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yROPEAN GUIDE BO
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CENTRAL ITALY
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MONEY-TABLE.
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mi'irlio <pl. la miglia) is etUl someU
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I
\
ITALY.
HANDBOOK FOR TRAVELLERS
BY
E. BAEDEKER.
SECOND PAET:
CENTEAL ITALY AND EOME.
Wiih 10 Maps, 31 Plans, a Panorama of Rome, and a View of the
Forum Bomanum.
Tenth revised Edition.
: LEIPSIC : KARL BAEDEKER, PUBLISHER. ..TtONBON: DULAU AND CO., 37 SOHO SQUARE, W.
1890.
i'^'i -^11 rightt rearved.
V.
■ f
"Go, little book, God send thee good passage. And specially let this be thy prayere Unto them all that thee will read or hear. Where thou art wrong, after their help to call, Thee to correct in any part or all."
38075
••
• *
• *
• • •
• «
PREFACE.
The objects of the Handbook for Italy, which consists of three volumes, each complete in itself, are to supply the traveller with some information regarding the progress of civilisation and art among the people he is about to visit, to render him as independent as possible of the services of guides and valets-nle-place, to protect him against extortion, and in every way to aid him in deriving enjoyment and instruction from his tour in one of the most fascinating coun- tries in the world. The Handbook will also, it is hoped, be the means of saving the traveller many a trial of temper; for there is probably no country in Europe where the patience is more severely taxed than in some parts of Italy.
The Handbook is based on the Editor's personal ac- quaintance with the places described, most of which he has repeatedly and careftiUy explored. As, however, changes are constantly taking place, he will highly appreciate any communications with which travellers may favour him, if the result of their own observation. The information already re- ceived from numerous correspondents, which he gratefully acknowledges , has in many cases proved most serviceable, Hotel-bills,with annotations showing the traveller's opinion as to his treatment and accommodation, are particularly useful.
The tenth edition of Central Italy and Rome, like its pre- decessors, has been carefully revised and brought down to date. The introductory articles on art by Prof. JR. KekuU of Bonn and Prof, A. Springer of Leipsic have been adapted for the use of English travellers with the kind assistance of Mr. J. A. Crowe, the eminent historian of art. Professor ^^\\\!k%^^ has also contributed many valuable \\ic\^evi\a\ xcov^xYa ^^"^ modem art
vi PREFACE.
The Maps and Plans, on which special care has been bestowed , will abundantly suffice for the use of the ordinary traveller. The Plan of Rome (scale 1 : 15,000) is divided into three sections with a view to obviate the necessity of unfolding a large sheet of paper at every consultation , and its use will be further facilitated by reference to the small clue-plan inside the cover at the end of the volume.
Heights are given in English feet (1 Engl. ft. = 0,3048 m6tre), and Distances in English miles (comp. p. ii).
Hotels (comp. p. xxi). In no country does the treat- ment which the traveller experiences at hotels vary more than in Italy, and attempts at extortion are perhaps no- where so outrageous. Besides the modern palatial and ex- pensive establishments, the Handbook also contains a selec- tion of modest , old-fashioned inns , where gentlemen trav- elling alone will not unfrequently find good accommodation at moderate charges. The asterisks indicate those hotels which the Editor has reason to believe from his own ex- perience, as well as from information supplied by numerous travellers, to be respectable, clean, and reasonable. The value of these asterisks, it need hardly be observed, varies according to circumstances, those prefixed to town-hotels and village-inns signifying respectively that the establish- ments are good of their kind. At the same time the Editor does not doubt that comfortable quarters may occasionally be obtained at inns which he has not recommended or even mentioned. Although changes frequently take place, and prices generally have an upward tendency, the average charges stated in the Handbook will enable the traveller to form a fair estimate of his probable expenditure.
To hotel-proprietors, tradesmen, and others the Editor begs to intimate that a character for fair dealing and cour- tesy towards travellers forms the sole passport to his com- mendation, and that advertisements of every kind are strictly excluded from his Handbooks.
CONTENTS.
Introdnotion. Page
I. Travelling Expenses. Money xiii
II. Season* and HaA df Tour ..'.'.•.... xiv
in. Language xy
lY. Passports. Custom House. Luggage xvi
V. Public Safety. Begging xvi
VI. Intercourse with Italians xvii
Vn. Conveyances xviii
Vm. Hotels xxi
IX. Bestaurants, Cafes^ etc xxii
X. Sightg, Theatres, etc xxiv
XI. Post Office. Telegraph xxv
XII. Climate. Health. . . xxv
Xin. Dates of Recent Events xxvii
Ancient Art, by Prof, R, Kekule xxix
Mediaeval and Modem Roman Art, by Prof. A.
Springer xliii
First Section.
S. Tuscany. XTmbria. The Marches.
Rente
1. From Leghorn or Pisa to Rome by the Maremme ... 1
1. From Leghorn to Civitk Vecchia by sea 1
. 2. Piombino and Populonia 2
3. From (j^rosseto to Rusellee ' . . . 3
4. Monte Argentario. Cosa . ' 3, 4
5. From Montalto to Vulci 4
6. From Ck}meto to Toacanella 6
7. From Civiti Vecchia to La Tolfa 7
2. From Leghorn to Volterra and Colle ...... 7
1. From Volterra to Monte Gerboli 8
2. From Volterra to S. Girolamo 11
3. From Volterra to the copper-mines of Monte Catini . . 11
3. Elba and the Tuscan Islands 11
4. From Florence to l^iena and Chiusi via Empoli .... 13
1. From Poggibonsi to San Gimignano 14
2. From Asciano to Grosseto. Monte Amiata . . . 17, 18
3. From Montepulciano to Pienza 20
5. Siena 20
Excursions from Siena. L'Osservanza , S. Golomba, etc. . 36
6. From.FIorence to Penigia viS, Arezzo and Terontola (Chiusij
Rome) 37
1. From Arezzo to Stia and Pratovecchio 42
2. From Arezzo to Monte Sansavino, Fojano^ and B^W\\^ . ^
7. Perugia ^^
From Perugia to'N&rni via Todi ^
A From Arezzo toFoss&to. Borgo S. Sepolexo. OV\X>>. ^^ ^,,
CasieUcL Quhhio ^^
^ili CONTENTS.
Boate Page
9. From Florence to Rome vi& (Aretzo) Terontola and Ghiusl 69
1. From Chiusi to Citt& della Pieve. Getona 61
2. Orvieto 61
S. Bolsena 65
4. From Borghetto to Givit^ Gastellana. Falerii. Mount
Soracte 67, 68
10. From Attigliano to Viterbo 69
1. Excursions from Viterbo. Toscanella. Gastel d''As80. Ve-
tralla. Norcbia. Gaprarola. Sutri. Nepi. Gastel S. Elia 72-74
11. From Perugia to Foligno and Orte (Borne). Asslsi, Spo-
leto. Waterfalls of Ternl. Narnl 74
12. From Bologna to Rimini, Falconara (Rome), and Ancona 87
1. From Rimini to San Marino 94
2. From Pesaro to Urbino . . 96
3. From Fano to Fossato via Fossombrone and the Furlo Pass 100
13. Ancona and its Environs. Osimo. Loreto 102
From Porto Civitanova to Fabriano 107
14. From Ancona to Foligno (Orte, Rome) 108
From Fabriano to Sassoferrato 109
Second Section.
Eome.
Preliminary Information: —
Arrival. Police. Embassies and Consulates .... 110 Hotels. Pensions. Private Apartments. Restaurants . 110, ill Osterie. Gaf^. Gonfectioners. Gratuities . . . . 113, 114 Baths. Glimate. Physicians. Ghemists. Bankers . . 114, 115 Booksellers. Libraries. Beading Booms. Newspapers 115, 116 Guides. Teachers of Italian. Music. Studios. Goods Agents 116,117
Shops 117
Theatres 118
Carriages. Porters. Post Office. Telegraph Office . . 119 English Churches. Italian Protestant Churches. Clubs . 119 Church Festivals. Popular Festivals. Street Scenes . 119-122
Garrison 122
Collections, Villas, etc 122
Diary. Summary of Attractions 125, 126
Bibliography 127
History of the City of Rome 129
Chronological Table of Roman Emperors and Popes . 139
Topography 143
/. Strangers' Quarter and Corao 146
Piazza del Popolo. S. Maria del Popolo .... 146, 147
The Pincio 148
Villa Medici. S. Trinity de' Monti .;.;... 149 Casa Zuccari-Bartholdy. Piazza di Spagna. Propaganda . 150
S. Andrea delle Fratte. Fontana di Trevi 151
The Corso 162
S. Carlo al Corso. S. Lorenzo in Lucina 153
Post and Telegraph Office. Pal. Chigi. Piazza Colonna. Column of Marcus Aurelius. Piazza di Monte Citorio,
Camera de* Deputati 154
Dogana di Terra. Palazzo Sdarra-Colonna. S. Ignazio . 155
Collegio Bomano. Museo Kircheriano 156
S. Marcello. 8. Maria in Via Lata. Palazao Doria . . 157, 106
CONTENTS. ix
(Some) Page
Palazzo di Venezia. Palazzo Torlonia. 8. Marco . . . 162
Palaszo Colonna. Galeria Golonna. Tomb of Bibulus . . 163
SS. Apostoli 165
//. The Eastern Quarter, QuirirujU, Viminal, Esquiline . 166 Piazza delle Terme. Railway Station. Thermae of Dio- cletian. S. Maria degli Angeli 166, 167
Via Venti Settembre. 8. Maria della Vittoria .... 168
Wall of Servius. Gampo Militare. Via Nazionale ... 169 Palazzo and Galleria Barberini. Piazza Barberini . . 170, 171
8. Maria della Concezione. Villa Ludovisi 172
Piazza del Quirinale 173
Palazzo Begio al Quirinale. Palazzo Bospigliosi . . 174
8. Silvestro al Quirinale. 8. Pudenziana 175
8. Lorenzo in Panispema. 8. Maria Maggiore .... 176
S. Prassede 178
Arch of Gallienus. Aquarium. Piazza Vitt. Emanuele. S.
Bibiana 179
Temple of Minerva Medica. Porta Maggiore .... 180
8. Croce in Gerusalemme. Sette 8ale 181
Gardens of Maecenas. 8. Martino ai Monti. 8. Pietro in Vincoli 182
///. Borne on the Tiber (Left Bank) 183
Via di Bipetta. Mausoleum of Augustus .... 183, 184
Palazzo and Galleria Box^ese 184, 185
8. Agostino 189
Palazzo Lancelotti. Piazza Navona. 8. Agnese . . 190
8. Maria dell* Anima. 8. Maria della Pace 191
Palazzo Madama 192
8. Luigi de* Frances!. Pantheon 193
8. Maria sopra Minerva 195
University della 8apienza. Corse Vittorio Emanuele. Gesii 197
Palazzo Vidoni. 8. Andrea della Valle 198
Pal. Massimi alle Colonne. Palazzo della Gancelleria. 8. Lo- renzo in Damaso 199
Ghiesa Nuova 200
Palazzo Braschi. Piazza del Pasquino. 8. Carlo a** Catinari.
Piazza Tartaruga 201
Palazzo Mattel. 8. Gaterina de^ Funari. 8. Maria in Gam-
pitelli 202
Theatre of Marcellus. Ghetto. Portico of Octavia . . . 203
Ponte de** Quattro Oapi. Isola Tiberina. 8. Bartolommeo . 204 Theatre of Pompey, Palazzo Farnese. Palazzo Spada alia
Begola 205
8. Giovanni de' Fiorentini 207
JV, Ancient Rome 207
The Capitol 208
8. Maria in AracoBli 209
Piazza del Gampidoglio 210
Palazzo del 8enatore 211
Collections of the Capitol. Palace of the Gpnservatori . 211
Capitoline Museum 216
Tarpeian Bock. Tabularium 221
Forum Romannm 222
Colonnade of the Twelve Gods. Temple of Vespasian . . 225 Temple of Concordia. Temple of Castor and Pollux. Bas- ilica Julia 226
Temple of Saturn ^2Ea
Arch of 8eptimius 8everus. Bostra. Column oi ^Yvoc^^ » '^^
Temple of Csesar ^^
Atrium Vestee ^^
TempJe of Faustina. 88. Cosma e Bamiano . . • • ^
X CONTENTS.
(Some) Page
Basilica of Gonfltantine. S. Francesea Romana .... 232
Triumphal Arch of Titus. Temple of Venus and Roma 233
Colosseum ' 234
Triumphal Arch of Gonstantine . 236
Thermse of Titus 237
Fora of the Emperors. Academy of St. Luke . . . 237
Career Hamertimis 237
Accademia di S. Luca 238
FQrum of Ceesar. Forum of Augustus. Forum of Kerva . 239
Forum of Trajan. Trajan's- Column 240
The Palatine 241
Lupercal. House of Livia 243
Palace of Tiberius. Palace of the Flavii 244
Palace of Septimius Seyerus 246
Peedagogium 247
Velabmm and Forum Boarium 247
S. Teodoro. S. Giorgio in Velabro. Janus Quadrifrons.
Cloaca Maxima 248
S. Maria in Cosmedin. Bound Temple. S. Maria Egiziaca.
House of Crescentius or Rienzi 249
Ponte Botto. S. Nicola in Carcere. Via de"* Gerchi (Circus
Mazimus) 250
The Aventlne Monte Testaccio 250
Marmorata. Monte Testaccio. Protestant Cemetery . . 251
Pyramid of Cestius. 8. Sabina 252
S. Alessio. S. Maria Aventina 253
S. Prisca. S. Saba 254
The Via Appia within the City 254
S. Balbina 251
Thermse of Caracalla 255
SS. Kereo ed Achilleo. S. Cesareo. Via Latina . . . 256
Tomb of the Scipios. Columbaria 257
Arch of Drusus ....'.' 258
The Caelius 258
S. Gregorio Magno 258
SS. Giovanni e Paolo. S. Maria in Domnica. Villa Mattei 259
S. Stefano Rotondo 260
S. Glemente. The Lateran 260
SS. Quattro Coronati 264
Piazza S. Giovanni in Laterano. Baptistery. 8. Giovanni
in Laterano 265
Palazzo del Laterano 267
Gregorian Museum. Museo Profano 268
Christian Museum. Picture Gallery 270
Villa Massimi. Scala Santa. Villa Wolkonsky .... 272
Amphitheatrum Castrense 273
V. Quarters of the City on the Bight Bank 273
The Borgo 273
Ponte S. Angelo. Castello S. Angelo 274
Palazzo Giraud 276
Piazza di S. Pietro 277
S. Pietro in Vaticano 277
Cimitero dei Tedeschi . . . •. 285
The Vatican . ' 286
A. Paintings: — Sistine Chapel. Scala Regia. Sala Ducale. Pauline Chapel 287-292 BaphaePs Stanze and Loggie. Cappella Niccolina . . 292-301 Picture Gallery. Raphael's Tapestry 301-303
CONTENTS. xi
(Borne) Page
B. Antiatdtiea: — Museo Pio. Clementino. Mnseo Chiaramonti. Braccio Nuovo 304-316
Egyptian Hoseum. Museo Etrusco 316-319
0. Library of the Vatican 319
The Lnngara 3*22
8. OnofHo. Villa Famesina 322,32:^
Palazxo Corsini. Miueo Torlonia 324, 32r)
Trastevere 327
Ponte 81«to 327
8. Pietro in Montorio 32S
Acqna Paola. Passeggiata Margherita. Ponte Garibaldi. S.
Crisogono. 6. Maria in Trastevere 3'29, :^)
S. Cecilia in Trastevere . . ; 331
S. Francesco a Bipa 33'2
Thibj) Section.
Environs of Eome.
1. Short Excursions in the Campagna 333
From the Porta del Popolo: Villa Borgliese. Parcu Rogina
Margherita. Ponte Molle. Via Flaminia. Villa of Livia.
Acqna Acetosa. Villa di Papa Giulio. Villa Madania.
Monte Mario 334
From the Porta Salara: Villa Albani. Antemntv. Punte
Salaro. Fidenee 338
From the Porta Pia: Villa Torlonia. 8. Agnese Fuori. S. Cos-
tansa. Ponte H'omentano. Mons Sacer 341
From the Porta 8. Lorenzo: Via Tiburtina. S. Lorenzo Fuori.
Campo Verano 343
From the Porta Maggiore : Tor de' Schiavi. Torre Pignattara 345 From the Porta S. Giovanni : Via Latina. Porta Furba . . S4G From the Porta 8. Sebastiano: Via Appia. Domine Quo Va-
difl. 8. Sebastiano. Circus of Maxentius. Tomb of Ceecilia
Metella. Deus Bediculus. Orotto of Egcria. 8. Urbano 347
From the Porta 8. Paolo: 8. Paolo Fuori. Tre FonUne . 352
From the Porta 8. Pancrazio : Villa Doria Pamphilj . . 365
The Catacombs 356
2. The Alban Mountains 363
Frascati 364
Grotta Ferrata. Marino 367
Albano. Castel Gandolfo. Lake of Albano. The Emissarium 368-370 Ariccia. Genzano. Lake of Kemi. l^emi .... ?70, 371 Palazzuola. Alba Longa. Rocca di [Papa. Monte Cavo . 372
3. The Sabine Mountains 378
From Rome to Tivoli. Acque Albule. Hadrian's Villa 373, 374
Tivoli 377
Monte Gennaro 379
From Tivoli to Subiaco 379
Valley of the Licenza. Mandela. 8ubiaco .... 3S0, 881
From Rome to Palestrina 382
From Palestrina to Sabiaco vi& Olevano 384
4. The Volscian Mountains 385
Cori. l^orma. ITinfa. Sezze. Pipemo. Segni . . 386-388
5. Etruscan Towns 389
Veil ^iJJi
Gslera ^SJIi
BnccIaDO .... ^N-
Cerretri (Care) ...'..'.....•• '^^
xii CONTENTS.
Page
6. The Sea-Coast of Latium 393
Porto. Fiumicino 393
Ostia 394
Anzio. Kettuno 397,898
List of the Artists mentioned in the Handbook .... 399
Index 404
Omnibus and Tramway Routes and Cab Tariff in Borne, and List of Streets in the Plan of Bome, in the Appendix at th^ end of the volume.
Haps.
1. Map op Italy (1:1,350,000), facing title-page.
2. Thb Boman Gaupagna (1:400,000), p. 332.
3. Envibons of Bomb (1 : 60,0(X)), p. 334.
4. Thb Alban Mountains (1 : 100,000), p. 364.
5. Envibons op Tivoli (1:12,500), p. 376.
6. The Sabinb Mountains (1 : 100,000) : Plate I. : Tivoli and Valley of the Teverone, p. 378.
7. Thb Sabinb Mountains: Plate II. Boviano, Subiaco, Gapranica, p. 380.
8. The Sabinb Mountains: Plate HI.: Tivoli, Palestrina, Olevano, p. 382.
9. Thb Volsoian Mountains (1 : 150,000) : p. 386.
10. Bailway Map op Italy (1 : 7,000,000), at the end of the Handbook.
Plans.
1. VoLTERBA, p. 9. — 2. Siena, p. 20. — 3. Abbzzo, p. 39. — 4. Gobtona, p. 39. — 5. iBBUGiA, p. 46. — 6. Obvibto, p. 62. — 7. Assisi, p. 78. — 8. Terni and Its Environs, p. 79. — 9. Forli, p. 90. — 10. Bimini, p. 91. — 11. Ancona, p. 102. — 12. Large Plan of Bomb, and — 13. Clue Plan of Bokb, both at the end of the book. — 14. Ancient Bomb, p. 207. — 16. Palaob OP THE CoNSBBVATORi . p. 216. — 16. Capitoline Musbum, p. 217. — 17. Forum Bohanuh, p. 222. — 18. Fora op the Empbbobs, p. 238. — 19. Palaces OP the Emperors on the Palatine, p. 241. — 20. TmsRMs op Caracalla, p. 255. — 21. Section, and — 22. Ground-plan of S. Clembnte , p. 261. — 23. S. Giovanni in Latbrano, and Latbran Museum, p. 266. — 24. S. Pib- TRO IN Vatican© and the Vatican Palace (survey-plan), p. 276. — 26. Ground-plan of S. Pibtbo in Vaticano in its present state, p. 278. — 26. S. Pietbo in Vaticano (Bramante's ground-plan), p. 279. — 27. Vatican Palace, S. Wing (Sistine Chapel, Baphael's Loggie and Stanze), p. 289. — 28. Vatican Palace, N. Wing (Museum of Antiquities), p. 306. — 29. HADRiAN''a Villa, p. 377. — 30. Ostia, p. 395. — 31. Pobto d'Anzio and Nettuno, p. 397.
Arms op the Popes, from 1417 to the present day, p. 142.
