Rome in the Footsteps of an XVIIIth Century Traveller

Links to this page can be found in Book 4, Map C3, Day 7, View D7 and Rione Regola.

This page covers:
The plate by Giuseppe Vasi
Today's view
Fontane di Piazza Farnese and Palazzo Mandosi
Palazzo Farnese
Palazzo Pighini
S. Brigida
Palazzo Fioravanti and Palazzetto Giangiacomo
S. Maria dell'Orazione e della Morte
Palazzo dell'Ordine Teutonico
SS. Giovanni e Petronio
Fontana del Mascherone a Via Giulia

A second page covers:
The Creators of the Farnese Collections
Collection of Antiquities
XVIth century Collection

The Plate (No. 73)

In 1747 Giuseppe Vasi dedicated his first book of views of ancient and modern Rome to Charles, King of Naples and of Sicily; in 1752 he dedicated his second book to Queen Maria Amalia, Charles' wife and in 1754 he dedicated his fourth book to Elisabeth Farnese, Charles' mother. In 1765 he dedicated his Grand View of Rome to Charles, who in 1759 had become King of Spain, but continued to have a say in Neapolitan/Sicilian affairs.
Vasi was born at Corleone in Sicily, but this fact does not entirely explain why he was so devoted to his king; in 1748, as a reward for the dedication of the first book, Charles allowed Vasi to settle with his family in an apartment in the rear side of Palazzo Farnese and to install a printing press for directly printing and merchandising his etchings. This arrangement was hardly welcomed by the king's ambassadors who resided in the palace and therefore Vasi dedicated his books to Charles' relatives in order to continue to enjoy the King's protection.
The view is taken from the green dot in the small 1748 map here below. In the description below the plate Vasi made reference to: 1) S. Brigida; 2) S. Maria dell'Orazione e Morte; 3) Arco di Via Giulia; 4) Palazzo della Religione Teutonica; 5) Palazzo Mandosi. 3) is shown in another page. The small map shows also: 6) Palazzo Farnese; 7) Palazzo Pighini; 8) Palazzo Fioravanti; 9) Palazzetto Giangiacomo; 10) SS. Giovanni e Petronio; 11) Fontana del Mascherone a Via Giulia.

Today

The view in June 2010

Very little has changed in Piazza Farnese since Vasi's time: the façade of the palace was carefully restored in the late 1990s and again in the 2020s: you may wish to see it before the first restoration.
Palazzo Farnese is leased to France until 2035 and it houses the French Embassy to Italy (the Embassy to the Holy See is at Villa Paolina); it can be visited on July 14, Bastille Day, the French national holiday, and on some rare occasions. The palace had already been the residence of a French ambassador in 1662-1700. Charles III de Créqui, the first ambassador, settled there with some 200 guards and servants. His stay however was marked by a period of crisis between Pope Alexander VII and France.

Fontane di Piazza Farnese

Western fountain

November 6, 1644. At the entrance of this stately palace stand two rare and vast fountains of granito 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.
John Evelyn's Diary and Correspondence
Not far from Palazzo della Cancelleria stands the Palace Farnese belonging to the Duke of Parma. Before it stands a noble Piazza with two rare fountains in it.
Richard Lassels' The Voyage of Italy, or a Compleat Journey through Italy in ca 1668
A Great Square is before it in which are two fine Fountains.
Jonathan and Jonathan Richardson - Account of Some of the Statues, etc. in Italy - 1722

(left) Palazzo Mandosi, a XVIIth century building which belonged to a minor noble family, and the eastern fountain; (right) detail of the eastern fountain

The Farnese relocated two basins of Egyptian granite in front of their palace; they were part of the decoration of Terme di Caracalla but, before being moved to Piazza Farnese, they embellished Palazzo Venezia; in 1621 Cardinal Odoardo Farnese placed them at the centre of two fountains which were decorated with fleurs-de-lis, the heraldic symbol of the family. You may wish to see another ancient basin with heads of lions now at Museo di Palazzo Barberini.

