MUSEUM OF THE ROMAN COLLEGE OF THE SOCIETY OF JESUS. PART ONE. CHAPTER ONE.

Compendium in which the description of the Roman Museum and the series of primary objects are set forth.

A decorative initial letter 'O' contains a floral pattern.The entrance, full of majesty, shines with railings carved here and there with great skill, and decorated on the inside with reliefs by the benevolence of the patrons. These reliefs fittingly express, with sacred symbols, the likeness of the Most Holy Pontiff currently reigning, set amidst a crown of obelisks, such as Alexander VII, Clement IX, and Clement X. Among the most ornate altars stand precious curiosities of art and nature, behind which is an organ that imitates the concert of all kinds of birds and dances to the sonorous clangor of Egyptian bells, while the instrument entertains visitors with mechanical motion and an automatic drum.

To the right side, one sees a library filled with the works of the author alone, among which are the author's manuscript interpretations of Avicenna in Latin, Hebrew, and Arabic, together with a book of simples in which the rarer species of herbs, of which Avicenna speaks, are seen expressed according to the living model of nature. These are supported by various chests of combinatorial art, in which are contained the new Musurgical, Arithmetical, and Geometric inventions of the author, rare but clear signs of his ingenuity, provided for the exercise of the curious.

To the left side is a versatile pulpit, precious with the abundant coins of the 12 Roman Emperors and remarkable for its singular art, covered with a carpet woven from Indian straw. This is followed by a table most full of the art of stone-carving and sculpture, where an image of the Savior Christ, amidst clusters of flowers, in full majesty and youthful grace—an autograph work of the brush of Guido Reni—ravishes visitors into admiration and veneration. Below this are placed specimens of the sculptor's art, elaborated by the most celebrated architect and sculptor, the Knight Bernini, depicting a boy catching a cicada.

At the window from which this space receives light, which is remarkable on all sides for rare and varied paintings, one sees a species of sympathetic material, known only to the author, floating and supported by cork on water; it is a horoscope likely a form of water clock or light-sensitive timepiece that follows the lord of light; a great work of nature.

Having introduced the curious visitor thus far into the vestibule, I shall now review the series of the entire Museum (with the secrets of art and nature divided into classes as there are chapters). These are found placed here and there, a narrow space mixed with elegant variety. I insert their series briefly so that, instructed by a prior reading, one may understand before seeing, or if one has happened to see them first, one may more easily reap the fruit of recollection or rumination.

Truly, just as every good thing flows from above and from the Father of lights, so too do all the souls of mortals tend toward Him, either by natural instinct or divine attraction. Hence, the author...