View OP the Forum Bomanum in its former and present condition, p. 226.
Panorama op Bomb (from 8. Pietro in Montorio), p. 328.
The best maps of Central and Southern Italy are the Carta Coro- grafica ed Areheologiea delV Italia Centrale (1:250,000; 4 sheets; price 10«., on linen 13<.) and the Nuova Carta Generate delV Italia Meridionale (1 : 800,000; price 6«., on linen Si.), both executed under the superinten- dence of Professor Kiepert of Berlin (1881-82).
AbbrevlationB.
B. = Boom, B. = Breakfast, D. = Dinner, A. = Attendance, L. a= Light. — r. = right, 1. = left; applied to the banks of a river with reference to the traveller looking doum the stream. — N., S., E., W., the points of the compass and adjectives derived from them. — M. = English miles; ft. = English feet.
Asterisks are employed as marks of commendation.
INTRODUCTION.
*Thoa art the garden of the world, the home Of all Art yields, and Mature can decree *, E*en in thy desert, what is like to thee? Thy very weeds are beautiful, thy waste More rich than other climes' fertility. Thy wreck a glory, and thy ruin graced With an immaculate charm which cannot be defaced.*
Btbon.
I. Travelling Expenses. Koney.
Expenses. The cost of a torn in Italy depends of conrse on the traveller's lesources and habits , but , as already stated in the first part of this Handbook, it need not exceed that incurred in the more frequented parts of the continent. The average expenditure of a single traveller may be estimated at 20-30 francs per day, or at 12- 15 francs when a prolonged stay is made at one place ; but persons acquainted with the language and habits of the country may easily restrict their expenses to still narrower limits. Those who travel as members of a party effect a considerable saving by sharing the ex- pense of guides, carriages, and other items. When ladies are of the party, the expenses are generally greater.
Koney. The French monetary system is now in use throughout the whole of Italy. The franc (lira or franco) contains 100 centeaimi; 1 fr. 25c. = I9. = 1 German mark (comp. p. ii). In copper (hronzo or rame) there are coins of 1, 2, 5, and 10 centesimi. A piece of 5 c. is called a soldo, or sou , and as the lower classes often keep their accounts in soldi, the traveller will find it useful to accustom himself to this mode of reckoning. The gold and silver coins of France, Switzerland, Greece, and Belgium circulate freely, but the traveller should be on his guard against old coins from the papal mint, which cannot be parted with except at a loss, and should also refuse Greek copper coins. The recognized paper currency consists of the bank- notes of the Biglietti di Stato and the Bar^a Nazionale; those of the Banea di Toscarw are legal tender in Tuscany, and those of the Banea di Roma in Rome. Other notes should be refused, though those of aU the large Italian banks are generally accepted at Rome without demur.
Best Money for the Toub. Circtdar Notes or Letters of Cre- dit, obtainable at the principal English and American banks, form the proper medium for the transport of large sums, and i«^i^^ >^^ most favourable exchange. English and OexmAiv \^^I!^T^<c:^A% ^^^ realise their nomJnaJ value. A modeiate 8\ipp\'5 oi "FrCTicUCioVA \svv^
xiv SEASON AND PLAN OF TOUR.
prove useful. Sovereigns are almost everywhere received as the equi- valent of 25 fr., and sometimes a little more.
Exchange. Foreign money is most advantageously changed in the larger towns, either at one of the English bankers or at a re- spectable money-changer's (*c£imhiavaluta^). As a rule, those money- changers are the most satisfactory who publicly exhibit a list of the current rates of exchange. The traveller should always take care to obtain an abundant supply of small notes (1, 2, and 5 fr.), as it is often difficult to change those of large amount. When a railway- fare has to be paid it is a wise precaution to be provided with the exact sum beforehand, in order that mistakes or imposition may be prevented. Besides the small notes, l-lV2fi^* li^ copper should also be carried in a separate pocket or pouch.
Money Orders payable in Italy, for sums not exceeding 102., are now
f ranted by the English Post Office at the following rates : not exceeding I., 6d.} 01.. U.\ V,j it. 6d.; 10;., 2s. These are paid in gold. The identity of tlie receiver mnst be guaranteed by two well-known residents, or by a Libretto di Rieognizione (1 fr.; with 10 coupons) obtained beforehand in the central post-office at Borne \ an exhibition of tlie passport, however, often suffices. The charge for money-orders granted in Italy and payable in England is 40 c. per i.1. sterling.
A convenient and safe method of carrying money for a journey in Italy is afforded by the Titoli di Credito, which may be procured at the post- offices of the principal Italian towns for any sum not exceeding 10,000 fr. (4002.) The holder of one of these orders may then draw what sum (from 60 fr. upwards) he requires at any post-office in the kingdom, until the amount for which it is issued has been exhausted. At small places the sum drawable at once is limited to 2(X) fr., in provincial capitals to 1000 fr., and in Rome and the nine chief towns to QOOO fr. It is necessary to state the post-office at which the first payment is desired. A charge of 50 c. is made for each 100 fr. up to 1000 fn^and 25 c. for each additional 100 fr. ; thus an order for 10,000 f r. costs ZT^/a fr. In case of loss the traveller should immediately inform the postal authorities, giving his name and the number of his Hitolo\
II. SeaBon and Plan of Tonr.
Season. The season selected for the tour must of course depend on the traveller himself, but the colder months are those usually preferred. Most travellers bound for the South cross the Alps in September and October, and arrive in Rome about the beginning of November. Rome is the favourite winter-residence of strangers till the Carnival, but most of them leave it in Lent for the gayer scenes of Naples , and at Easter it is comparatively deserted , as the chief attractions of the festival are now gone. As summer approaches most travellers prepare to quit the country , but even during the hot season tourists are not unfrequently met with. In this vast and ever-varying influx of travellers the Anglo-American element is al- ways greatly predominant.
No month in the year can be pronounced absolutely unfavourable for travelling in Italy, but the seasons recommended are from 15th Sept. to 15th Nov., and the months of April and May. The rainy winter months should, if possible , be spent in one of the larger
LANGUAGE. xv
cities, of which Boixie is onqnestionahly the most interesting. June, July, and August are hardly suitable for a tour. The scenery Indeed is then in perfection, and the long days are hailed with satisfaction by the active traveller ; but the fierce rays of an Italian sun seldom fail to sap the physical and mental energies. This result is not occasioned so much by the intensity, as by the protracted duration of the heat, the sky being frequency cloudless, and not a drop of rain falling for many weeks in succession. The heat generally mod- erates about the end of August, when the first showers of autumn begin to refresh the parched atmosphere.
Plan. The plan of a tour in Italy must of course be framed in accordance with the object which the traveller has in view. In Central Italy the principal attraction is Borne itself, and of the other towns described in the present volume the next in importance are Siena and Perugia^ both of which afford good summer-quarters owing to their elevated situations. Two other places of great in- terest are Orvieto and Asaisi^ a short visit to which should not be omitted. ArezzOj Cortona, Spoleto, Temiy with its imposing water- falls, and Chiusi and Corneto, with their Etruscan antiquities, are also interesting points, situated near the railway. Volterroj 8. Qi- mignano , Montepulciano , and Viterho , though less conveniently situated, are also well worthy of a visit. With regard to the towns lying on the coast of the Adriatic, comp. p. 87. Besides these points of attraction there are many others in the less-frequented districts of the Interior , which the traveller who desires more than a superficial acquaintance with Italy should not fail to explore ; and the farther he diverges from the beaten track, the more he will learn of the characteristics of this delightful country.
m. Language.
The time and labour which the traveller has bestowed on the study of Italian at home will be amply repaid as he proceeds on his journey. It is quite possible for persons entirely ignorant of Italian and French to travel through Italy with tolerable comfort ; but such travellers cannot conveniently deviate from the ordinary track, and are moreover invariably made to pay ^alla Ingleae' by hotel-keepers and others, t. e. considerably more than the ordinary charges. French is very useful, as the Italians are very partial to that language, and it may suffice for Rome and some of the main routes ; but for those who desire the utmost possible freedom, combined with the lowest possible expenditure, a slight acquaintance with the language of the country is indispensable, t
t ^Baedeker^a Manual of Conversation in Bnglish, French^ German^ and ItcUian^ loith Voeabulaty, etc.'' (Stereotype Edit., Baedeker, Leipsic), which is specially adapted for the use of travellers, with the addition of £a«d!ei:eT'« C^nwirsation Dictionarv (in the tame four languages \ li«\^«\&^ ^S^ \ V^^^^ 8 marks), will soon enable the beginner to make Miua«\^ \x.iv^et%\.QO^* — A few words on the pronunciation may be acceptable \o ^etaoxka ^>»»^
xvi PASSPORTS. — PUBLIC SAFETY.
lY. Pasiporto. Oastom House. Luggage. PaispoTts, though not required in Italy, are occasionally useful. Registered letters, for example, will not be delivered to strangers unless they exhibit a passport to prove their identity. The counte- nance and help of the British and American consuls can, of course, be extended to those persons only who can prove their nationality.
The Italian police authorities are generally civil and obliging.
Foreign Office passports may be obtained in London tbrongh £. Stan- ford, 26 Gockspnr Street, Charing Gross, W. J. Adams, 69 fleet Street, or Lee and Carter, 440 West Strand.
Custom House. The examination of luggage at the Italian custom-houses is usually lenient. Tobacco and cigars are the articles chiefly sought for. At the gates of most of the Italian towns a tax (dazio eonsumo) is levied on comestibles, but travellers' luggage is passed at the barriers (limite daziario) on a simple declaration that it contains no such articles.
Lugg^age. If possible, luggage should never be sent to Italy by goods-train, as it is liable to damage, pilferage, and undue custom- house detention. If the traveller is obliged to forward it in this way, he should employ a trustworthy agent at the frontier and send him the keys. As a rule it is advisable , and often in the end less expensive, never to part from one's luggage, and to superintend the custom-house examination in person. Gomp. p. xviii.
y. Public Safety. Begging.
Brigandage. Italy is still sometimes regarded as the land of Fra Biavolo's and Rinaldo Rinaldini's, and the impression is fostered by tales of travellers, and sensational letters to newspapers; but the fact is , that travelling in Northern and Central Italy is hardly attended with greater hazard than in any of the northern European countries, while Southern Italy is unsafe in its more remote recesses only. Even the Roman Campagna can now scarcely be looked on as less safe than lonely districts in the neighbourhood of other large cities. For information as to the safety of the roads the traveller should apply to the Carabinierij or gensdarmes (who wear a black uniform , with red facings and white shoulder-straps , and cocked hats), a respectable and trustworthy corps. The traveller should avoid the poorer and less frequented parts of Rome and other towns after night-fall.
quainted with the language. C before e and • is pronounced like the English ch; g before e and i like j. Before other vowels e and ff are hard. Ch and gh» which generally precede e or i, are hard. 8e before e or i is prononnced like sh*, gn and gl between vowels like nyY and lyY. The vowels a, «, t, o, u are pronounced ah, a, ee, o, oo. — In ad- dressing persons of the educated classes *£lla^ or ^Lei^ with the Srd pers. sing., should always be employed (addressing several at once, 4oro* with the 3rd pers. pi.). ^Voi' is used in addressing waiters, drivers, etc., Hu* by those oiUy who are proficient in the language. *Voi* is the usual mode of address among the xfeapolitans , but is elsewhere generally regarded as inelegant or discourteous.
ITALIANS. xvil
Weapons^ which for the ordinary traveller are a mere burden, cannot legally be carried without a license, obtainable through the traveller's consul or ambassador. Those of a secret character, such as sword-sticks and stick-guns, are entirely prohibited, and the bearer is liable to imprisonment without the option of a flne.
Begging, which was countenanced and even encouraged under the old system of Italian politics, still continues to be one of those national nuisances to which the traveller must habituate himself. The present government has adopted energetic measures for its sup- pression, but hitherto with only partial success. The average Italian beggar is a mere speculator, and not a deserving object of charity. The traveller should therefore decline to give anything, with the words, 'non c'6 niente', or a gesture of disapproval. If a donation be bestowed, it should consist of one of the smallest possible copper coins. A beggar, who on one occasion was presented with 2c. and thanked the donor with the usual benedictions, was on another pre- sented with 50 c. ; but this act of liberality, instead of being grate- fully accepted, only called forth the remark in a half-offended tone : — *Ma, signore, h molto pocol'
YI. IxLterconrse with Italians.
In Italy the pernicious custom of demanding considerably more than will ultimately be accepted has long been prevalent; but a knowledge of the custom, which is based on the presumed igno- rance of one of the contracting parties, tends greatly to mitigate the evil. Where tariffs and fixed charges exist, they should be carefully consulted. In other cases, where a certain average price is establish- ed by custom, the traveller should make a distinct bargain as to the article to be bought or service to be rendered, and never rely on the equity of the other party. Nor should any weight be attached to the representations of waiters , drivers , and guides in matters in which they have an interest, and with whom even the inhabitants of the place often appear to act in concert.
Individuals who appeal to the generosity of the stranger, or to their own honesty, or who, as rarely happens, are offended by the traveller's manifestation of distrust, may well be answered in the words of the proverb, ^patti chiari, amicizia Ujtnga\ The equanimity of the traveller's own temper will greatly assist him if involved in a dispute or bargain , and he should pay no attention whatever to vehement gesticulations or an offensive demeanour. The slighter his knowledge of the Italian language is, the more careful should he be not to involve himself in a war of words , in which he must ne- cessarily be at a great disadvantage. In Rome and the larger towns of Tuscany the traveller will now meet comparatively few causes for complaint, and even in smaller places he will find a little tact a.\!i^ good-temper all that is necessary to avoid disputes.
In a country where trifling donations are in coT\ataw\. ^ftTsvaxv^^ ^^
Baedsssr. Italy II. 10th EditiOD. \>
xvlii CONVEYANCES.
traveller should always be provided with an abundant supply of copper coins. Drivers, guides, porters, donkey-attendants, etc., in- variably expect, and often demand as their right a gratuity (huona manOj manciay da berCy hottiglia, cafftj fumata), in addition to the hire agreed on, varying according to circumstances from 2-3 sous to a franc or more. The traveller need not scruple to limit his dona- tions to the smallest possible sums, as liberality is often a source of annoyance and embarrassment. Thus if half-a-franc is bestowed where two sous would have sufficed, the fact speedily becomes known, and the donor is sure to be besieged by numerous other applicants whose demands it is impossible to satisfy.
YII. Conveyances.
Bailways. The remarks made in the first volume of the Hand- book are also applicable to the railways of Central Italy. The rate of travelling is very moderate, and the trains are often behind time. The first-class carriages are tolerably comfortable, the second are inferior to those of the German railways, and resemble the Eng- lish and Frenchy while the third class is chiefly frequented by the lower orders. Among the expressions with which the railway-tra- veller will soon become familiar are — ^prontV (ready), ^partenzd' (departure), 'si cambia convoglio^ (change carriages), and ^U8cita^ (egress), which are shouted by the officials with characteristic vigour. The station-master is called 'capo stazione. Smoking compartments are labelled ^pei fumatori\ those for non-smokers '^ vietato di fu- mare. Separate first and second-class compartments are reserved for ladies. Sleeping-carriages (coupS a letti) are provided on all the main lines at a small extra charge. Railway time is that of the meridian of Rome, 52 min. ahead of that of Greenwich and 40 min. before Paris.
When about to start from a crowded station, the traveller will find it convenient to have as nearly as possible the exact fare ready before taking tickets (^fare il biglietto^J. In addition to the fare a tax of 5 c. is payable on each ticket, and the express fares are about 10 per cent higher than the ordinary. It is also important to be at the station early. The booking-office at large stations is open 1 hr., at small stations V4'V2 ^r. before the departure of the trains. Hold- ers of tickets are alone entitled to enter the waiting-rooms. At the end of the journey tickets are given up at the itscCtaj except in the case of the very large stations, where they are collected before the passengers alight.
The traveller is recommended to ascertain the weight of his lug- gage, if possible, before going to the station, in order to guard against imposition (1 kilogramme = about 2^5 lbs.). No luggage is allowed free except small articles (which must not exceed 20x10 Xl2 inches) taken by the passenger into his carriage. Porters who convey luggage to and from the carriages are sufficiently paid with
CONVEYANCES. xix
a few sous, where there is no fixed tariff. Those who intend to make only a short stay at a place, especially when the town or village lies at a distance from the railway, should leave their heavier luggage at the station till their return (dare in deposito, or depositare^ 10 c. per
day per owt. or fraction of a cwt.).
In crossing the frontier travellers should travel with the same train as their luggage and superintend the custom-house examination in person. During the last few years an extraordinary number of robberies of pass- engers^ luggage have been perpetrated in Italy without detection, and ar- ticles of great value should not be entrusted to the safe-keeping of any trunk or portmanteau, however strong and secure it may seem.
The enormous weight of the trunks used by some travellers not un- frequently causes serious and even lifelong injury to the hotel and railway porters who have to handle them. Travellers are therefore urged to place their heavy articles in the smaller packages and thus minimize the evil as far as possible.
The best collections of time-tables are the ^Indicatore Ufficiale delle Strode Ferrate' (published monthly by the FratelU Pozzo at Turin; price 1 fr.) and the Orario del Movimento Trent e Piroscafi (published by Arnaboldi at Florence j 1 fr.). It is advisable, how- ever, not to trust implicitly to their accuracy but to consult the lo- cal time-tables as well.
Thbough Tickets to different parts of Italy are issued in London
(at the principal railway-stations; by Messrs. Cook & Son, Ludgate
Circus, Messrs. Gaze, 142 Strand, etc.), in Paris, and at many of
the principal towns in Germany and Switzerland. They are generally
available for 30 days, and each passenger is allowed 56 Engl. lbs. of
luggage free.
Those with whom economy is an object may save a good deal by buy- ing return-tickets to the Swiss frontier, travelling third-class through Switzerland, and then taking circular tour tickets in Italy.
CiBCULAB TiCKBTS (vioggi circolari) to the principal towns in Italy , available for 20-60 days , may be purchased in London, in France, and in Germany, as well as in Italy, at a reduction of 45 per cent (but usually without a free allowance of luggage). Farther particulars will be found in the time-tables. These tickets require to be stamped at each fresh starting-point with the name of the next station at which the traveller intends to halt. If, therefore, the traveller leaves the train before the station for which his ticket has been stamped he must at once apply to the capo atazicme for recognition of the break in the journey (''acceriare it cambia- mento di destinazione'). When the traveller quits the prescribed route , intending to rejoin it at a point farther on, he has also to procure an ^annotazione^ at the station where he alights, enabling him to resume his circular tour after his digression (^vale per ri- prendere alia stazione . . » il viaggio interrotto a . . .). If this ceremony be neglected the holder of the ticket is required to pay treble fare for the omitted portion of the route for which the ticket is issued.
Rbtubn Tickets (Biglietti d'andata c fitomo) m*.^ Ql\«w\i^ *.^-
XX STEAMBOATS.
vantageously used for short excursions, but they are generally available for one day only. It should also be observed that if the traveller alights at a station short of his destination he forfeits the rest of his ticket for the direction in which he is proceeding. In returning the ticket is not available unless he starts from the end-station for which the ticket was issued.
Steam Tramways. The system of Tramvia a Vapore^ with which the traveller in Northern Italy has become familiar, has also extend- ed to Central Italy. The rate of speed attained by them is about half that of the ordinary railways.
SteamboatB. There are now so many different railway-routes from N. Italy to Rome that few travellers will care to travel by steamer from Genoa or Leghorn to Civitk Vecchia, or from Trieste to Ancona , although many will still prefer the sea-voyage to the long raUway-journey if bound for Naples direct (see vol. iii. of the Handbook). In fine weather, especially in summer, when sea- sickness need rarely be apprehended, a voyage on the Mediterranean is very enjoyable , but as the steamers generally ply at night the finest parts of the scenery are often missed. The boatmen charge 1 fr. for embarkation or disembarkation.
Diligences. As several of the most interesting places described in the following pages lie at some distance from the railway (such as Urbino, Gubbio, Viterbo, and S. Gimignano), the traveller must visit them by carriage or by diligence. The Corriere , which carries the mails, has seats for 2-3 passengers only, and the fares are high. The Diligenzay or ordinary stage-coach, conveys travellers with tol- erable speed, and generally at the same fares as similar vehicles in other parts of the continent. They are in the hands of private specu- lators, and where several run in competition, the more expensive are to be preferred. When ladies are of the party the coup^ (fare one- third higher) should if possible be secured. The drivers and ostlers generally expect a few soldi at the end of each stage. — For a party of three or four persons the expense of a carriage with one or two horses hardly exceeds the diligence fares, while the. travellers are far more independent. A carriage with one horse may generally be hired for 50-75 c. per kilometre, and a single seat in a carriage (*un posto') may often be obtained.
