Frieze is in Architectural Detail.

On 19 Sep 1580 Catherine Willoughby Duchess Suffolk 1519-1580 (61) died. Her son Peregrine Bertie 13th Baron Willoughby de Eresby 1555-1601 (24) succeeded 13th Baron Willoughby de Eresby. Mary Vere Baroness Willoughby Eresby -1624 by marriage Baroness Willoughby de Eresby.

She was buried at St James' Church Spilsby with her second husband Richard Bertie Baron Willoughby 1516-1582 (63). Elizabethan Period. Sideboard Tomb. Cornice supported by three figures of a monk and two wildmen, each holding aloft a shield of arms. In the frieze are flowers, fruit and escutcheons.

Around 1535 Hans Holbein The Younger Painter 1497-1543. Drawing of Catherine Willoughby Duchess Suffolk 1519-1580. Around 1597 Robert

On 29 Aug 1582 Thomas St Paul -1582 died. He was buried at St Lawrence's Church Snarford. Monument to Thomas St Paul -1582 and Faith Grantham. Fine freestanding tomb chest with canopy. The sides of the tomb chest have acanthus Pilasters, the panels between contain wreathed shields. The full length recumbent albaster effigies show the man in full plate armour holding sword and prayerbook, head on helm, feet on a cushion with flowers. His wife is in a long dress with cloak and close fitting hat, holding a bible. The inscription runs round the top edge of the chest. The canopy is supported on six pillars, those at the angles being circular and bulbous, the others in the form of obelisks decorated with fishscale Paterae, with elaborate Ionic Capitals with roses in the necking. The entablature has an egg and dart frieze. Above the heads of the columns are five female and one male weepers. At the centre of the canopy is a raised altar bearing shields and surmounted by the kneeling figure of the heir clad in armour. In front kneels a larger figure of a girl. the monument is all painted and gilded.

On 28 Oct 1613 George St Paul Baronet St Paul 1562-1613 (51) died. He was buried at St Lawrence's Church Snarford. Monument to George St Paul Baronet St Paul 1562-1613 (51) and Frances Wray Countess Warwick -1634. Elizabethan Recumbent. A base supporting the reclining figures of the deceased with composite Pillars supporting an entablature and armorial termination. In the base is a central semi-circular niche containing a carving of the deceased's daughter, flanked by niches containing mourning putti. Above on the lower step is a figure of Frances in full mourning dress with formal Ruff and hat, reclining on a cushion holding a prayer book. On the upper step he reclines in plate armour with a sword. The figures are contained in a semi-circular headed Recess with roses in the archivolt and on the back wall is an inscribed rectangular panel with scrolls and memento mori. The Pillars to either side support a frieze and entablature from which rise flaming urns and at the angles, and at the centre is a raised achievement of arms flanked by scrolled shields and obelisks. Possibly sculpted by Cornelius Cure Sculptor -1607.

On 11 Sep 1617 Anthony Mildmay -1617 died. He was buried at the Church of St Leonard Church Apethorpe. His inscription reads ... Here sleepeth in the Lord with certaine hope of resurection Sr Antony Mildmay Knt eldet sonne to Sr Walter Mildmay Knt Chaunclor of the Exchequor. to Queene Elizabeth. He was Embassador from Queen Eliza: to the most Christian King of Fraunce Henry the 4th Ano. 1596; He was to Prince and Country faithful, and serviceable, in peace and warre, to freinds constant to enemies reconciliable. Bountiful and loved hospitality. He died September 11 1617.

On 27 Jul 1620 Grace Sharington 1552-1620 (68) died. She was buried at the Church of St Leonard Church Apethorpe. The inscription of her monument reads ... Here also lyeth Grace Ladie Mildmay the only wife of the saied Sr Antho: Mildmay one of the heyres of Sr Henry Sharington Knt: of Lacock in the County of Wiltes who lived 50 years maried to him and three years a widow after him. she was most devout, unspotedly chast mayd, wife, and widow, compassionate in heart, and charitably helpful with phisick, cloathes, nourishment, or counsels to any in misery, She was most careful and wise in managing worldly estate. So as her life was a blessing to hirs, and hir death she blessed them which hapned July 27 1620.

From RCHME Inventory. It is of grey veined and black marble and is partly gilded and painted. Two effigies lie on a black and white marble tomb chest beneath a baldachino consisting of a shallow dome with a cupola having round-headed openings in its drum, which give light to the interior. The baldachino is supported at each end by a rectangular pier onto which curtains, hanging from the architrave of the dome, are looped. Against the piers are standing figures representing the four Virtues, and the frieze is inscribed 'Devoute', 'Wise', 'Charitable' and 'Just'; the frieze is also inscribed 'Chaste' and 'Valiant'. The head of the figure representing Justice is modern. Seated on the cornice are smaller figures, on the E. of Faith and on the W. of Hope; on the cupola dome is a seated figure of Charity. Crowning the cornice are freestanding cartouches of arms of Mildmay (N.E. and S.E.) and Sherington (N.W. and S.W.). Against the cupola drum are shields of arms of Mildmay impaling Sherington, both quartered with alliances, and Mildmay quarterly. The W. pier of the baldachino is inscribed with a record of the setting up of the monument by Sir Francis Fane (37) in 1621. The tomb chest is enriched with emblems of mortality and eulogistically-phrased inscriptions record the lives of Sir Anthony on the S., and of Lady Grace on the N. The effigies lie on rush mats, he in Greenwich armour, she in full mantle, ruff and head-dress. The authorship of the monument is not known but the figures of the four Virtues are in the manner of Maximillian Colt (42) (cf. Cecil monument, Hatfield, Hertfordshire); the baldachino may be compared with that over the tomb of the Countess of Derby at Harefield, Middlesex, probably also by Colt (42).

Around 1585. Nicholas Hilliard Painter 1547-1619. Miniature Portrait of Anthony Mildmay -1617. Hilliard represents Mildmay standing in a luxurious tent filled with beautiful furniture preparing for a tournament surrounded by objects that allow the artist to feature a variety of rich textures including red velvet, blue ostrich feathers, and gleaming metal. Before 11 Sep 1617. Unknown Painter. Portrait of Anthony Mildmay -1617 at Emmanuel College which father Anthony Mildmay -1617 founded. Around 1625 Cornelius Johnson Painter 1593-1661. Portrait of Francis Fane 1st Earl Westmoreland 1580-1629.

After 1627. Monument in the Church of St Leonard Church Apethorpe to John Leigh -1627. Descended from the Leigh family of Addington. Grateful for further information as to his descent;

Black marble panel flanked by Ionic columns supporting a frieze enriched with fruit and flowers, and an inverted broken pediment on which rest a reclining figure and a cartouche of arms of Leigh quartered with others

On 03 Sep 1634 Edward Coke Lord Chief Justice 1552-1634 (82) died. Monument in Church of St Mary the Virgin Tittleshall. Simple sarcophagus on pedestal with lying effigy. Pair of flanking Tuscan columns supporting a full entablature with putti on frieze and broken segmental pediment. Carved and painted achievement in and above tympanum flanked by four reclining figures of the Virtues on pediment extrados.

Above. Quarterly of eight: Coke, Crispin, Folkard, Sparham, Nerford, Yarmouth, Knightley and Pawe. The crest is broken. Farrer says it was: On a chapeau Azure, turned up Ermine, an ostrich Argent, holding in its mouth a horseshoe Or. The motto reads Prudens qui Patiens.

The effigy was carved by John Hargrave, the rest of the memorial was made by Nicholas Stone 1587-1647 (47).

Below the effigy are three shields. Left Coke implaling Paston. His first wife Bridget Paston -1598. Middle Coke. Right Coke impaling Cecil; his second wife Elizabeth Cecil Countess Berkshire 1596-1672 (38).

Before 1634 Gilbert Jackson Painter 1595-1648. Portrait of Edward Coke Lord Chief Justice 1552-1634. 1593. Unknown Painter. Portrait of Edward Coke Lord Chief Justice 1552-1634.

