable for the accommodation of the representatives of St. Peter in regard to splendor and magnificence.
The distinguished artist, Michael Angelo, was engaged a number of years in decorating some of these apartments with his best paintings. One of these we noticed in particular was a large picture in fresco, covering one end of a lofty room, fifty feet wide; it is called "The Last Judgment." Michael Angelo labored nearly eight years upon this work. Pope Paul III manifested much interest in this painting, and, to encourage the artist, went to his studio, accompanied by ten of his cardinals, which was considered an extraordinary condescension on the part of "His Holiness." He wished the picture painted in oil, but the artist would not consent, declaring that "oil painting was an occupation fit only for women and idlers and such as had plenty of time to throw away." In the upper part of the picture is the Savior seated in the act of pronouncing judgment, On one side are a multitude of saints and patriarchs, on the other the martyrs with the symbols of their sufferings—St. Catherine with the wheel on which she was broken, St. Sebastian with the arrows by which he was killed, St. Bartholomew carrying his skin, etc. Below is a group of angels sounding the last trumpet and carrying the books of judgment. On the left is represented the condition of the damned—the demons are seen coming out of the pit to seize them as they struggle to escape, their features expressing the utmost despair, at the same time exhibiting passions of rage, anguish and defiance. On the opposite side the saints are rising slowly from their graves, aided by angels to ascend into the regions of the blest.
Paul III was displeased with the nudity of the figures and intended to destroy the whole. On hearing this objection of the Pope, Michael Angelo said, "Tell the Pope that this is but a small affair, and easy to be remedied: let him reform the world, and pictures will reform themselves." The Pope engaged Volterra to cover the most conspicuous figures with drapery, which caused the Italians to nickname him Braghettone, that is, the breeches maker. Michael Angelo was obliged to submit to the Pope's will, but revenged himself in the following style upon Biagio, master of ceremonies, who suggested the indelicacy of the figures. He represented him in one of the angles of the picture standing in hell as Midas, with ass's ears, his body encircled by a serpent. Biagio requested the Pope to compel the artist to expunge this figure, but he declared he could only release from purgatory.
We made an excursion of several miles in the country, traveling on the celebrated Appian Way, a road built in ancient times by the Romans. They were accustomed to bury their dead beyond the city along the sides of this thoroughfare, for which purpose thousands of monuments were built, thickly studding both sides of the way—a distance of about thirteen miles—many of them massive and lofty, built of brick, stone and concrete, with an external covering of polished marble, ornamented with beautiful statuary, and otherwise magnificently decorated. Among the monumental ruins is one said to contain the remains of Seneca, the great moralist, one of my favorite authors, who unjustly suffered death by the order of Nero. His statue in marble, like a protecting angel, still remains over the crumbling ruins of his monument, and even should this statue also disappear, the elevating moral sentiments he inculcated cannot perish, but will ever perpetuate his memory.
We saw a spacious enclosure, where the Romans practised burning the bodies of the dead, in order to place their ashes in urns or vases, to be deposited in tombs. We were shown the remains of the bathing establishment of Caracalla, constructed somewhat on the principle of the Turkish bath. It embraced an area of about forty acres, most of which had been covered with arched mason work, now fallen down. A large portion of the wall still remains; some fifteen feet depth of earth has been excavated to show its original plan and grandeur.