Palazzo Farnese

Main façade

November 6, 1644. 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. Evelyn
This Palace belongs to the Duke of Parma who residing in his Capital, That is Desolate. In a part of This is at present lodg'd the Envoy of Parma; but 'tis not so frequented by Romans or others as one would imagine. 'Tis exceeding Magnificent, sufficiently so to be the Palace of any King in Europe and Large enough for almost all of them together. (..) 'Tis one of those sort of Palaces which the Italians call Isolato that is, it is detach'd from all the circumjacent Buildings. Richardson
What a structure is the Farnesian! It is a compact square, like a solid block of stone cut out of a mountain, simple, yet grand in design, and perfect as if just erected. This palace belongs to the King of Naples, it was filled with antiquities discovered in Rome, but these have all been removed to the Museum at Naples.
William Gardiner's Sights in Italy related to Rome. Published in 1847.
In 1493 Alessandro Farnese, a member of a minor noble family from Canino, was appointed cardinal at the age of 23 by Pope Alexander VI; in 1495 he bought a small palace near Campo dei Fiori, a neighbourhood which was being developed by the Pope; he then acquired the property of some adjoining buildings and commissioned the enlargement of his palace to Antonio da Sangallo the Younger; in 1534 he became Pope Paul III and Sangallo redesigned the palace to reflect the change in status of its landlord. In 1546, at Sangallo's death, the palace was yet to be completed; Michelangelo was asked by the Pope to take over; he modified his predecessor's project in the design of the first floor windows and in the overall height of the building; after the death of Pope Paul III in 1549, his heirs entrusted il Vignola and later on Giacomo della Porta with the completion of the palace.
The second act of Tosca, an opera by Giacomo Puccini based on a drama by Victorien Sardou, is set at Palazzo Farnese, where the heroine sings Vissi d'arte. The first act is set at S. Andrea della Valle and the third and last act at Castel Sant'Angelo.

Detail showing the central window and the coat of arms of Pope Paul III

The central window and the Pope's coat of arms were drawn by Michelangelo; their design was very innovative and Filippo Juvarra included the coat of arms in his selection of papal coats of arms (one of its fleurs-de-lis can be seen in the image used as background for this page). The two small coats of arms were added after Vasi's etching and they belong to Cardinal Ranuccio Farnese (left) and to the Duke of Parma (right); the design of the central window was slightly modified to make room for them.
Thanks to the political skills of Pope Paul III the Farnese became Dukes of Parma and Dukes of Castro. Cardinals Alessandro and Ranuccio Farnese, grandsons of Pope Paul III, lived in the palace and after them Cardinal Odoardo; the three cardinals promoted the completion of the rear side of the building and its overall decoration. Cardinal Alessandro completed also a larger palace at Caprarola and built Orti Farnesiani, a villa on the Palatine Hill.
In 1731 the last Duke of Parma died and his niece Elisabeth, wife of King Philip V of Spain, assured the Duchy to his son Charles of Bourbon; in 1734 Charles became King of Naples and of Sicily and transferred the property of Palazzo Farnese to this kingdom.

(above) Detail of the cornice designed by Michelangelo, which is similar to that of the fortress of Civitavecchia; (below) decoration between ground and first floor

February 1786. Farnese Palace. The fine statues, busts, and other marbles, among which are the celebrated Hercules and Flora, are now removing to Naples.
Richard Colt Hoare - Recollections abroad, during the years 1785, 1786, 1787 - Publ. 1815
It is a misfortune that some of the most noble palaces and villas in Rome belong to families now raised to sovereign power. Thus the Palazzo Farnese is the property of the King of Naples, that of Medici of the Grand Duke of Tuscany. Both these edifices, after having been stripped of all their valuable ornaments, their marbles, their statues, their paintings, were abandoned to the care of a few half-starved servants, and are now scarcely preserved from falling into ruin. (..) Palazzo Farnese. This edifice occupies one side of a handsome square adorned with two fountains. (..) It is of immense size and elevation, and on the whole is considered as the noblest palace in Rome.
John Chetwode Eustace - A Classical Tour through Italy in 1802
In 1786 and 1787 the Farnese collections of antiquities and paintings were moved to Naples and Caserta by King Ferdinand IV. Some of their finest pieces can be seen in a separate page.

