The Diary of John Evelyn (Volume 1 of 2)

"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.

20th November, 1644. I went to visit that ancient See and Cathedral of St. John di Laterano, and the holy places thereabout. This is a church of extraordinary devotion, though, for outward form, not comparable to St. Peter's, being of Gothic ordonnance. Before we went into the cathedral, the Baptistery of St. John Baptist presented itself, being formerly part of the Great Constantine's palace, and, as it is said, his chamber where by St. Silvester he was made a Christian. It is of an octagonal shape, having before the entrance eight fair pillars of rich porphyry, each of one entire piece, their capitals of divers orders, supporting lesser columns of white marble, and these supporting a noble cupola, the molding whereof is excellently wrought. In the chapel which they affirm to have been the lodging place of this Emperor, all women are prohibited from entering, for the malice of Herodias who caused him to lose his head. Here are deposited several sacred relics of St. James, Mary Magdalen, St. Matthew, etc., and two goodly pictures. Another chapel, or oratory near it, is called St. John the Evangelist, well adorned with marbles and tables, especially those of Cavaliére Giuseppe, and of Tempesta, in fresco. We went hence into another called St. Venantius, in which is a tribunal all of Mosaic in figures of Popes. Here is also an altar of the Madonna, much visited, and divers Sclavonish saints, companions of Pope John IV. The portico of the church is built of materials brought from Pontius Pilate's house in Jerusalem.

The next sight which attracted our attention, was a wonderful concourse of people at their devotions before a place called Scala Sancta, to which is built a noble front. Entering the portico, we saw those large marble stairs, twenty-eight in number, which are never ascended but on the knees, some lip-devotion being used on every step; on which you may perceive divers red specks of blood under a grate, which they affirm to have been drops of our Blessed Savior, at the time he was so barbarously misused by Herod's soldiers; for these stairs are reported to have been translated hither from his palace in Jerusalem. At the top of them is a chapel, whereat they enter (but we could not be permitted) by gates of marble, being the same our Savior passed when he went out of Herod's house. This they name the Sanctum Sanctorum, and over it we read this epigraph:

Non est in toto sanctior orbe locus

Here, through a grate, we saw that picture of Christ painted (as they say) by the hand of St. Luke, to the life. Descending again, we saw before the church the obelisk, which is indeed most worthy of admiration. It formerly lay in the Circo Maximo, and was erected here by Sextus V., in 1587, being 112 feet in height without the base or pedestal; at the foot nine and a half one way, and eight the other. This pillar was first brought from Thebes at the utmost confines of Egypt, to Alexandria, from thence to Constantinople, thence to Rome, and is said by Ammianus Marcellinus to have been dedicated to Rameses, King of Egypt. It was transferred to this city by Constantine the son of the Great, and is full of hieroglyphics, serpents, men, owls, falcons, oxen, instruments, etc., containing (as Father Kircher the Jesuit will shortly tell us in a book which he is ready to publish) all the recondite and abstruse learning of that people. The vessel, galley, or float, that brought it to Rome so many hundred leagues, must needs have been of wonderful bigness and strange fabric. The stone is one and entire, and (having been thrown down) was erected by the famous Dom. Fontana, for that magnificent Pope, Sextus V., as the rest were; it is now cracked in many places, but solidly joined. The obelisk is thus inscribed at the several faciátas:

Fl. Constantinus Augustus, Constantini Augusti F. Obeliscum à patre suo motum diuq; Alexandriæ jacentem, trecentorum remigum impositum navi mirandæ vastitatis per mare Tyberimq; magnis molibus Romam convectum in Circo Max. ponendum S.P.Q.R.D.D.

On the second square:

Fl. Constantinus Max: Aug: Christianæ fidei Vindex & Assertor Obeliscum ab Ægyptio Rege impuro voto Soli dicatum, sedibus avulsum suis per Nilum transfer. Alexandriam, ut Novam Romam ab se tunc conditam eo decoraret monumento.