John Evelyn's Diary 25 March 1644. 25 Mar 1644. We arrived at Caen, a noble and beautiful town, situate on the river Orne, which passes quite through it, the two sides of the town joined only by a bridge of one entire arch. We lay at the Angel, where we were very well used, the place being abundantly furnished with provisions, at a cheap rate. The most considerable object is the great Abbey and Church, large and rich, built after the Gothic manner, having two spires and middle lantern at the west end, all of stone. The choir round and large, in the center whereof elevated on a square, handsome, but plain sepulcher, is this inscription:

"Hoc sepulchrum invictissimi juxta et clementissimi conquestoris, Gulielmi, dum viverat Anglorum Regis, Normannorum Cenomannorumque Principis, hujus insignis Abbatiae piissimi Fundatoris: Cum anno 1562 vesano hæreticorum furore direptum fuisset, pio tandem nobilium ejusdem Abbatiae religiosorum gratitudinis sensu in tam beneficum largitorem, instauratum fuit, aº D'ni 1642. D'no Johanne de Bailhache Assætorii proto priore. D.D"..

On the other side are these monkish rhymes:

Qui rexit rigidos Northmannos, atq. Britannos.

Audacter vicit, fortiter obtinuit,.

Et Cenomanensis virtute coërcuit ensis,.

Imperiique sui Legibus applicuit.

Rex magnus parvâ jacet hâc Gulielm' in Urnâ,.

Sufficit et magno parva domus Domino.

Ter septem gradibus te volverat atq. duobus.

Virginis in gremio Phœbus, et hic obiit.

We went to the castle, which is strong and fair, and so is the town-house, built on the bridge which unites the two towns. Here are schools and an University for the Jurists.

The whole town is handsomely built of that excellent stone so well known by that name in England. I was led to a pretty garden, planted with hedges of alaternus, having at the entrance a screen at an exceeding height, accurately cut in topiary work, with well understood architecture, consisting of pillars, niches, friezes, and other ornaments, with great curiosity; some of the columns curiously wreathed, others spiral, all according to art.

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John Evelyn's Diary 04 November 1644. 04 Nov 1644. I came to Rome on the 4th of November, 1644, about five at night; and being perplexed for a convenient lodging, wandered up and down on horseback, till at last one conducted us to Monsieur Petit's, a Frenchman, near the Piazza Spagnola. Here I alighted, and, having bargained with my host for twenty crowns a month, I caused a good fire to be made in my chamber and went to bed, being so very wet. The next morning (for I was resolved to spend no time idly here) I got acquainted with several persons who had long lived at Rome. I was especially recommended to Father John, a Benedictine monk and Superior of his Order for the English College of Douay, a person of singular learning, religion, and humanity; also to Mr. Patrick Cary, an Abbot, brother to our learned Lord Falkland, a witty young priest, who afterward came over to our church; Dr. Bacon and Dr. Gibbs, physicians who had dependence on Cardinal Caponi, the latter being an excellent poet; Father Courtney, the chief of the Jesuits in the English College; my Lord of Somerset, brother to the Marquis of Worcester; and some others, from whom I received instructions how to behave in town, with directions to masters and books to take in search of the antiquities, churches, collections, etc. Accordingly, the next day, November 6th, I began to be very pragmatical.23.

In the first place, our sights-man (for so they name certain persons here who get their living by leading strangers about to see the city) went to the Palace Farnese, a magnificent square structure, built by Michael Angelo, of the three orders of columns after the ancient manner, and when architecture was but newly recovered from the Gothic barbarity. The court is square and terraced, having two pairs of stairs which lead to the upper rooms, and conducted us to that famous gallery painted by Augustine Caracci, than which nothing is more rare of that art; so deep and well-studied are all the figures, that it would require more judgment than I confess I had, to determine whether they were flat, or embossed. Thence, we passed into another, painted in chiaroscúro, representing the fabulous history of Hercules. We went out on a terrace, where was a pretty garden on the leads, for it is built in a place that has no extent of ground backward. The great hall is wrought by Salviati and Zuccharo, furnished with statues, one of which being modern is the figure of a Farnese, in a triumphant posture, of white marble, worthy of admiration. Here we were shown the Museum of Fulvius Ursinos, replete with innumerable collections; but the Major-Domo being absent, we could not at this time see all we wished. Descending into the court, we with astonishment contemplated those two incomparable statues of Hercules and Flora, so much celebrated by Pliny, and indeed by all antiquity, as two of the most rare pieces in the world; there likewise stands a modern statue of Hercules and two Gladiators, not to be despised. In a second court was a temporary shelter of boards over the most stupendous and never-to-be-sufficiently-admired Torso of Amphion and Dirce, represented in five figures, exceeding the life in magnitude, of the purest white marble, the contending work of those famous statuaries, Apollonius and Taurisco, in the time of Augustus, hewed out of one entire stone, and remaining unblemished, to be valued beyond all the marbles of the world for its antiquity and workmanship. There are divers other heads and busts. At the entrance of this stately palace stand two rare and vast fountains of garnito stone, brought into this piazza out of Titus's Baths. Here, in summer, the gentlemen of Rome take the FRESCO in their coaches and on foot. At the sides of this court, we visited the palace of Signor Pichini, who has a good collection of antiquities, especially the Adonis of Parian marble, which my Lord Arundel would once have purchased, if a great price would have been taken for it.

We went into the Campo Vaccino, by the ruins of the Temple of Peace, built by Titus Vespasianus, and thought to be the largest as well as the most richly furnished of all the Roman dedicated places: it is now a heap rather than a temple, yet the roof and volto continue firm, showing it to have been formerly of incomparable workmanship. This goodly structure was, none knows how, consumed by fire the very night, by all computation, that our blessed Savior was born.

From hence we passed by the place into which Curtius precipitated himself for the love of his country, now without any sign of a lake, or vorago. Near this stand some columns of white marble, of exquisite work, supposed to be part of the Temple of Jupiter Tonans, built by Augustus; the work of the capitals (being Corinthian) and architrave is excellent, full of sacrificing utensils. There are three other of Jupiter Stator. Opposite to these are the oratories, or churches, of St. Cosmo and Damiano, heretofore the Temples of Romulus; a pretty old fabric, with a tribunal, or tholus within, wrought all of Mosaic. The gates before it are brass, and the whole much obliged to Pope Urban VIII. In this sacred place lie the bodies of those two martyrs; and in a chapel on the right hand is a rare painting of Cavaliere Baglioni.

We next entered St. Lorenzo in Miranda. The portico is supported by a range of most stately columns; the inscription cut in the architrave shows it to have been the Temple of Faustina. It is now made a fair church, and has an hospital which joins it. On the same side is St. Adriano, heretofore dedicated to Saturn. Before this was once placed a military column, supposed to be set in the center of the city, from whence they used to compute the distance of all the cities and places of note under the dominion of those universal monarchs. To this church are likewise brazen gates and a noble front; just opposite we saw the heaps and ruins of Cicero's palace. Hence we went toward Mons Capitolinus, at the foot of which stands the arch of Septimus Severus, full and entire, save where the pedestal and some of the lower members are choked up with ruins and earth. This arch is exceedingly enriched with sculpture and trophies, with a large inscription. In the terrestrial and naval battles here graven, is seen the Roman Aries (the battering-ram); and this was the first triumphal arch set up in Rome. The Capitol, to which we climbed by very broad steps, is built about a square court, at the right hand of which, going up from Campo Vaccino, gushes a plentiful stream from the statue of Tiber, in porphyry, very antique, and another representing Rome; but, above all, is the admirable figure of Marforius, casting water into a most ample concha. The front of this court is crowned with an excellent fabric containing the Courts of Justice, and where the Criminal Notary sits, and others. In one of the halls they show the statues of Gregory XIII. and Paul III., with several others. To this joins a handsome tower, the whole faciata adorned with noble statues, both on the outside and on the battlements, ascended by a double pair of stairs, and a stately Posario.