2025 Temporary exhibition at Musei Capitolini: photografic reproduction of the ceiling of Salone del Carracci at Palazzo Farnese: Triumph of Bacchus (the numbers refer to preparatory drawings by Carracci which were on display at the Exhibition)

Two pair of stairs led to the upper rooms, and conducted us to that famous gallery painted by Annibal 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. (..) Now I had a second view of that never-to-be-sufficiently-admired gallery, painted in deep relievo, the work of ten years' study, for a trifling reward. Evelyn
Then the rare Gallery of statues with the roof of it painted most admirably by the ravishing hand of great Hannibal Caraccio, and containing the representation of the loves of the heathen Gods and Goddesses. This painting may be compared, if not preferred, before all the galleries of Rome, or Europe, and the very cuts of it in paper pictures, sold at the Stationers shops, are most admirable, and worth buying. Lassels
In the Cieling are three Pictures. One above 23 Foot long, and half as much in height, a Bacchus and Ariadne with Silenus, Satyrs, Fawns etc. (..) The Bacchanale in the Cieling, the Largest, and most conspicuous Picture tells us that Intemperance is a Fundamental, and Prolific Vice. Throughout Concupiscence generally prevails, and over all Ranks and Desires; but Virtue Rarely. It would be too Tedious to be Particular in these Explanations; Those that are disposed to amuse themselves in This way may do it at their leisure, and as their own Judgment, or Fancy directs them; the whole Gallery is printed; and Bellori has in the Life of Annibale a very Large Account of it. The Painting is Fresco, and I believe the most perfect in the World. In Rafaelle's time they were not so Expert in That Way. (..) This has all the Advantages, and Beauties of Fresco and Oyl-Painting united. And in truth Such a Character belongs to Annibal himself in whom is found the scattered Excellencies of many other Masters; He has form'd out of All these a Style of Painting, both as to the Thought, and Execution truly Excellent and which, is to be seen in this Gallery more than any where it being the principal work of this great Man. Richardson
The Triumph of Dionysus/Bacchus and the procession of his followers (thiasos) is among the most popular subjects depicted on Roman sarcophagi and floor mosaics (see a very large one at Sousse in Tunisia).

2025 Temporary exhibition at Musei Capitolini: drawings by Annibale Carracci: (left) the Farnese Hercules in the court of the Palace from the Städel Museum, Frankfurt; (right) sketch depicting Hercules holding the globe (based on the Farnese Atlas) from Musée du Louvre, Paris

The centre of the ceiling is dominated by the largest and most elaborate composition in the scheme, the Triumph of Bacchus and Ariadne. Surviving drawings show how closely Annibale had studied Bacchanalian sarcophagi; in fact, the train of revellers in the fresco has retained something of the classical relief character, while individual figures can be closely paralleled by classical types. On the other hand, the fresco has a flowing and floating movement, a richness and exuberance which one would seek in vain either in antiquity or in the High Renaissance. It is clear from contemporary sources that the two Carracci brothers regarded nothing as too insignificant or too uninteresting to be jotted down on paper on the spur of the moment. They were tireless draughtsmen and their curiosity was unlimited. They had an eye for the life and labours of the common people, for the amusing, queer, odd, and even obscene happenings of daily life, and something of this immediacy of approach will also be noticed in their grand manner.
Rudolf Wittkower - Art and Architecture in Italy 1600-1750. Wittkower wrote also The Drawings of the Carracci in the collection of Her Majesty The Queen at Windsor Castle (1952). Living in the Farnese Palace Annibale Carracci was in daily contact with one of the richest collections of antiquities that the city had to offer.

Ceiling: (left) Pan gives the Wool to Diana (the Moon) - see the same subject in a painting by Domenichino, a scholar of Carracci; (right) Paris receives the golden Apple from Mercury - see an ancient floor mosaic depicting the Judgement of Paris

It was with such a gift of snowy wool, if it's to be believed,
that Pan, god of Arcady, charmed and beguiled you, O Moon,
calling you into the deep woods: nor did you reject his call.
Virgil - Georgics III - Translation by A. S. Kline
Before my eyes, propelled on pinions swift, the grandchild of mighty Atlas and Pleione (Mercury) - it was allowed me to see, and may it be allowed to speak of what I saw! - and in the fingers of the god was a golden wand. And at the self-same time, three goddesses - Venus, and Pallas, and with her Juno - set tender feet upon the sward.
Ovid - Heroides (Epistles) XVI - Loeb edition
Two Octangular Pictures. In One Paris receives the golden Apple from Mercury; and Pan gives the Wool to Diana in the other; They are above 11 Foot high. These have Frames, and Ornaments painted and enriched, and heightned with Gold. Richardson
February 1786. Farnese Palace. - This palace contains the finest specimens of Annibale Caracci's pencil, in a ceiling, representing the Triumph of Bacchus, after his return from Egypt; also the story of Polyphemus; and many other subjects taken from the heathen mythology, enriched with academy figures, &c. His scholars Guido Reni and Domenichino are said to have assisted in this noble work; for which he was so slightly rewarded, that he is supposed to have died of chagrin. Colt Hoare
The events depicted in the ceiling were taken from poems by Ovid and other Latin poets.