On the third:

Sextus V. Pontifex Max: Obeliscum hunc specie eximiâ temporum calamitate fractum, Circi Maximi ruinis humo, limoq; altè demersum, multâ impensâ extraxit, hunc in locum magno labore transtulit, formàq; pristinâ accuratè vestitum, Cruci invictissimæ dicavit anno M.D.LXXXVIII. Pont. IIII.

On the fourth:

Constantinus per Crucem Victor à Silvestro hìc Baptizatus Crucis gloriam propagavit.

Leaving this wonderful monument (before which is a stately public fountain, with a statue of St. John in the middle of it), we visited His Holiness's palace, being a little on the left hand, the design of Fontana, architect to Sextus V. This I take to be one of the best palaces in Rome; but not staying we entered the church of St. John di Laterano, which is properly the Cathedral of the Roman See, as I learned by these verses engraven upon the architrave of the portico:

 
Dogmate Papali datur, et simul Imperiali
Quòd sim cunctarum mater caput Ecclesiarŭ
Hinc Salvatoris cœlestia regna datoris
Nomine Sanxerunt, cum cuncta peracta fuerunt;
Sic vos ex toto conversi supplice voto
Nostra quòd hæc ædes; tibi Christe sit inclyta sedes.
 

It is called Lateran, from a noble family formerly dwelling it seems hereabouts, on Mons Cælius. The church is Gothic, and hath a stately tribunal; the paintings are of Pietro Pisano. It was the first church that was consecrated with the ceremonies now introduced, and where altars of stone supplied those of wood heretofore in use, and made like large chests for the easier removal in times of persecution; such an altar is still the great one here preserved, as being that on which (they hold) St. Peter celebrated mass at Rome; for which reason none but the Pope may now presume to make that use of it. The pavement is of all sorts of precious marbles, and so are the walls to a great height, over which it is painted á fresco with the life and acts of Constantine the Great, by most excellent masters. The organs are rare, supported by four columns. The soffito is all richly gilded, and full of pictures. Opposite to the porta is an altar of exquisite architecture, with a tabernacle on it all of precious stones, the work of Targoni; on this is a cœna of plate, the invention of Curtius Vanni, of exceeding value; the tables hanging over it are of Giuseppe d'Arpino. About this are four excellent columns transported out of Asia by the Emperor Titus, of brass, double gilt, about twelve feet in height; the walls between them are incrusted with marble and set with statues in niches, the vacuum reported to be filled with holy earth, which St. Helena sent from Jerusalem to her son, Constantine, who set these pillars where they now stand. At one side of this is an oratory full of rare paintings and monuments, especially those of the great Connestábile Colonna. Out of this we came into the sacristia, full of good pictures of Albert and others. At the end of the church is a flat stone supported by four pillars which they affirm to have been the exact height of our Blessed Savior, and say they never fitted any mortal man that tried it, but he was either taller or shorter; two columns of the veil of the Temple which rent at his passion; the stone on which they threw lots for his seamless vesture; and the pillar on which the cock crowed, after Peter's denial; and, to omit no fine thing, the just length of the Virgin Mary's foot as it seems her shoemaker affirmed! Here is a sumptuous cross, beset with precious stones, containing some of the VERY wood of the holy cross itself; with many other things of this sort: also numerous most magnificent monuments, especially those of St. Helena, of porphyry; Cardinal Farneze; Martin I., of copper; the pictures of Mary Magdalen, Martin V., Laurentius Valla, etc., are of Gaetano; the Nunciata, designed by M. Angelo; and the great crucifix of Sermoneta. In a chapel at one end of the porch is a statue of Henry IV. of France, in brass, standing in a dark hole, and so has done many years; perhaps from not believing him a thorough proselyte. The two famous œcumenical Councils were celebrated in this Church by Pope Simachus, Martin I., Stephen, etc.

Leaving this venerable church (for in truth it has a certain majesty in it), we passed through a fair and large hospital of good architecture, having some inscriptions put up by Barberini, the late Pope's nephew. We then went by St. Sylvia, where is a noble statue of St. Gregory P., begun by M. Angelo; a St. Andrew, and the bath of St. Cecilia. In this church are some rare paintings, especially that story on the wall of Guido Reni. Thence to St. Giovanni e Paula, where the friars are reputed to be great chemists. The choir, roof, and paintings in the tribuna are excellent.

