1 80 /. TV. and E. Hills. ROME. e. S. Pietro in Vincoli.
about the year 442, as a receptacle for the chains of St. Peter which
had been presented by her to Pope Leo I. It was restored by Pela¬
gius I. and Hadrian I.; the vestibule is a work of the early Renais¬
sance, and the whole is now modernised. Admission before 11 a.m.
(Sun. till after 12) and after 3 p.m.; when closed, visitors ring at the
adjacent door to the left, No. 4 (l/2 fr.).
Interior. The nave and aisles are separated by 20 antique Doric
columns. To the left of the entrance, by the pillar, is the monument of
the Florentine painters Pietro and Antonio Pollajuolo (d. 1498). The fresco
above it, representing the plague of 680, is attributed to the latter. — The
Left Aisle contains, on the pavement and wall, the monument (in the corner)
of the learned Card. Nicolaus Cusanus (from Cues on the 31oselle, d. 1465).
Above it a relief: St. Peter with keys and chains, on the left the donor (Nic.
Cusanus), right an angel. On the 2nd altar to the left a mosaic of the 7th cent.
with St. Sebastian (bearded). — In the Right Transept is the monument of
Pope Julius II. (p. lxvii) by Michael Angelo, with the "Statue of 3Ioses, re¬
presented as on the point of springing from his seat, in indignation at the
idolatry of the Jews (Moses is represented by mediaeval Christian artists
with horns owing to an erroneous translation in the Vulgate of Ex¬
odus xxxiv. 35). This is one of Michael Angelo's most famous and most
characteristic works; he has sacrificed details in order to bring the total
effect into more dominating prominence. The proportions of the figure are
inexact; the small head, the powerful arms, and the gigantic torso are
certainly out of harmony, while the robe hangs from the celebrated knee
in quite impossible folds. But all the same the general effect is most im¬
posing. Besides the Moses, the statues of Rachel, and Leah (as symbols,
on the left of meditative, on the right of active life) alone were executed
by the great master, and even these were not entirely his own work¬
manship. These figures are an allusion to the complaint of St. Gregory
after he was elected pope that his life instead of being the beautiful Rachel
whom he sought was the more fruitful Leah (comp. Dante, Purg. xxvu. 108).
The grouping only of the remainder was from 3Iichael Angelo's design. The
figure of the pope (who is not interred here, comp. p. 312), by Maso del Bosco,
is a failure; the prophet and the sibyl at the side are by Raf. da Montelupo. —
To the right of the choir is St. Blargaret, an altar-piece by Guercino. —
The Choir contains an ancient marble seat from a bath, converted into
an episcopal throne. A cabinet under the high-altar, with bronze doors
(1477; erroneously attributed to the Pollajuoli), contains the chains of St.
Peter, which are exhibited to the pious on August 1st.
The adjacent monastery of the Canonici Regolari is now the seat
of the physical and mathematical faculty of the university. The
monastery-court, by Giuliano da Sangallo, is embellished with a
fountain by Antonio da Sangallo. (Entrance by No. 5, to the right
of the church.)
From the Via di San Pietro in Vincoli, which descends hence to
the S.W., the new continuation of the Via dei Serpenti diverges to
the left to the Colosseum (PL II, 23, 22; p. 255).
f. The Villa Borghese. Villa di Papa Giulio.
A visit to the Villa Borghese is attractive not only on account of the
beautiful park, but also on account of the art-gallery now preserved in
the casino, which, though many masterpieces have been removed, still
ranks as the most important private collection in Rome. Admission to the
park is free on Sun. and on those afternoons on which the casino is
open; on other days a charge of 50 c. is made for cabs, 1 fr. for carriages
with two horses, 25 c. for pedestrians. At the entrance near the Porta Pin-