and most unhappy periods of falling Italy; yet there seems to be a deficiency, even of religious structures, from the beginning of the fourth, till towards the end of the seventh century, when a new character and new relations began to develop themselves. At a very little distance from the church of San Stefano, is the Navicella, a marble boat, placed by Leo the Tenth in front of a church which receives its name from it, but where Leo found it, I cannot tell you. The church was designed by Raphael; a range of five arches forms a sort of portico, above which rises the nave, corresponding in width to three of these arches, and finishing with a pediment. The simplicity of the design, and its apparent correspondence with the internal structure, produce a pleasing effect; but instead of one large window in the end of the nave, Raphael has introduced three small ones, of which the middle is circular, and the composition is sadly spoilt by them. Giulio Romano was employed in painting the internal friezes. After leaving the Navicella, we may visit the Church of Santi Giovanni e Paolo, enriched like so many others, with antique columns of granite and marble, both in the portico and in the nave. I have already mentioned the antiquities in the convent. Continuing our walk along the lane on the side of the church, we pass between massive substructions, and in the garden adjoining there are considerable remains, principally I believe, of the aqueduct of Nero, which is a branch of the Claudian. Piranesi places here the Nymphæum of Nero, with which he unites the Vivarium built by Domitian; here also the house of Scaurus is supposed to have stood, and these fragments may be parts of one or the other, or perhaps of both. Issuing from this lane, we turn to the left, and ascend to the Church of San Gregorio, which is preceded by one of those courts, or atria, which you know I always admire; but in this there is nothing particularly good, beyond the general disposition. The grand object here is not the church, but an adjoining chapel dedicated to St. Andrew, which is one of three united together, but having no communication with the church. This chapel is adorned with two frescos, (not to mention minor objects) one of which represents the flagellation of the saint, by Domenichino, and the other his adoration of the cross, previous to his martyrdom, by Guido. They are very fine, but they are beginning to suffer.