Walking Tours. The ordinary Italian rarely walks if he can pos- sibly drive ; and how walking can afford pleasure is to him an inex- plicable mystery. The remark has frequently been made to the Edi- tor: ^Lei ^ signore e va a piedi?f^ In the more frequented districts, however, such as the vicinity of Rome, the natives are accustomed to this mania of foreigners, and are no longer surprised to find them exploring the Campagna and the Sabine and Alban Mts. on foot. There seems, Inoreover, to be a growing taste for walking among the Italians themselves, as a great many stations of the Italian i)lub Alpino have recently been established for the purpose of ren-
HOTELS. xxi
dering the Apennines more accessible to travelleis. Cool and clear weather should if possible be selected, and the scirocco carefully avoided. The height of summer is of course unsuitable for tours of this kind.
Biding. A horse (cavallo) or donkey (sommaro), between which the difference of expense is slight , will often be found serviceable, especially in mountainous districts. The attendant (pedone) acts as a guide and servant for the time being. Riding is now common among the Alban and Sabine Mts. , where animals are provided for the use of ladies also. A previous bargain should be made , tutto compresOj a gratuity being added if the traveller is satisfied. The donkey- drivers have an unpleasant habit of inciting their animals to the top of their speed when passing through a town or village, and it is as well to warn them beforehand that their 'mancia' will suffer if they do not go quietly through the streets.
VIII. Hotels.
FiKST Class Hotels , comfortably fitted up , are to be found at Rome, Siena , Perugia , and at most of the principal resorts of tra- vellers in Central Italy. Several of those at Rome are kept by Swiss and German landlords. Room 21/2-5 fr., bougie 75 c. to 1 fr., atten- dance 1 fr. (exclusive of the 'facchino' and porter), table d'h6te 4-6 fr., and so on. The charge for dinner does not include wine, which is generally poor and dear. For a prolonged stay an agree- ment may generally be made with the landlord for pension at a more moderate rate. Visitors are expected to dine at the table d'hote; otherwise the charge for rooms is apt to be raised. The cuisine is a mixture of French and Italian. The charge for the use of the hotel-omnibuB from the station to the hotel is so high (1- 11/2 ^'O* ^^^^ ^^ ^^ often cheaper to take a cab. It is also easier for those who use a cab to proceed to another hotel, should they dislike the rooms offered to them. Rooms on the ground-floor should be avoided.
The Second Class Hotels are thoroughly Italian in their ar- rangements , and they are rarely very clean or comfortable. The charges are little more than one-half of the above. There is no table d'h6te, but there is generally a trattoria connected with the house, where refreshments d, la carte or a dinner a prezzo fcaso may be procured at any hour. These inns will often be found con- venient and economical by the voyageur en gar^on, and the better houses of this class may even be visited by ladies ; but the new-comer should, perhaps, frequent first-class hotels only. As a rule, it is advisable to make enquiries as to charges beforehand. A dinner, for example at 2-3 fr. , may be stipulated for, and in bargaining as to the charge for a room the ''servizio 0 candela' sko\i\^ -ftaVXi^ I'^rt- gotten. If no previous agreement has been ma-^e wv eiAaiNK-oraaXA bill can seldom be reduced without a great dea\ olttoxiJa^ft. iA^Qs^^^
xxii RESTAURANTS AND CAF^S.
smaller inns a fee of 1 fr. per day is usually divided between the waiter and the facchino, or less for a prolonged stay. Copper coins are never despised by such recipients.
H6tels Gabnis and Pbivatb Apartments are recommended for a prolonged residence. A distinct agreement as to rent should be made beforehand. When a whole suite of apartments is hired, a written contract on stamped paper should be drawn up with the aid of some one acquainted with the language and customs of the place (e.g. a banker), in order that 'misunderstandings' maybe prevented. For single travellers a verbal agreement with regard to attendance, linen, stoves and carpets in winter, a receptacle for coal, and other details will generally suffice. Comp. p. xxvi.
Money and other valuables should either be carried on the per- son or entrusted to the landlord in exchange for a receipt.
The popular idea of cleanliness in Italy is behind the age, dirt being perhaps neutralised in the opinion of the natives by the brilliancy of their climate. The traveller will rarely suffer from this shortcoming in hotels and lodgings of the best class ••, but those who quit the beaten track must be prepared for privations. Iron bedsteads should if possible be selected, as they are less likely to harbour the enemies of repose. Insect-powder (polvere di Persia, or Eeating's) or camphor somewhat repels their ad- vances. The zanzdre^ or gnats, are a source of great annoyance, and often of suffering, during the autumn months. Windows should always be care- fully closed before a light is introduced into the room. Light muslin curtains (zanzarievO round the beds, masks for the face, and gloves are employed to ward off the attacks of these pertinacious intruders. The burning of insect powder over a spirit-lamp is also recommended, and pastilles may be purchased at the principal chemists'* for the same purpose. A weak dilution of carbolic acid in water is efficacious in allaying the dis- comfort occasioned by the bites.
A list of the Italian names of the ordinary articles of underclothing (la biancheria) will be useful in dealing with the washerwoman : Shirt (linen, cotton, woollen), la eamicia (di tela^ di cotone, di lana); collar, il solinOy il colletto; cuff, ilpoUino; drawers, Je mutande ; woollen undershirt, una flanella or giuha diflanella; petticoat, laBottana; stocking, lacalza; sock, la calzetta; handkerchief (silk), ilfazoUtto (di seta). To give out to wash, dare a bucato {di bucaio , newly washed) *, washing-list, la nota ; washerwoman, laundress, la gtiratrice^ la lavandaja; buttons, i bottom.
IX. BestaurantSy Cafes, Osterie.
Restaurants (trattone) are chiefly frequented by Italians and gentlpTT>en travelling alone , but those of the better class may be visited by ladies also. They are generally open from 12 to 8, but are frequented chiefly between 5 and 7. Dinner may be obtained h la carte (1V2"3 ft-)* ^^^ sometimes a prezzo fisso (un pranzo da 2, 3, 4, 5 fr.). The waiters expect a gratuity of 2-5 soldi. The diner who wishes to confine his expenses within reasonable limits, should refrain from ordering dishes not mentioned in the bill of fare. Besides the old-fashioned trattone^ a number of Westauranis^ of a better class have recently been opened in Rome. The cookery is generally French, and the. charges and arrangements are similar to those in the other European capitals. The waiter is called cameriere
RESTAURANTS AND CAF^S.
XXIU
(or bottega), but the approved way of attracting his attention is by knocking on the table.
A late hour for the chief repast of the day should be chosen in winter, in order that the daylight may be profitably employed, but an early dinner is preferable in summer when the midday heat pre- cludes exertion.
List of the ordinary dishes at the Italian restaurants : —
Minestra or Zuppa, soup.
Consumk^ broth or bouillon.
Zuppa alia Santi. soup with green
vegetables and bread. Chiocchiy small puddings. Riso con piselliy rice-soup with peas. Risoito (alia Milanese)^ a kind of rice
pudding (rich). Maeearoni al burro, with butter ^ al
pomidoroy with tomatoes. Lesso or Bollito, boiled meat. ManzOy boiled beef. FrittOj fried meat. Frittwa mista, a mixture of fried
liver, brains, and artichokes. Frittata, omelette. Arroito, roasted meat. Arrosto di vitello, or di mongana^
Toaat-veal. BisteecOy beefsteak. CoscettOy loin.
Testa di vitello, calfs head. Figato di vitellOy calfs liver. Bracciolelta di vitello, veal- cutlet. Costoletta alia minutay veal -cutlet
with calves' ears and truffles. Fsgaloppe, veal-cutlet with bread- crumbs. Patatey potatoes. QuagliOy quail. TordOy field-fare. LoddlOy lark. S/ogliay a kind of sole. Prineipi alia tavola , or piattini , hot
relishes. Funghiy mushrooms (often too rich).
PresciuUOy ham.
SalSmiy sausage.
Polio y or pollastrOy fowl.
Potaggio di polio , chicken-fricas
86e. OallinacdOy Oallottay turkey. UmidOy meat with sauce. Stu/atinOy ragout. Erbey vegetables. Carciofiy artichokes. Piselliy peas. LetUicchiey lentils. CavoK fioriy cauliflower. FavBy beans.
Fagiuoliniy Cornetiy French beans. SalBy salt. PepSy pepper.
MostardUy simple mustard. Sendpey hot mustard. Ostrichey oysters (good in winter
only). Oiardinetto or frutiay fruit-desert. Crostata di fruttiy fruit-tart. Crostata di pasta s/oglia , a kind of
pastry. FragolBy strawberries. PerOy pear. Mela or pomoy apple. P4rsiciy peaches. UvOy bunch of grapes. Limoney lemon.
Arancio or portogallOy orange. FinocchiOy root of fennel. Pane francesey bread made with yeast
(the Italian is made without). FormaggiOy caciOy cheese.
Wine (nero, red^ bianco y white; dolcey sweet 5 asciuttOy dry; del paese or nostralBy wine of the country) is usually placed on the table in large bottles at the Tuscan restaurant-s and charged for according to the quantity drunk. At Rome and some other places the visitor is asked if he wishes un mezzo litro or un quinto (Vsth litre; also called bicchiere). Wines of a better quality are sold in ordinary quarts and pints.
Caf^g are frequented for breakfast and luncheon, and in the even- ing by numerous consumers of ices.
Caj0^i neroy or coffee without milk, is usually drunk (20-25 c. per cup). Caffi latte is coffee mixed with milk before being served (20-30c.) ; or eaffi e latte y i.e. with the milk served separately, may be preferred (30-40c.). Mischio or Aura is a mixture of coffee and chocolate (20-^c.), con- sidered wholesome and nutritious. Cioecolatay or chocolate, 30-50 c. Pane (a roll) 5 c; pcuta (cake) 10 c. ; bread and butter (pan€ al bMkTvo'i ^ «:.»
The usual viands for lunch are ham, sauaageft, <i\iWek\.a,\>^«*la,\i^^i^BA'» ^^^ eggs iuova da bere, softi tosie, hardj Mora al piatto, ixi^^^.
xxiT SIGHTS, THEATRES.
Ices (gorbello or gelato) of every possible variety are supplied at the caf^s at 50 c. per portion ; or a half portion (mezza) may be ordered. OranitOy or half-frozen ice {limonatay of lemons^ aranciata of oranges), is much in vogue in the forenoon. The waiter, who expects a sou or more, according to the amount of the payment, is sometimes inaccurate in chang' ing money if not narrowly watched.
The principal Parisian newspapers are to be foxmd at all the larger caf^s, English rarely. — Roman newspapers, see p. 116.
Wine Shops (ostene), especially at Rome, are a favourite haunt of the lower classes. The rooms are generally dirty and uninviting, but the wine is often good. Bread and cheese may be obtained at some of the osterie and cooked dishes at a few (Osteria con cucina). As a rule, however, those who sup at a wine-shop must bring their own eatables from a pizzicarolOy or dealer in comestibles.
C^ars in Italy are a monopoly of Government, and bad. The price of the home-made cigars (Scelti Romani, Virginias^ Toscani^ Napoletani, CavourSj Mingheiti^ etc.) vary from 71/2 to 18 c. Good Havanna Cigars (2&-60 c.) and foreign Cigarettes may be bought at the ^Eegia dei Tabacchi' (p. 114) and other large shops in Rome. Passers-by are at liberty to avail themselves of the light burning in every tobacconist^s, without making any purchase.
X. Sights, Theatres, etc.
Churches are open in the morning till 12 or 12.30, and generally again from 4 to 7 p.m. , while some of the most important remain open the whole day. Visitors may inspect the works of art even during divine service, provided they move about noiselessly, and keep aloof from the altar where the clergy are officiating. On the occasion of festivals the works of art are often entirely concealed by the temporary decorations. The verger (sagrestano , or nonzolo) receives a fee of 30-50 c. or upwards, if his services are required.
Museums, picture-galleries, and other collections are usually open from 10 to 3 o'clock. By a law passed in 1875 all the col- lections which belong to government are open on week-days at a charge of 1 fr., and on Sundays gratis. The attendants are forbidden
to accept gratuities.
In Rome the collections of the Vatican and the private galleries are closed on Sundays and on ecclesiastical festivals. The national collections are closed only on the holidays recognized by government, viz. Easter Day, Sept. 20th (anniversary of the entry of the Italian troops in 1870, see p. o41), Nov. 1st (All Saints Day), and Christmas Day. In smaller towns museums and galleries are also often closed on New Year'^s Day, during the Carnival, on Palm Sunday, Ascension Day, Whitsunday and Whitmonday, FSte de Dieu (Corpus Domini), the Festa dello Statuto (first Sunday in June), and the Assumption of the Virgin (16th Aug.). The day sacred to the local patron saint is often observed as a holiday.
Theatres. Performances in the large theatres begin at 8, 8.30, or 9, and terminate at midnight or later, operas and ballets being exclusively performed. The first act of an opera is usually succeeded by a ballet of three acts or more. The pit (platea) is the usual re- sort of the men, while the boxes and sometimes the stalls (poltrone ^ f08ti distinti) are frequented by ladies. A box (palco) must al- ^8 be secured in advance. — The theatre is the usual evening-
CLIMATE. HEALTH. xxv
resort of the Italians, who seldom observe strict silence during the
performance of the music.
Valets de Place (servitori di piazza) may be hired at 6-7 fr. per day. They are generally respectable and trustworthy, bat, as they are seldom good judges of what is really worth seeing, the traveller should specify to them the places he desires to visit. Their services may generally well be dispensed with by those who are not pressed for time. Parcha<!es should never be made, nor contracte with vetturini or other persons drawn up, in presence or with the aid of a comtnissionnaire, as any such intervention tends considerably to increase the prices. Gomp. p. 116.
XI. Post Office. Telegraph.
Letters (whether ^poste re8tante\ Italian ^ferma in p08ta\ or to the traveller's hotel) should be addressed very distinctly, and the name of the place should be in Italian. When asking for letters the traveller should present his visiting card instead of pronouncing his name. Postage-stamps (francoholl) are sold at the post-offices and at many of the tobacco-shops. — Letters of 15 grammes (^2 oz., about the weight of three sous) to any of the states included in the postal union (now comprising the whole of Europe) 25 c.; post-card (cartolina postale; for foreign countries, per Vestero) 10 c, with prepaid answer (con risposta pagata) 20 c. ; book- packets (stampe sotto fascia) per 50 grammes 5 c. ; registration-fee (raccomanda- zione) 25 c. — Post Office Orders, see p. xiv.
Letters by town-post 5c.; throughout the kingdom of Italy 20c. prepaid, or 30 c. unpaid. Post-card 10 c, with prepaid answer 15 c. Book-packets 2 c. per 40 grammes (IY3 oz.).
Parcels, not exceeding 3 kil. (7lbs.) in weight or 2 ft. in length, may be sent from one part of Italy to another for 60 c.
In Rome the post-office is open daily from 8 a.m. to 8 or 9.30 p.m. (also on Sundays and holidays); in smaller places it is gener- ally closed in the middle of the day for two or three hours.
Telegrams. For telegrams to foreign countries the following rate per word is charged, in addition to an initial payment of 1 fr. : Great Britain 39 c., France 14, Germany 18, Switzerland 6-14, Austria 6-14, Holland 23, Belgium 19, Denmark 23, Russia 49, Sweden 38, Norway 36 c. — To America from 3^/4 fr. per word up- wards, according to the state. — Within the kingdom of Italy, 15 words 1 fr. , each additional word 6 c. — Telegrams with special haste (telegrammi urgenti, which take precedence of all others) may be sent at thrice the above rates.
XII. Climate. Health.
The climate of Rome is determined by its situation in the Cam- pagna, almost equidistant from the Apennines and the sea (14 M.), and about 100 ft. above the level of the latter. During winter thft prevalent wind is the Tramontana , a term api^\\e^ ivo\. q\!^^ \ft ^^ N. wind but also to the N.N.E. wind (Greco) ; it \Ao^% moi^ ^^^
\
xxvi CLIMATE. HEALTH.
more frequently from October to December, then becomes gradually rarer, and by April or May ceases altogether. This dry and cool (sometimes even cold) wind is generally accompanied by a clear sky, and except when unusually violent (in which case it irritates the mucous membrane) is not found trying even by invalids. The Scirocco, a general name for the S.E., S., and S.W. winds, is especially prevalent in October and April. It has an alleviating effect upon colds and coughs , but is apt to take away the appetite and impair the nervous energy.
The most favourable month for a visit to Rome is October, dur- ing which the average temperature is about 63° Fahr. The rain that then falls is drunk in greedily by the parched earth, and all nature seems to awaken to a second spring. November , with a mean tem- perature of 54° and an average of I272 days of rain, is also often a pleasant month. In December the N. and S. winds contend for mastery, and wet weather alternates with cold , the mean tempera- ture being 47 ° and the average number of rainy days eleven. Jan- uary (mean temp. 45 1/2°? wet days 11 Va)? ^ind February (mean temp. 461/2°, wet days 10), during which the N. wind prevails, are the two coldest months. Travellers arriving at this season from the Riviera, where the mean temperature in these months is from 48° to 54°, should be careful to guard against the sudden change by warmer clothing. March (mean temp. 50^2 °i rainy days 10), though often cold, and as usual in the S. the windiest month of the year, seldom passes without some charming spring days. After October April and the first half of May form the pleasantest time for visiting Rome. The heat then rapidly increases, and from the end of May till Octo- ber it is almost insufferable (June 72°, July 76°, August Ib^, Sept- ember m^l2'' ^.^
Health. Malaria or Roman fever is, of course, most prevalent in summer, particularly from the middle of August till the begin- ning of September, but also occurs in spring and even in the milder and damper months of winter. Large parts of the city, however, enjoy an almost perfect immunity from it. The most conspicuous of these is the central district bounded towards the W. by the Via del Babuino, the Via Sistina, and the Via del Quirinale, extending on the S. to S. Pietro in Viruioli and the Capitol, and on the E. al- most reaching the Tiber. The streets on the Esquiline^ Palatine, and Caelius are, on the other hand, all dangerous in summer, and few of the inhabitants of the S. E. district between the Colosseum and the Monte Testaccio escape an annual visitation of fever. Some of the suburban districts, such as the W. slopes of the Pincio, and many of the streets on the Viminal, are now com- paratively healthy, while on the right bank of the Tiber the neigh- bourhood of the Piazza 8. Pietro and the quarter between the Ponte Sisto and the Ponte Rotto are almost exempt from the scourge.
The visitor should exercise some care in choosing his apartments
CHRONOLOGICAL TABLE. xxvii
and in seeing that they are supplied with all needful comforts. Car- pets and stoyes are indispensable. A southern aspect is absolutely essential for the delicate, and highly desirable for the robust. An Italian proverb says : ^Dove non va il sole, va il medico\ Rooms on the upper floor are drier than those on the ground-floor. Windows should he closed at night.
Inhabitants of more northern countries generally become unusu- ally susceptible to cold in Italy, and therefore should not omit to be well supplied with warm clothing for the winter. Even in summer it is advisable not to wear too light clothing. Flannel is strongly recommended. — The Pincio is the safest promenade in Rome, but a prolonged sojourn in the somewhat damp gardens of the Villa Borghese is not advisable. The visitor should be careful not to drive in an open carriage after dark, or to sit in the evening in such malarial places as the Colosseum. In visiting picture-galleries or churches on warm days , it is advisable to drive thither and walk back, as otherwise the visitor enters the chilly building in a heated state and has afterwards no opportunity of regaining the desirable temperature through exercise. Exposure to the summer-sun should be avoided as much as possible. According to a Roman proverb, only dogs and foreigners (Inglesi) walk in the sun, Christians in the shade. Umbrellas or spectacles of coloured glass (grey, concave glasses to protect the whole eye are best) may be used with advantage when a walk in the sun is unavoidable. Blue veils are recommended to ladies. Repose during the hottest hours is advisable, and a siesta of moderate length is often refreshing.
The drinking-water of Rome is very palatable, but strongly impreg- nated with lime, which makes it unsuitable for those suffering from gout, and sometimes causes constipation. Persons with delicate chests often find a winter in Bome very beneficial. It is less dusty than the Riviera, and not 80 windy as the Sicilian health-resorts. — Typhut Fever does not occur in Rome as an epidemic
There are several good English and German doctors in Rome, but it is sometimes wise, in the case of maladies arising from local causes, to employ native skiil. German and English chemists are preferable to the Italian. Foreigners frequently suffer from diarrhoea in Italy, which is gener- ally occasioned by the unwonted heat. Ice and rice are two of the com- monest remedies. The homoeopathic tincture of camphor may also be mentioned. In such cases, however, thorough repose is the chief desid- eratum. A small portable medicine-case, such as those prepared and stocked with tabloid drugs by Messrs. Burroughs^ Wellcome^ d: Co.^ Holborn Viaduct, London, will often be found useful.
