The visitor to the castle of St. Angelo is shown the Treasure Chamber created by Sixtus. It is reached, after passing through the oil stores and the Cannon Ball Court, by a long narrow corridor from which open the so-called historical prisons, all of which are associated by tradition with some famous occupant. One is that known as the “Petroni,” so-called after the wife of Francesco Cenci, the stepmother of the unhappy Beatrice; another is said to have been the resting place of Beatrice herself, and yet another the place of durance of Benvenuto Cellini. Cellini’s cell still preserves traces of a figure drawn in charcoal representing “Christ Triumphant,” attributed to the famous artist’s own hand, and there is internal evidence to show that this was the very cell from which he started on his memorable escape. After wrenching from its hinges the door which stood at the top of the steps, he made his way to a small platform, which projected from the keep in the form of a balcony, and lowered himself from this point by using the rope he had manufactured out of his sheets. We view these hideous cells with horror; they are dark and airless--the exact counterpart of mediæval dungeons--and we can enter into the feelings of their wretched inmates who languished there for years with little hope of release except by death. From the level of these prisons, we mount to the first floor of the papal apartments, and enter the hall named after Giulio Romano, and pass into a circular chamber, really in the very centre of the castle, which was the receptacle of the secret records and the papal treasury. Walnut wood shelves in the plain style of Paul III surround this chamber and it contains a number of huge boxes in oak, bound with iron and of immense strength. The largest of these was the cash box of Sixtus V, and in the smaller ones the crown jewels, the sceptres and tiaras and precious relics were preserved.