In the center of the court stands that incomparable horse bearing the Emperor Marcus Aurelius, as big as the life, of Corinthian metal, placed on a pedestal of marble, esteemed one of the noblest pieces of work now extant, antique and very rare. There is also a vast head of a colossean magnitude, of white marble, fixed in the wall. At the descending stairs are set two horses of white marble governed by two naked slaves, taken to be Castor and Pollux, brought from Pompey's Theatre. On the balustrade, the trophies of Marius against the Cimbrians, very ancient and instructive. At the foot of the steps toward the left hand is that Colonna Miliaria, with the globe of brass on it, mentioned to have been formerly set in Campo Vaccino. On the same hand, is the palace of the Signiori Conservatori, or three Consuls, now the civil governors of the city, containing the fraternities, or halls and guilds (as we call them), of sundry companies, and other offices of state. Under the portico within, are the statues of Augustus Cæsar, a Bacchus, and the so renowned Colonna Rostrata of Duillius, with the excellent bassi-relievi. In a smaller court, the statue of Constantine, on a fountain, a Minerva's head of brass, and that of Commodus, to which belongs a hand, the thumb whereof is at least an ell long, and yet proportionable; but the rest of the colosse is lost. In the corner of this court stand a horse and lion fighting, as big as life, in white marble, exceedingly valued; likewise the Rape of the Sabines; two cumbent figures of Alexander and Mammea; two monstrous feet of a colosse of Apollo; the Sepulchre of Agrippina; and the standard, or antique measure of the Roman foot. Ascending by the steps of the other corner, are inserted four basso-relievos, viz, the triumph and sacrifice of Marcus Aurelius, which last, for the antiquity and rareness of the work, I caused my painter, Carlo Neapolitano, to copy. There are also two statues of the Muses, and one of Adrian, the Emperor; above stands the figure of Marius, and by the wall Marsyas bound to a tree; all of them excellent and antique. Above in the lobby are inserted into the walls those ancient laws, on brass, called the Twelve Tables; a fair Madonna of Pietro Perugino, painted on the wall; near which are the archives, full of ancient records.

In the great hall are divers excellent paintings of Cavaliero Giuseppe d'Arpino, a statue in brass of Sextus V. and of Leo X., of marble. In another hall are many modern statues of their late Consuls and Governors, set about with fine antique heads; others are painted by excellent masters, representing the actions of M. Scævola, Horatius Cocles, etc. The room where the Conservatori now feast upon solemn days, is tapestried with crimson damask, embroidered with gold, having a state or balduquino of crimson velvet, very rich; the frieze above rarely painted. Here are in brass, Romulus and Remus sucking the wolf, of brass, with the Shepherd, Faustulus, by them; also the boy plucking the thorn out of his foot, of brass, so much admired by artists. There are also holy statues and heads of Saints. In a gallery near adjoining are the names of the ancient Consuls, Prætors, and Fasti Romani, so celebrated by the learned; also the figure of an old woman; two others representing Poverty; and more in fragments. In another large room, furnished with velvet, are the statue of Adonis, very rare, and divers antique heads. In the next chamber, is an old statue of Cicero, one of another Consul, a Hercules in brass, two women's heads of incomparable work, six other statues; and, over the chimney, a very rare basso-relievo, and other figures. In a little lobby before the chapel, is the statue of Hannibal, a Bacchus very antique, bustoes of Pan and Mercury, with other old heads. All these noble statues, etc., belong to the city, and cannot be disposed of to any private person, or removed hence, but are preserved for the honor of the place, though great sums have been offered for them by divers Princes, lovers of art, and antiquity. We now left the Capitol, certainly one of the most renowned places in the world, even as now built by the design of the famous M. Angelo.

Returning home by Ara Cœli, we mounted to it by more than 100 marble steps, not in devotion, as I observed some to do on their bare knees, but to see those two famous statues of Constantine, in white marble, placed there out of his baths. In this church is a Madonna, reported to be painted by St. Luke, and a column, on which we saw the print of a foot, which they affirm to have been that of the Angel, seen on the Castle of St. Angelo. Here the feast of our Blessed Savior's nativity being yearly celebrated with divers pageants, they began to make the preparation. Having viewed the Palace and fountain, at the other side of the stairs, we returned weary to our lodgings.

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John Evelyn's Diary 19 November 1644. 19 Nov 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.





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:







On the four faces of the base below:





A little lower:


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:

St. Andreæ caput quod Pius II ex Achaiâ in Vaticanum asportandum curavit, Urbanus VIII. novis hic ornamentis decoratum sacrisque statuæ ac Sacelli honoribus coli voluit.

The relics showed and kept in this church are without number, as are also the precious vessels of gold, silver, and gems, with the vests and services to be seen in the Sacristy, which they showed us. Under the high altar is an ample grot inlaid with pietra-commessa, wherein half of the bodies of St. Peter and St. Paul are preserved; before hang divers great lamps of the richest plate, burning continually. About this and contiguous to the altar, runs a balustrade, in form of a theater, of black marble. Toward the left, as you go out of the church by the portico, a little beneath the high altar, is an old brass statue of St. Peter sitting, under the soles of whose feet many devout persons rub their heads, and touch their chaplets. This was formerly cast from a statue of Jupiter Capitolinus. In another place, stands a column grated about with iron, whereon they report that our Blessed Savior was often wont to lean as he preached in the Temple. In the work of the reliquary under the cupola there are eight wreathed columns brought from the Temple of Solomon. In another chapel, they showed us the chair of St. Peter, or, as they name it, the Apostolical Throne. But among all the chapels the one most glorious has for an altar-piece a Madonna bearing a dead Christ on her knees, in white marble, the work of Michael Angelo. At the upper end of the Cathedral, are several stately monuments, especially that of Urban VIII. Round the cupola, and in many other places in the church, are confession seats, for all languages, Hebrew, Greek, Latin, Spanish, Italian, French, English, Irish, Welsh, Sclavonian, Dutch, etc., as it is written on their friezes in golden capitals, and there are still at confessions some of all nations. Toward the lower end of the church, and on the side of a vast pillar sustaining a weighty roof, is the depositum and statue of the Countess Matilda, a rare piece, with basso-relievos about it of white marble, the work of Bernini. Here are also those of Sextus IV. and Paulus III., etc. Among the exquisite pieces in this sumptuous fabric is that of the ship with St. Peter held up from sinking by our Savior; the emblems about it are the Mosaic of the famous Giotto, who restored and made it perfect after it had been defaced by the Barbarians. Nor is the pavement under the cupola to be passed over without observation, which with the rest of the body and walls of the whole church, are all inlaid with the richest of pietra-commessa, in the most splendid colors of polished marbles, agates, serpentine, porphyry, calcedon, etc., wholly incrusted to the very roof. Coming out by the portico at which we entered, we were shown the Porta Santa, never opened but at the year of jubilee. This glorious foundation hath belonging to it thirty canons, thirty-six beneficiates, twenty-eight clerks beneficed, with innumerable chaplains, etc., a Cardinal being always archpriest; the present Cardinal was Francisco Barberini, who also styled himself Protector of the English, to whom he was indeed very courteous.

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John Evelyn's Diary 29 November 1644. 29 Nov 1644. I a second time visited the Medicean Palace, being near my lodging, the more exactly to have a view of the noble collections that adorn it, especially the bassi-relievi and antique friezes inserted about the stone work of the house. The Saturn, of metal, standing in the portico, is a rare piece; so is the Jupiter and Apollo, in the hall. We were now led into those rooms above we could not see before, full of incomparable statues and antiquities; above all, and haply preferable to any in the world, are the Two Wrestlers, for the inextricable mixture with each other's arms and legs is stupendous. In the great chamber is the Gladiator, whetting a knife; but the Venus is without parallel, being the masterpiece of one whose name you see graven under it in old Greek characters; nothing in sculpture ever approached this miracle of art. To this add Marcius, Ganymede, a little Apollo playing on a pipe; some relievi incrusted on the palace-walls; and an antique vas of marble, near six feet high. Among the pictures may be mentioned the Magdalen and St. Peter, weeping. I pass over the cabinets and tables of pietra commessa, being the proper invention of the Florentines. In one of the chambers is a whimsical chair, which folded into so many varieties, as to turn into a bed, a bolster, a table, or a couch. I had another walk in the garden, where are two huge vases, or baths of stone.