XIII. Chronological Table of Becent Events.
1846. June 16. Election of Pius IX.
1848. March 18. Insurrection at Milan. — March 22. Charles Al- bert enters Milan. Republic proclaimed at Venice. — May 15. Insurrection at Naples quelled by Ferdinand II. QB.Q BQ\sAi^"^. — May 29. Radetsky's victory at Cuitattone. — "NLvj *^^.'^^- detsky defeated at Goitoj capitulation oi'PeaeXA<yt«.. — 'ixiX^'^Si
xxviii CHRONOLOGICAL TABLE.
Badetsky's Tictory at Custozza. — Aug. 6. Badetsky's -victory at Milan. — Aug. 9. Armistice. — Nov. 15. Murder of Count Rossi at Rome. — Nov. 25. Flight of the Pope to Gaeta.
1849. Feb. 5. Republic proclaimed at Rome. — Feb. 17. Republic proclaimed in Tuscany, under Guerazzi. — March 16. Charles Albert terminates the armistice (ten days* campaign). — March 23. Radetsky's victory atNovara. — March 24. Charles Albert abdicates (d. at Oporto, July 26th) ; accession of Victor Emmanuel II. — March 26. Armistice; Alessandria occupied by the Austrians. — March 31. Haynau captures Brescia. — April 5. Republic at Genoa overthrown by La Marmora. = April 11. Reaction at Florence. — April 30. Garibaldi de- feats the French under Oudinot. — May 11. Leghorn stormed by the Austrians. — May 15. Subjugation of Sicily. — May 16. Bologna stormed by the Austrians. — July 4 Rome ca- pitulates. — Aug. 6. Peace concluded between Austria and Sardinia. — Aug. 22. Venice capitulates.
1850. April 4. Pius IX. returns to Rome.
1855. Sardinia takes part in the Crimean War.
1856. Congress at Paris. Cavour raises the Italian question*
1859. May 20. Battle of Montebello. — June 4. Battle of Magenta. June 24. Battle of Solferino. — July 11. Meeting of the em- perors at Villafranca. — Nov. 10. Peace of Zurich.
1860. March 18. Annexation of the Emilia (Parma, Modena, Ro- magna). — March 22. Annexation of Tuscany. — March 24. Cession of Savoy and Nice. — May 11. Garibaldi lands at Mars ila. — May 27. Taking of Palermo. — July 20. Battle of Melazzo. — Sept. 7. Garibaldi enters Naples. — Sept. 18. Battle of Castelfldardo. — Sept. 29. Ancona capitulates. •— Oct. 1. Battle of the Volturno. — Oct. 21. Plebiscite at Naples. — Dec. 17. Annexation of the principalities, TJmbria, and the two Sicilies.
1861. Feb. 13. Gaeta capitulates after a four months' siege. — March 17. Victor Emmanuel proclaimed King of Italy.
1864. Sept. 15. Convention between France and Italy.
1866. June 20. Battle of Custozza. — July 5. Cession of Venetia. July 20. Naval battle of Lissa.
1867. Nov. 3. Battle of Mentana.
1870. Sept. 12. Occupation of the States of the Church by Italian troops. — Sept. 20. Occupation of Rome.
1878. Jan. 9. Death of Victor Emmanuel II. ; accession of Hum- bert I. — Feb. 7. Death of Pius IX. — Feb. 20. Election of Leo Xni.
Ancient Art.
A Historioal Sketch,
from the German of Prof. Beinhard Kekole.
"As the streams lose themselves in the mightier Ocean ^ so the history of the peoples once distributed along the Mediterranean shores is absorbed in that of the mighty Mistress of the World''''.
NiEBDHB.
The traveller who would not wander through the galleries of Rome in mere vacant wonderment may bear in mind these words of Niebuhr. As a preface to the following pages, they will not only help the intelligent observer to a worthy appreciation of the master- pieces presented to him, but enable him to invest them with appro- priate historical associations.
Amongst the crowd of statues which fill the galleries and cham- bers of the Vatican and Capitol of Rome are to be seen the noblest examples of Antique Sculpture. These do not, however, stand in the same relation to Imperial Rome as, for example, the frescoes of Fra Angelico in the Cloisters of St. Mark, or those of Andrea del Sarto in the Church of the Annunziata to Florence, or as the masterpieces of Raphael and Michael Angelo to mediaeval and pontifical Rome. These latter originated, so to speak , with her, were her peculiar attributes, the fitting emblems of her ecclesiastical supremacy. The genius which created them, she inspired, fostered , and rewarded. On the other hand, Rome, the mistress of the World, the Rome of ancient history, though attracting to herself the accumulated treasures of entire epochs of Greek art , though through her inter- position names , which otherwise must have remained mere phan- tom sounds, survive to receive individually the homage due to their transcendent genius, had nevertheless as little influence on the marvellous development of Greek art , as L ondon had upon the Italian Renaissance, on Giotto and Masaccio , on Raphael and Michael Angelo. In fact, those particular works, which, while they fill the mind with a wonder akin to awe, minister to our noblest gratification, and in the presence of whose marvellous perfection all subsequent efforts are dwarfed into insignificance, 0Q;^\SL^\ft^\SL^'3fKv.^ ages ago, and still occupy, a place cotiea^jon^iivft \.o ^^^ ^\sa^
XXX ANCIENT ART.
the masterpieces of the Italian and other schools of painting fill in the galleries of London, Paris, and Dresden. Winckelmann was the first to trace in hold and comprehensive outline the history of Art amongst the Ancients , from its infancy and earlier growth to its maturity and gradual decline. Following in the wake of Winckel- mann, unceasing research, patiently and persistently pursued, has served to confirm and extend his survey, and to supply, in addition, a host of particulars pregnant with interest. Those indeed, who have conducted this lahorious quest , stimulated and directed hy the for- tunate recovery of monuments and various relics of antiquity, have heen the means of determining the history of Antique Art, so far at least as Sculpture and Architecture are concerned ; and this not only in its more salient features , but with an elaboration of detail , so careful and so well authenticated, that the authorship of numerous works is clearly established , and the interest and value of their discoveries in so far unspeakably enhanced. Much indeed remains to be done , and the path of the explorer is beset with doubt and difficulty; but the future promises farther encouragement, if not complete solution.
In Art, the Greeks were content to learn from nations whose civilisation preceded theirs. Long before the first image was graven by Grecian hands, the Egyptians^ as far as history acquaints us, had been the first to overcome those difficulties in the choice of a suitable form of expression inseparable from every fresh manifestation of Art. They had established a well-defined system, a traditional style, which was exemplified as well in their Sculpture as in their Archi- tecture. On the other hand the richly-elaborated Art of the Baby- lonians and Assyrians^ with its sumptuous wealth of decoration, must also of necessity have had its influence on the Greeks of Asia Minor. Grecian Art had, to begin with, not only adopted the method, implements, and workmanship of their predecessors ; it had possess- ed itself of their forms and not unfrequently of the motives of their imagery. Greece did not, however, accept this heritage of art in the spirit of slavish imitation. Architectural models were not adopted in their entirety. Each part separately, each ornament in itself, became the centre of a new conception, and this conception once embodied became a distinct type , the expression of a taste purely Greek. In like manner they treated the conventional render- ing of the human form transmitted to them. This, by constant reference to the living model, they continued to manipulate and modify until they attained to that profound and comprehensive grasp of nature, which to this day remains the subject of wonder and delight to our greatest artists. The way thus traversed was long and wearisome. It carries us back through an incalculable suc- cession of ages into the impenetrable past. The oldest Ionic and Doric temples, although well-nigh of prehistoric antiquity, exhibit ' * all essential particulars a clearly-defined architectural system ;
ANCIENT ART. xxxi
and, let it be borne in mind, the architecture of the Greeks did not start into being as Athena from the head of Jupiter, fully armed and equipped. Careful observation will detect in the Orders associ- ated in name with the two principal Hellenic races evidences of a very gradual development. Subsequently, to these two orders was added a third, known as the Corinthian. It was inevitable that in the practice of Sculpture as well as Architecture divergences arose which may be characterised as provincialisms; and it is equally intelligible that as Art in Greece assumed more and more majes- tic proportions , these provincialisms should have become less and less observable.
They were finally obliterated by the glories of what may be distin- guished, in reference to art, as the Age of Pericles; glories associated vrith the talismanic names of Phidias^ Myron, and Poly- cletus in Sculpture, and ot Ictinus and Mneaicles in Architecture. The golden age of the Italian Renaissance, when Raphael filled the world vidth rapturous wonder, can alone be compared to a time which vidtnessed the surpassing achievements of art in Greece. Of the painters of this period, of Polygnotus for example, who flourished somewhat earlier, little can be ascertained. Their works have perished ; and all that we can learn of them is at best too hypothe- tical to be worthy of record.
The name of Polycletus belongs to the Peloponnesus. The con- noisseur of his day claimed for him the merit of having presented the human form complete in its minutest details, correct in pro- portion, perfect in symmetry. One of his works in particular, the figure of a powerful youth armed with a spear (Doryphorus), was upheld as an example of the master's peculiar excellence, and hence was sumamed the Canon. As a counterpart to the Dory- phorus, and in like manner regarded as a type or model, is the figure of a youth of distinguished beauty, who with both hands folds a band round his head (Diadumenus). Of one of his Amazons it was said, that it surpassed even the Amazon of Phidias in beauty. Finally, especial glory was claimed for his statue of Hera placed in a temple dedicated to this goddess at Delphi. — Myron's chief delight was to portray the human form in action, but his success was, to say the least of it, partial. Thus he represents his Disco- bolus actually doubled up in the act of throwing the discus. In a group on the Acropolis at Athens the same artist has chosen for his subject the incident of Marsyas in the act of seizing the pipes which the Goddess Athena has rejected, and on which he plays while dancing with delight. He recoils in terror and bewilderment as the Goddess, suddenly appearing, dashes the pipes from his hand. Finally the Cow of Myron was especially popular. It was boasted of her that so lifelike was she that she deceived both man and beast t nay imposed even on a living calf. But inig\i\.\fc^\. ^•cslV^'sX. ^^ksa sculptor band was Phidias. His colossal Statue of Zeus «^«iV«^^
xxxil ANCIENT ART.
wonder even in Olympia. It was accounted a reproach not to have seen it. His principal works were, howeyer, devoted to the adorn- ment of his native city Athens. The colossal figure of Athens' tute- lary deity, the virgin goddess Athena in the Parthenon, was from the hand of Phidias. With him, we may assume , originated those plastic decorations of her temple the remains of which are preserved in Athens and in London ; and in all that his friend Pericles under- took with a view to enhance the heauty and glory of their native city, the creative genius , if not always the hand of Phidias was active. So completely indeed had he suhjected to his irresistible will the resources of his art, so far had he distanced all competi- tors, whether in the present or past, that the force of his genius, overstepping the narrow confines of Attica, imposed its sway upon successive generations of artists. Alcamenes and his favourite AgO' racritua were his most distinguished and successful pupils. The StatiLe of a Victor in the pentathlon by Alcamenes was, in a simi- lar way to the Doryphorus of Polycletus , distinguished by the title of *Enkrinomenus', or 'the classical'.
In the history of Art, as in the history of Poetry, there usually succeeds to what Winckelmann terms the 'lofty style', which delights rather in depicting the sublime and majestic, a reaction in favour of a vein of sentiment more tender, more expressive of beauty in her gentler and more graceful aspects; while at the same time freer and more forcible utterance is given to joy and anguish, and generally to the emotions and passions. Tenderness and grace were the divine attributes of Praxitblbs and the family of whom he was chief. At this time when Athens, weary of conflict with the Hellenic confederacy, longed for peace , one of the family, Cephiso- dotus (the Elder) , produced his Irene and Plutus , the Goddess of Peace bearing in her arms the infantine god of riches, of which there is a copy in the Glyptothek in Munich. Praxiteles himself belongs to a succeeding generation. Above all his Ero8 in Thespia, his Satyr and the Aphrodite in Cnidus , were the wonder and delight of anti- quity. His sons CephiaodottLS (the Younger) and Timarchides had also considerable repute. Scopas is usually regarded as the re- presentative of the more pathetic and impassioned expression in Art ; and amongst his numerous works a Group of Sea Deities and fantastical Sea Monsters is accounted particularly impressive. — The Niobe and her Children^ afterwards carried to Rome, was at- tributed variously to Praxiteles and Scopas. Leochares, another contemporary of Scopas, is believed to be the author of a group re- presenting Oanymede borne to Olympus on the wings of an eagle.
It is said that Alexandbb, the G&bat would entrust the execu- tion of his portrait to none other than Lysippus of Sycium in the Pe- loponnesus : and with the name of Lysippus is associated a revolution in taste which culminated in this period. The painter and sculptor EuphranoTy a contemporary of Lysippus, but older than he, whose
ANCIENT ART. xxxiii
especial delight it was to celebrate lieroic exploit , had already with purpose and deliberation modified the recognised rules of pro- portion. Lysippus moulded the head smaller, and the figure rela- tively taller than had hitherto been the practice. In posing the figures too, either standing or in movement, as well as in the entire conception and rendering of Nature, he appears to have developed anew and with dazzling effect what hitherto had not been more than suggested. His forms, though of unmistakably Greek charac- ter, are more in conformity with modern taste than those of earlier artists. Among the best known works of Lysippus is the Apoxyomenus , the figure of a youth fresh from a struggle in the Palaestra, in the act of using the scraping iron. Gods and heroes, scenes of war and the chase, furnished him with subjects for a host of other works. Among his sons and pupils Laippus, BoedaSj and Euthycrates, the last is most highly esteemed. Not only those of their generation but posterity agreed that Lysippus and the painter Apelles had reached the highest attainable point in the truthful rendering of nature, as well as in the more technical mastery of their art. The influence of Lysippus endured throughout and beyond the end of the follow- ing century. His method sufficed for the schools which succeeded him because the new spirit in which they worked had already triumphed in Lysippus.
The conquests of Alexander and all that followed in their train — the glories and treasures of the East unfolded, mighty monarchies founded , stately cities built, and growing into centres of wealth and luxury, new forms of worship consequent upon a more intelligent study of nature — afforded conditions both material and other, which stimulated afresh the arts of Architecture and Sculpture. Henceforward Greek art vied , in the splendour of its colossal pro- portions, with that of the East. The deeds of victorious monarchs were her favourite theme : she was indefatigable in the contrivance of new forms of luxury and fresh splendour for city, mansion, and palace. Meanwhile, however, the Past was losing its hold upon her. The traditions of the Periclean age, which told how art was content to serve the household Gods with simple piety and to adorn domestic life, were but feebly remembered. Places once instinct with art life were lost in the new and overwhelming growth of cities, now the emporiums of the world's commerce: Alexandria in Egypt, Antioch on the Orontes in Syria, Pergamum, and Rhodes. — As an example of what Greek art was doing about this time in Egypt, we may mention the reclining figure of the River-god of the Nile. Around this colossal personage , so benignant in aspect , play, with true in- fantine grace , sixteen cherub-like children. These are symbols of the 16 cubits , the measure of that periodical rise in the Nile's waters which annually submerges the land and endows E.^^^\. ^SSXv perennial fruitfulness. — A pupil of Lysippus, oiv^i Eul-vjcUxdea^ x^- presented the city of Antioch in a group of coivai^et?i\A& %x^c,^. '^Xsa
Baudskes. Italy U. 10th Edition. vj,
xxxiv ANCIENT ART.
tutelary deity (Tyche) of the city is seated on a rock. In her right hand she holds ears of corn , and on her head she wears a mural crown ; while at her feet appears, in the shape of a youth rising out of the earth, the river-god Orontes (the river actually flows under- ground for some distance).
The sculptors of Pbbgamxjm celebrated the victories of their kings over the Celts. The statue of the Dying Gaul (the so called 'dying gladiator'3 in the museum of the Capitol, and the Group of Gauls in the Villa Ludovisi are most impressive examples of the manner in which they were inspired hy the theme. The northern harharian, differing widely as he did in configuration, costume, and habit from the Greek, was a study of engrossing interest to the sculptor, and was reproduced with physiological accuracy. At the same time, that the fame of the victor might be magnified to the utmost, the sculptor sought to embody all that was admirable in the character of the vanquished: his ill-trained but chivalrous valour, his inflexible determination to die rather than suffer disgrace. So late as the 4th century A.D. there was still to be seen on the Acropolis a votive offering of King Attains in the shape of a group with numerous figures representing the struggles of the gods with the giants, of the Athenians with the Amazons, of the Athenians with the Persians, and Attains himself with the Celts. Quite recently, figures have been recognised as belonging to these groups in the collections of Venice, Rome, and Naples. — Of the Rhodian School we have examples in the so-called Famese Bull in the museum of Naples, and in the Laocoon. The date of the Laocoon has not been established. Since the days of Winckelmann, who assigned it to the time of Alexander, and of Lessing, who maintained that it belonged rather to that of Titus, there has been a constantly recurring controversy on the subject. It is, however, highly im- probable that the Rhodian School retained, as late as the reign of Titus, the vitality necessary for the production of so considerable a work.
From the preceding pages it will be gathered how many crises and how varied a development had been experienced by Greek art down to the time when Borne herself came to be included within the charmed circle of Greek culture. Transplanted to strange lands, and subjected to new influences and associations, Greek art ex- changed its distinctive Greek character for one universal and cos- mopolitan. Rome had not been, it may be remarked, without an art she could call her own. The old City-Walls raised in the time of the Kings, the Career MamertinuSj and the Cloaca Maxima prove that the Romans could in times comparatively remote carry out architectural works on a grand scale, although principally for utili- tarian purposes. The rudiments of Sculpture they probably acquired from Etruscan artists , whose earliest attempts would be the exe- cution of images of the gods in wood and clay. In Etrurian
ANCIENT ART. xxxv
where Greek influence had long been active, considerable proficiency as well as activity prevailed in the pursuit of art. although but scanty traces of the purity and elevation of Greek taste are dis- cernible. In Rome, however, the Greeks of Southern Italy grafted their art on that of the Etruscans. A bronze toilet casket (the so called Ficoronian CistcL) found in Palestrina, which was executed in the workshop of Novius Plautius in the 3rd century B.C. , exhibits in its tracery a purity of design unmistakably Greek, although differing little in shape and plastic accessories from the very ordin- ary and often rude vessels of the period. The Romans highly esteem- ed faithful Portraits. Likenesses of ancestors were preserved in wax masks, and displayed on occasions of ceremony. The plastic art of the Etruscans gives evidence of a certain grasp of portraiture, which, though not profound, was still effective. As Roman rule extended itself over Southern Italy and Sicily , and later to Greece and the Asiatic continent, a constantly increasing number of works by Greek artists found their way to Rome, for the most part, probably, as spoil of war. Presently, too, the wealthy patrician, following the bent of his individual taste or the prevailing fashion, gave commissions for works to be executed in Greece, or in Rome itself, to which ne- cessity had brought many artists. Rome thus became the recognised centre of a taste and fashion which she could call her own. Both stood in close relation, not only in point of time, but in a community of idea and aspiration , to the art of a period immediately following the reign of Alexander. There is no doubt, however, that a vast number of works are accepted as specifically Roman only because all traces of the Greek models have been lost. From these, it may be taken for granted, the artists of Imperial Rome derived the designs or at least the suggestion of works of utility, as well as of buildings devoted to mere display, such as temples, palaces, triumphal arches, and tombs.
The student familiar with the three orders of Abchitbctube, viz. the Doric, Ionic, and Corinthian, as they are to be seen in Athens, and comparing these examples with their reproductions in Rome, will have little difficulty in detecting a divergence which cannot be explained by differences either in forms of worship or in the general scope of the design (a conspicuous basement with flights of steps in front). The delicate modelling of the best period of Greek art was in Roman hands either simplified, and so denuded of its true artistic significance — looking in short like the work of the handi- craftsman — or so overloaded as to become hopelessly confused. Even in their most admirable buildings a mere profusion of super- ficial decoration is substituted for that perfect harmony pervading and animating the Greek structure , whether as a whole or in its minutest detail, which we find in the Parthenon for example. The Doric and Ionic orders found comparatively little ta.NQXVX. ^V(Xv. "Osi^ Romans , and where they appear , it is tathei in Wvft iQXTa. q1tc:«x^
xxxvi ANCIENT ART.
columus than entire shafts. The exquisite taper of the shaft was thus sacrificed, the capitals were not happily disposed, and the Doric column instead of springing, as with the Greeks, direct from the flooring received a separate hase. The favourite style was the more ornate Corinthian ; and the Romans thought yet to add to the wealth of ornament hy superimposing upon the capital already veiled with the graceful form of the acanthus leaf, the volute and abacus of the Ionic capital. The entablature of the earlier orders is easily distinguished. In the Doric the architrave rests on the column and is un articulated, while the frieze above the architrave receives the triglyphs at short, regular intervals. The Ionic archi- trave on the other hand is divided into three horizontal courses, the frieze being without triglyphs. The Corinthian entablature re- sembles the Ionic , but the cornice is more richly articulated , cor- bels are substituted for the indentations , and the whole is richly wreathed with acanthus leaves and other ornamentation.
