In our way home we may look at the Church of Santa Maria sopra Minerva, in front of which is a paltry little obelisk, mounted upon the back of an elephant. The church was built about 1370, and retains a good deal of the work of that period, but it is only a sort of ill-understood Gothic. This church contains the celebrated statue of our Saviour supporting his cross, by Michael Angelo. Milizia calls it a ruffian, which however it is not; though the action is rather strong. The expression of the head in some points of view is fine, and even sublime; but not equally so in all; the muscles are large and flabby. In the annexed convent is a library, said to be one of the richest in Italy; it was founded by Cardinal Casanatta, who left a considerable sum for its support, but like other things at Rome, it is a century behind London and Paris, and the _Index expurgatorius_ is a great enemy to all public libraries. Having given you an account of what is found in the inside of this great city, I shall proceed to the walls which enclose it, beginning with the Porta del Popolo, for the small part between this and the river presents no object of interest. This gate, according to the guide-books, was re-built from a design by Michael Angelo, and executed under the direction of Vignola; but it is not good, and part of it is more ancient, for the holes in the external towers, now filled up, but evidently made in order to get at the metal cramps which fastened the stones together, attest the antiquity of the lower part. Turning to the right, the wall, strengthened with buttresses and arched recesses, forms the support of the Pincian hill. In this part we find the Muro torto, a great square mass, placed at an angle in the circuit, and corresponding in construction with the walls, that is, it is of rubble-work, with a facing of reticulated tufo. It considerably overhangs its base. There is no opening below, but above there appear to have been recesses and arches, corresponding with those of the wall. Antiquaries are not agreed as to what it has been. Beyond these we have towers and curtains of more modern work, erected for the purpose of city walls. Here and there a very ragged foundation occurs, which is perhaps of earlier date, and in one or two places there are blocks of marble, and other more decisive indications of ancient edifices. The Porta Pia was opened by Pius the Fourth, in 1561. The designs were Michael Angelo’s, but it has never been finished, nor would it be handsome if it were. Here, by way of ornament, we see pateras with linen hanging over them, said to represent a barber’s basin and towel, and to have been intended by M. A. Buonarroti as a reproach to his employer for the lowness of his origin; but conveying a much severer reproach against M. Angelo himself, if the story be true; but it is exceedingly improbable.