1 60 /. N. and E. Hills. ROME. c. S. Maria degli Angeli.
central hall was accordingly converted into the church of *Santa
Maria degli Angeli (PL I, 27), which was consecrated on Aug. 5th,
1561. The present transept was then the nave, the portal was at the
end on the right, and the high-altar on the left. In 1749 Vanvitelli
disfigured the church by converting the nave into the transept, plac¬
ing the entrance on the W. side (opposite the fountain, p. 165), and
other injudicious alterations.
A small Rotonda is first entered. The first tomb on the right is that of
the painter Carlo Blaratta (d. 1713). The first tomb on the left is that of
Salvator Rosa (d. 1673). In the Chapel, Christ appearing to Mary 3Iagda-
len, an altar-piece by Arrigo Fiammingo.
We next enter the great Teansept. The niche on the right in the passage
contains a colossal statue of St. Bruno, founder of the Carthusian order, by
Houdon; in the chapel on the left, the Delivery of the Keys, an excellent
altar-piece by Girol. Muziano. The transept (formerly the nave) is 100 yds.
long, 29 yds. wide, and 90 ft. high. Of the 16 columns, each 45 ft. in height,
eight are antique, of oriental granite, which were barbarously white¬
washed by Vanvitelli, and the others were built of brick when the church
was restored. — Jfost of the large pictures were brought from St. Peter's,
where they are replaced by copies in mosaic. In the right half (on the
pavement the meridian of Rome, laid down by Bianchini in 1703): on the
right, Crucifixion of St. Peter by Ricciolini; Fall of SimonBIagus, after Franc.
Vanni (original in St. Peter's); on the left, St. Jerome among the hermits, an
excellent work by Muziano (landscape by Bril); Bliracles of St. Peter, Baglioni.
At the narrow end: chapel of B. Niccolo Albergati. In the left half: on the
left, Blass of St. Basil with the Emperor Valens, Subleyras; Fall of Simon
3Iagus, Pomp. Baltoni; on the right, Immaculate Conception, P. Bianchi;
Raising of Tabitha, P. Costanzi. At the narrow end : chapel of St. Bruno.
In the Tribune: right, Romanelli, Presentation of the Virgin; Domen¬
ichino, Blartyrdoni of St. Sebastian (painted in oil on the wall); left,
Roncalli, Death of Ananias and Sapphira; Maralta, Baptism of Christ. The
choir contains two tombs (1. Pius IV., r. Ant. Serbelloni), designed by
The remaining parts of the Thermae, formerly occupied by the
Carthusians, now accommodate various charitable and educational
institutions and the —
**Museo Nazionale Romano delle Terme Diocleziane (PI. 1,27).
The Museum is intended for the reception of antiques discovered
on public property within the city-limits. The most important dis¬
coveries hitherto have been made on the Palatine and in the course
of excavations beside the Tiber. The arrangement, etc., of the ex¬
hibits are naturally liable to frequent alterations. Admission, see
pp. 140, 141. The Entrance is by the door to the right iu the corner
opposite the railway-station (marked 'Ospizio Margherita per iPoveri
Ciechi') and then to the left in the court (at a in the adjoining plan
of the Therm*). Catalogues l1,^ fr. and 30 c.; comp. Helbig, Anti¬
quities in Rome, vol. ii, pp. 188-263.
We first ascend at the end of the corridor to the —
First Floor. — Room I: In the centre, Fragment of a Group,
representing the Rape of Oreithyia by Boreas or a Centaur and a
Lapitha. To the left of the entrance, rude mosaic picture of a skeleton,
with the legend l\u>th oaurov ('know thyself), from a tomb on the
Via Appia. To the right, two large Pillars with Inscriptions relating to