In this quarter of the city stands also the Chiesa Nuova, rich and ugly. In the altar-piece, Rubens has painted one picture within another; the Madonna and Child being separated by a gilt frame from the figures which are adoring them, and which seem therefore to be adoring the picture. Adjoining it is the Oratorio of San Filippo Neri, where you will only go, if you wish to see how ill a great sum of money can be spent. Before crossing the Tiber, we may visit the Church of San Giovanni de’ Fiorentini, begun by Michael Angelo Buonarroti, but continued either by Giacomo della Porta, or by Sansovino, for it is uncertain which was employed. I should rather attribute it to Sansovino, for Giacomo della Porta is more confused in his arrangement. A continued pedestal runs above the cornice, from which springs a waggon-headed vault with the windows groined into it; and if on this vault there were ribs of architecture, instead of its being whitewashed, as it really is, the disposition and proportions would have a good effect. The bridge of Sant Angelo was erected by Hadrian, re-erected by Clement VII., and adorned, or disfigured, with unmeaning statues by Bernini, under Clement IX. I do not know that figures are always to be rejected on the balustrades of houses or bridges, yet in fact they seldom look well. This bridge consists of three large arches and two smaller ones on each side, the larger only giving a passage to the river at its usual level, and forming a water-way of 178 feet. The depth in the arches for the greatest part of the year is about 22 feet, according to Piranesi, from whom I have taken these dimensions. In the month of August it falls as low as to 17. In the winter floods it rises to 34, and in 1750 it rose to 43 feet. The whole width of the stream below the bridge is 248 feet in common cases, but it may spread to above 400 without overflowing its banks. I do not know its rate, but it seems a pretty rapid current.