ELEVENTH ROOM.--11. Venus and Cupid on Dolphins, by Cambiaso; 15. Christ and the Mother of Zebedee's Children, by Bonifazio; 16. Return of the Prodigal, by Bonifazio; 17. Samson, by Titian. TWELFTH ROOM: DUTCH SCHOOL.--1. Crucifixion, by Vandyck; 7. Entombment, by Vandyck; 8. Tavern Scene, Teniers; 22. Cattle-Piece, by Paul Potter. _On leaving the gallery, turn to the right, and take the continuation of the Via Ripetta on the left. Keeping straight on down the Via della Scrofa, in the third turning on the right, at Via Portoghesi, is the Torre della Scimmia_, better known to Hawthorne's readers as HILDA'S TOWER. It is one of those medieval watch-towers that come upon one so unexpectedly in all sorts of out-of-the-way places in Rome. The Romans call it the Tower of the Monkey, from a legend that years ago the proprietor kept a monkey. This monkey one day seized upon a baby in the street below, and carried it to the top of the tower, to the agony of the parents, who vowed a shrine to the Virgin if the child were safely restored. No sooner was the vow uttered than the monkey brought down the baby by means of the water-pipe. The shrine was forthwith erected, and every evening the lamp is lighted at _Ave Maria_, and shines like a bright star till dawn. _A little beyond, on the left, is the_ NEW WESLEYAN CHURCH FOR ITALIANS; _beyond which the Via Giustiniani, on the left, leads to the Piazza Rotonda_. THE OBELISK surmounts a fountain. This obelisk and the one in the Piazza Minerva were erected as pairs in Rome. They stood before the Temple of Isis and Serapis in the Campus Martius. There is a small relief in the Villa Ludovisi, representing in its background a temple with four Ionic columns, and to the left an Egyptian obelisk. In the foreground, to the left, is the figure of Minerva, fronting a reclining female figure holding a vessel full of ears of corn (Isis?). By her side is Cupid, and at their back a figure holding something in a spread-out cloth. May not the temple in the background represent the Temple of Isis and Serapis? THE PANTHEON. This incomparable circular edifice, originally intended by Agrippa to form the conclusion of his thermæ,[14] with which it is intimately connected, is one of the noblest and most perfect productions of that style of architecture specifically denominated Roman. When the first wonderful creation of this species came into existence, the founder of this glorious dome appears to have himself shrunk back from it, and to have felt that it was not adapted to be the every-day residence of men, but to be a habitation for the gods.