"Nocte dieque vigil longo hic defessu labore Gregorius modica membra quiete levat." Here also an immense collection of minute relics of saints are exposed to the veneration of the credulous. On the opposite side of the church is the _Salviati Chapel_, the burial-place of that noble family, modernized in 1690 by Carlo Maderno. Over the altar is a copy of Annibale Caracci's picture of St. Gregory, which once existed here, but is now in England. On the right is the picture of the Madonna, "which spoke to St. Gregory," and which is said to have become suddenly impressed upon the wall after a vision in which she appeared to him;--on the left is a beautiful marble ciborium. Hence a sacristan will admit the visitor into the _Garden of Sta. Silvia_, whence there is a grand view over the opposite Palatine. "To stand here on the summit of the flight of steps which leads to the portal, and look across to the ruined Palace of the Cæsars, makes the mind giddy with the rush of thoughts. _There_, before us, the Palatine Hill--pagan Rome in the dust; _here_, the little cell, a few feet square, where slept in sackcloth the man who gave the last blow to the power of the Cæsars, and first set his foot as sovereign on the cradle and capital of their greatness."--_Mrs. Jameson._ Here are three Chapels, restored by the historian Cardinal Baronius, in the sixteenth century. The first, of _Sta. Silvia_, contains a fresco of the Almighty with a choir of angels, by _Guido_, and beneath it a beautiful statue of the venerable saint (especially invoked against convulsions), by _Niccolo Cordieri_--one of the best statues of saints in Rome. The second chapel, of _St. Andrew_, contains the two famous rival frescoes of _Guido_ and _Domenichino_. Guido has represented St. Andrew kneeling in reverent thankfulness at first sight of the cross on which he was to suffer; Domenichino--a more painful subject--the flagellation of the saint. Of these paintings Annibale Caracci observed that "Guido's was the painting of the Master; but Domenichino's the painting of the scholar who knew more than the master." The beautiful group of figures in the corner, where a terrified child is hiding its face in its mother's dress, is introduced in several other pictures of Domenichino.