To those who know something of Rome's great drama, the Castle of Sant' Angelo is the most impressive of all her monuments. Like the Colosseum, it stands out in its round strength alone, sun-gilt and shadowy brown against the profound sky. Like the great Amphitheatre, it has been buffeted in the storms of ages and is war-worn without, to the highest reach of a mounted man, and dinted above that by every missile invented in twelve hundred years, from the slinger's pebble or leaden bullet to the cannon ball of the French artillery. Like the Colosseum, it is the crestless trunk of its former self. But it has life in it still, whereas the Colosseum died to a ruin when Urban the Eighth showed his successor how to tear down the outer wall and build a vast palace with a hundredth part of the great theatre.
Sant' Angelo is a living fortress yet, and nearly a thousand years have passed, to the certain knowledge of history, since it was ever a single day unguarded by armed men. Thirty generations of men at arms have stood sentry within its gates since Theodora Senatrix, the strong and sinful, flashed upon history out of impenetrable darkness, seized the fortress and made and unmade popes at her will, till, dying, she bequeathed the domination to her only daughter, and her name to the tale of Roman tyranny.
The Castle has been too often mentioned in these pages to warrant long description of it here, even if any man who has not lived for years among its labyrinthine passages could describe it accurately. The great descending corridor leads in a wide spiral downwards to the central spot where Hadrian lay, and in the vast thickness of the surrounding foundations there is but stone, again stone and more stone. From the main entrance upwards the fortress is utterly irregular within, full of gloomy chambers, short, turning staircases, dark prisons, endless corridors; and above are terraces and rooms where much noble blood has been shed, and where many limbs have been racked and tortured, and battlements from which men good and bad, guilty and innocent, have been dropped a rope's length by the neck to feed the crows.
Here died Stephen Porcari, the brave and spotless; here died Cardinal Carafa for a thousand crimes; and here Lorenzo Colonna, caught and crushed in the iron hands of Sixtus the Fourth, laid his bruised head, still stately, on the block--'a new block,' says Infessura, who loved him and buried him, and could not forget the little detail. The story is worth telling, less for its historical value than for the strange exactness with which it is all set down.