The noblest, happily also the best-preserved building of old Rome is unquestionably the Pantheon of Agrippa, built in the time of Au- gustus. In spite of much disfigurement received in later times, this vast edifice, comprised in its interior within the precincts of one majestic circle, and obtaining the light of heaven from the centre of its wondrous dome , continues to impress the beholder with un- failing, overwhelming effect. Therefore it is that the Pantheon, hav- ing survived the period of art's extinction and revival, better re- presents the solidity, the daring, and the splendour of Roman archi- tecture than the stupendous remains of palace , bath, and circus.
An important innovation which Plastic Art experiences in the latter days of the Roman republic remains to be mentioned. The introduction of Eclecticism may be attributed toPASiTKLEs, a native of Southern Italy. It would appear that he had striven, by way of protest against the unrest and violence apparent in the works of his predecessors of the Rhodian School , to restore to art something of her primitive simplicity, and to combine the excellences of the older schools while he avoided their errors. His aim was to revert to the stem simplicity and thoroughness of the earliest sculptors. At the same time he studied nature independently and carefully ; while he was not neglectful of the minor graces of his art. 8te- phanus was his pupil, whose pupil again was MenelauSj from whose chisel we have a group now in the Villa Ludovisi, com- monly known as Electra and Orestes. Though the real intention of the author will probably never be known , this work serves to teach us how earnest was the endeavour, and how happy the result of art-study in the school of Pasiteles. It is not, however, given to eclectic schools to exercise a powerful or enduring influence. Accordingly we find a comparatively small number of works belonging to the school of Pasiteles.
That school of art, too, which was especially encouraged by the
ANCIENT ART. xxxvii
Emperor Hadrian, adopting as it did not only Greek "but also Egyp- tian models, was eclectic in the most extended sense of the word. Amongst its "better known works is the figure of Hadrian's favourite Antinousj in which with undoubted heauty of form is combined a somewhat lugubrious solemnity together with a smooth glossy and superficial elegance little to the taste of the modem connoisseur. Far more attractive are the basreliefs on various public monuments — such as the Arch of Titus and Trajan's Column — celebrating the triumphs of Roman arms. With Greek artists a characteristic mode of representing in relief the triumphs, actual or mythical, of their heroes was to express battle by means of isolated groups of single combatants. And not only are the more stirring incidents of the battle thus signalised. Appeal is made to the gentler emo- tions : a dying warrior is carried off the field ; or the victor spares the life of a prostrate adversary. For plastic purposes this was found to be the most effective mode of representation, serving as it does to awaken the interest and rivet the attention of beholders. The Assyrians had , however , already executed reliefs in which the effect of pitched battle was rendered with more literal accuracy ; and that the Greeks, too, could on occasion meet the requirements of this more arbitrary taste, we learn from the friezes of the so- called Nereid monument discovered in Lycia, where the con- tending hosts close with each other in elaborate order of battle. The painter, favoured by conditions more submissive to his will, had already grouped the combatants in larger and denser masses. How admirably they contrived along with the crowd and confusion of battle, to give effect to traits of individual heroism and to give to single and central figures their appropriate expression , is exem- plified in the celebrated mosaic to be seen in Naples of the Battle of Alexander, which, there is no doubt, was copied from a painting of the period. It may be premised therefore that this condensed and elaborated treatment in relief — obviously akin to painting — in which the marches, battles, and triumphs, the operations of Roman armies and their imperial chiefs, were set forth with the utmost attainable accuracy, with all detail of equipment and armament of camp and battle-field, was not the newly gathered fruit of Roman in- ventiveness , but must rather be ascribed to the age of Alexander and his successors. And the same may be assumed of the archi- tectural form of these monuments. In Portraits, too, whether of full length or only busts, of emperors and empresses, warriors and states- men, as of persons of less exalted position, there were not wanting impressive examples in Greek art; and here again Roman taste coincides with that of the Diadochan age. It may be conceded, however, that owing to the interest long taken in portraiture by the Romans and to the attention which this branch of art ba.d. ^q Vsw% received in Rome and Etruria, it had acqriiie^L ». Tuoiei ^\s»\.v^^^ Roman and Italian oiaracter , and so had a peTG6^\X\A<i VcvSosvc^'^.^k
xxxviii ANCIENT ART.
on Greek artists resident in Rome. Thus is it that portraits of the Emperors exhibit a degree of power in execution and expression scarcely to he looked for at so late a period. Not unfrequently the Emperors were represented in the costume proper to religious cere- monies ; or in fashion like to the gods themselves, and invested with their attributes. Most commonly, however, they appear in the costume and character of a general in the act of haranguing his cohorts. We have striking examples of these imperial portraits in the equestrian statue in bronze of Marcus Aurelius on the Capitol, and in the marble statue of Augustus in the Vatican. This latter gives unmistakable evidence of having been painted. From the reliefs on the richly ornamented armour which set forth with due regard to historical accuracy the more conspicuous and familiar in- cidents of a reign especially favoured by the gods, we are justified in the conclusion that this figure was executed about the year 17 B.C. In his treatment of the female figure, too, whether seated or standing, the sculptor knew how to impart a distinguished and imposing view by a sumptuous arrangement of the drapery. There is a peculiar gratification in finding, after a careful study of these portraits — many of them of personages famous in history — an exterior so closely corresponding to the picture of the historian. Many of the heads, indeed, which thus impress the beholder have not been identi- fied. In portraiture, the Greek sculptor adopted the Hermean form, while the work of the Roman is recognised almost infallibly in the ftwst form. The latter largely preponderate, although amongst the collective works of sculpture preserved, the Greek element is considerably in excess of the Roman. An attentive observer will not fail to mark this distinction, and learn also to detect the handiwork of the modern restorer which too often disfigures these antique marbles.
The same tendency which led the wealthy citizens of Rome to adopt the literature and culture of Greece was observable in the taste displayed in the works of art they chose for the decoration of their palaces and villas, whether executed in Rome itself or in Greece. In other respects they appear to. have been attracted by the same objects of interest as English collectors of the present day. Antique art taken as a whole would probably fail to interest the average man of rank, unless it were associated with some historical inci- dent, some names of renown, or some startling anecdote. But of such works as the figures of the Three Graces in bas-relief (though rigid in execution) which the ciceroni of the Acropolis shew as the work of Socrates , and the group of Harmodius and Arisiogiton^ the Tyrant slayers, in the market place of Athens, of archaic antiquity, which had been carried off by Xerxes and restored to its wonted place by Alexander: — of works such as these copies at least would be in request. The powerful development displayed in the figures of Po- lycletus, and the action expressed in those of Myron, appear to have possessed greater attractions for the Romans than the works of Phi-
ANCIENT ART. xxxlx
dias. Numbers of statues "belonging to the Periclean age have come to light in Rome, replicas for the most part of Victors in the Oames and of Amazona. Figures of the Oodsj with few exceptions, belong to a later period. The most numerous, and also very charming, were the graceful forms of more recent Attic art, represented by Praxiteles and his compeers ; also the elegant and animated creations of the Lysippian and post-Lysippian schools. It is hardly conceivable that in the museums of Rome, filled as they are with works of sculpture collected on the spot, no original works are to be found. Assuredly there has been a time wheii they have not been wanting in Rome : and it seems improbable that one and all should have been lost in the devastation which has more than once made wreck of the Eternal City. Certain it is , however , that the greater part of what we now see are either replicas or copies. This fact is determined by the material. The great statues of Phidias and Praxiteles set apart for the temples were of gold and ivory, while Polycletus and Lysippus worked in bronze. In Attica, too, this costly material was preferred by the earlier sculptors. It was only by degrees that marble came into use for groups as well as single figures. The 'Discus thrower' of Myron, as well as the groups of Marsyas and Athena were originally in bronze. In the Palazzo Massimi alle Colonne there is to be seen a striking figure readily recogni- sed as that of Myron's ^Discus thrower', but it is in marble. In like manner the Marsyas in the Lateran is of marble, and so also is the Apoxyomenus in the Vatican museum. Just as we moderns delight in the copy or engraving of some celebrated picture, the amateur of old gave his commission for the copy of some favourite statue, to be executed in bronze, or, more frequently, in marble. At any rate comparatively few works in bronze , of importance in point of size, are preserved. It was not enough to have simply repeated the celebrities of sculpture. The artists of the so-calle d New Attic School, which flourished in the last century B. C, we find reproducing the works of their predecessors very eflFoctively with such departures from the original as are to be seen in a more arti- ficial and highly wrought arrangement of drapery, a more decorative rendering of the detail generally, and an attempt to impart increased animation to the figure as a whole. Such piracies, when tolerably successful , became in their turn models for numerous imitations. The results of this process are exactly what the connoisseur will be prepared to find , and such as present themselves in the collec- tions of antique art in Rome. He must not expect to find himself in the presence of the simplicity and directness as well as grandeur of aim characteristic of Greek art in her loftiest moods : but rather of her attenuation in the shape of imitations and adaptations, the growth of the Imperial age. Antique art, however, exXvSXiWA >iXaQNi^- ont its career an astonishing vitality and contmrnti. T\v^ «^ViN\. ^^ the C^^eek is mighty even in expiring ; and no^\vfeTfe ti«i.Tv V>a.fc ^^.^^x^^*^
xl ANCTEyr ART.
of lier mirvell'}:i5 develop^ien: b^e studied wich the s&me complete- ness as In Rome.
Monnmental 'vorks. inconspieuoas and aniamiliar as they bo of- ten are, appeal less p^:wer:'ully to the imagination than statuary, where dAzzlinz beauty enthrals the senses. These monuments, however, will have a charm of theur own for the discriminating observer. In the Egyptian department of the Vatican he can con- tempUte the relics of a primxval antiquity, while in the Gregorian Muse-im he is reminded of the mysterions Etruscans. It will be interesting to compare the attit'ide and proportions of Eotftian with Grieco-R'^man figures, and to discover in the Sphinxes of the Villa Albani. in the Li'ns by the approach to the Capitol, as well as in the numerous obelisks . to be seen in the piazzas of Rome, evidence of the mastery a'*quired by the Egyptian in An. And their works were in the Roman's eye fitting objects where with to celebrate his trifimphs. and adorn the capital of an empire including within its far reaching bo-inds people of almost every race and climate.
In the Gregorian Museum the portrait busts in terracotta by the Etruscaxs exhibit a mode of expressing individuality peculiar to themselves: the bronze vessels display that skill in the working of metals for which they had long beeu famous : while the large copies of mural paintings which adorned the tombs bring to light the method of painting as practised by the Etrns<"an as well as . in the choice of subject, their preference for scenes of sensualism and bloodshed.
Here, too. is to be seen a collection ofPAixTFDGRBUKVASBs ex- ceedingly rich and beautiful, discove ed. it is true, in Etruria, but, as is evident from the subjects represented, from the drawing, but chiefly from the inscriptions, imported from Gree*"e — the greater part indeed from Athens. It is not difficult to distinguish those speci- mens, which, though borrowed from the Greeks, were of Etruscan manufacture. They are inferior in taste and execution, as well as in design and modelling, and are not to be mistaken for the work of artists. But the Greek vases themselves vary in character; those tor instance having the black figures on a red ground being of earlier date than those showing the reverse arrangement of these colours. Nevertheless the painters of these vases, mere handicraftsmen as we must suppose them to have been, could render mythological subjects, and scenes of everyday life, with a vivacity and poetry of conception ; they knew so well how to draw , and , with means and resources necessarily very limited, were so far masters of expression, that — despised though they may be by the superficial and ignorant — they bear not only remarkable testimony to the quality of workmanship thenprevailingin Attica, but afford a glimpse at the art of their day in Athens as seen through the eyes of these unpretending artificers.
Finally there remain to be noticed the Sabcophagi, which, vari- ously ornamented with reliefs, are to be seen in museum, in villa, and in palace court. The only specimen preserved to us from the old
ANCIENT ART. xli
Roman time is the Sarcophagus of L. Cornelius Scipio Barbatus in the Museum of the Vatican. It resembles an altar both in shape and style of ornamentation, and is almost the counterpart of one still standing in Pompeii. It is only consistent with the then prevailing religious rites that sepulchral monuments should have been thus architectural in character. In Greece itself this was conspicuously the case: all sarcophagi which have been discovered within the con- fines of Geece proper showing a distinctly architectural treatment. The Roman sarcophagi combine much that is essentially Greek with adaptations from the funeral urns of Etruria. They give signs, how- ever, of an independent development, and although including a di- versity of shapes and decoration , have for the most part their bas- reliefs arranged on the front and sides (and, where extraordinary rich- ness of effect was desiderated, on the back also) as a frieze or band. One naturally endeavours to trace in the decoration bestowed on these repositories of the dead, some indication of their purpose. In many instances, however, it is evident, that appropriateness of design, if originally acknowledged as indispensable, was presently lost in a promiscuously lavish decoration. Certainly there is no obscurity in such allusions to the goal of life as we discover in Cupids rowing te the lighthouse tower, or when we see them careering round the goal in the circus. In such symbolical figures as those of the seasons we are taught to reflect on the inevitable course of creation, existence, and decay succeeding to maturity. AsHylas is borne away by the Nymphs, and Ganymede by the eagle, so we may fancy the soul begrudged from its earthly existence. BUppolytus may serve to recal the virtues of such as came to an untimely end, Niobe, the grief of the survivors ; sleeping Cupids may symbolise sleep favoured by the Gods, while Ariadne discovered by Dionysus, Endymion visited by Selene present death itself as but sleep in unfamiliar guise. On the other hand scenes of Bacchanalian revelry can hardly be accepted as allusions to the future state ; and even in a less degree are Nereids and Medeahs , and more of the like, in bas-relief, capable of sucli interpretation: and rarely, too, does any reference of a distinctly per- sonal character go beyond a mere vague allusion to life and death. It is tolerably certain that these sarcophagi were made in large numbers, in advance of immediate requirements. A somewhat extra- ordinary expedient for introducing a reference to particular indi- viduals, was that of bestowing the lineaments of the departed upon such heroes of mythology as were made to figure in these reliefs. Thus it is we find portraits of the deceased in such mythical per- sonages as Admetus andAlcestis, in Hippolytus, and, what is more remarkable, in Phaidra herself. In a considerable number of cases these reliefs are almost identical, and are evidently made after one model, with such modifications as might be effected by the mfct^- duction or omission of single figures or groups, B\iOmx\%Ti«^^^^^^^'^'^ more or less of artistic intelligence and. lesouxcfe. TVe^ lorsa. ^
xlii ANCIENT ART.
gioiip displaying the established fonus and traditional models, which in respect of means of expression and motive are the worthy inheritance of Greek art at its hest. Yet these sarcophagi, regarded even as Roman works, are by no means of early origin. It must not, however, be forgotten in estimating the quality of work bestowed npon the sarcophagus, . that it was not intended to be closely inspected by the light of day, but would be consigned to the twilight of the tomb, where a stray gleam of light might but for a moment reveal its detail. Hence, in the execution of these reliefs the object was to give prominence to leading features, without an overscrupulous nicety of finish, and this end has been attained with a success worthy of all admiration. It has been ascertained beyond doubt, that the introduction of the sarcophagus as described above was coeval with a mode of burial which became the fashion in Imperial times ; otherwise the artistic merits of these monuments might well have misled us in computing their age. The great majority of Roman sarcophagi belong to the 2nd and 3rd centuries after Christ, and to an even later period.
The Early Christian Sarcophagi simply repeat and perpetuate preceding pagan models. It is a peculiar coincidence that these in- conspicuous memorials should have contributed to the revival of art in the middle ages. Niccol5 Pisano found a fertile source of inspi- ration in the Roman sarcophagi of the Campo Santo in Pisa; nor did Peruzzi and Raphael disdain to use them as models.
With this passing glance at the homage thus done by Raphael and his compeers to the art of antiquity, these pages may fitly conclude. The endeavour has not been to fetter the judgment of the reader, but rather so to direct his observation and stimulate his interest as to give him that self-reliance which alone will arouse in him an intelligent interest, and afford him a genuine pleasure in what he sees. To praise the creations of great artists in empty or mere conventional phrase would simply offend. They alone will exper- ience the full measure of delight to be derived from the contem- plation of these treasures , who rely upon their own judgment and cultivate to the utmost the delicacy of their perceptions.
Eoman Art,
MJiDIJRVAL AND XODEBN,
by Prof. Anton Springer.
Rome as Mistress of the world became the centre of contempora- neous culture. Art had found with her a new term : and Greece as fitting tribute to the conqueror laid at her feet the accumulated wealth of ages — the treasures of her art, which long had embodied the loftiest conception of the beautiful.
Her supremacy secured, Rome became the chief resort of artists, and their liberal patron. She dictated the tone, alike in taste and fashion, and determined the destinies of art. Down to mediseval times Rome continued to receive the proud title of 'Caput mundi'. Presently, however, she laid claim to supremacy in another realm than that of art; and this latter, as the ancient traditions were gradually outlived, finally fell into neglect. In more recent, as in former times Rome has failed to create for herself, as the out- come of her individuality, an art peculiar to and a part of herself. Her destiny seems to have been to gather from external sources the wealth in which she revelled, with the difference that while ancient Rome furnished nothing beyond a magnificent arena for the art of her day, in later times the artist found in Rome herself his sources of inspiration , compelled as he was to contemplate perfection reflected in the dazzling mirror of antique art. Ten centuries, however, elapsed ere Rome resumed this proud pre- eminence. A glance may now be directed to the interval between the fall of old Rome and the period when , animated with a new life, Rome drew to herself the foremost representatives of the Renaissance , to whom she afforded inspiration for their grandest efforts. It is not, however, the 16th century, not the glories of the Renaissance, that give to the Rome of our day her distinctive character, but rather the new and imposing exterior which she re- ceived at the hand of her architects in the 17th century. The mind must be disenchanted before the veil can be penetrated and the Rome of antiquity adequately comprehended.
The protracted suspension of all activity in ^t\. iiii>ieA ^^ ^i^-^*"" rent that Homan art has a history distinct ttom \\»XS».xi ^t\.. ^^^
xliv ROMAN ART.
several centuries the towns of Tuscany were the principal abodes of a natural art life. But just as in Rome Italian art achieved its most signal triumphs in the persons of Raphael and Michael Angelo and the masters of that period : so in Roman ground we find that Chris- tian art first took root and attained to its most important dimen- sions. In Rome then we find the strongest inducements as well as the richest opportunity for the study of Early Christian Art.
In the4th century heathendom, long tottering to its fall, was, in appearance at least, absorbed in the younger Christian world. A new era in art is inaugurated. Not that we are to assume the simulta- neous extinction of the pagan art of ancient Rome , nor that it was at once superseded by an altogether new style provided as it were for the emergency. The eye and hand are to a greater extent crea- tures of habit than the mind. New views and altered conceptions of the Supreme Being as well as of the destiny of man found acceptance. But to embody them the artist had to resort to the old established forms. Then heathen rules were by no means uni- formly hostile to Christianity (the period of bitterest persecution began with the 3rd century A. D.); and that the new doctrine should have expanded and taken root, should have been permitted to organise itself in the very midst of heathen society , is evidence that it was received even with favour.
As a consequence of these conditions it will be observed that the art of the early Christians presents no remarkable con- trast to that which precedes it, and that they were content to adopt and perpetuate the traditions of the antique. The Roman Cata- combs afford abundant proof of this. Encircling the city as with a subterranean trench, they were originally far from being what they subsequently became — secret, carefully concealed places of refuge for the early Christians ; but rather their regularly ordained and publicly accessible places of burial (e.g. the Catacomb of Nico- medus and that of Flavia DomitilUi)^ and were first designedly con- signed to darkness and concealment during the 3rd century, a period of constantly recurring persecution. The Christian community, reared as it was in the midst of Roman paganism, probably did not dream of subverting the principles of antique art. In the adorn- ment of the Catacombs they retain the types transmitted to them ; so also in the particulars of drawing and colour the precedent of the Antique is closely followed. Christ represented as the Good Shepherd, Orpheus as the symbol of Christ, and evidences of the long standing repugnance to any rendering of the Passion-history, afford proofs of the readiness to accept the art heritage of their precursors. The older these catacomb paintings are the more closely they ap- proximate to the types of antiquity. Even the Sabcophagus Sculpture of the 4th and 5th centuries differs in purpose only, not in 'mimical rendering of form, from the typical reliefs found on pagan imbs. It was only in the latter half of the 6th century that a
ROMAN ART. xlv
new style declared itself in painting which like other branches of plastic art had more or less fallen into a state of decay meanwhile. Architecture adapted itself to the exigencies of Christian worship, and in allying itself to the new architectural forms, painting acquires a new character.
