Though irregular in its form, and not very good in its details, there is perhaps, no building in Rome which has more the air of a palace. A coach was turning round in the hall, as I entered it for the first time. The staircase is very noble, and rich in marbles; the steps are supported on arches resting on columns, and these arches are not semicircles, with an upright addition to the lower part, to compensate for the different heights at which the columns are placed, but are curved immediately from the lower column, as well as from the upper; the tangent at each springing being vertical. The effect is grand, but the arrangement is not satisfactory, nor have I ever seen any that was, in an open staircase of more than one story, where the steps were too wide to be well supported by their insertion into the wall. There is a collection of ancient marbles in some unfinished rooms, the pride of which is an exquisite colossal statue of Antinous, found at Palestrina. There are also paintings on the second floor, but I could not obtain admittance. At the angle of this palace is the mutilated trunk called Pasquin, the ancient receptacle of squibs against the government, and against conspicuous individuals; but he speaks no more, though the name is preserved. If we continue our walk at the back of the Piazza Navona, we shall find the Church of the Santa Maria dell’ Anima: so called from an image of the Madonna with two little figures kneeling to her, representing two souls of the faithful. It would appear therefore, that it ought to be _delle anime_. The piers are very slender, and the church has this singularity, that the side aisles are as high as the middle. The effect is good, and we may be sure it is owing to the disposition, since the eye is not cheated into admiration by any richness of ornament, or beauty of detail. The altar-piece is by Giulio Romano, a fine picture, but much blackened. Near this is the Church of Santa Maria della Pace, which has on the outside, a large, semicircular, Doric portico, with coupled columns. There seems no reason for the coupling, and all the other parts are bad. Here are the Sybils of Raphael, which, though they have lost something of their original value by time and retouching, are still fine frescos; and this church also exhibits a small quantity of very beautiful _cinque cento_ ornament. There are also some frescos of Albano. The cloisters are the design of Bramante; they are formed by arches between columns and pedestals below; and columns backed by little piers, and detached columns over the crown of the arch, form a gallery above. The effect is not displeasing, yet when the columns are thus placed upon arches, (if such a liberty is to be allowed at all) it is better to keep them very small, and put two in each space.