Medallions in the ceiling: (left) Apollo slaying Marsyas (see a floor mosaic showing the contest between them); (right) Rape of Europa (see two floor mosaics and Ovid's account of the event)

The Frize on both Sides of the Gallery is divided by Pilasters Painted, just over the Real ones; consequently Here are three Larger, and four Lesser Spaces: In the First are Pictures in their Proper Colours; in the Other are Medallions of a Greenish Tint; only to make the General Form of these more Beautiful the large Picture in the middle is more large than the rest. (..) These Pictures, and Medallions have very magnificent Accompagnements; On the painted Pilasters arc placed Terms that seem to support the Cieling; These are in Stone Colour; Over each Medallion is a Boy that comes neat halfway down, then begins Sitting Figures of young Men which seem to support them, and these and the Boys make something of a Circular Figure to humour that of the Medallions, and are in Proper Colours; besides these Standing Figures of young Men, their Heads only wrapt in or covered with Drapery rest on that Side of the Lesser Pictures which is next the Great one in the middle; These (as the Terms) are in Stone Colours. All this is enriched with Frames to the Pictures, Festoons, Masks, etc. Richardson

(left) Polyphemus throwing a stone on Acis, the lover of Galatea (preparatory drawing by Annibale Carracci at The Royal Collection Trust Windsor - see a floor mosaic portraying Polyphemus and Galatea); (right) the same scene in the ceiling

One of the middle Pictures is Polyphemus with the piece of the Rock which he is about to hurl at Acis. (..) The Gallery Farnese is Sufficiently Famous by That Name, or that of the Caracci. It was painted at the beginning of the last Century and Seems to have Suffered Little or Nothing by Time, or Otherwise. (.. (..) This Gallery was intended as a Gallery of Magnificence, and Pleasure and withal to have something to Better the Mind. It was to be a Poem, not a Sermon. Richardson
Each single figure retains a statuesque solidity unthinkable without a thorough study and understanding of classical sculpture, and Annibale imparted something of this sculptural quality to his many preparatory chalk drawings. Wittkower

Palazzo Pighini

(left) Façade; (right-above) heraldic symbol of the Pighini; (right-below) heraldic symbol of Julie Bonaparte, wife of Marquis Alessandro di Roccagiovine

The northern side of Piazza Farnese is closed by Palazzo Pighini (or Pichini), also known as Palazzo Roccagiovine. The building was redesigned in 1705 by Alessandro Specchi, who gave it approximately the same size and sober appearance as Palazzo Mandosi, while the interior has a more elaborate decoration, in particular the staircase.

Staircase

S. Brigida

(left) Façade and bell tower; (right) detail of the façade

St. Bridget of Sweden lived the last twenty years of her life in Rome where she came to promote the endorsement of her order in 1350. She founded a hospital for Swedish pilgrims in a house in today's Piazza Farnese, where shortly after her canonization in 1391 a church was dedicated to her. You may wish to see a directory of national churches in Rome.

Gloria di S. Brigida by Biagio Puccini between two coats of arms of Pope Clement XI

The church was entirely renovated at the initiative of Cardinal Giovanni Francesco Albani who became Pope Clement XI in 1700; the bell tower was built in 1894; luckily it is very small because its design does not fit with the other buildings of the square.