The term Basilica is understood to apply to Christian temples up to the 10th century. The subsequent belief that a more inti- mate relation than that suggested by a common name subsisted between these early Christian edifices and the forensic Basilica of ancient Rome, was altogether an erroneous one. The latter were in fact the Roman courts of law and places of public meet- ing. They had a place in most of the towns of the Roman em- pire and were erected in the forum, but have nothing, whether of origin or form , essentially in common with the early Christian temple or church. These forensic basilicas were not adapted to purposes of Christian worship , nor did the old Roman basilica serve as a model for the building of Christian places of worship. In proof of the one assertion may be adduced the fact that the forensic basilicas at the end of the 4th century retained intact their original destination, and in individual cases have been restored; while the other will be justified by an unprejudiced exam- ination of the various parts of the Christian basilicas, which give evidence of having sprung from another source than that of the old Roman basilica. Neither did the Temple of antiquity fur- nish the model for churches built by the early Christians. The church of 88. Cosma e JDamianOj of the 6th century, is the earliest example of a pagan temple applied to Christian use. The Chris- tian basilica may be said rather to have grown out of the Roman dwelling-house, where at first the community was in the habit of assembling. The plan for future ecclesiastical edifices was acquired by simply extending the proportions of the dwelling-house. The church of 8. Clemente in Rome is relatively the most perfect example existing of the architectural properties and internal arran- gement of the early Christian basilica. A small portico supported by pillars leads to the outer court (atriurri), enclosed by a colonnade and having in its midst a fountain (cantharus). The eastern colon- nade leads into the interior of the church which was usually divi- ded into three aisles. Two rows of columns divide the side aisles from the loftier one in the centre known as the nave ; the nave and aisles abut upon a half circle or apse. At right angles to these aisles, between them and the apse, was sometimes inter- posed a third space — the transept; the altar stood within the apse and apart beneath a canopy supported by pillars , and in its front, enclosed by rails or cancelli, was the choir for the officiating priests and two pulpits (amhones)^ one used for reading the Gospel, t\^'fe ^sAX^kv the Epistles. In marked contrast to the temp\fe ol a.is\.\c^\\^j ^ "NSAJ^^ care was bestowed upon the external arcViitec-txii^ Ql >iX^^^^ ^«sV?i
xlvl ROMAN ART.
GhristiAn basilicas , the most impressive effect being reserved for the interior. And to this end , especially in earlier mediaeval times, a ready expedient for supplying decorative material was adopted in the plunder of the monuments of antiquity. Columns were carried off and set up in Christian churches without regard to congruity of material or consistency of style. Thus in the churches of 8. Maria in Trastevcrc and 8. Lorenzo Faori It Mura are to be seen pillars of different material and workmanship. The churches of 8. 8ahina, 8. Maria Maggiore and others give evidence of similar depredations. Crosses and lustres in metal , tapestries bestowed by papal piety contributed to the ornate effect of these interiors. But the principal decorative feature were the pictures in mosaic which covered the recess of the apse in particular as well as the arch which connected the apse with the nave (the Triumphal ArcK). These Mosaic Pictures, as far , at least, as the material was concerned, demanded a novel artistic treatment , massive and monumental in character. In them we find the traditions of antiquity abandoned, giving place to a style which from its harshness as well as austere solemnity of conception has been confounded with the Byzantine style. In reality the art was of indigenous growth; and its salient characteristic may be defined as the substitution of the real for the symbolical in general treatment. Now for the first time the pop- ular mind became thoroughly imbued with ecclesiastical senti- ment, of which the crucified Saviour was the chief embodiment. The oldest mosaics , composed of glass cubes , are to be seen in the church of 8. Pudenziana. They date from the 4th century like those in S. Costanza and the Baptistery of Naples ; while those in S. Maria Maggiore and S. Sabina belong to the 5th century. The mosaics in 88. Cosma e Damiano in the Forum (526-30) may be pronounced as the most beautiful.
The rudiments of Christian art are to be found in Rome; but its further development was promoted in an equal degree by other Italian states. Building was still active in the 9th century, while the Popes , especially Leo ni. , of the 7th and 8th centuries did good service in church decoration. But during this period there is no evidence either of progress or continuous develop- ment in the Mosaic art and as little in architecture itself. The experiment (as seen in 8. Prassede, 9th century) of combining piers with the pillars of the nave as a support to the wall sand of con- necting these with transverse arches was not repeated. Finally it may bo said of the Mosaics (5. Prassede, 88. Nereo ed Achilleo, 8. Marco')j that, while they bear a superficial resemblance to tho works of the 5th and 6th centuries, they show unmistakable signs of corruption and decline. This may be accounted for to some extent by the evil times which had fallen upon Rome since the 9th century, culminating in a conflagration — tlie woiVl ot ari \ii<ieiv.diary Guis- cardo — which laid waste the entire soutlieiiv (^uaxX^t ol >iXi^ <i\Vj ^
ROMAN ART. xlvil
extending from the Forum to the Lateran and to the slopes of the Esquiline. The chief employment of the architect -was the con- struction of fortified towers and places of strength rendered neces- sary by the ceaseless warring of factions within the city. In 1257 Brancaleoni demolished 140 of these strongholds, the majority of which had heen erected on the ruins of some monument or other of antiquity. The most striking example of the rudeness of early medisBval architecture is to be seen in the Caaa di Pilato or di Rienzi. Built by one Nicolao , son of Crescentius (probably in the 12th century), its chief ornamentation consists of marble fragments apparently picked up at random and put together in the wildest confusion.
At the close of the 12th century brighter days dawned for Roman art. 'Magister Romanus' now became a title which the artist was proud to append to his surname. A speciality in decora- tive art appeared in Rome about this time which did not connect itself, it is true, with the traditions of antique art, though ready to utilise its material, without, however , resort to the depredations of a bygone age. And material was still at hand in richest abun- dance, in an endless array of shattered marbles. These were divided and subdivided, out or sawn into minute slabs, arranged in patterns, enlivened by the introduction of stained glass and gold leaf, pre- senting as a whole a richly coloured decorative effect. These marble mosaics adorn the flooring of churches, altar sides, episcopal chairs, pulpits, and doorways ; they enliven monumental sculpture , they fill the flutings of the elegantly twisted columns which bore the Easter candles or adorn the entablature of cloistered courts. This art became the monopoly of particular families and was regularly transmitted from generation to generation. The monumental marbles of this time are generally known as Oosmato Wokk, a name derived from two members of a family thus privileged. Such work is frequently to be met with in Rome. Conspicuous among the mosaic floorings are those of 8. Maria Maggiore, 8. Maria in Tras- teverCy and 8, Lorenzo Fuori le Mura (12th century). 8. CLemente and 8. Giorgio possess altar tabernacles of Cosmato work and 8. Lorenzo the finest example in its pulpit. Of similar work in cloisters (8. 8dbinay Lateran) the best specimen is in the convent of 8. Paolo (13th century). Cosmato work is not infrequently found elsewhere than in Rome. It is uncertain how far this Roman work is connected with kindred examples to be met with in Southern Italy. In tech- nical detail some differences are to be detected, such as the more copious use of the glass pastes by the artists of the South. On the other hand we fancy that the identity of pattern in the mosaics of theCappella Palatina in Palermo with those of S. Lorenzo cannot bo accidental.
Along with this decorative mosaic work, tlie ^o«.KVi '^ hx&'^\».^ ef apse and choir- arch had since tlie i*it\i G^ivtwi^ ^xiR^.^^'eSxKw'^
xlviii ROMAN ART.
asserted itself. That impress of the antique home hy the early Christian mosaics is gone; the drawing has lost its incisiveness as well as its traditional typical character, and in lieu of this, receives a new and more lively impulse from colour and wealth of ornament. The mosaics in front of the church of 8. Maria in Tra^tevere, in the apse of 8. Clemente(i2ih. century), those in the altar-tribune of the Lateran (13th century) and finally those in the apse oi8. Maria Maggiore , the work of Jacobus Torriti in 1295 , are examples of this mosaic painting. — Wall-Painting also came once more into use as we see from paintings discovered in 1858 in the lower church of 8. Clemente — that basilica which in 1108 was lost by a new structure being built upon it. — And, if church-architecture was con- fined to the rehabilitating of older edifices or the mere reproduction of earlier types , the numerous Belfries (the best is that of 8. Maria in Cosmedin) show an abundant fertility of resource in the architects of that period. They tower aloft, story upon story follow- ing in light and airy succession, relieved by flights of slender pillars, and stand, eloquent tributes to the genius of mediaeval Rome.
The condition of art in Rome, however (particularly in the 14th century), was far behind that of Tuscany. While in Tuscany popular forces directed by the municipalities provided an ample field for the cultivation of artistic tastes , Rome was distracted by the incessant war of factions and families, or the quarrels of the popes. Strangers were invited to execute works which where beyond the ordinary resources of art as it then existed in Rome. Dominican Friars introduced Gothic architecture into Rome — Fra BistorOj Fra Sisto are probably the builders of the church of 8. Maria sopra Minerva — and Giotto (chief of the Florentine school) was summoned to Rome during the pontificate of Boniface VIII. , and at the in- stance of his patron Cardinal Gaetano Stefaneschi, to execute a mosaic (Navicella) for the Porch of St. Peter's, and to paint a Cifiormm (in part preserved in the Sacristy of St. Peter's); probably also to execute a commission from the Pope, to represent the pro- clamation of the Jubilee of the year 1300. Of ijliotto's Roman con- temporary Pietro Cavallini we have unfortunately no certain information.
It was not until the return of the Popes from their exile at Avignon, wlien Italians held exclusive possession of St. Peter's chair, and aimed at supremacy amongst the secular powers of the peninsula ; when the Humanists acquired their shortlived ascen- dency at the Papal court — that Roman art first approaches its maturity. Rome indeed had no direct share in the creation of the Benaissance. To Florence belongs the exclusive and imperishable renown of this achievement. On the other hand it must not be for- gotten how powerful an impression the spectacle of the mighty relics of antiquity must have made upon the receptive minds of the first Humanists, exciting their emulation and inciting to a more reverent
ROMAN ART. xlix
study of tlie Antique ; neither must it be forgotten that by study of old Roman art Brunelleschl and Donatello became familiar with those forms in which they were wont to express their artistical thought, and so were led to new and unexplored paths in the realm of art.
Once more Rome occupies a foremost place in the history of art when Pope Nicholas V. (1447-1455), a Humanist , vies with the Medici in his passion for books and building. He is bent upon a re- novation of the Vatican Quarter ; his ambition is to erect a papal residence of surpassing splendour ; nay, he entertains designs on the St. Peter's pile itself and contemplates its reconstruction. The most imposing work of this period was the Venetian Palace begun by Pietro Barbo (1455), afterwards Pope Paul II., which, like the Albergo deW Orso recently as it were again discovered, is to a great extent mediaeval in character. Leon BattUta Alhertij who resided in Rome about this time and died there in 1472, is supposed to have furnish- ed the plans for this palace.
So far indeed had the fostering of art become obligatory on the occupants of the papal chair, that they could not neglect this function without forfeiting their individual influence, and impairing the dignity of their office. The right powers were not, however, immediately at hand, which should give effect to the building pro- jects of these Sovereign Pontiffs, enamoured as they were of splen- dour in every shape. The architect who during the pontificate of Sixths IV. (1471-1484) was most employed, Baccio PinteUij was a practitioner of moderate skill, and far behind the great Florentines of his day. The building of 8. Agostino and 8, Pietro in MontoriOj as well as the facades of 88. Apoatoli and 8. Pietro in Vincoli were from his plans. His most celebrated work is the Popes* private Chapel in the Vatican, called after the Pope Sixtus the 8i8tine Chapel, which owes its chief attractions far less to its architectural merits, than to the artistic decoration of wall and ceiling.
Abundant employment together with the favour which artists found with dignitaries of the Church had already allured numerous Tuscan andUmbrianPAiNTBBS to Rome. Amongst those thus engag- ed in beautifying the churches of Rome and the Vatican Palace we meet such Florentine celebrities as Maestri 8andro Botticelli, Filip- pino Lippi, Domenico Ohirlandajo, Cosimo Roaselli; and from the Umbrian School the immediate forerunner of Michael Angelo , bold Luca 8ignorelli, along with Perugino and Pinturicchio. An attempt is made to found an Academy, or Guild of St. Luke at Rome. Amongst its members we find (1494) Melozzo da lorli^ the painter of a fresco (transferred to canvas) in the Vatican Gallery, representing the foundation of the Vatican library. — The execution of the Wall Paintings in the Sistine Chapel, by order of Sixtus IV., was a moment- ous event in a time prolific in art enterprise. In accordance with the then prevailing point of view the acts of Moses aift Tc^xCi'^wiiX.^^ ^"s* symbolically parallel to those of Christ. Onttie\ftlt'7i«M w^^V^kAkoX*
Babdbkm. Italy II. 10th Edit. ^
1 ROMAN ART.
In the life of Moses by Botticelli, Rosselli, Signorelli, on the right wall events in the life of Christ hy Botticelli, Rosselli, Ghiilandajo, and Perugino. Those lovers of art who are nnahle to visit Florence before going to Rome are recommended to make these wall paintings their especial study. They will learn from them to appreciate the descriptive power of the Florentines and will be familiarised with the field subsequently occupied by the heroes of Italian Art.
Tuscan Sculptobs, too, find their way frequently to Rome and are constantly employed either as workers in bronze or marble. Little attention seems , however, to have been paid to the former. The great bronze doors of St. Peter, the joint work of Filarete and Simone, are interesting rather from the wealth of mythological imagery with which they are embellished , than firom their artistic pretensions, which will not compare with those of Ghiberti*s famous gates. So much the more powerfully does the sculptor appeal to us in marble. A taste for profusion and splendour of monumental de- coration in adorning the tombs, which fact declares itself in the 15th century — a result probably of that thirst for fame which is identi- fied with the Renaissance — gave the sculptor unceasing opportunity for the exercise of his art, particularly in its purely decorative phases. There is scarcely a single church of a certain date which doea not contain sepulchral monuments from the close of the 15th century. The church of 8. Maria del Popolo possesses the largest number. These monuments — perfected in Florence and probably naturalised in Rome by Mino da Fiesole — are nearly uniform, viz. a sarcopha- gus surmounted by a statue of the deceased, and supported by a pedestal ornamented with a garland of fruit and flowers, and genii. A niche or panelled screen finished with a medallion of the Madonna form the usual background. The majority of these sculp- tures cannot be traced to any particular artist. It would appear indeed that the sarcophagi, as with the ancient Romans, were rather articles of manufacture than works of art, made wholesale fashion after some favourite pattern and bought *ready made', a com- mission being given to the sculptor for a portrait of the deceased to which would be added the armorial bearings with inscription.
Whoever might have visited Rome in the earlier years of the 16th century would have found himself in the presence of an in- tense movement in the art world ; he would have found Archi- tect, Sculptor and Painter alike occupied with projects of more or less grandeur. So far, however, Rome did not in this respect sur- pass the other chief towns of Italy ; so far art had not assumed that particular form of life and direction which only the atmosphere of Rome could sustain, or which the genius of the Vatican alone could quicken — during the Pontificate of Julius II. (1503-1513), where the golden era of Roman art began, this consummation was actu- ally achieved.
To Julius belongs the glory of having associated with Rome three
ROMAN ART. U
names, Braimantej Michael Angela j Raphael, eyerlasting beacons in the path of art — three men who in the course of the 16th century (cinqueeento) raised modern art to its loftiest pitch of splendour. His successor Leo X. (1513-1522) of the house of Medici owes it to his lineage only that he should have transmitted to posterity so splendid a reputation, — that his name should be associated insepa- rably with the greatest triumphs of art in modem times. Leo X. inherited the weU-earned fame of his predecessor, but knew not how either to value or to use his inheritance aright. It was not given him to sway the imperious temper of Michael Angelo, nor fully to com- prehend the mighty schemes of Bramante. The latter's chief work, the rebuilding of 8t. Peter's, can be adequately studied only in the collection of original drawings in Florence which set forth the gran- deur of Bramante's designs in all their completeness ; for so many different hands were employed in giving effect to these, that little remains of the original plan. Happily this little, viz. the dome with the overwhelming impression of vastness it conveys, is of the very best. Bramante contemplated a central structure in the form of a Greek cross, rounded at its extremities, which, crowned by a gigantic dome, should present an ensemble at once simple and majestic. Succeeding generations have failed to embody Bramante's ideal. His career, extending probably from 1444 to 1514, is involved in ob- scurity. Of his works, Rome possesses numerous examples. The cir- cular chapel in the monastery of 8. Pietro in Montorio , the court of 8. Maria deUa Pace, the arcades in the first court of the Vatican (Cortile di 8. Damaso), the Palazzo Oiraud and above all the Cancel^ leria are perfect examples of Renaissance.
We are wont to wonder at the profusion and splendour, too, of works to which the cinqueeento gave birth. How much richer, how much more splendid would have been this profusion, had only these works been carried out as originally designed by the artist's creative genius 1
The same fatality which pursued Bramante's mightiest projects served to mar Michael Angelo's (1475-1564) supreme effort in the realm of Plastic Abt. The Tomb of Julius II., begun while that pope was still living, was to consist of a large detached edifice with statues of Moses, St. Paul, and other colossal figures at its projecting angles, and ranged along its wall the naked forms of men in chains. The work, however, soon came to a standstill, and at last, 30 years after its commencement (1545), it was placed in the church of S. Pietro in Vincoli where it now stands, deplorably, a mere fragment of the original design. Its most striking feature is the tremendous figure of Moses, rising in wrathful indignation at the worship of the golden calf, to denounce the idolatry of the Israelites. In addition to the Moses, Rome contains two conspicuous works from the h^w^ of Michael Angelo : the Pieih^ badly placed m on© q1 \Xxfc Os^-k^^va \». St. Peter's, and the Statue of Christ in S.Mam Bo^x».Hkm«ri^. "^V^
lii ROMAN ART.
former surpasses all other efforts of the great sculptor in the deli- cacy of its modelling as well as in the force with which it" appeals to human sympathies.
As Fbesco Painteb Michael Angelo figures exclusively in Rome. Tradition tells us how loath he was to exchange the chisel for the hrush, when at the behest of the imperious Julius II. he undertook the decoration in fresco of the ceiling of the Sixtine Chapel. These frescoes are nevertheless the most important of Mi- chael Angelo's contributions to art. They afford a wider field for the exercise of his creative power than sculpture , where plastic forms, unequal as they are to the demands of his prolific genius, be- tray him into exaggeration. These frescoes of Michael Angelo are closely akin to the wall paintings of Florentine and TJmbrian artists at the close of the 15th century, in which the deliverer of the Israelites is made to prefigure the Saviour of mankind. How salvation came to the world, and how proclaimed , is the theme which Michael Angelo undertakes to illustrate. In the centre piece is depicted the Creation, the history of Adam and of Noah ; how sin came into the world, but with sin the promise of redemption. Forecasting all this we next see the figures of Prophets and Sibyls. In the mar- ginal pictures we see continued reference to the Redemption, in the various deliverances of the Jewish people (the brazen serpent, David and Goliath, the fate of Haman, and Judith), in conformity with mediaeval conceptions, together with symbols of the Redemption. Connecting themselves with the above are the groups occupying the lunettes, pourtraying expectation, the anguish of suspense, and con- trition, which include at once matters of fact and a twofold allusion to the vicissitudes of the Israelites and the events of our Saviour's life (progenitors of Christ and Jews captive in Babylon). The sub- limity of the work is to be attributed very much to the skill with which mere matters of fact are everywhere subordinated to the claims of individual action as well as artistic purpose. Moreover Michael Angelo has contrived so to dispose the various portions of his vast work, ascending by figures , single and in groups, from the simply decorative margin to the crowning effort in the centre, so to adapt them to the place they occupy , that the entire work becomes architecturally, so to speak, self-supporting; while the compo- sition as a whole is wielded with a wealth of resources together with a power of organisation such as no other artist has attained to. The thoughtful beholder will not confine himself exclusively to the study of the central pictures. The figures in monochrome and minor decorations are replete with a beauty peculiar to themselves.
Of the ^Last Judgment^ painted by Michael Angelo at a much later period (1541), it is difficult, owing to its dilapidated condition, to form an accurate estimate. The unerring audacity, however, with which figure and group alike are thrown into every conceivable attitude and movement, must command a mute and amazed attention.
