I have not mentioned the Church of San Carlo a’ Catinari, which however is a fine church, in the form of a Greek cross, or rather a Latin cross reversed, for the choir forms a longer arm than the others, and even these, being nearly equal to the width of the dome, are rather too deep. The gilding and ornament is spotty, but the frescos of Domenichino are very good, not equal however, to those at Sant Andrea.
In our way home we may look at the Church of Santa Maria sopra Minerva, in front of which is a paltry little obelisk, mounted upon the back of an elephant. The church was built about 1370, and retains a good deal of the work of that period, but it is only a sort of ill-understood Gothic. This church contains the celebrated statue of our Saviour supporting his cross, by Michael Angelo. Milizia calls it a ruffian, which however it is not; though the action is rather strong. The expression of the head in some points of view is fine, and even sublime; but not equally so in all; the muscles are large and flabby.
In the annexed convent is a library, said to be one of the richest in Italy; it was founded by Cardinal Casanatta, who left a considerable sum for its support, but like other things at Rome, it is a century behind London and Paris, and the Index expurgatorius is a great enemy to all public libraries.
Having given you an account of what is found in the inside of this great city, I shall proceed to the walls which enclose it, beginning with the Porta del Popolo, for the small part between this and the river presents no object of interest. This gate, according to the guide-books, was re-built from a design by Michael Angelo, and executed under the direction of Vignola; but it is not good, and part of it is more ancient, for the holes in the external towers, now filled up, but evidently made in order to get at the metal cramps which fastened the stones together, attest the antiquity of the lower part.
Turning to the right, the wall, strengthened with buttresses and arched recesses, forms the support of the Pincian hill. In this part we find the Muro torto, a great square mass, placed at an angle in the circuit, and corresponding in construction with the walls, that is, it is of rubble-work, with a facing of reticulated tufo. It considerably overhangs its base. There is no opening below, but above there appear to have been recesses and arches, corresponding with those of the wall. Antiquaries are not agreed as to what it has been. Beyond these we have towers and curtains of more modern work, erected for the purpose of city walls. Here and there a very ragged foundation occurs, which is perhaps of earlier date, and in one or two places there are blocks of marble, and other more decisive indications of ancient edifices.
The Porta Pia was opened by Pius the Fourth, in 1561. The designs were Michael Angelo’s, but it has never been finished, nor would it be handsome if it were. Here, by way of ornament, we see pateras with linen hanging over them, said to represent a barber’s basin and towel, and to have been intended by M. A. Buonarroti as a reproach to his employer for the lowness of his origin; but conveying a much severer reproach against M. Angelo himself, if the story be true; but it is exceedingly improbable.
After this we distinguish the external form of the Prætorian camp, and the wall is plain and without towers. In one place there are arches in the upper part, and traces of walls advancing at right angles. After this is a gateway stopt up, with one large scheme arch below, and six little arches above. Then comes the Porta San Lorenzo, built in the same style, perhaps by Aurelian, and repaired in 403, under the most unconquered princes, Arcadius and Honorius, as is recorded by an inscription. Within this is an arch of the aqueduct of the Aqua Marcia, repaired successively by Augustus, Titus, and Caracalla. There are stones disposed pedimentwise over the arch, and one of the ancient inscriptions runs horizontally across these stones. The walls continue to be of brick, with many towers, till we arrive at the angle by the Porta Maggiore, where some ancient aqueducts enter the walls. The Porta Maggiore is constructed of large blocks of travertine, and consisted anciently of two arches, as was usual in city gates, and three niches ornamented internally with cornices and pediments, one between, and one on each side of the entrances. It is supposed in the first instance to have formed part of an aqueduct, afterwards built up in the city walls; and if of five arches of an aqueduct three were filled up, and the two intermediate ones left open, a similar arrangement would result. Only one arch is now open, and the one which has been stopped up, does not seem to correspond exactly either in height or direction, with that through which the road passes. Two watercourses, the Anio novus and the Claudia, passed over it anciently, and the Acqua Felice has since been conducted through it. Three large inscriptions give due honours to Claudius, Vespasian, and Titus. Just to the north of this gate three other water-courses enter the wall of the city. The two upper are the Julia and Tepula, in rubble-work, which rest upon the constructions in peperino, of the Marcia. Another half buried, supposed to be the Anio vetus, is seen at the bottom. I hope in a succeeding walk to be able to give you some further idea of these aqueducts. To the right, as you issue from the gate, you find the wall made up of an ancient aqueduct, by filling up the arches; this is also observable on the inside, where, from the garden containing the temple of Venus and Cupid, you may trace a considerable portion of the different constructions.
A little after leaving these aqueducts, you arrive at the remains of an amphitheatre, part of the circuit of which is built up in the walls; it consists of a range of Corinthian columns with arches between them, all of brick, and a small fragment of a second range; the brickwork is pretty well executed, but by no means equal to that of the temple of Rediculus. It is remarkable that the bricks of the arches are laid to a centre considerably lower than the centre of the curve. They are redder and longer than the others.
In this part are various traces of old foundations built up in the circuit of the wall, and nearer to the Porta San Giovanni, some reticulated work occurs. This gate is entirely modern, and not of an architecture to require any attention. Very near to it is another gate which has been stopped up. After this the walls are of very shabby brickwork, propt up by buttresses of different dates, and here and there shewing traces of the old work of walls or sepulchres. Here as I was making my memoranda, (in May, 1817) I found a poor wretch who was seeking, if by chance he could find anything which could be eaten, among the refuse vegetables which the gardeners had thrown over the walls. I gave him two bajocs, for which he was extremely grateful, and would kiss my hand. I did not like absolutely to refuse the customary expression of gratitude, but I quite felt the dirt. This may serve to shew to what a state the people here are reduced, by the failure, or at least the great deficiency both of the vintage and the harvest, last year.
The next gate is the Porta Latina, which is shut. There is the fragment of a brick edifice, just out of the walls, in the style of the temple of Rediculus, but of the Doric order, with two half columns of brick. In one place among the old peperino constructions which support the wall, are appearances which indicate a casing of marble or travertine.