I went further up the hill to the Pope's Palaces at Monte Cavallo, where I now saw the garden more exactly, and found it to be one of the most magnificent and pleasant in Rome. I am told the gardener is annually allowed 2,000 scudi for the keeping of it. Here I observed hedges of myrtle above a man's height; others of laurel, oranges, nay, of ivy and juniper; the close walks, and rustic grotto; a crypt, of which the laver, or basin, is of one vast, entire, antique porphyry, and below this flows a plentiful cascade; the steps of the grotto and the roofs being of rich Mosaic. Here are hydraulic organs, a fish pond, and an ample bath. From hence, we went to taste some rare Greco; and so home.

Being now pretty weary of continual walking, I kept within, for the most part, till the 6th of December; and, during this time, I entertained one Signor Alessandro, who gave me some lessons on the theorbo.

The next excursion was over the Tiber, which I crossed in a ferry-boat, to see the Palazzo di Ghisi, standing in Transtevere, fairly built, but famous only for the painting á fresco on the volto of the portico toward the garden; the story is the Amours of Cupid and Psyche, by the hand of the celebrated Raphael d'Urbino. Here you always see painters designing and copying after it, being esteemed one of the rarest pieces of that art in the world; and with great reason. I must not omit that incomparable table of Galatea (as I remember), so carefully preserved in the cupboard at one of the ends of this walk, to protect it from the air, being a most lively painting. There are likewise excellent things of Baldassare, and others.

Thence we went to the noble house of the Duke of Bracciano, fairly built, with a stately court and fountain.

Next, we walked to St. Mary's Church, where was the Taberna Meritoria, where the old Roman soldiers received their triumphal garland, which they ever after wore. The high altar is very fair, adorned with columns of porphyry: here is also some mosaic work about the choir, and the Assumption is an esteemed piece. It is said that this church was the first that was dedicated to the Virgin at Rome. In the opposite piazza is a very sumptuous fountain.

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John Evelyn's Diary 21 May 1645. 21 May 1645. We dined at Sienna, where we could not pass admiring the great church built entirely both within and without with white and black marble in polished squares, by Macarino, showing so beautiful after a shower has fallen. The floor within is of various colored marbles, representing the story of both Testaments, admirably wrought. Here lies Pius II The bibliotéca is painted by P. Perrugino and Raphael. The life of Æneas Sylvius is in FRESCO; in the middle are the Three Graces, in antique marble, very curious, and the front of this building, though Gothic, is yet very fine. Among other things, they show St. Catharine's disciplining cell, the door whereof is half cut out into chips by the pilgrims and devotees, being of deal wood.

Setting out hence for Pisa, we went again to see the Duomo in which the Emperor Henry VII. lies buried, poisoned by a monk in the Eucharist. The bending tower was built by Busqueto Delichio, a Grecian architect, and is a stupendous piece of art. In the gallery of curiosities is a fair mummy; the tail of a sea-horse; coral growing on a man's skull; a chariot automaton; two pieces of rock crystal, in one of which is a drop of water, in the other three or four small worms; two embalmed children; divers petrifactions, etc. The garden of simples is well furnished, and has in it the deadly yew, or taxus, of the ancients; which Dr. Belluccio, the superintendent, affirms that his workmen cannot endure to clip for above the space of half an hour at a time, from the pain of the head which surprises them.

We went hence from Leghorn, by coach, where I took up ninety crowns for the rest of my journey, with letters of credit for Venice, after I had sufficiently complained of my defeat of correspondence at Rome.

The next day, I came to Lucca, a small but pretty territory and state of itself. The city is neat and well fortified, with noble and pleasant walks of trees on the works, where the gentry and ladies used to take the air. It is situate on an ample plain by the river Serchio, yet the country about it is hilly. The Senate-house is magnificent. The church of St. Michael is a noble piece, as is also St. Fredian, more remarkable to us for the corpse of St. Richard, an English king, who died here on his pilgrimage toward Rome. This epitaph is on his tomb:

Hic rex Richardus requiescit, sceptifer, almus;.

Rex Fuit Anglorum; regnum tenet iste Polorum.

Regnum demisit; pro Christo cuncta reliquit.

Ergo, Richardum nobis debit Anglia sanctum.

Hic genitor Sanctæ Wulburgæ Virginis almæ.

Est Vrillebaldi sancti simul et Vinebaldi,.

Suffragium quorum nobis det regna Polorum.

Next this, we visited St. Croce, an excellent structure all of marble both without and within, and so adorned as may vie with many of the fairest even in Rome: witness the huge cross, valued at £15,000, above all venerable for that sacred volto which (as tradition goes) was miraculously put on the image of Christ, and made by Nicodemus, while the artist, finishing the rest of the body, was meditating what face to set on it. The inhabitants are exceedingly civil to strangers, above all places in Italy, and they speak the purest Italian. It is also cheap living, which causes travelers to set up their rest here more than in Florence, though a more celebrated city; besides, the ladies here are very conversable, and the religious women not at all reserved; of these we bought gloves and embroidered stomachers, generally worn by gentlemen in these countries. The circuit of this state is but two easy days' journey, and lies mixed with the Duke of Tuscany's but having Spain for a protector (though the least bigoted of all Roman Catholics), and being one of the fortified cities in Italy, it remains in peace. The whole country abounds in excellent olives, etc.

Going hence for Florence, we dined at Pistoria, where, besides one church, there was little observable: only in the highway we crossed a rivulet of salt water, though many miles from the sea. The country is extremely pleasant, full of gardens, and the roads straight as a line for the best part of that whole day, the hedges planted with trees at equal distances, watered with clear and plentiful streams.

Rising early the next morning we arrived at Peggio Imperiale, being a palace of the Great Duke, not far from the city, having omitted it in my passage to Rome. The ascent to the house is by a stately gallery as it were of tall and overgrown cypress trees for near half a mile. At the entrance of these ranges, are placed statues of the Tiber and Arno, of marble; those also of Virgil, Ovid, Petrarch, and Dante. The building is sumptuous, and curiously furnished within with cabinets of pietra-commessa in tables, pavements, etc., which is a magnificence, or work, particularly affected at Florence. The pictures are, Adam and Eve by Albert Durer, very excellent; as is that piece of carving in wood by the same hand standing in a cupboard. Here is painted the whole Austrian line; the Duke's mother, sister to the Emperor, the foundress of this palace, than which there is none in Italy that I had seen more magnificently adorned, or furnished.

We could not omit in our passage to re-visit the same, and other curiosities which we had neglected on our first being at Florence. We went, therefore, to see the famous piece of Andrea del Sarto, in the Annunciata. The story is, that the painter in a time of dearth borrowed a sack of corn of the religious of that convent, and repayment being demanded, he wrought it out in this picture, which represents Joseph sitting on a sack of corn, and reading to the Blessed Virgin; a piece infinitely valued. There fell down in the cloister an old man's face painted on the wall in fresco, greatly esteemed, and broke into crumbs; the Duke sent his best painters to make another instead of it, but none of them would presume to touch a pencil where Andrea had wrought, like another Apelles; but one of them was so industrious and patient, that, picking up the fragments, he laid and fastened them so artificially together, that the injury it had received was hardly discernible. Andrea del Sarto lies buried in the same place. Here is also that picture of Bartolomeo, who having spent his utmost skill in the face of the angel Gabriel, and being troubled that he could not exceed it in the Virgin, he began the body and to finish the clothes, and so left it, minding in the morning to work on the face; but, when he came, no sooner had he drawn away the cloth that was hung before it to preserve it from the dust, than an admirable and ravishing face was found ready painted; at which miracle all the city came in to worship. It is now kept in the Chapel of the Salutation, a place so enriched by devotees, that none in Italy, save Loretto, is said to exceed it. This picture is always covered with three shutters, one of which is of massy silver; methinks it is very brown, the forehead and cheeks whiter, as if it had been scraped. They report that those who have the honor of seeing it never lose their sight—happy then we! Belonging to this church is a world of plate, some whole statues of it, and lamps innumerable, besides the costly vows hung up, some of gold, and a cabinet of precious stones.