Descending the Mons Cælius, we came against the vestiges of the Palazzo Maggiore, heretofore the Golden House of Nero; now nothing but a heap of vast and confused ruins, to show what time and the vicissitude of human things does change from the most glorious and magnificent to the most deformed and confused. We next went into St. Sebastian's Church, which has a handsome front: then we passed by the place where Romulus and Remus were taken up by Faustulus, the Forum Romanum, and so by the edge of the Mons Palatinus; where we saw the ruins of Pompey's house, and the Church of St. Anacletus; and so into the Circus Maximus, heretofore capable of containing a hundred and sixty thousand spectators, but now all one entire heap of rubbish, part of it converted into a garden of pot herbs. We concluded this evening with hearing the rare voices and music at the Chiesa Nova.

21st November, 1644. I was carried to see a great virtuoso, Cavaliéro Pozzo, who showed us a rare collection of all kind of antiquities, and a choice library, over which are the effigies of most of our late men of polite literature. He had a great collection of the antique basso-relievos about Rome, which this curious man had caused to be designed in several folios: many fine medals; the stone which Pliny calls Enhydros; it had plainly in it the quantity of half a spoonful of water, of a yellow pebble color, of the bigness of a walnut. A stone paler than an amethyst, which yet he affirmed to be the true carbuncle, and harder than a diamond; it was set in a ring, without foil, or anything at the bottom, so as it was transparent, of a greenish yellow, more lustrous than a diamond. He had very pretty things painted on crimson velvet, designed in black, and shaded and heightened with white, set in frames; also a number of choice designs and drawings.

Hence we walked to the Suburra and Ærarium Saturni, where yet remain some ruins and an inscription. From thence to St. Pietro in vinculis, one of the seven churches on the Esquiline, an old and much-frequented place of great devotion for the relics there, especially the bodies of the seven Maccabean brethren, which lie under the altar. On the wall is a St. Sebastian, of mosaic, after the Greek manner: but what I chiefly regarded was, that noble sepulchre of Pope Julius II., the work of M. Angelo; with that never-sufficiently-to-be-admired statue of Moses, in white marble, and those of Vita Contemplativa and Activa, by the same incomparable hand. To this church belongs a monastery, in the court of whose cloisters grow two tall and very stately palm trees. Behind these, we walked a turn among the Baths of Titus, admiring the strange and prodigious receptacles for water, which the vulgar call the Setti Sali, now all in heaps.

22d November, 1644. Was the solemn and greatest ceremony of all the State Ecclesiastical, viz, the procession of the Pope (Innocent X.) to St. John di Laterano, which, standing on the steps of Ara Celi, near the Capitol, I saw pass in this manner: – First went a guard of Switzers to make way, and divers of the avant guard of horse carrying lances. Next followed those who carried the robes of the Cardinals, two and two; then the Cardinal's mace bearers; the caudatari, on mules; the masters of their horse; the Pope's barber, tailor, baker, gardener, and other domestic officers, all on horseback, in rich liveries; the squires belonging to the Guard; five men in rich liveries led five noble Neapolitan horses, white as snow, covered to the ground with trappings richly embroidered; which is a service paid by the King of Spain for the kingdoms of Naples and Sicily, pretended feudatories to the Pope; three mules of exquisite beauty and price, trapped in crimson velvet; next followed three rich litters with mules, the litters empty; the master of the horse alone, with his squires; five trumpeters; the armerieri estra muros; the fiscal and consistorial advocates; capellani, camerieri de honore, cubiculari and chamberlains, called secreti.

