Usually the church is closed, except in the early morning, and visitors are admitted by the custode on ringing a door bell under the portico. The interior is dark and solemn, with much less gilding and meretricious ornament than is usual in Roman churches. It contains, in the side chapels, many objects of interest; frescoes and altar-pieces by Annibale Caracci, Pinturicchio, and Peruzzi; and splendid sepulchral monuments. Of the last the most conspicuous are the marble tomb of Alessandro Guidi, the Italian lyric poet, who died in 1712; and the simple cenotaph in the last chapel on the left of one of the titular cardinals of the church, who died in 1849, the celebrated linguist Mezzofante. But the tomb upon which the visitor will gaze with deepest interest is that of Torquato Tasso, who died in the adjacent monastery in 1595. The chapel of St. Jerome, in which it is situated, the first on the left as you enter, was restored by public subscription in 1857, in a manner which does not reflect much credit upon the artistic taste of modern Rome. Previous to this the remains of the poet reposed for two hundred years in an obscure part of the church close to the door, indicated by a tablet. Above this spot there is a portrait of the time, which from an artistic point of view is very poor, but is said to be a good likeness. Removed on the anniversary of his death, about thirty years ago, to the chapel of St. Jerome, the poet's remains are now covered by a huge marble monument in the cinque-cento style, adorned by a bas-relief of his funeral and a statue of him by Fabris. Whatever may be said regarding the artistic merits of this monument, no one who has read the poet's immortal epic, and is conversant with the sad incidents of his life, can stand on the spot without being deeply moved.