Visiting the Duke's repository again, we told at least forty ranks of porphyry and other statues, and twenty-eight whole figures, many rare paintings and relievos, two square columns with trophies. In one of the galleries, twenty-four figures, and fifty antique heads; a Bacchus of M. Angelo, and one of Bandinelli; a head of Bernini, and a most lovely Cupid, of Parian marble; at the further end, two admirable women sitting, and a man fighting with a centaur; three figures in little of Andrea; a huge candlestick of amber; a table of Titian's painting, and another representing God the Father sitting in the air on the Four Evangelists; animals; divers smaller pieces of Raphael; a piece of pure virgin gold, as big as an egg. In the third chamber of rarities is the square cabinet, valued at 80,000 crowns, showing on every front, a variety of curious work; one of birds and flowers, of pietra-commessa; one, a descent from the cross, of M. Angelo; on the third, our Blessed Savior and the Apostles, of amber; and, on the fourth, a crucifix of the same. Between the pictures, two naked Venuses, by Titian; Adam and Eve, by Durer; and several pieces of Portdenone, and del Frate. There is a globe of six feet diameter. In the Armory, were an entire elk, a crocodile, and among the harness, several targets and antique horse-arms, as that of Charles V.; two set with turquoises, and other precious stones; a horse's tail, of a wonderful length. Then, passing the Old Palace, which has a very great hall for feasts and comedies, the roof rarely painted, and the side walls with six very large pictures representing battles, the work of Gio. Vassari. Here is a magazine full of plate; a harness of emeralds; the furnitures of an altar four feet high, and six in length, of massy gold; in the middle is placed the statue of Cosmo II, the bass-relievo is of precious stones, his breeches covered with diamonds; the moldings of this statue, and other ornaments, festoons, etc., are garnished with jewels and great pearls, dedicated to St. Charles, with this inscription, in rubies:

Cosimus Secundus Dei gratiâ Magnus Dux Etruriæ ex voto.

There is also a King on horseback, of massy gold, two feet high, and an infinity of such like rarities. Looking at the Justice, in copper, set up on a column by Cosmo, in 1555, after the victory over Sienna, we were told that the Duke, asking a gentleman how he liked the piece, he answered, that he liked it very well, but that it stood too high for poor men to come at it.

Prince Leopold has, in this city, a very excellent collection of paintings, especially a St. Catherine of P. Veronese; a Venus of marble, veiled from the middle to the feet, esteemed to be of that Greek workman who made the Venus at the Medici's Palace in Rome, altogether as good, and better preserved, an inestimable statue, not long since found about Bologna.

Signor Gaddi is a lettered person, and has divers rarities, statues, and pictures of the best masters, and one bust of marble as much esteemed as the most antique in Italy, and many curious manuscripts; his best paintings are, a Virgin of del Sarto, mentioned by Vassari, a St. John, by Raphael, and an Ecce Homo, by Titian.

The hall of the Academy de la Crusca is hung about with impresses and devices painted, all of them relating to corn sifted from the bran; the seats are made like breadbaskets and other rustic instruments used about wheat, and the cushions of satin, like sacks.

We took our farewell of St. Laurence, more particularly noticing that piece of the Resurrection, which consists of a prodigious number of naked figures, the work of Pontormo. On the left hand is the Martyrdom of St. Laurence, by Bronzino, rarely painted indeed. In a chapel is the tomb of Pietro di Medici, and his brother John, of copper, excellently designed, standing on two lions' feet, which end in foliage, the work of M. Angelo. Over against this, are sepulchres of all the ducal family. The altar has a statue of the Virgin giving suck, and two Apostles. Paulus Jovius has the honor to be buried in the cloister. Behind the choir is the superb chapel of Ferdinand I., consisting of eight faces, four plain, four a little hollowed; in the other are to be the sepulchres, and a niche of paragon, for the statue of the prince now living, all of copper gilt; above, is a large table of porphyry, for an inscription for the Duke, in letters of jasper. The whole chapel, walls, pavement, and roof, are full of precious stones united with the moldings, which are also of gilded copper, and so are the bases and capitals of the columns. The tabernacle, with the whole altar, is inlaid with cornelians, lazuli, serpentine, agates, onyxes, etc. On the other side are six very large columns of rock crystal, eight figures of precious stones of several colors, inlaid in natural figures, not inferior to the best paintings, among which are many pearls, diamonds, amethysts, topazes, sumptuous and sparkling beyond description. The windows without side are of white marble. The library is the architecture of Raphael; before the port is a square vestibule of excellent art, of all the orders, without confusion; the ascent to it from the library is excellent. We numbered eighty-eight shelves, all MSS. and bound in red, chained; in all about 3,500 volumes, as they told us.

The Arsenal has sufficient to arm 70,000 men, accurately preserved and kept, with divers lusty pieces of ordnance, whereof one is for a ball of 300 pounds weight, and another for 160, which weighs 72,500 pounds.

When I was at Florence, the celebrated masters were: for pietra-commessa (a kind of mosaic, or inlaying, of various colored marble, and other more precious stones), Dominico Benetti and Mazotti; the best statuary, Vincentio Brochi. This statuary makes those small figures in plaster and pasteboard, which so resemble copper that, till one handles them, they cannot be distinguished, he has so rare an art of bronzing them; I bought four of him. The best painter, Pietro Beretino di Cortona.

This Duke has a daily tribute for every courtezan, or prostitute, allowed to practice that infamous trade in his dominions, and so has his Holiness the Pope, but not so much in value.

Taking leave of our two jolly companions, Signor Giovanni and his fellow, we took horses for Bologna; and, by the way, alighted at a villa of the Grand Duke's, called Pratolino. The house is a square of four pavilions, with a fair platform about it, balustred with stone, situate in a large meadow, ascending like an amphitheater, having at the bottom a huge rock, with water running in a small channel, like a cascade; on the other side, are the gardens. The whole place seems consecrated to pleasure and summer retirement. The inside of the palace may compare with any in Italy for furniture of tapestry, beds, etc., and the gardens are delicious, and full of fountains. In the grove sits Pan feeding his flock, the water making a melodious sound through his pipe; and a Hercules, whose club yields a shower of water, which, falling into a great shell, has a naked woman riding on the backs of dolphins. In another grotto is Vulcan and his family, the walls richly composed of corals, shells, copper, and marble figures, with the hunting of several beasts, moving by the force of water. Here, having been well washed for our curiosity, we went down a large walk, at the sides whereof several slender streams of water gush out of pipes concealed underneath, that interchangeably fall into each other's channels, making a lofty and perfect arch, so that a man on horseback may ride under it, and not receive one drop of wet. This canopy, or arch of water, I thought one of the most surprising magnificences I had ever seen, and very refreshing in the heat of the summer. At the end of this very long walk, stands a woman in white marble, in posture of a laundress wringing water out of a piece of linen, very naturally formed, into a vast laver, the work and invention of M. Angelo Buonarotti. Hence, we ascended Mount Parnassus, where the Muses played to us on hydraulic organs. Near this is a great aviary. All these waters came from the rock in the garden, on which is the statue of a giant representing the Apennines, at the foot of which stands this villa. Last of all, we came to the labyrinth, in which a huge colosse of Jupiter throws out a stream over the garden. This is fifty feet in height, having in his body a square chamber, his eyes and mouth serving for windows and door.

We took horse and supped that night at Il Ponte, passing a dreadful ridge of the Apennines, in many places capped with snow, which covers them the whole summer. We then descended into a luxurious and rich plain. The next day we passed through Scarperia, mounting the hills again, where the passage is so straight and precipitous toward the right hand, that we climbed them with much care and danger; lodging at Firenzuolo, which is a fort built among the rocks, and defending the confines of the Great Duke's territories.

The next day we passed by the Pietramala, a burning mountain. At the summit of this prodigious mass of hills, we had an unpleasant way to Pianura, where we slept that night and were entertained with excellent wine. Hence to Scargalasino, and to bed at Loiano. This plain begins about six miles from Bologna.