Then followed four other camerieri with four caps of the dignity-pontifical, which were Cardinals' hats carried on staves; four trumpets; after them a number of noble Romans and gentlemen of quality, very rich, and followed by innumerable staffiéri and pages; the secretaries of the chancellaria, abbreviatori-accoliti in their long robes, and on mules; auditori di rota; the dean of the rôti and master of the sacred palace, on mules, with grave but rich footclothes, and in flat episcopal hats; then went more of the Roman and other nobility and courtiers, with divers pages in most rich liveries on horseback; fourteen drums belonging to the Capitol; the marshals with their staves; the two syndics; the conservators of the city, in robes of crimson damask; the knight-gonfalonier and prior of the R. R., in velvet toques; six of his Holiness's mace bearers; then the captain, or governor, of the Castle of St. Angelo, upon a brave prancer; the governor of the city; on both sides of these two long ranks of Switzers, the masters of the ceremonies; the cross bearer on horseback, with two priests at each hand on foot; pages, footmen, and guards, in abundance. Then came the Pope himself, carried in a litter, or rather open chair, of crimson velvet, richly embroidered, and borne by two stately mules; as he went he held up two fingers, blessing the multitude who were on their knees, or looking out of their windows and houses, with loud vivas and acclamations of felicity to their new Prince. This chair was followed by the master of his chamber, cup bearer, secretary, and physician; then came the Cardinal-Bishops, Cardinal-Priests, Cardinal-Deacons, Patriarchs, Archbishops, and Bishops, all in their several and distinct habits, some in red, others in green flat hats with tassels, all on gallant mules richly trapped with velvet, and led by their servants in great state and multitudes; after them, the apostolical protonotary, auditor, treasurer, and referendaries; lastly, the trumpets of the rear guard, two pages of arms in helmets with feathers, and carrying lances; two captains; the pontifical standard of the Church; the two alfieri, or cornets, of the Pope's light horse, who all followed in armor and carrying lances; which, with innumerable rich coaches, litters, and people, made up the procession. What they did at St. John di Laterano, I could not see, by reason of the prodigious crowd; so I spent most of the day in viewing the two triumphal arches which had been purposely erected a few days before, and till now covered; the one by the Duke of Parma, in the Foro Romano, the other by the Jews in the Capitol, with flattering inscriptions. They were of excellent architecture, decorated with statues and abundance of ornaments proper for the occasion, since they were but temporary, and made up of boards, cloth, etc., painted and framed on the sudden, but as to outward appearance, solid and very stately. The night ended with fireworks. What I saw was that which was built before the Spanish Ambassador's house, in the Piazza del Trinita, and another, before that of the French. The first appeared to be a mighty rock, bearing the Pope's Arms, a dragon, and divers figures, which being set on fire by one who flung a rocket at it, kindled immediately, yet preserving the figure both of the rock and statues a very long time; insomuch as it was deemed ten thousand reports of squibs and crackers spent themselves in order. That before the French Ambassador's Palace was a Diana drawn in a chariot by her dogs, with abundance of other figures as large as the life, which played with fire in the same manner. In the meantime, the windows of the whole city were set with tapers put into lanterns, or sconces, of several colored oiled paper, that the wind might not annoy them; this rendered a most glorious show. Besides these, there were at least twenty other fireworks of vast charge and rare art for their invention before divers Ambassadors, Princes, and Cardinals' Palaces, especially that on the Castle of St. Angelo, being a pyramid of lights, of great height, fastened to the ropes and cables which support the standard pole. The streets were this night as light as day, full of bonfires, cannon roaring, music playing, fountains running wine, in all excess of joy and triumph.

23d November, 1644. I went to the Jesuits' College again, the front whereof gives place to few for its architecture, most of its ornaments being of rich marble. It has within a noble portico and court, sustained by stately columns, as is the corridor over the portico, at the sides of which are the schools for arts and sciences, which are here taught as at the University. Here I heard Father Athanasius Kircher upon a part of Euclid, which he expounded. To this joins a glorious and ample church for the students; a second is not fully finished; and there are two noble libraries, where I was showed that famous wit and historian, Famianus Strada. Hence we went to the house of Hippolito Vitellesco (afterward bibliothecary of the Vatican library), who showed us one of the best collections of statues in Rome, to which he frequently talks as if they were living, pronouncing now and then orations, sentences, and verses, sometimes kissing and embracing them. He has a head of Brutus scarred in the face by order of the Senate for killing Julius; this is much esteemed. Also a Minerva, and others of great value. This gentleman not long since purchased land in the kingdom of Naples, in hope, by digging the ground, to find more statues; which it seems so far succeeded, as to be much more worth than the purchase. We spent the evening at the Chiesa Nova, where was excellent music; but, before that began, the courteous fathers led me into a nobly furnished library, contiguous to their most beautiful convent.

