I have already given you something of the western bank of the Tiber in my first walk, where I returned by Monte Mario and the Valle d’Inferno. The only thing remaining on this side is the Villa Pamfili, which is one of the largest about Rome; that is, not the house, but the grounds and gardens. On the road are the remains of an ancient aqueduct, which are frequently brought in to support the modern Acqua Paolina. What in English we should call the villa, but which is here known by the name of _casino_, can hardly be called handsome, and yet it pleases, and the terraces and the flat garden below, cut partly into the hill, the fragments of architecture, the fountains, the groves of towering stone pines, and the views in both directions, make it a place to which you willingly return again and again. The situation of the house is not well chosen. The pride of the artist was to counteract nature, not to follow her, and gently bring her into his service; but the situation of the grounds is very fine. Though high, it has a terrible reputation for mal aria. To the botanist it has another interest, as being the station of several rare plants. It is among the attractions of Rome, that the Studii or workshops of the artists, and especially of the sculptors, are so easily accessible. That of Canova is announced by the fragments of sculpture which are about it, and built up in the walls externally. The great excellence of this admirable artist lies in female figures, and in those of very young men, with a character rather of grace, than of strength. Hence his Cupid and Psyche; Venus and Adonis; the Graces; his Venus; Hebe; Magdalene; and others of this sort, attract universal admiration. Canova is not a mere sculptor, he also paints well, and is in all respects a most liberal man; witness the busts of the great men of Italy put up by him at the Pantheon. Liberal not only in giving what must cost him a considerable sum, but still more so, in permitting the young men who perform these busts under his inspection and direction, to affix their names as artists. He is about to build a church in his native town. The body of the building is to be like that of the Pantheon, while the portico will be imitated from the Parthenon. I asked his architect how much it would cost, he replied that he could not pretend to say, as in the country where it was to be erected, the stone is probably cheap, and a considerable portion of the labour, particularly in the carriage of materials, would be done gratis by the peasantry, who would consider it meritorious to forward so good a work; but that such a building could hardly be erected in Rome for less than 240,000 scudi.