(left) Monument to Nicola (Nils) Bielke by Tommaso Righi (you may wish to see another monument by Righi); (right) detail of the ceiling with the heraldic symbols of Pope Clement XI

Sweden was one of the first European countries to adopt Lutheranism, but the Popes always hoped that this decision could be reverted, especially after Queen Christina of Sweden came to Rome to convert to Catholicism in 1655.
Nicola Bielke grew up in Paris where his father was the Swedish ambassador to France. He was appointed commander of Swedish troops fighting for France. He eventually returned to Sweden, but he wanted to leave his country. By feigning an illness he managed to be allowed to do so. In 1731 he reached Rome where he converted to Catholicism in a ceremony presided over by Pope Clement XII. In 1737 he was appointed Senatore di Roma, a sort of Mayor of Rome, because the Pope wanted to show that Lutherans should not be afraid of converting. He held the position of Senatore until his death in 1765. He was succeeded by Count Abbondio Rezzonico.

Palazzo Fioravanti

(left) Palazzo Fioravanti; to its right S. Girolamo della Carità and the first section of Via di Monserrato; (centre/right) Palazzetto Giangiacomo

The design of Palazzo Farnese which alternated triangular and curved-top window pediments set a pattern which was followed in Palazzo Fioravanti (and in many neo-Renaissance buildings including the White House), because it made the façade livelier. Actually this architectonic feature was very common in Roman buildings including minor ones as one can see at the Great Necropolis of Porto (tombs 54 and 93).
The palace is named after the Fioravanti because it belonged to this family in 1748 when Giovanni Battista Nolli drew a very detailed map of Rome: the names Nolli gave in the legend to his map have become the official names by which art historians and detailed guide books identify many minor Roman buildings.
Palazzetto Giangiacomo in Via di Monserrato, again known after its 1748 owners, was built in 1582; the use of woman heads as architectonic element can be found also in Palazzo della Stamperia which was built in the same period by Giacomo del Duca.

S. Maria dell'Orazione e della Morte

(left) Façade; (centre) detail of the façade; (right) side view; in the foreground Arco di Via Giulia and in the background the loggia of Palazzo Falconieri

Rome hath instituted a pious Confraternity called, La Compagnia dei Morti, whose office is to bury the Dead, and to visit those that are Condemned, and by praying with them, exhorting them, and accompanying them to the Execution, help them to dye Penitently, and bury them being Dead and Pray for their Souls being Buried. Lassels
S. Maria dell'Orazione, aka della Morte. It is situate in the via Giulia, and takes its name from the Quarant'ore, which recur in it on the third Sunday of every month, and from the Confraternity della Morte annexed to it, who have for object the burial of persons found dead in the Campagna, and were instituted in 1538.
Rev. Jeremiah Donovan - Rome Ancient and Modern - 1843

(left) Alms box (Hodie Mihi, Cras Tibi = Today to me, tomorrow to you) for the lamp at the cemetery; (centre) detail of the façade; (right) 1694 alms box for supporting the activity of the brotherhood

Memento Mori (remember that you will die) is a page of this website covering representation of Death in baroque Rome; usually the most gruesome references to Death, such as skulls and bones, were reserved to funerary monuments inside churches, but Congregazione della Morte, required Ferdinando Fuga, a leading architect, to place winged skulls with laurel wreaths on the façade. Fuga's church was built in 1733-1737 and it replaced a previous one which was much smaller; the brotherhood had a small graveyard behind the church, along the bank of the Tiber, which disappeared in the 1880s when huge walls were built along the river to protect Rome from floods.

Sacristy and crypt: (left) Processional cross with the symbols of the brotherhood; (centre) "gonfaloni" (standards/banners) of the brotherhood; (right) costume of the members

Rome, April 15, 1740. Good-Friday. To-day I am just come from paying my adoration at St. Peter's to three extraordinary relics, which are exposed to public view only on these two days in the whole year, at which time all the confraternities in the city come in procession to see them. It was something extremely novel to see that vast church, and the most magnificent in the world, undoubtedly, illuminated (for it was night) by thousands of little crystal lamps, disposed in the figure of a huge cross at the high altar, and seeming to hang alone in the air. All the light proceeded from this, and had the most singular effect imaginable as one entered the great door. Soon after came one after another, I believe, thirty processions, all dressed in linen frocks, and girt with a cord, their heads covered with a cowl all over, only two holes to see through left. Some of them were all black, others red, others white, others party-coloured; these were continually coming and going with their tapers and crucifixes before them; and to each company, as they arrived and knelt before the great altar, were shown from a balcony, at a great height, the three wonders.
Thomas Gray's Letters to family and friends from France and Italy in 1739-1741

Crypt: (left) holy water basin and part of a skeleton holding a hour-glass; (centre) cross made up of skulls and lamp made up of tiny bones; (right) reliquary containing skulls of members of the brotherhood

The Confraternity celebrate here with due solemnity the eight days of the Octave of Allsouls; and in the subterranean chapel, thrown open on the occasion, are some striking memorials of mortality, suited to that mournful anniversary. Donovan
The crypt is decorated with bones similar to the ossuary of Chiesa dei Cappuccini. You may wish to see the church of a similar brotherhood at Terracina and another one at Urbania.