ROMAN ART. lUi
"With the names of Bramante and Michael Angelo is associated that of Baphael (1483-1520), whose youthfal genins had veiy early declared itself, flrstinPerngia and later In Florence. In Rome are to be seen interesting mementoes of hoth these periods. In the Coronation of the Virgin in the Vatican Gallery we see him still in the trammels of the Umhrlan School; the effects of his Florentine training are visihle in his Entombment of Christ in the Borghese Gallery (belonging to later periods are the so called Fomarina in the Barberini Gallery, the Violin Player in the Palazzo Sciarra, Navagero and Beazzano In the Doria Gallery, the Madonna di Fo- ligno, and the Transfiguration j the master's last work, both in the Vatican Gallery). The majority of Raphael's easel pictures are to be fonnd elsewhere than in Rome.
But in Rome only could Raphael have found a field suited t) the exercise of his highest powers in Fbbsco Painting. The mural paintings in the state apartments of the Popes in the Vatican palace must first be noticed. In order rightly to appreciate these, It must not on the one hand be forgotten that fresco painting never completely loses its decorative character; nor on the other must the peculiar position of the Pontificate in the beginning of the 16th century be lost sight of. In the palace of the Vatican the same courtly tone , the same pursuit of sensuous pleasures, of the mere joys of existence , prevailed as in the courts of the younger Italian dynasties; expressions of national sentiment met with a favorable reception , while an active agitation on the part of the Humanists did not appear to have compromised the dignity of the Papal Court. These conditions are more or less distinctly reflected in the frescoes of Raphael. The courtier repeatedly asserts himself; even a delicate compliment to the patron is not disdained, nor the ceremonial spectacle excluded. Political as well as personal allusions are not wanting , while ample space is devoted to the glo- rification of the Humanistic ideal. Finally, when it Is borne in mind that Raphael was constantly compelled to defer to the exigen- cies of the allotted space, to study the separate requirements of wall and celling , we gain an insight into the nature and extent of the restraints Imposed upon the Artist. They beset him Indeed on every hand, and constantly compel him to alter or modify his design. Curiously enough these restrictions are to this day Interpreted as an act of the Artist's free and daring will. One wonders at the amount of theological learning, of philosophical erudition displayed in theDisputa and the School of Athens j as well as at the inventive- ness which could connect subjects so remote from one another as the JSeliodorus driven prom the Temple , and the expulsion of the French from Italy. Through the entire range of subjects there runs a vein of profound and continuous thought. But especl«.VV| admirable are alike the discernment which. eno^iV^^ ^^»a.^'&^ \.^ select, from apparently the most lieteiogQiieouB i&qtxi^^t^^ isx^xXKSt
Uy ROMAN ART.
suitable for pictorial embodiment; the resolution -with which he guarded the realm of fancy; and his sense of the beautiful, -whereby he was enabled to bring the most intractable material inter subjection to his purpose. These qualities are most oonspicuous in the picture known as the Burning of the Leonine Quarter (the so-called Borgo') of Rome, or rather, as the artist's patron would have it, the conflagration, extinguished by Intercession of the Pope. The spectator forgets the preposterous demand that a miracle should be thus palpably depicted: Raphael relegates the action to the heroic age, fills his picture with figures and groups of surpassing grandeur and animation (such as succeeding generations have striven in vain to imitatej and depicts the confusion, the preparation for rescue and flight with surpassingly graphic effect. The picture was not what he had been commissioned to paint; but in lieu of this we have a creation teaming with ima- ginative power and masterful execution. In like manner Raphael disposed of the celebrated frescoes in the first Stanza, the Diapuia and the School of Athens. Had he not been required to illustrate a chapter from the history of dogma (the proclamation of the doctrine of transubstantiation) or to present a pictorial extract from the history of ancient philosophy, the task of depicting a procession of historical celebrities known to fame as fathers of the church or mundane philosophers could not be particularly inviting. And further , while Raphael mingled vrith historical personages figures purely typical, and in the Disputa represents the assembled com- pany of believers as beholding a vision , where each individual present is naturally more or less overpowered by emotion — while in the School of Athens he especially emphasises the blessedness of knowledge, the good fortune which leads to the higher paths of learning (whether his representation literally coincides with the Diogenes Laertius or Sidonius Apollinaris or not) — he has asserted with brilliant success the Artist's right to supremacy in the realm of creative fancy.
After the foregoing remarks the unprejudiced reader will need a hint only as to the mental attitude he shall assume as a student of Raphael's works. If the mere subject of the picture exclusive y occupies his attention, if he must know the name and history of every figure, and feels it incumbent upon him to admire the in- tellectual grasp of an artist who gathered his materials from the remotest provinces of learning and who abounds in literary allusions, he is no longer in a condition fairly to test the artistic value of Raphael's works. From this point of view he will fail to detect in them any essential difference from the allegorical pictures of the period, nay he may even give precedence to many of these: to the wall paintings in the Capella degli Spagnuoli (S. M. Novella in Florence) for example, which indisputably exhibit greater versati- lity, a superior daring in the embodiment of the preternatural and
ROMAN ART. It
a loftier conception of the didactic capabilities of art. It is still a matter of uncertainty how far the erudition displayed by Raphael was an acquirement of his own or how far he may have relied on the contributions of contemporary scholars, such for example as Gas- tigllone, Bembo, and Ariosto, who would in so far share with him the merit due to fertility of thought. Assuming, however, that Raphael himself supplied the wealth of literary research which the frescoes of the Stanze are said to reveal, he would not as Artist become more in- telligible to us. His intellect might thus have been exercised, but not his imagination. Raphael's pictures will not only be more tho- roughly enjoyed, but his individuality and purpose will be more per- fectly apprehended when the effort is made to understand, how the painter by force of his imagination could out of material for thought, dead in itself, create new and living forms ; how he imparted to single figures so distinct a pyschological impress that the mere bear- ers of historical names are made to appear as representative hu- man characters; how subtly he balanced action and repose in his groups, not dwelling too long on mere beauty of outline and con- tour, but intent on giving harmonious expression to a more profound intellectual antithesis. From this point of view, interest in the works of Raphael will be enlightened and enduring. Numerous pro- blems will present themselves to the amateur for solution : what motive Raphael might have had in treating the Disputa and the School of Athens so differently in respect of colour ; how far in the latter picture the architectural character of the background is essential to the collective impression to be conveyed; for what reason the domain of portraiture is here narrowed to the utmost, while there (Jurisprudence) it is extended ; what were the grounds for the manifold changes in composition which are accurately traced in his numerous sketches, etc.
The condition of the Stanze frescoes is such, alas, as to afford any- thing but unqualified gratification, just as in the Loggie we regret- fully trace the departed glory of unique examples of decorative art, and with difficulty recognise the summit of Raphael's attainments in the grievously injured Tapestries. These latter, it is true, in the detail of their composition may be studied in the cartoons now in the Kensington Museum ; but the subordinate decorations, mar- ginal arabesques and the like are still in part preserved in the ori- ginal tapestries, and are essential to the festive character of orna- mentation originally designed for the Sistine Chapel. To the ten tapestries so long known, an eleventh discovered in the dep6t of the Vatican has been added. These tapestries were to have adorned the lower compartment of the chapel walls and to this end they must correspond with the companion pictures : that, while these re- late the history of Redemption, they, the former, should ]gQu.T\.w) ^v^ power and grace of God abiding with the CYmx^Yi.
In apparently irreooncJJeable oontiast to BA^\«bSSC% ^ai>«^^ '^s^.VS^^
Ivi ROMAN ART.
Vatican we have his frescoes in the gay Villa Famesina. On the one hand we are awed by devotional fervour, sublime aspiratioD, thought earnest and profound; on the other we find Art revelling in the joys of life, each form radiant with an ecstasy of innocent mirth. Nevertheless it will cost no great effort to discern in the Farnesina frescoes the impress of Raphael's genius. He was indebted for his version of the myth of Cupid and Psyche to a work of Apuleius, fa- miliar to readers of the 16th century as it had been to the Romans of old. Probably no author either in ancient or modern times can boast a more captivating illustration than Apuleius , while at the same time none has been more freely handled by his illustrator. In Raphael's hands the myth is moulded anew. Remembering that it was the adornment of a festive chamber he had in hand, Raphael sedulously avoided everything repugnant to the festive mood. Pysche's woes were consigned to the background ; the painter is intent upon recording her triumphs only. The confined space afforded by the chamber serves only to stimulate the Artist's mastery of form. Ra^ phael's representation of the myth is condensed : many scenes are but glanced at for a moment, though essentials never escape him ; thus the claims of narration and decoration are adjusted without restraint. Harmony alike in idea and form ; nobility of proportion never overstepping the bounds of refinement ; the power of so losing himself in his subject as to present it devoid of individual caprice : attributes characteristic of Raphael as these are declare themselves in the frescoes of the Farnesina as unmistakably as in the wall paintings of the Vatican. The spectator's own unassisted eye will not fail to see that the pictures on the ceiling of the principal saloon are far inferior in execution to the so-called Oalatea in the neigh- bouring apartment. He will find nevertheless that both are such as will reward careful study with the highest gratification — a delight it must be a lasting desire to renew.
The inaccessibility of the upper rooms of the Farnesina, adorned by Bazzi of Siena (1477-1549 ; p. 23), commonly known as Sodomaj with his painting of the Nuptials of Alexander with Roxane, cannot be too much regretted. In the embodiment of sensuous grace and beauty, Raphael found in Sodoma a worthy rival.
In the Sibyls of Raphael in S. Maria della Pace (1514) we find him competing — if the expression may be allowed — in another field. Here he trenches upon the domain of Michael Angelo ; not, however, that he is for a moment betrayed into disingenuousness by contact with a presence so overpowering, or that is he beguiled into assuming a style foreign to his genius. True to himself, he accepts the limits prescribed by his subject, and combines an air of pleasing sere- nity and infinite grace with the expression of prophetic inspiration.
Around these three Art heroes, Bramante, Raphael, and Michael Angelo, is grouped a brilliant circle of pupils and dependents. The hast works of the School of Raphael are undoubtedly those exeeuted
ROMAN ART. Ivii
in his lifetime and under his direction. Oiulio Romano (iAQ3-i64:&) and Francesco Penni (1488-1528) had a considerable share in the painting of the Hall of Constantine; the completion of the Loggia paintings was entrusted to them, Perino del Vaga (1499-1547), Raffaello dal ColUj and others. For the decorative ornamentation of the Loggie and the Famesina the master engaged the services of Giovanni da Vdine (1487-1564). Romano exhibits himself most clearly as a pupil of Raphael in the Villa Madama Giulio, less 60 in his Madonnas (Pal. Colonna and Borghese).
The crowd of Akchitects, who appeared in Bramante's time, showed greaterindependence : BaWassarcPcrwzai (1481-1563; p. 23), who built the Farnesina and Pal. Massimi, Raphael himself and G'm- lio Romano (Villa Madama), Antonio da Sangallo the younger, with whom originated the Pal. Famese and a new plan for St. Peter^s, and lastly Michael Anoelo , whose influence, gradually deposing Bramante, irresistibly impelled the architecture of Rome into new courses. And just as in Plastic art ho scornfully rejects the recognised forms and forces upon them a new construction , in like manner as Architect he concerns himself little about the accurate adjustment of subordinate parts, intent rather upon the effect to be produced by the structure as a whole — usually one of ponderous immensity. The colonnades in the Palazzo Famese^ the conversion of the Baths of Diocletian into the church of 8. Maria degli Angeli — a work subse- quently spoiled — and the Porta Pia are among his chief works. His chief mer t consists in his having reverted to the plans of Bramante for the completion of St. Peter's^ which since 1546 had been under his superintendence. The Cupola at least was carried out according to his designs , but the ground-plan, to the injury of the building, was much altered, and the Latin substituted for the Greek Cross.
As long as the 'divine' Michael Angelo lived, Rome was so dazzled by the splendour of his renown that no one suspected the Decline OP Akt was at hand. In fact, however, it had already declared itself at the death of Raphael. Rome once more captured and pillaged ; orthodoxy reinstated ; the church recoiling from the taint of Hu- manism : these were incisive events in the history of art, which now received a more distinctively ecclesiastical direction. The Foreign occupation of Rome expelled a vast number of her artists and laid a chasm in the traditions of her art. As she once more recovered herself and under the pontificate of SixtusV. (Felice Peretti, 1585-90) was to all appearance again invested with her pristine grandeur, the en- couragementofartwas revived, but in a spiritwhich presently pervaded and brought into subjection every phase of art. To Sixtus V. the Eternal City, which 'forthwith doubled itself, owesher present aspect. T\iQ AequaFelicey i\iQ Spanish Staircase, the Via Sistina, the Piazza di 8. Giovanni in Laterano , the Obelisk in the Pia^z.8bQl^X.,^^^.'«^ the restoration of the Columns of Trajan auA. Matcua AuttUu* ^T^^s^5^ work. Domenico Fontana of Ticino ^as ioiemoat \w ^viVtv^ ^^^'sX.^ft
Iviii ROMAN ART.
this Pope's projects. The authors of the degenerated Renaissance known as Baroque were really Vignola (1507-73) and Fohtana's nephew Carlo Madema (1556-1639). In the Jesuit church of Oesit (1568) the former furnished the type of the style which prevailed during the following century, especially in the numberless Jesuit churches then built. Maderna with Borromini and Carlo Fontana were the leaders of that band of Artists who conspired to rob architecture of its fitting repose, and by the introduction of figures posed in start- ling attitudes, aroused or convulsed by agency unseen, of curves in- stead of straight lines, of pillar piled upon pillar, substituted a tur- bulent unrest. Not that the style was without striking and artistic effect. An undoubted vigour in the disposition of detail, a feeling for vastness and pomp , together with an internal decoration which spared neither colour nor costly material to secure an effect of dazz- ling splendour : such are the distinguishing attributes of the Ba- roque style as in Rome it is to be seen on every hand, not only in an endless succession of churches (S. Ignazio^ S. Andrea della VaUe, 8. Carlo alle Quattro Fontane^ etc.), but in numerous palaces, the Barberini being a conspicuous example. The reader will, how- ever, scarcely dwell on these works longer than will suffice to give him a clear general impression of their character.
A greater tenacity of life is, however, inherent in the art of Painting. An altogether deplorable interval now ensued, during which artistic talent was beguiled by Michael Angelo's overwhel- ming ascendency into a slavish imitativeness, content with the least possible effort to crowd into a given space the greatest possible numberof unmeaning figures, not devoid, however, of a certain super- ficial charm sufficient to captivate the eye. After an interval thus occupied and identified with this supremacy of the Mannbbist School (Arpiru), Zuccaro), painting once more, at the close of the 16th century, was galvanised into a new life, destined to be of brief duration — Rome becomes a scene of conflict in which painters and their partisans are the combatants. During the reigns of the popes from Sixtus V. to Clement VIII. the fashionable artists were Circignanij surnamed PomaranciOj and his pupil Roncalli, It was not, however, till the accession of Paul V. (1605-21), a member of the Borghese family, that the interest in art became again widely spread. It was about this period that Rubens visited Rome, where he profited by a study of the best qualities of every school, without identifying himself with any.
Caravaggio (1569-1609) was the chief of the Naturalist School. He was triumphant in the possession of popular favour. On the other hand it was objected that his drawing was bad, that he failed in the essential of grouping the figures in his larger compositions. Never- theless the mass is presented with such startling reality, and ani- mated with gesture so impassioned, that every figure fitly asserts it- >elf , while a corresponding force in colour conveys an impression
ROMAN HT: lix
powerfully suggestive of tlie turbulent license ilifen prevailing. — The Eclectics took an opposite direction. Trained in a regularly- constituted school of art, suefa as had been Mtal^li^lked at Bologna, initiated moreover in the art of Goreggio iNld llie Tenetian«, fall of reverence for more remote traditions, thoioittlily Tcnraed In ^e rules of drawing and composition as well as famffiw iHih t^6 f^eseo painter's art — thus formidably equipped, AnniMlir CarracHj DO' menichino, Ouido Reni^ Ouereino appeared amongst the rivAl as^- rants to fame in Rome. They slipplanted the Naturalists, appro- priating as much of the latters' method as appeared available, and finally monopolised the favour of the court and aristocracy. Nor was the struggle by any means confined to the pallette and the brush. Personalities arose, and amongst themselves the partisans of Garracci were seldom at peace. Their contributions are in part, at any rate, of the highest excellence. Annibale CarraccVs frescoes in the Palazzo Famese ; Ouido RenVs Aurora in the Casino Rospigllosi; the frescoes of Domeniehino in S. Luigi dei Francesi, S. Andrea della Yalle, in Grotta Ferrata near Rome are not mere master- pieces of technical skill, but are replete with artistic beauty and vitality.
The Neapolitan sculptor Lorenzo Bernini (1598-1680) flourishes up to the close of the 17th century. His works occupy the concluding chapter in the history of Roman Art. It is superfluous to bid the be- holder bevare of being led captive by art essentially flimsy and mere- tricious ; rather perhaps it is necessary, as a set off against the now prevailing depreciation of Bernini's works, to plead the important historical significance they posses amidst all their too conspicuous defects ; to bear in mind that throughout the course of nearly a century they were regarded as the most brilliant production of that period and were verry generally imitated.
Since the 17th century, Rome has not given birth to nor nur- tured any distinctive art life, though the past has held Artists of all nations spell-bound, compelling the conviction that Rome is still the true High School of Art, whose teaching is indispensable to every true Artist. So late as the close of the 18th and the beginning of the present century, Rome continued to give proofs of the potency of her influence. Without the suggestions which Rome alone could furnish, David would never have received that classical impulse which he turned to such admirable account in France. Asmua Carstens, the father of the classical style of modern German art, also made his home in Rome. Amid the art-collections of Rome alone could Thorvaldsen^ the 'Greek of the 19th century', have worthily perfected his talents. In the absence of such inspiration as the spectacle of Rome's master-pieces alone can afford, Cornelius and his associates would never have had the courage to attempt the revival of fresoo-painting.
Thus it was that Rome reacted on the A.e%t\ii\fe% ol Taft^«w^ '«^-»
Ix RqiM.N ART.
though without an art ife she could call her own. During the last fifty years , however, she has lost much of her importance even in this respect, through the ared te tendencies of the artistic schools of France, Belgium, and Germlany. Foreign painters and sculptor still visit Rome, hut it has entirely ceased to dictate the tone of European art. In place of this, Rome may perhaps hecome the .centre of a new Italian school of art, though the productions of modem Roman artists have hitherto scarcely warranted the suppo- sition. At the heginning of this "ientury huilding wholly ceased at Rome, and the works of monumental painting , such as PodeatVa frescoes in the Stanza dell' Incendio, prove that the traditions of the classic period had been utterly forgotten. Since, however, Rome has been the capital of a united Italy, Increased activity has been manifested in the field of art, and the clever Roman stone- masons have had abundant opportunity to show their skill in the ornamentation of handsome modem edifices. The resuscitation of a truly elevated style of sculpture is hindered by the tendency to exaggerated realism and the undue value laid upon mere mechanical dexterity, which seem nowhere so much out of place as at Rome. In painting Rome has not yet outstripped the flourishing schools of North Italy.
3
PIEST SEW3OK
••
S. TUSCANY. DMBEIA. TfiEMAEOHES.
1. From Leghorn or Pisa to Borne**
by the Maremme.
208 M. (from Pisa 207V2 M.). Railway. Express in T-TVs hrs., faf aall fr. 65, 29 fr. 15 c. (from Pisa 41 fr. 55, 29 fr. 10 c.) j ordinary trains in SVzJirs., fares 37 fr. 90, 26 fr. 50, 17 fr. 6 c. (or 37 fr. 75, 26 fr. ^c, 17 fr.).
The Habbhhb Bailwat coincides with the ancient Via Aurelia. It rumS ** inland as far as Gecina, where it approaches the coastj commanding fine S views of the sea with its promontories and islands. Views always on the right. — This is perhaps the least picturesque of the routes to Rome ; yet the traveller who desires to explore it may devote several days to the jour- ney, though, owing to the malaria, this is not practicable between the end of May and the end of October (comp. p. 2).
Stbamboat. Another route from Leghorn to Borne is by sea as far as Givitik Vecchia, and thence by railway. This route is somewhat more expensive than the railway journey. Embarkation at Leghorn in the inner harbour 1 fr., in the outer harbour IVa fr- The steamers generally weigh anchor towards evening. Arrival at Civitil Vecchia (landing 1/3 fr. each person, trunk to the station 1 fr.), and journey thence to Bome, see pp. 6, 7.
Leghorn and Pisa, see Baedeker 8 Norihem Italy. — The lines unite at Vicarelle , near the first station Colle Salvetti^ which is 10 M. distant from Leghorn and 91/2 M. from Pisa. To the right we see the Monte Nero, a celebrated place of pious resort, with an an- cient picture of the Virgin brought from the East and especially re- vered by sailors.
