Restoration Of Churches In Rome.

jects—at the entrance , the Virgin Avith the child enthroned , and laterally ten females , of stately bearing and richly vested , some crowned , others veiled , all carrying large lamps , and approaching , five on each side , towards the throne of Mary ; immediately beside Avhich are , kneeling , two much smaller figures , in pontific vestmentsone with a . bluethe other with a

, , red chasuble OA'er the priestly alb ; probably intended for the two Popes Innocent ancl Eugenius ; this AA'hole composition reminding of the parable of the ten virgins ; yet that such cannot be the subject intended , though , perhaps , actually the artist ' s inspiring idea , seems evident in the circumstance that all the lamps

are burning , except three , in the vessels carried by this fair company , aud that all are alike distinguished by an aspect serenely devout as they draw near , evidently for worship , to the Virgin Mother with her child . Another Madonna and child , in mosaic , of equal antiquity , occupy a space under a marble

canopy at the highest story of the tower , one of those fine examples of the square brick-built campanile , with arcade-wiudoAvs and terra-cotta cornices , of which there are several in Rome , aseribable to periods between the eighth aud tAvelfth centuries . The interior of this church has a sombre majestya gorgeous

, gloom fraught with memories of the past that impress and fascinate ; but we speak rather of Avhat it was than Avhat it is likely to become in the result of the works now disturbing its consecrated repose . With colonnades sustaining architraves , high attics pierced by narrow arched windows , flat ceiling painted

and gilt in coffers , elevated presb yterium and transepts , isolated high altar , and mosaic-clothed apse , where stands the antique episcopal throne of marble with Pagan chima . i-a 3 chiselled on the arms , the Avhole interior has hitherto seemed a genuine monument of Rome ' s Middle Ages . Twenty-tAvo columns of red and grey granitemost different in proportions

, , with capitals iu part Ionic , in part Corinthian , all alike Avith the basements , inverted to their shafts , divide the nave and aisles ; the architrave above surmounted by a frieze of classic fragments , alike arbitrarily pieced together , portions of the cornice being all classicand of the richest

, description . On the Ionic capitals are singular details , being the small heads of deities ( assumed to be Isis , Serapis , and Harpocrates—which ,, indeed , seems but conjecture ) iu relief between the A'olutes . The pavement , of the time of Innocent IL , is among the most beautiful examplesof theopus Alcxandrinum or inlarsio ,

in coloured marblei ? , prophyry , and serpentine the most conspicuous , laid in circles , squares , hexagons , and bands , to be seen in any of Rome ' s churches ; and we much regret to learn that this entire pavement is to he taken up iu order to loAvering the whole interior levelseven though the assurance is g iven that its

, ancient material will be preserved and design reproduced in the proposed renovations . The mosaics of the twelfth and thirteenth centuries still occupy their original place above the tribune arch , within and laterally to the apse , on that hig her surface over the A'ault , representing the four well-knoAvn symbols of

the Evangelists , each holding a jewelled book ( details set aside by later art ) ; and at ' the centre , over the keystone , the cross with A . and W . ; at the spandrels , the colossal figures of Isaiah and Jeremiah , each holding a scroll that displays words from their prophecies referring to the birth of Christ . Within the apse is the most striking and splendid mosaic group .

The Son embraces the mother Avith his right arm , and holds in the left hand an open book , shoAving the Avords , Veni electa mea , etponam in te thronum meum ; while she displays a kind of tablet , Avith the text from the Song of Solomon— " Lwva ejus sub capite mcus , ' & c . ; and on either side are figures forming a stately

group , of treatment admirable indeed , considering how early the art-period . Innocent II . ( poutifically vested , but bare-headed , holding the model of his church ) , St . Lawrence ( in rich deacoual vestments Avith a backslung cross ) , Calixtus I . ( with a book ) , St . Peter ( with a scroll ) , the Popes Cornelius and Julius I . ( both Avith

books ) , and Calepodius , a martyr , Avhose remains are in the confessional chapel below . In this group thepontiffs are alike A'ested in embroidered chasubles and stoles , but Avithout mitres ; St . Peter , in white robes of classic fashion , with the mystic tau on the hem of his tosra-like mantle . Beneath is another series of

mosaics , on a smaller scale , all ascribed to Cavalhm , and supposed to be of about the date 1290 : their subjects , the Birth of Mary , the Annunciation , the Nativity , the Adoration of the Magi , the Presentation in the Temple ( or Circumcision ) , the Death ( or , rather-Puneral ) of Mary , attended by all the Apostles ; at a lower levelwithin the curve of the apseanother group ,,

, , comprising the half-length figure of Mary with the Child , SS . Peter aud Paul on each side , and below , presented to the Virgin by the former apostle , a kneeling personage , with name inscribed , —Berlold Eilius Pet ., —this being the portrait of Bertoldo , son of Pietro StefaneschiAVIIO Avas major-domo to Pope

, Nicholas IV . at the time he ordered this ex vetopicture , as Avell as all the others in mosaic of Cavallini ' s execution on the lower walls of the apse . In the foreground to that of the Nativity is the subject introduced as accessorial , of the miraculous oil-fountain , which appears gushing from below a tiny

mansion ( the taberna ) , and flowing into a river near the foot of a hill , this being explained by one of the lines of the poetic couplets inscribed underneath all those mosaics ou the lower range . * As to types of countenance in these compositions , the larger heads display a degree of individuality and

expressiveness remarkable for the period of the Avork i . the Saviour ' s head , with dark hair and short beard , sternly characterized ; the Virgin ' s , soft and pleasing , Avith long fair hair escaping from her jeAvelled diadem .

To report further on the . vorks now progressing at this basilica , the interesting nature of Avhich alone can justify us in bringing a subject otkenvise so far from new before our readers : it was in the last Avinter this undertaking Avas commenced by order of Government , and Avith the designs of the architect so much engaged by Roman authorities . Much re-