Palazzo Teutonico

(left) Palazzo Teutonico; (centre) portal; (right-above) madonnella at the corner in Piazza Farnese; (right-below) detail of the portal (see a page on these laughing masks)

The Order of the Teutonic Knights was founded in the Holy Land to assist German pilgrims, but it is best known for having established a state along the southern coast of the Baltic Sea which ultimately evolved into the Duchy of Prussia. This large XVIIth century building gave assistance to German pilgrims, but it was sold by Holy Roman Emperor Leopold II towards the end of the XVIIIth century (the Emperor was a strong supporter of the Enlightenment views on religion).
After having been used as a wool factory, the building now houses a religious institution (Children of St. Mary Immaculate).

SS. Giovanni e Petronio

(left) Via del Mascherone and SS. Giovanni e Petronio; (right) detail of the façade

In 1581 Pope Gregory XIII assigned a small church between Piazza Farnese and Via Giulia to the inhabitants of Bologna, his hometown; the dedication of the church was changed from St. Thomas to Sts. John the Evangelist and Petronius, a bishop of that city in the Vth century. The façade was designed in 1696-1700.

(left) Main Altar; (right) Death of St. Joseph by Giovan Francesco Gessi, a pupil of Guido Reni

Fontana del Mascherone

Fontana del Mascherone (big mask): (left) front view; (right) side view

The aqueduct of Acqua Vergine supplied water to the fountain of Campo dei Fiori, but it could not reach Piazza Farnese; only after the construction of Fontanone di Ponte Sisto in 1613, the neighbourhood could rely on an adequate supply of water. Cardinal Odoardo Farnese built a small fountain near the rear entrance to his palace, in addition to the two fountains in Piazza Farnese.

See page two: The Farnese Collections.

Next plate in Book 4: Palazzo della Cancelleria Apostolica.
Next step in Day 7 itinerary: Palazzo Falconieri a Strada Giulia.
Next step in your tour of Rione Regola: S. Paolo alla Regola.

Excerpts from Giuseppe Vasi 1761 Itinerary related to this page:

Piazza Farnesina e chiesa di s. Brigida Poco discosto dal Campo di fiori sta questa magnifica piazza, la quale è di molto pregio per i suoi ornamenti, e per le funzioni,che vi si fanno anche oggidì, con somma pompa e fasto. Celebrandosi la festa de' santi Apostoli Pietro e Paolo, per ordine del Re delle due Sicilie vi si fanno due nobilissime macchine di fuochi artificiali, con fontane di vino, e suoni di varj strumenti. Sonovi ne' due lati in giusta distanza due gran fonti di acqua perenni, con due maravigliose conche di granito egizio tutte in un masso,che furono trovate nelle Terme di Caracalla, e però nell'estate, prima che si facesse il lago in piazza Navona quì si allagava la piazza con piacere e concorso della nobiltà e cittadinanza Romana. Da una parte evvi il palazzo Pichini, in cui fra l'altre si vede la preziosa statua del Meleagro col cignale da una parte, e col cane dall'altra: accanto evvi quello de' Mandosi con una copiosa raccolta di manoscritti, e dall'altra banda la chiesa di s. Brigida, con il convento de' suoi religiosi. Fu questa piccola chiesa eretta dalli Svezzesi suoi nazionali insieme con uno spedale nel luogo ove ella abitò, e scrisse il libro delle rivelazioni, che ebbe da Gesù Cristo, e della sua ss. Madre. Fu dipoi rinnovata l'an. 1513. ed ultimamente ingrandita, ed ornata con buone pitture dal Pontefice Clemente XI. e vi risiedono i frati della medesima Santa, di cui si conserva un braccio, il manto nero, l'ufizio, ed il Crocifisso. Regio palazzo Farnese Per la magnificenza e perfezione dell'architettura si tiene da tutti, che questo sia il più insigne palazzo di Roma, e per le statue antiche, e pitture moderne il più cospicuo di questa Metropoli: onde appresso tutte le nazioni è una continua scuola delle belle arti. Paolo III. lo principiò mentre era Cardinale col disegno di Antonio da Sangallo, e poi fu terminato dal Card. Alessandro Farnese col disegno del Buonarroti, a riserva del prospetto verso mezzo giorno, che fu fatto da Giacomo della Porta. Il primo ingresso di questo Regio palazzo è ornato con 12. colonne di granito egizio, ed il gran cortile cinto di doppj portici con eroico disegno del Buonarroti, il quale per verità ha epilogato tutto il buon gusto dell'architettura e della scultura. Nel pian terreno ha posto l'ordine dorico con un bellissimo piantato, e cornicione ornato di trigrifi, e di trofei antichi militari. Nel secondo piano ha posto l'ordine Jonico, la cui cornice è ornata di festoni, e mascheroni frapposti con tanta grazia, che ognuno vede essere di mano del medesimo Buonarroti, e nel terzo piano pose l'ordine Corintio con la cornice architravata, la quale è così bella, che insieme colle finestre tira a se lo sguardo di chi intende. (..) Fra le pitture sono riguardevoli quelle nella prima anticamera, fatte a fresco dal Salviati, dal Zucchari, e da Giorgio Vasari: ma sono ammirabili quelle nel gabinetto, dipinte a fresco da Annibale Caracci con maravigliosi stucchi finti; e poi quelle nella celebre Galleria dipinte medesimamente da Annibale Caracci con l'ajuto però di Agostino suo fratello, del Domenichino, e del Lanfranco suoi allievi; le quali maravigliose cose io non accenno, perchè già ne corrono le stampe. Le statue di basalto, di metallo, e di porfido con altre rarità vi saranno mostrate dal Custode, ancora la bellissima Roma di porfido con testa e mani di metallo fatti dal suddetto fra Guglielmo, e quelle, che sono nel giardino segreto. Se poi verrete alle mie stanze, osserverete il famoso Atlante con altri marmi, e varie pitture per mio piacere, di Paolo Veronese, del Baroccio, del Caracci, di Guido Reni, del Giordano, del Caravaggio, del Maratti, del Benesiani, del Cav. Conca, di Filippo Lauri, e di altri pittori viventi, che forse vi aggradiranno. Palazzo Teutonico, e chiesa di s. Petronio de' Bolognesi A destra di detto palazzo evvi quello dell' Ordine Teutonico, ed accanto la chiesa di s. Petronio. Era questa chiesa dedicata a san Tommaso Apost., e dicevasi della catena, ma essendo poi nel 1575. conceduta alla confraternita de' Bolognesi, fu riedificata di nuovo, e dedicata a s. Gio. Evangelista, e a s. Petronio vescovo di Bologna, e poi fu ornata di pitture, e stucchi finti molto belli; in cui è il celebre quadro dipinto dal Domenichino. Chiesa di s. Maria dell'Oraz., e della Morte Prese un tal titolo questa chiesa dall'Orazione delle 40. Ore, che si fa in essa ogni terza Domenica di ciascun mese coll'esposizione continua del ss. Sagramento, donde si è poi distesa per tutta la Chiesa Cattolica. Ebbe principio quest'esercizio l'anno 1555. dalla confraternita, cognominata della Morte, eretta già poco dopo il lagrimevole sacco di Roma per seppellire i poveri morti nella campagna, e però crescendo sempre più il fervore di tale istituto, ottenne molti privilegi, fra' quali di tenere aperta la chiesa tutta la notte in tempo dell'esposzioni delle 40. Ore. E perchè molto piccola riusciva alle Funzioni pubbliche, nell'an. 1737. rifece la chiesa col disegno del Cav. Fuga. Sono in essa tre bellissime pitture a fresco, che erano nella chiesa vecchia fatte dal Cav. Lanfranco, e nell'altare maggiore evvi il ss. Crocifisso, tenuto per opera di Ciro Ferri; la s. Giuliana è del Gav. Ghezzi, e la sagra Famiglia di Lorenzo Masucci.