THE BRIDGE AND CASTLE OF ST. ANGELO, THE VATICAN, AND ST. PETR'S Tan view represented in the plate comprises the Bridge and Castle of St. Angelo, the Pake of the Vatican, and the Church of St. Peter's. The bridge of St. Angelo, which formerly bore the title of the Pons Alius, or Hadriani, from the name of the emperor by whom it was built, crosses the Tiber opposite to the Moles Hadriani, to lich it was des quod * aronne. The piers and some of the arches are an cient, but baving given way in consequence of the crowd assembled on it during the jubilee of 1150, an accid t by which apwards of 170 persons perished, it was renewed by Nicholas the Fifth, and was agai repared in 1668 by Clement the Ninth, who erected the be hoje, and placed upon it, with the assistance of lienet the conceived statues of angels, which fluster over The castle of St. Angelo, the fortress and th prison of Rome, is constructed from THE BRIDGE AND CASTLE OF ST. ANGELO, THE VATICAN, AND ST. PETER'S. Turn to the Mole which Hadrian rear'd on high, Imperial mimic of old Egypt's piles. BYRON. But thou, of temples old, or altars new, BYRON. THE view represented in the plate comprises the Bridge and Castle of St. Angelo, the Palace of the Vatican, and the Church of St. Peter's. The bridge of St. Angelo, which formerly bore the title of the Pons Ælius, or Hadriani, from the name of the emperor by whom it was built, crosses the Tiber opposite to the Moles Hadriani, to which it was designed as an avenue. The piers and some of the arches are ancient; but having given way in consequence of the crowd assembled on it during the jubilee of 1450, an accident by which upwards of 170 persons perished, it was renewed by Nicholas the Fifth, and was again repaired in 1668 by Clement the Ninth, who erected the balustrade, and placed upon it, with the assistance of Bernini, the ill-conceived statues of angels, which flutter over the water. The castle of St. Angelo, the fortress and the state prison of Rome, is constructed from the remains of the L celebrated Moles Hadriani, the mausoleum erected by the Emperor Hadrian as a sepulchre for the imperial dead. It appears to have been converted into a fortress during the siege of Rome by the Goths, in 537, when the besieged cast down from its walls the statues and other ornaments of the place upon the assailants. The building, which is circular in its form, and about two hundred and nineteen feet in diameter, rests upon a square base composed of large blocks of peperino, the heart of which is traversed by various sepulchral passages and chambers designed to receive the bodies of the dead. During the middle ages the Moles Hadriani continued to be employed as a place of defence, and is mentioned in the annals of that period, sometimes under the name of the Tower of Crescentius, and sometimes of the House of Theodoric. During the pontificate of Alexander the Sixth, the superstructure of brick which crowns the ancient building was added, and the whole was surrounded by a ditch and rampart with bastions by Urban the Eighth. When Clement the Seventh was besieged in this fortress by the Imperial troops, the celebrated sculptor Benvenuto Cellini was employed in directing the artillery of the castle. Of the marvellous skill with which he performed this duty he has, in his usual characteristic manner, left an accurate account, which he has embellished with various anecdotes more amusing than credible. "There passed not a day," he says, "that I did not kill some of the army without the castle. One day, amongst others, the pope happened to walk upon the round rampart, when he saw in the public walks a Spanish colonel, |