Within this church was once the glory of modern art, the Transfiguration of Raphael, now in the Vatican, after its journey to Paris; and there still is a Flagellation, coloured by Sebastian del Piombo, from the design of Michael Angelo. It is an admirable painting, but like all frescos, in a state of decay.[4] In the cloister of the convent annexed to this church, is the famous _Tempietto_ of Bramante, built on the spot where St. Peter was crucified; and the hole in which the cross stood, is shewn exactly in the centre of the present building. It is a little circular structure, surrounded by a peristyle of sixteen Doric columns, and this circle of columns, with its pedestal and the steps up to it, is beautiful. Everything is well proportioned, and in its just place; but the upper part of the edifice is not good. The parts within the portico are crowded and confused, and the inside has little or no beauty. From San Pietro we descend to the Church of Santa Maria in Trastevere, and to that of San Grisogono, both of which I have described to you. That of Santa Cecilia is in a similar style, with ancient columns, and originally a flat ceiling, but this is now replaced by a low elliptical vault, leaving space only for very low windows. The disposition is displeasing in itself, and the more so, from its want of suitableness to the lower parts; an appearance of lightness may be given to a small arch, which cannot by any means be preserved in a continued vault. A row of columns supporting such a vault, has therefore always the appearance of insufficiency. The statue of the saint is much admired.