Bologna belongs to the Pope, and is a famous University, situate in one of the richest spots of Europe for all sorts of provisions. It is built like a ship, whereof the Torre d'Asinelli may go for the mainmast. The city is of no great strength, having a trifling wall about it, in circuit near five miles, and two in length. This Torre d'Asinelli, ascended by 447 steps of a foot rise, seems exceedingly high, is very narrow, and the more conspicuous from another tower called Garisendi, so artificially built of brick (which increases the wonder) that it seems ready to fall. It is not now so high as the other; but they say the upper part was formerly taken down, for fear it should really fall, and do mischief.

Next, we went to see an imperfect church, called St. Petronius, showing the intent of the founder, had he gone on. From this, our guide led us to the schools, which indeed are very magnificent. Thence to St. Dominic's, where that saint's body lies richly enshrined. The stalls, or seats, of this goodly church have the history of the Bible inlaid with several woods, very curiously done, the work of one Fr. Damiano di Bergamo, and a friar of that order. Among other relics, they show the two books of Esdras, written with his own hand. Here lie buried Jac. Andreas, and divers other learned persons. To the church joins the convent, in the quadrangle whereof are old cypresses, said to have been planted by their saint.

Then we went to the palace of the Legate; a fair brick building, as are most of the houses and buildings, full of excellent carving and moldings, so as nothing in stone seems to be better finished or more ornamental; witness those excellent columns to be seen in many of their churches, convents, and public buildings; for the whole town is so cloistered, that one may pass from house to house through the streets without being exposed either to rain or sun.

Before the stately hall of this palace stands the statue of Paul IV. and divers others; also the monument of the coronation of Charles V. The piazza before it is the most stately in Italy, St. Mark's at Venice only excepted. In the center of it is a fountain of Neptune, a noble figure in copper. Here I saw a Persian walking about in a rich vest of cloth of tissue, and several other ornaments, according to the fashion of his country, which much pleased me; he was a young handsome person, of the most stately mien.

I would fain have seen the library of St. Savior, famous for the number of rare manuscripts; but could not, so we went to St. Francis, a glorious pile, and exceedingly adorned within.

After dinner I inquired out a priest and Dr. Montalbano, to whom I brought recommendations from Rome: this learned person invented, or found out, the composition of the lapis illuminabilis, or phosphorus. He showed me their property (for he had several), being to retain the light of the sun for some competent time, by a kind of imbibition, by a particular way of calcination. Some of these presented a blue color, like the flame of brimstone, others like coals of a kitchen fire. The rest of the afternoon was taken up in St. Michael in Bosco, built on a steep hill on the edge of the city, for its fabric, pleasant shade and groves, cellars, dormitory, and prospects, one of the most delicious retirements I ever saw; art and nature contending which shall exceed; so as till now I never envied the life of a friar. The whole town and country to a vast extent are under command of their eyes, almost as far as Venice itself. In this convent there are many excellent paintings of Guido Reni; above all, the little cloister of eight faces, painted by Caracci in fresco. The carvings in wood, in the sacristy, are admirable, as is the inlaid work about the chapel, which even emulates the best paintings; the work is so delicate and tender. The paintings of the Savior are of Caracci and Leonardo, and there are excellent things of Raphael which we could not see.

In the church of St. John is a fine piece of St. Cecilia, by Raphael. As to other paintings, there is in the church of St. Gregory an excellent picture of a Bishop giving the habit of St. Bernard to an armed soldier, with several other figures in the piece, the work of Guerchino. Indeed, this city is full of rare pieces, especially of Guido Domenico, and a virgin named Isabella Sirani, now living, who has painted many excellent pieces, and imitates Guido so well, that many skillful artists have been deceived.

At the Mendicants are the Miracles of St. Eloy, by Reni, after the manner of Caravaggio, but better; and here they showed us that famous piece of Christ calling St. Matthew, by Annibal Caracci. The Marquis Magniani has the whole frieze of his hall painted in fresco by the same hand.

Many of the religious men nourish those lapdogs which the ladies are so fond of, and which they here sell. They are a pigmy sort of spaniels, whose noses they break when puppies; which, in my opinion, deforms them.

At the end of the turning in one of the wings of the dormitory of St. Michael, I found a paper pasted near the window, containing the dimensions of most of the famous churches in Italy compared with their towers here, and the length of this gallery, a copy whereof I took.

From hence being brought to a subterranean territory of cellars, the courteous friars made us taste a variety of excellent wines; and so we departed to our inn.

The city is famous also for sausages; and here is sold great quantities of Parmegiano cheese, with Botargo, Caviare, etc., which makes some of their shops perfume the streets with no agreeable smell. We furnished ourselves with wash balls, the best being made here, and being a considerable commodity. This place has also been celebrated for lutes made by the old masters, Mollen, Hans Frey, and Nicholas Sconvelt, which were of extraordinary price; the workmen were chiefly Germans. The cattle used for draught in this country (which is very rich and fertile, especially in pasturage) are covered with housings of linen fringed at the bottom, that dangle about them, preserving them from flies, which in summer are very troublesome.

From this pleasant city, we proceeded toward Ferrara, carrying with us a bulletino, or bill of health (customary in all these parts of Italy, especially in the State of Venice) and so put ourselves into a boat that was towed with horses, often interrupted by the sluices (inventions there to raise the water for the use of mills, and to fill the artificial canals) at each of which we stayed till passage was made. We went by the Castle Bentivoglio, and, about night arrived at an ugly inn called Mal Albergo, agreeable to its name, whence, after we had supped, we embarked and passed that night through the Fens, where we were so pestered with those flying glow-worms, called Luccioli, that one who had never heard of them, would think the country full of sparks of fire. Beating some of them down and applying them to a book, I could read in the dark by the light they afforded.

Quitting our boat, we took coach, and by morning got to Ferrara, where, before we could gain entrance, our guns and arms were taken from us of custom, the lock being taken off before, as we were advised. The city is in a low marshy country, and therefore well fortified. The houses and streets have nothing of beauty, except the palace and church of St. Benedict, where Ariosto lies buried, and there are some good statues, the palazzo del Diamante, citadel, church of St. Dominico. The market-place is very spacious, having in its centre the figure of Nicholao Oläo once Duke of Ferrara, on horseback, in copper. It is, in a word, a dirty town, and, though the streets be large they remain ill paved; yet it is a University and now belongs to the Pope. Though there are not many fine houses in the city, the inn where we lodged was a very noble palace, having an Angel for its sign.

We parted from hence about three in the afternoon, and went some of our way on the canal, and then embarked on the Po; or Padus; by the poets called Eridanus, where they feign Phæton to have fallen after his rash attempt, and where Io was metamorphosed into a cow. There was in our company, among others, a Polonian Bishop, who was exceeding civil to me in this passage, and afterward did me many kindnesses at Venice. We supped this night at a place called Corbua, near the ruins of the ancient city, Adria, which gives name to the Gulf, or Sea. After three miles, having passed thirty on the Po, we embarked in a stout vessel, and through an artificial canal, very straight, we entered the Adige, which carried us by break of day into the Adriatic, and so sailing prosperously by Chioza (a town upon an island in this sea), and Palestina, we came over against Malamocco (the chief port and anchorage where our English merchantmen lie that trade to Venice) about seven at night, after we had stayed at least two hours for permission to land, our bill of health being delivered, according to custom. So soon as we came on shore, we were conducted to the Dogana, where our portmanteaus were visited, and then we got to our lodging, which was at honest Signor Paulo Rhodomante's at the Black Eagle, near the Rialto, one of the best quarters of the town. This journey from Rome to Venice cost me seven pistoles, and thirteen julios.

