4. ‘The Fall of Simon Magus’ is a favourite and picturesque subject, often repeated. A most ancient and most curious version is that on the walls of the Cathedral at Assisi, older than the time of Giotto, and attributed to Giunta Pisano. (A.D. 1232.) On one side is a pyramidical tower formed of wooden bars; Peter and Paul are kneeling in front; the figure of the magician is seen floating in the air and sustained by hideous demons;—very dreamy, poetical, and fanciful. In Mr. Ottley’s collection I saw a small ancient picture of the same subject, very curious, attributed to Benozzo Gozzoli. Raphael’s composition in the Vatican has the simplicity of a classical bas-relief,—a style which does not appear suited to this romantic legend. The picture by L. Caracci at Naples I have not seen. Over one of the altars of St. Peter, we now see the great mosaic, after Vanni’s picture of this subject; a clever commonplace treatment: the scene is an amphitheatre, the emperor above in his balcony; Peter and Paul in front, invoking the name of Christ, and Simon Magus tumbling headlong, forsaken by his demons; in the background sit the vestals. Battoni’s great picture in the S. Maria degli Angeli at Rome is considered his best production; it is full of well-studied academic drawing, but scenic and mannered. * * * * * The next subject in the order of events is styled the ‘DOMINE, QUO VADIS?’ After the burning of Rome, Nero threw upon the Christians the accusation of having fired the city. This was the origin of the first persecution, in which many perished by terrible and hitherto unheard-of deaths. The Christian converts besought Peter not to expose his life, which was dear and necessary to the well-being of all; and at length he consented to depart from Rome. But as he fled along the Appian Way, about two miles from the gates, he was met by a vision of our Saviour travelling towards the city. Struck with amazement, he exclaimed, ‘Lord! whither goest thou?’ to which the Saviour, looking upon him with a mild sadness, replied, ‘I go to Rome to be crucified a second time,’ and vanished. Peter, taking this for a sign that he was to submit himself to the sufferings prepared for him, immediately turned back, and re-entered the city. Michael Angelo’s famous statue, now in the church of S. Maria-sopra-Minerva at Rome, is supposed to represent Christ as he appeared to Peter on this occasion; and a cast or copy of it is in the little church of ‘Domine, quo vadis?’ erected on the spot sanctified by this mysterious meeting.