28th November, 1644. I went to see the garden and house of the Aldobrandini, now Cardinal Borghese's. This palace is, for architecture, magnificence, pomp, and state, one of the most considerable about the city. It has four fronts, and a noble piazza before it. Within the courts, under arches supported by marble columns, are many excellent statues. Ascending the stairs, there is a rare figure of Diana, of white marble. The St. Sebastian and Hermaphrodite are of stupendous art. For paintings, our Savior's Head, by Correggio; several pieces of Raphael, some of which are small; some of Bassano Veronese; the Leda, and two admirable Venuses, are of Titian's pencil; so is the Psyche and Cupid; the head of St. John, borne by Herodias; two heads of Albert Durer, very exquisite. We were shown here a fine cabinet and tables of Florence work in stone. In the gardens are many fine fountains, the walls covered with citron trees, which, being rarely spread, invest the stone work entirely; and, toward the street, at a back gate, the port is so handsomely clothed with ivy as much pleased me. About this palace are many noble antique bassi-relievi: two especially are placed on the ground, representing armor, and other military furniture of the Romans; beside these, stand about the garden numerous rare statues, altars, and urns. Above all for antiquity and curiosity (as being the only rarity of that nature now known to remain) is that piece of old Roman painting representing the Roman Sponsalia, or celebration of their marriage, judged to be 1,400 years old, yet are the colors very lively, and the design very entire, though found deep in the ground. For this morsel of painting's sake only, it is said the Borghesi purchased the house, because this being on a wall in a kind of banqueting house in the garden, could not be removed, but passes with the inheritance.

29th November, 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.

12th December, 1644. I went again to St. Peter's to see the chapels, churches, and grots under the whole church (like our St. Faith's under Paul's), in which lie interred a multitude of Saints, Martyrs, and Popes; among them our countryman, Adrian IV., (Nicholas Brekespere) in a chest of porphyry; Sir J. Chrysostom; Petronella; the heads of St. James minor, St. Luke, St. Sebastian, and our Thomas à Becket; a shoulder of St. Christopher; an arm of Joseph of Arimathea; Longinus; besides 134 more bishops, soldiers, princes, scholars, cardinals, kings, emperors, their wives; too long to particularize.

Hence we walked into the cemetery, called Campo Santo, the earth consisting of several ship-loads of mold, transported from Jerusalem, which consumes a carcass in twenty-four hours. To this joins that rare hospital, where once was Nero's circus; the next to this is the Inquisition-house and prison, the inside whereof, I thank God, I was not curious to see. To this joins His Holiness's Horseguards.

On Christmas-eve, I went not to bed, being desirous of seeing the many extraordinary ceremonies performed then in their churches, at midnight masses and sermons. I walked from church to church the whole night in admiration at the multitude of scenes and pageantry which the friars had with much industry and craft set out, to catch the devout women and superstitious sort of people, who never parted without dropping some money into a vessel set on purpose; but especially observable was the puppetry in the Church of the Minerva, representing the Nativity. I thence went and heard a sermon at the Apollinare; by which time it was morning. On Christmas-day his Holiness sang mass, the artillery of St. Angelo went off, and all this day was exposed the cradle of our Lord.

29th December, 1644. We were invited by the English Jesuits to dinner, being their great feast of Thomas [à Becket] of Canterbury. We dined in their common refectory, and afterward saw an Italian comedy acted by their alumni before the Cardinals.

January, 1645. We saw pass the new officers of the people of Rome; especially, for their noble habits were most conspicuous, the three Consuls, now called Conservators, who take their places in the Capitol, having been sworn the day before between the hands of the Pope. We ended the day with the rare music at the Chiesa Nova.

6th January, 1645. Was the ceremony of our Savior's baptism in the Church of St. Athanasius, and at Ara Celi was a great procession, del Bambino, as they call it, where were all the magistrates, and a wonderful concourse of people.