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Great Plague of London

John Evelyn's Diary 07 September 1666. 07 Sep 1666. I went this morning on foot from Whitehall as far as London Bridge, through the late Fleet Street, Ludgate hill by St. Paul's, Cheapside, Exchange, Bishops-gate, Aldersgate Ward, and out to Moorfields, thence through Cornhill, etc., with extraordinary difficulty, clambering over heaps of yet smoking rubbish, and frequently mistaking where I was; the ground under my feet so hot, that it even burnt the soles of my shoes. In the meantime, his Majesty (36) got to the Tower by water, to demolish the houses about the graff, which, being built entirely about it, had they taken fire and attacked the White Tower, where the magazine of powder lay, would undoubtedly not only have beaten down and destroyed all the bridge, but sunk and torn the vessels in the river, and rendered the demolition beyond all expression for several miles about the country.

At my return, I was infinitely concerned to find that goodly Church, St. Paul's — now a sad ruin, and that beautiful portico (for structure comparable to any in Europe, as not long before repaired by the late King (65)) now rent in pieces, flakes of large stones split asunder, and nothing remaining entire but the inscription in the architrave showing by whom it was built, which had not one letter of it defaced! It was astonishing to see what immense stones the heat had in a manner calcined, so that all the ornaments, columns, friezes, capitals, and projectures of massy Portland stone, flew off, even to the very roof, where a sheet of lead covering a great space (no less than six acres by measure) was totally melted. The ruins of the vaulted roof falling, broke into St. Faith's, which being filled with the magazines of books belonging to the Stationers, and carried thither for safety, they were all consumed, burning for a week following. It is also observable that the lead over the altar at the east end was untouched, and among the divers. Monuments the body of one bishop remained entire. Thus lay in ashes that most venerable church, one of the most ancient pieces of early piety in the Christian world, besides near one hundred more. The lead, ironwork, bells, plate, etc., melted, the exquisitely wrought Mercers' Chapel, the sumptuous Exchange, the august fabric of Christ Church, all the rest of the Companies' Halls, splendid buildings, arches, entries, all in dust; the fountains dried up and ruined, while the very waters remained boiling; the voragos of subterranean cellars, wells, and dungeons, formerly warehouses, still burning in stench and dark clouds of smoke; so that in five or six miles traversing about I did not see one load of timber unconsumed, nor many stones but what were calcined white as snow.

The people, who now walked about the ruins, appeared like men in some dismal desert, or rather, in some great city laid waste by a cruel enemy; to which was added the stench that came from some poor creatures' bodies, beds, and other combustible goods. Sir Thomas Gresham's statue, though fallen from its niche in the Royal Exchange, remained entire, when all those of the Kings since the Conquest were broken to pieces. Also the standard in Cornhill, and Queen Elizabeth's effigies, with some arms on Ludgate, continued with but little detriment, while the vast iron chains of the city streets, hinges, bars, and gates of prisons, were many of them melted and reduced to cinders by the vehement heat. Nor was I yet able to pass through any of the narrow streets, but kept the widest; the ground and air, smoke and fiery vapor, continued so intense, that my hair was almost singed, and my feet insufferably surbated. The by-lanes and narrow streets were quite filled up with rubbish; nor could one have possibly known where he was, but by the ruins of some Church, or Hall, that had some remarkable tower, or pinnacle remaining.

I then went towards Islington and Highgate, where one might have seen 200,000 people of all ranks and degrees dispersed, and lying along by their heaps of what they could save from the fire, deploring their loss; and, though ready to perish for hunger and destitution, yet not asking one penny for relief, which to me appeared a stranger sight than any I had yet beheld. His Majesty (36) and Council indeed took all imaginable care for their relief, by proclamation for the country to come in, and refresh them with provisions.

In the midst of all this calamity and confusion, there was, I know not how, an alarm begun that the French and Dutch, with whom we were now in hostility, were not only landed, but even entering the city. There was, in truth, some days before, great suspicion of those two nations joining; and now that they had been the occasion of firing the town. This report did so terrify, that on a sudden there was such an uproar and tumult that they ran from their goods, and, taking what weapons they could come at, they could not be stopped from falling on some of those nations whom they casually met, without sense or reason. The clamor and peril grew so excessive, that it made the whole Court amazed, and they did with infinite pains and great difficulty, reduce and appease the people, sending troops of soldiers and guards, to cause them to retire into the fields again, where they were watched all this night. I left them pretty quiet, and came home sufficiently weary and broken. Their spirits thus a little calmed, and the affright abated, they now began to repair into the suburbs about the city, where such as had friends, or opportunity, got shelter for the present to which his Majesty's (36) proclamation also invited them.

Still, the plague continuing in our parish, I could not, without danger, adventure to our church.

Around 1642. William Dobson Painter 1611-1646. Portrait of the future King Charles II of England Scotland and Ireland 1630-1685. Before 1691. John Riley Painter 1646-1691. Portrait of King Charles II of England Scotland and Ireland 1630-1685. Around 1665 John Greenhill Painter 1644-1676. Portrait of King Charles II of England Scotland and Ireland 1630-1685 in his Garter Robes. Around 1661 John Michael Wright 1617-1694. Portrait of King Charles II of England Scotland and Ireland 1630-1685 in his coronation robes. Before 11 Jul 1671 Adriaen Hanneman Painter 1603-1671. Portrait of King Charles II of England Scotland and Ireland 1630-1685. 1675. Hendrick Danckerts Painter 1625-1680. Portrait of Royal Gardener John Rose presenting a pineappel to King Charles II In 1611 Robert In 1633 Anthony Van Dyck Painter 1599-1641. Portrait of King Charles I of England, Scotland and Ireland 1600-1649 known as Charles I with M.De St Antoine. Around 1637 Anthony Van Dyck Painter 1599-1641. Portrait of King Charles I of England, Scotland and Ireland 1600-1649.

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Diary of Samuel Pepys 08 October 1667. 08 Oct 1667. Up pretty betimes, though not so soon as we intended, by reason of Murford's not rising, and then not knowing how to open our door, which, and some other pleasant simplicities of the fellow, did give occasion to us to call him. Sir Martin Marrall, and W. Hewer (25) being his helper and counsellor, we did call him, all this journey, Mr. Warner, which did give us good occasion of mirth now and then.

At last, rose, and up, and broke our fast, and then took coach, and away, and at Newport did call on Mr. Lowther (26), and he and his friend, and the master of the house, their friend, where they were, a gentleman, did presently get a-horseback and overtook us, and went with us to Audley-End, and did go along with us all over the house and garden: and mighty merry we were. The house indeed do appear very fine, but not so fine as it hath heretofore to me; particularly the ceilings are not so good as I always took them to be, being nothing so well wrought as my Chancellor's (58) are; and though the figure of the house without be very extraordinary good, yet the stayre-case is exceeding poor; and a great many pictures, and not one good one in the house but one of Harry the Eighth, done by Holben; and not one good suit of hangings in all the house, but all most ancient things, such as I would not give the hanging-up of in my house; and the other furniture, beds and other things, accordingly1. Only the gallery is good, and, above all things, the cellars, where we went down and drank of much good liquor; and indeed the cellars are fine: and here my wife and I did sing to my great content.

And then to the garden, and there eat many grapes, and took some with us and so away thence, exceeding well satisfied, though not to that degree that, by my old esteem of the house, I ought and did expect to have done, the situation of it not pleasing me. Here we parted with Lowther (26) and his friends, and away to Cambridge, it being foul, rainy weather, and there did take up at the Rose, for the sake of Mrs. Dorothy Drawwater, the vintner's daughter, which is mentioned in the play of Sir Martin Marrall. Here we had a good chamber, and bespoke a good supper; and then I took my wife, and W. Hewer (25), and Willet, it holding up a little, and shewed them Trinity College and St. John's Library, and went to King's College Chapel, to see the outside of it only; and so to our inne, and with much pleasure did this, they walking in their pretty morning gowns, very handsome, and I proud to find myself in condition to do this; and so home to our lodging, and there by and by, to supper, with much good sport, talking with the Drawers concerning matters of the town, and persons whom I remember, and so, after supper, to cards; and then to bed, lying, I in one bed, and my wife and girl in another, in the same room, and very merry talking together, and mightily pleased both of us with the girl. Saunders, the only violin in my time, is, I hear, dead of the plague in the late plague there.

