enclose the piazza. The semicircular porticoes are supported by four rows of columns, in all 284 in number, and by 64 pilasters, and on the entablatures are placed 192 statues, each 11 feet in height. This grand colonnade excludes from the eye and screens off all the adjacent buildings, or other objects that might presume to intrude on the view of the great Basilica, and by harmonizing with the façade, it displays to the bewildered vision a vista of extraordinary extent, unity, and magnificence, nearly allied to the sublime. The genius of design, the beauty, effect, and originality of the conception of this piazza and its surroundings, are sufficient to immortalize the gigantic talent of the architectural originator, who was Bernini. It was erected during the pontificate of Alexander III., who occupied the Chair of Peter from the year 1657 to the year 1667. In the centre of the piazza stands the colossal Egyptian obelisk, with the two fountains at the sides, their large circular basins of eastern granite receiving the descending waters, after playing and sparkling aloft like snowwhite waving plumes in every variety of graceful curve.

The gracefully curving semicircles of this colossal colonnade display the most diversified and interesting examples of the expressive effects of chiaro-scuro, in the imperceptible gradations of gently receding tints, from the highest lights to the deepest sombre shades-sometimes presenting the columns in the shade, and a brilliant light seen through the intercolumniations in the distance, again exhibiting the columns in brilliant sunshine, highly relieved on the dark ground behind, and with them all the middle tints and gently receding gradations and harmonious blendings of light and shade: and as the sun revolved, at one period lighting up one side, and at another the opposite, the combinations were most diversified and

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DESIGN OF ST. PETER'S.

ever changing: more particularly when the observer is moving for there is one point of divergence in the piazza, from which there appears to be but one row of columns all round, the front one concealing the others in the same line of radius; and again, from other points there appears to be a forest of columns, as they are all exposed to view. The three spaces between the four rows of columns are sufficiently broad to admit of the passage of two carriages in each, and in particular lights, the glittering appearance of the equipages, constantly intercepted by the intervening columns as they roll on, is most animated and captivating, resembling the glittering of the highly varnished spokes of a revolving wheel, as they successively enter the angle of the sun's reflected radiance.

WONDERS OF ST. PETER'S-WONDERS OF VISION.

Before us stands that grand triumph of architecture, the great Basilica of St. Peter's in all its gigantic proportions! So early as the year 1450 the foundation of a Basilica was laid on the site of St. Peter's by Nicholas V., and the building was continued by Pope Paul II. It was disapproved of, however, by Pope Julius II., and a portion of the walls taken down under his directions. The original design of the present fabric was given by Bramante, in the year 1503, during the pontificate of Julius II. The plan was a Latin cross with a lofty dome in the centre, and in front a vast portico with six columns. The first stone was laid in 1506 by Julius II. Before the completion of the Basilica, the designs were several times changed from a Latin to a Greek cross, and again from a Greek to a Latin cross, which latter was ultimately determined on. If we count from the commencement of the church, a portion of which was pulled down by Julius

DIMENSIONS OF THE BASILICA.

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II., to the completion of St. Peter's as it now stands, the works extended over a period of nearly 350 years, and during the reigns of 43 Popes. The celebrated architects who directed the works during the lengthened interval from its foundation to its completion include a long catalogue. Amongst them were Bernardino Rosselleni, Leon Alberti, Michael Angelo, Bramante, Giuliano Sangallo, Giovanni da Vérona, Baldassare Peruzzi, Giulio Romano, Vignola, Pirro Ligorio, Giacomo della Porta, and Carlo Moderno.

The cupola was completed in the year 1590 by Pope Sixtus V., who for a considerable time had 600 men engaged in its erection, and annually devoted to it 100,000 gold crowns. The church was dedicated on the 18th of November, 1626, by Pope Urban VIII. Pius VI. finished the works. The church is 610 English feet in length. The height of the nave is 150 feet. The diameter of the cupola is 193 feet. The height of the dome inside, from the marble pavement to the base of the lantern, is 400 feet and to the top of the cross 430. The marbles, fonts, sculpture, and mosaics with which the interior is decorated, are of priceless value. The weight of the dome is 55,428 tons. More than 30,000 lbs. weight of iron was used in its construction. The space of ground covered by the buildings is 240,000 square feet: about eight English acres !

Immediately under the dome stands the Papal high altar. It is surmounted by the baldacchino which is supported by four richly decorated spiral columns of solid bronze, and is 93 feet in height. The gilding alone of the decorations cost 40,000 scudi, or Roman crowns. The entire cost of this Beneath repose the holy

grand canopy was 100,000 scudi.

relics of the Apostles, enclosed in a gorgeous shrine. Before

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SHRINE OF HOPES OF IMMORTALITY.

it gold and silver ever burning lamps are suspended, and around the confessional 112 large brass lamps burn for ever, day and night. The general view of the interior of the basilica unveils to the eye an astounding perspective of wonders and beauties, from the pavements of the richest marbles ingeniously disposed, to the towering altitudes of the concave dome, studded with the richest mosaicselaborate bronzes-sacred relics of antiquity-Peter's chair-Veronica's handkerchief-Christ's cross-many precious ornaments-and sculptured works from the chisels of the greatest masters—and specimens of all that is wonderful in art-all contributing to render it "A fit abode wherein appear enshrined

Thy hopes of immortality".

That wonderful fabric is indeed "a poem in stone"and Napoleon might say of it even with more justice than he did of the cathedral of Amiens "an atheist would here feel very little at ease"; un athée serait mal a son aise ici"!

"But thou of temples old, or altars new,
Standest alone-with nothing like to thee—
Worthiest of God, the holy and the true.
Since Zion's desolation, when that He
Forsook his former city, what could be
Of earthly structures, in his honour piled,

Of a sublimer aspect? Majesty,

Power, glory, strength, and beauty-all are aisled
In this eternal ark of worship, undefiled'.

That Basilica is the most stupendous and the most gorgeous temple that has ever been erected by the hands of man to the worship of the Deity. Multitudes from the uttermost ends of the earth visit its shrines through piety, and they gaze on the architectural structure justly estimating it as one of the wonders of the world. Few how

ever reflect on the wonders of the vision which enables them to view it. If I stand on the summit of San Pietro in Montorio, I comprise in one view not only the colossal proportions of the vast fabric, but the entire city of Rome, the Coliseum, the Pantheon, and the other structures; the serpentine windings of the Tiber, the Campagna, the Sabine Hills, the circuit of the country beyond Tivoli, and for a circumference of ninety miles all around. To see all these objects, it is necessary that a ray of light should be reflected from each one, and from every part of each one, to my eye. Now, out of this extensive landscape presented to my vision, let me take the mighty mole of St. Peter's, and divide it into points as minute as the points of a cambric needle. From each one of these points a ray of light is reflected to my eye. The number of such points and the number of such radiations would be innumerable. Millions, billions, and trillions, multiplied by trillions again and again, could not compute them. This innumerable number of radiations converge in angles of the most exact measurement, each angle differing from the other, and all entering without confusion through the small aperture of the pupil of my eye. They enter and depict the image of that object on the retina of my eye. I then see the mighty fabric displayed in all its magnitude, so developed as to calculate its dimensions. The retina within my eye, upon which the image is painted, is a small fibrous membrane, only about one quarter of an inch in diameter. But on that retina, less than half an inch in diameter, I see at one glance not merely St. Peter's basilica, but the entire city of Rome, the Tiber for thirty miles of its course, and also thousands of square miles of the country. Now, in proportion as St. Peter's Church is lesser than that expansive area, in the same proportion the