1. Mr. George T. Robinson, F.S.A., in a paper on "Decorative Plaster Work", read before the Society of Arts in April, 1891, refers to the ceilings at Audley End as presenting an excellent idea of the state of the stuccoer's art in the middle of James I's reign, and adds, "Few houses in England can show so fine a series of the same date ... The great hall has medallions in the square portions of the ceiling formed by its dividing timber beams. The large saloon on the principal floor-a room about 66 feet long by 30 feet wide-has a very remarkable ceiling of the pendentive type, which presents many peculiarities, the most notable of which, that these not only depend from the ceiling, but the outside ones spring from the walls in a natural and structural manner. This is a most unusual circumstance in the stucco work of the time, the reason for the omission of this reasonable treatment evidently being the unwillingness of the stuccoer to omit his elaborate frieze in which he took such delight" ("Journal Soc. of Arts", vol. xxxix., p. 449).

In 1689 Godfrey Kneller 1646-1723. Portrait of William Hewer 1642-1715. Around 1643. William Dobson Painter 1611-1646. Portrait of Edward Hyde 1st Earl Clarendon 1609-1674. Before 04 Jan 1674 Peter Lely Painter 1618-1680. Portrait of Edward Hyde 1st Earl Clarendon 1609-1674. 1536 Hans Holbein The Younger Painter 1497-1543. Portrait of King Henry VIII of England and Ireland 1491-1547. 1540 Hans Holbein The Younger Painter 1497-1543. Miniature portrait of King Henry VIII of England and Ireland 1491-1547. Around 1525 Unknown Painter. Netherlands. Portrait of King Henry VIII of England and Ireland 1491-1547.

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In 1710. John James Baker Painter -1725. Known as "Whig Junto". From ... This is a portrait of a political group named the Whig Junto and a Black servant, whose identity is unknown. It is the only known portrait of the Junto, which was an ideologically close-knit group of political peers who formed the leadership of the Whig party in the late seventeenth and early eighteenth centuries. The members of the group are shown gathered together on a grand terrace, while a vista onto a garden is revealed by the Black servant, who holds back a heavy velvet curtain. The grand architectural setting is imagined, and is deliberately evocative of power and status. The picture was commissioned by Edward Russell, 1st Earl of Orford (57), who stands on the right, as if welcoming the company. It is not known if Orford (57) had a Black servant in his household or whether the individual was included to emphasise Orford's (57) wealth and social standing. At the time, Britain was profiting heavily from the trade of enslaved people from West Africa. The presence of Black servants, many of whom were enslaved, in both aristocratic and merchant households had come to symbolise property and wealth. This reflected the dehumanising view of enslaved Black people held by the British elite.

The scene conjures one of the Junto's country house meetings where, in between parliamentary sessions, policy and party strategy were formulated. From left to right the sitters round the table can be identified as Charles Spencer, 3rd Earl of Sunderland (34); Thomas Wharton, 1st Marquess of Wharton (61); John Somers, 1st Baron Somers (1C 1697) (58); Charles Montagu, 1st Earl of Halifax (48); and William Cavendish, 2nd Duke of Devonshire (38). The lavish surroundings probably represent Orford's (57) house, Chippenham, where Junto meetings sometimes took place. It was also ideally located for the nearby Newmarket horse races, which the members of the Junto frequently attended when parliament was not sitting.

The portrait is dated 1710, before the crushing electoral defeat of the Whigs in October of that year. It shows the political allies while in power, when Sunderland (34) was Secretary of State, Wharton (61) Lord Lieutenant of Ireland, Somers Lord President of the Privy Council, Devonshire (38) Lord Steward and a member of the Privy Council, and Orford (57) First Lord of the Admiralty. On the surface the portrait shows a relaxed gathering of fellow connoisseurs, seated round a table consulting antique medals and books of prints. Fittingly, Somers and Halifax (48) sit at the centre of the company, holding a book and handling a medal respectively. Both were known collectors and antiquarians – Somers was one of the founders of the Whig Kit-Cat Club, a convivial drinking and dining club, but which also had a political propagandist agenda; he had also purchased the Resta collection of drawings from Italy in 1709. Halifax (48) had a celebrated library and a collection of antique medals (sold in 1740), to which those being consulted presumably allude. Behind this exterior of cultural appreciation, however, the portrait advertises Whig policy in 1709–10, which supported the continuation of war against France in opposition to Tory calls for peace. The two visible prints are friezes from Trajan's column showing episodes from the Dacian wars, with the Roman army crossing the Danube. The viewer is invited to make parallels between the valour and victories of the Roman emperors and the current military greatness achieved for Britain by the Duke of Marlborough's campaigns. The globe, showing the Pacific, presumably alludes to Whig foreign policy ambitions beyond Europe. By defeating France in Europe, they aimed to gain commercial access to Spanish American trade routes. It reflects the competitive European colonial pursuit of new markets, including the selling of enslaved West African people to Spanish territories overseas.

John James Baker (or Backer, or Bakker) is thought to have been Flemish, from Antwerp. He was Godfrey Kneller's (63) (1646–1723) long-time studio assistant and drapery painter, and this is his largest, most ambitious and complex work. The symbolic programme was presumably devised by Orford in discussion with Baker. The Duke of Devonshire was not a regular member of the Junto, although an increasingly important Whig peer, but his inclusion here is presumably because of his kinship relationship with Orford. The picture is thus a demonstration of Orford's private as well as professional networks, and also his pride and ambition. It would have been displayed at Chippenham in the newly appointed, fashionable interiors, alongside other works that Orford commissioned to advertise his public achievement and the private and professional networks that sustained his power and influence.

Around 1715 Thomas Gibson Painter 1680-1751. Portrait of Edward Russell 1st Earl Orford 1653-1727. Around 1682 Thomas Murray Painter 1663-1735. Portrait of Edward Russell 1st Earl Orford 1653-1727 and Captain John Benbow, and Admiral Ralph Delavall . In 1715 Godfrey Kneller 1646-1723. Portrait of Thomas Wharton 1st Marquess Wharton 1648-1715. Before 1723 Godfrey Kneller 1646-1723. Portrait of John Somers 1st Baron Somers 1651-1716. In 1714. Michael Dahl Painter 1659-1743. Portrait of Charles Montagu 1st Earl Halifax 1661-1715. Before 04 Jun 1729 Charles Jervas Painter 1675-1739. Portrait of William Cavendish 2nd Duke Devonshire 1672-1729.

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Before 1736. Monument to Anne Brudenell (wife of Charles Lennox) in St Peter's Church Deene by Giovanni Battista Guelphi 1690-1736 on the west wall of the transept. Bust set against square surround with flanking caryatids, metope frieze and pediment over.

On 20 Jan 1770 Charles Yorke 1722-1770 (47) died. He was buried at St Andrew's Church Wimpole. Grey marble obelisk on break-front pedestal of white marble with inscription tablet flanked by festoons and frieze carved with emblems of the Chancellor's office; at the base of the obelisk two putti unveil a portrait medallion and at the apex is an achievement of arms; signed 'P. SCHEEMAKER (79) FaT'.

In 1756 Thomas Hudson Painter 1701-1779. Portrait of Charles Yorke 1722-1770.

On 03 Mar 1848 Edward Hawkins Cheney 1778-1848 (69) died. St Luke's Church Gaddesby. Monument to Edward Hawkins Cheney 1778-1848 (69) of the Royal Scots Greys fighting at Waterloo. His horse shot, collapsing; one of four he rode into battle. He survived the battle dying in 1845. The frieze below the sculpture depicts Sergeant Ewart, related to Cheney by marriage, seizing the French Eagle Standard. Sculpted by Joseph Gott 1785-1860 (63).

St Andrew's Church Denton. In ashlar. The latin raised letter inscription is set in an egg and dart surround, flanked by Ionic Pilasters and free standing Composite fluted columns, supporting a pediment containing a pair of naked female figures holding hour glasses leaning on a skull. The frieze is decorated with medallions. The reclining figure of the deceased, his prayer book in hand, lies on a half rolled up mattress on a tomb chest on which are portrayed his wife and six children, all named in raised letters.