13 M. (from Pisa) Fauglia; 18 M. Orciano; 24 M. RosignanOy the village of which name is situated on a hill to the right; 28 M. Vada. The train crosses the Cecina^ the ancient Caecina, The fam- ily of that name was once settled in this district, as is proved by numerous inscriptions at Vol terra.
311/2 M. Ceeina (poor cafe at the station), where a branch-line to Volterra diverges (see p. 8), is, like all the above-mentioned vil- lages, of modern origin.
The line now approaches the coast. The loftily-situated, ancient Etruscan Populonia (p. 2) becomes visible to the right, on a chain of hills projecting into the sea; beyond it the island of Elba (p. 12).
42 M. Castagneto; 47 M. 8, Vir^cenzo, with a smaU harbour.
531/2 M. Campiglia; the small town lies to the WV, wv V^^\\aV^^^ with a ruined castle and Etruscan tombs oi no gce^X. V(v\AT^'eX» Bamdeksb. Italy 11. iOth Edition. V
2 Route 1. PIOMBINO. From Leghorn
From Gampiglia to Piombimo, 7i^'V., diligence every evening in about 2 brs.f returning thence at noon (fare 1^ fr.).
Piombino (AWerao dette Apiy vnpretending, bargaining advisable), a small town with 4000 inhab.. originally lo^longed to Ilsa, in 1399 became a principality of the Appianiy in 16Q3 WM acquired by Spain, and then by the family of B%u>neompagni-l^udfirfUi^ from whom it was wrested by Na- poleon in 1806 in favour of lii9'|>r(ytlidr-in-law, the Corsican Felix Baeciocehi. In 1815 it was assigned to OTita^ialiy, with which it remained united till 1859. It lies at the S. end of a^i^rpod^d promontory, bounded on the land side by a flat district. A weather-beaten tower on the hafbour commands a grand *View of the sea and i^e island of Klba (in front of which rise the cliffs of Oerboli and IUihnjj,Qla), of S. Oiglio and the coast, and Corrica in the distance. — JSiean^oat to Elba daily, returning the following morning (p. 12). • ^ ,
A forenooh ^suffices for a visit to (6 H.) the ancient Popnlonia, the
Etruscaif.jPtfp/ttna, at the N. end of the peninsula. The diorter route
through the woods requires a guide. The town with itf mediaeval castle,
situi^t^d on p lofty and precipitous hill, is conspicuous from all sides. Once
a TOTDspevoifS seaport, it suffered greatly from a siege by Sulla ^ in the time
o^ 9^titf)'it had fallen to decay, and it is now a poor village. In ancient
tiroes •die iron of Elba was smelted here. The old town-walls may still be
, disitinctly traced, and are particularly well preserved on the side next the
• ^esC^ they consist of huge blocks, approaching the polygonal style. The
, views towards the land and the sea are striking and extensive. Several
*•• • * vaults, erroneously said to belong to an amphitheatre, and a reservoir may
also be mentioned as relics of the Roman period. The Etruscan tombs in
\ the vicinity are hardly worthy of a visit.
The district now begins to exhibit the distinguishing charac- teristics of the Maremme : a world of its own, consisting of forest and swamp, in summer poisoned by malaria, and still but sparsely cultivated, in spite of repeated attempts (especially near the rail- way-stations) to bring it under tillage. During the Etruscan period the Maremme possessed several considerable towns : Populoniaj Ve- tuloniaj RtisellaCy Cosa. On the decline of agriculture in Italy and the conversion of the farms into pasture - land , the desolation of the coast-district made rapid progress. During the present century the first successful attempts were made to counteract the malaria by the drainage and filling up of swamps and the establishment of new farms ; but the evil is still very great. Charcoal-burning and in win- ter cattle-grazing are the chief resources of the inhabitants, most of whom withdraw to the Tuscan hill-country in May, when the ma- laria begins.
64 M. Eollonica, near the sea, possesses considerable smelting- foundries for the iron from Elba. Beautiful view towards the sea ; to the right the promontory of Piombino and Elba, to the left the promontory of Gastiglione with a lighthouse, and the small, grotesquely shaped island of Formica. On a hill to the left is Massa Marittimay one of the largest towns of the Maremme, with 13,000 inhabitants. In the vicinity are extensive copper-mines. — The train again quits the coast and skirts the Promontory of Castiglione.
73 M. Oavorrano, the station for the place of the same name, situ- aied bigber up, to the right. Farther on, also to the right, on a hill, I's Colonna; and in the distance, at the mouth. ott\vfe BTnna,\i^fe Email fortMed barhouT of Castiglione della Peacoja is N\«iv\>\fe. "asifc, «**\\i
to Rome. GROSSETO. 1. RouU. o
the other seaports of the Maremme, wood and charcoal form the chief exports.
82 Y2 M. Monte Pescali , junction of a branch-line from Siena, which rans parallel to onr line as far as Grosseto. The village is picturesquely situated on a hill to the left.
90 V2 M. Grosseto (*Rail, Restaurant; Stella d'ltaHa^ with a good trattoria ; Bella Toscana)^ the capital of the Maremme, a plea- sant town with 7400 inhahitants. The Cathedral^ begun in 1294, was restored in 1855. The Municipio contains a collection of Etrus- can cinerary urns, sarcophagi, and other antiquities. Branch-lino
to Aseiano fSiena), see p. 17.
Aboat 872 M. to the N.E. of Grosseto (carriage-road) lie the snlphur- eoas Bagni di Roselle^ whence the ruins of BuselUB are reached in i/s hr. (guide necessary). Rusellee , anciently one of the twelve capitals of the Etruscan confederation, has been deserted since the middle of the 12th cent, and is thickly overgrown with underwood. The wallis, which are nearly 2 M. in circumference, and in most places accessible, consist partly of horizontal courses, partly of polygonal blocks (6-8 ft. high, 6-12 ft. long).
Around Grosseto, and to the W., in the direction of Castiglione. extends a considerable plain, in ancient times a lake (the Lacus Prelius 01 Cicero), which gradually became shallower and productive of malaria {Palude di Castiglione and di Orosseto). By skilful drainage, and by conducting hither the deposits of the neighbouring rivers, the government has almost entirely filled up the morass and converted it into a valuable pasture, 12-15 M. long.
Beyond Grosseto the Ombrone is crossed. 99 M. Alharese, The line skirts the wooded Promontory of Talamone; towards the S. tho imposing Monte Argentario (see below) is visible.
At (105 M.) Talamone a beautiful view of the sea is disclosed. The village lies at the end of the promontory and possesses an an- chorage sheltered by the island of Giglio and the Mte. Argentario (steamer to Elba, p. 12). The creek has been much diminished by alluvial deposits. Here, in B.C. 225, the Roman legions landed and signally defeated the Gauls who were marching against Rome.
The train crosses the small river Oso, then the more important Albegna (ancient Albinia^, at the mouth of which are salt-works. 109 M. Albegna.
1131/2 M. Orbetello (*Rail. Restaurant). On the arrival of the train an omnibus (1 fr.) starts for (1^2 M.) Orbetello [^Albergo Rosa, Albergo Nazionale, both unpretending), with 6000 inhstb., situated at the extremity of a promontory, near the foot of Monte Argen- tario, which rises immediately from the sea, and is connected with the mainland by two narrow tongues of land, whereby a large salt- water lagoon is formed. The only object of interest is the polygonal wall on the side next the sea, which testifies to the great antiquity
of the town, although its ancient name is unknown.
From Orbetello an embankment has been constructed across the shallow lake, which abounds in fish, to Mte. Argentario. A carriage-road leads to the N^ harbour, Porto JS. Stefano (steamboat to Elba, every Friday at 5 a.m., see p. 12), and to PorC Ercole on the S. side. The Konte Argentario (2090 ft.) culminates in two peaks , on one of which is situated a monastery <^i V!>cv^ Passionists. The ascent is very interesting (froiu OTbe\«i\\o^'i^\«%.'j ^g^^^* The *View embraces the coast of Tuscany and \lie auTXQxoAVft.^ ^^NxXs^*^ ««►
4 Route 1. CORNETO. From Legltom
far as Hte. Amiata, and the sea with its numerous rocky islands as far as Sardinia. If time is limited, the first and lower eminence, >/4 hr. from Orbetello, with a picturesque view of the coast, should be visited.
Orbetello is the most convenient starting-point for an excursion to the (41/2 H.) interesting ruins of the ancient Oosa, the present Arued&nia (car- riage there and back, including stay of 5 hrs., 8 fr.) ; and also for a visit to the ancient towns of Saiurnia and Sovana, 90-35 M. inland. Cosa is an old Etruscan town, deserted in the 5th century. The polygonal walls (1600 yds. in circumference) with their towers are admirably preserved. A beautiful prospect of the sea and coast is ei^joyed hence.
The train soon enters the former Papal territory, and traverses the Roman Maremma; scenery unattractiye. 121 M. Capalbio; I25Y2 M. Chiarone, It then crosses the Fiora and reaches (135 M.) MontaltOj a poor village.
From Montalto the traveller may ascend by the Fiora to the ancient Fonte delta Badia and the site of Vulci, where thousands of Etruscan vases and other antiquities have been discovered since 1828. The ancient Etruscan city itself, the circumference of which is ascertained to have been 5 H., has disappeared with the exception of its tombs.
Beyond Montalto the country is undulating. We cross the small rivers Arrone and MartOj the outlet of the Lake of Bolsena.
1441/2 M. Cometo. On a hill (350 ft.) IV2 M. to the left of the station (seat in a carriage 1/2 ^^0 ^^ ^^^ antiquated town of Cometo (^Alb. ^ Trat, Qrassi^ ^*^r)» ^^^ numerous towers and a population of 5000. The town sprang up at the beginning of the middle ages near the ruins of the ancient Etruscan town of Tarquinii, to which fact it owes its modem official name of Cometo Tarquinicu
The handsome but unfinished Gothic Palazzo ViteUeschi, in the main street, immediately to the left of the gate, was erected by Car- dinal Vitelleschi in 1437. — On the N. buttress of the plateau on which the town stands is the imposing Castello of Countess Matilda, containing the recently restored church of *S, Maria in Castello, begun in the 11th cent., with a facade dating from 1121. This church (key kept by the keeper of the Museo) contains a taberna- culum of 1168 and a pulpit of 1209. — Adjacent is Scappinis Ceramic Factory.
The smaller Romanesque churches of S, Anastasia, 8. Salvatore^ S. MartinOy and S. Pancrazio have all been more or less restored. Adjoining the last is the old Palazzo Municipale, with three of its original eight towers. On a height above the town is the Gothic church of S. Francesco, — A genealogical tree 'al fresco* in the new Palazzo Comunale, professing to trace the origin of the place to a remote mythical era, shows an amusing disregard for history.
The lower story of the *Museo Municipale contains a number of sarcophagi, the most interesting of which is the so-called *Sai- cofago del Magnate', embellished with reliefs (battles of Ama- zons) and with handsome polychrome figures on the lid. On the upper floor are smaller antiquities, vases, gold ornaments, weapons, etc. Among these are an antique set of false teeth (3rd room), and a fine painted bowl, which bears the names of Oltos and Buxitheos as the artists and represents the Arrival of BacoliiiB in
to Rome. TARQUINII. 1. Route. 5
Olympus, the types of the deities recalling the character of pre- Phidian art. The last rooms contain the products of the excavations carried on since 1881 in the oldest part of the Necropolis. The pot- tery is of the radest description and evidently produced without the aid of a wheel. Four cinerary urns in the form of huts give us an idea of the Italian dwelling of the period. The conical helmets, with bars at the top, were evidently imported ; their type seems to have served as a model for the *Apices*, or caps of the Roman priests. Among the remaining contents are Carthaginian scarabsei and idols in fused glass. The keys of S. Maria in Gastello and of the Museum are kept by Frangionij the custodian of the Necropolis of Tarquinii (fee 1 fr.).
The Palazzo Bruschi contains a very fine collection of Etruscan antiquities, formed by the mother of the present count ; and a few Etruscan and Roman relics are also preserved in the Oiardino Bruschi, outside the town. — Corneto commands a fine view of the sea with Monte Argentario and the neighbouring islands, and also an interesting survey of the bleak environs.
On the TurcTUna^ a stony hill opposite, separated from Montarozzi^ the hill of the tombs, by a ravine, lay Tarquinii, a town with walls about 5 M. in circumference, anciently one of the twelve Etruscan capitals, and remarkable for the influence which it exercised on the development of the national religion of Etruria. It participated in the war of the Etruscan confederation against Borne, but was compelled to surrender after the Samnite war and to receive a Roman colony. The town continued to flourish during the empire, but subsequently declined and was devastated by the Saracens ^ it was , however , inhabited down to 1907 , when its last remains were totally destroyed by the inhabitants of Corneto. Ko ruins are now visible save the scanty vestiges of walls and foundations. Of its seaport Oraviscae a few relics on the right bank of the Marta^ IV2 ^* from its mouth, still remain.
Tombs. The principal interest attaching to Corneto is derived from its tombs, the ^KTbcbofolis of the Ancient Tabquinii, which spreads over a great part of the hill upon which the town itself stands. The keys are kept by the keeper of the Huseo (fee lV«-3 fr., for a party more in pro- portion; carriage, hardly necessary, bargaining advisable). The Necro- polis was accidentally discovered in 1823 by Carlo Avvolta, a native of Cor- neto, who while digging penetrated into a tomb, and through the aperture beheld a warrior extended, accoutred in full armour. The influence of the air caused the body to collapse after a few minutes* exposure. Even in an- cient times the tombs were frequently plundered for the sake of the pre- cious trinkets they contained, and modern excavations have despoiled them of every movable object which remained. A visit to them is nevertheless extremely interesting to those who desire to form an idea of the civili- sation, art, and religion of the Etruscans; and for this purpose the tombs of Corneto are well adapted owing to the good preservation of their paintings. The decoration of the chambers is in a style that was preva- lent chiefly in the towns of southern Etruria, and indicates a close relationship to Hellenic art. The Tumuli which externally distinguished the tombs have in the lapse of ages been entirely destroyed-, the subterranean chambers now alone remain, of which the following are the most interesting : —
No. 4. Qrotta delta Caceia del Cignale (boar-hunt), or Qrotta Querciola. The faded paintings, copied in the Museo Gregoriano (p. 316) , reprc&e.\!A> '^ banquet with music and dancing, and a boar-hunt. — Op^o&\\j& Vo V\i\& \urcc^ —
No. 5. ^Orotla del Convito Funebre^ or del TricUnio, «\ao VvVXv 'Cckfc ^^- presentation of a banquet. The admirable drawing XifcaTa v»\Vcva%» V<i ^^ '^'^"
6 Route 1. CrviTA VECCmA.
flaence of tlie best period of archaic Greek art. The men here, as in all the others, are coloured dark red, the women sketched in outline on the walls in whitish colours.
Ko. 8. Orotta del MortOy small \ mourning for the deceased, and dancers.
Ko. 11. ^Orotta del Tifone^ more extensive, supported in the centre by a pillar, on which are Typhons, or winged genii of death terminating in ser- pents. The sarcophagi bear Latin as well as Etruscan inscriptions, a proof that they belong to a comparatively recent epoch. To the right on the wall are souls escorted by genii ^ under them is Charon with the hammer.
Ko. 12. Orotta degli Scudi, with banqueting scenes.
No. 13. Orotta del Cardinale^ the most spacious tomb of Tarquinii, supported by four pillars, opened last century; colours almost entirely faded.
No. 14. * Orotta delV Oreo or del Polifemo: in the anterior chamber, a banquet; in the one beyond it a scene from the infernal regions, with Pluto, Proserpine, Geryon, Tiresias, Agamemnon, Memnon, and Theseus ; in a niche in this chamber is Ulysses blinding Polyphemus. — The paint- ings here exhibit unmistakable Greek influence.
No. 16. Orotta dei Vast D^mti, and No. 16. Orotta del VeccMo, with banquets and dances, both not later than the first half of the 5th cent. B. G.
No. 18. Orotta delle Iscrizioni^ so called from the numerous Etruscan in- scriptions, with warlike trials of skill.
No. 19. ^'Orotta del Barone^ so called from the Hanoverian ambassa- dor Baron Eestner, by whom it was opened, contains warlike games, riders, etc., partly in the archaic style ; colours well preserved.
No. 20. Orotta delle Bighe, discovered in 1827 by Baron Stackelberg. A copy of the paintings (funereal games and dances) is preserved in the Va- tican. Adjacent —
No. 21, Orotta del Mare, small, with sea-horses.
No. 23. Orotta degli Auguri (with funereal games; a criminal with veiled head fighting with a large mastiff hounded on by a figure in a mask), of the same date as Nos. 15 and 16.
From Corneto to (16 M.) Toscanella (p. 73) a diligence runs thrice a week (carriage 8fr.).
The train skirts the foot of the hill of Corneto , which remains visible for a long time. To the right , farther on , is the insigni- ficant Porto Clementino^ which is entirely abandoned in summer on account of the malaria. The horizon is bounded inland by the moun- tains of Tolfa (p. 7), which yield an abundance of alum and sulphur. The line crosses the small river Mignone^ at the mouth of which stands the Torre Bertaldo , where , according to a legend, an angel dispelled St. Augustine's doubts respecting the Trinity.
157 M. Civit^ Veoollia. — Halt of 5-14 min.; ^Railway Restaurant.
Omnibus to the town (within a few minutes' walk) 25 c. ; one-horse carriage Va f'-? two-horse 1 fr. ; porter for a box 40 c.
Hotels: '^Oslando, to the right at the entrance of the town, a large hotel, expensive; Eusopa, moderate.
British Consular Agents L. Sperandio; American^ G. Marsanich.
Civitct Vecchia, the seaport of Rome, with 12,000 inhab., the ancient Centum Cellae founded by Trajan, and sometimes called Portus Trajani, was destroyed by the Saracens in 828, but in 854 the inhabitants returned into the ^ancient city\ The fortifications, built in the 16th and 17th cent., were recently restored by the French. The entrance to the harbour, in front of which lies a small fortified island with a lighthouse, is defended by two strong towers. Visitors are permitted to inspect the Bagno, where the galley' convicts are at work. The town is uninteresting. The traveller may Ifest spend a leisure hour in walking on iVve (^ua.^.
PALO. 2. Route 7
A good road leads from Givitk Vecchia to the volcanic mountains of La Tolfa (2040 ft.) and the loftily -situated village of that name, in the vicinity of which are extensive mines of alum. The scenery is picturesque, and the locality interesting to geologists. Some mineral springs, with the ruins of ancient haths (Aquae Tauri)^ lie ahout 3 M. from Givitit Vecchia.
From Civita Vecchia to Rome. The best views are on the right till Rome is approached, and then on the left. The line traverses a dreary tract , running parallel with the ancient Via Aurdia near the sea-coast as far as Palo. On clear days the Alban and Yolscian Mts. are visihle in the distance, and still farther off the promontory of Circeii. 163 M. Santa Marinella possesses a medlaBval castle ris- ing above a small bay. — 166 M. Santa Severa, a picturesque ba- ronial castle, formerly the property of the Orsini family, and now of the S. Spirito Hospital at Rome. Here in ancient times lay Pyrgos or Pyrgi, the harbour of the once powerful Etruscan cUy Caere, now Cervetri (p. 392), situated on a height, 6 M. to the left.
171 M. Furhara. The solitary towers on the shore were erected in the middle ages for protection against the dreaded Turkish corsairs.
177 M. Palo, the junction of a branch-line (opened in Nov., 1889) to Trastevere, with a chateau and villa of the Odescalchi, oc- cupies the site of the ancient Alsiunij where Pompey and Antoninus Pius possessed country-residences. Relics of antiquity now scarce. The sea-baths of Ladispoli, near Palo, recently founded by Prince Odescalchi [fine beach), attract a considerable number of summer visitors (special trains from Rome on Sun. and Thurs.).
181 M. Palidoro lies on the river of that name, which has its source on the heights near the Lago di Bracciano. The line now approaches the plantations of (186 M.) Maccarese to the right, sup- posed to be the ancient Fregenae^ which lay near the mouth of the Arrone. The Lago di Ponente or Stagno di Maccarese is now skirted.
193 M. Ponte Oaleraj whence a branch-line diverges to Porto and Tiumicmo (p. 393). Near (201 M.) Magliana the Tiber becomes visible, and the line follows its course (comp. Map, p. 334). A freer view is now obtained of the extensive Campagna di Roma ; to the right, in the background , the Alban Mts. (p. 363; comp. panorama, p. 328) and to the left the Sabine Mts.; in the foreground is the grand basilica of S. Paolo fuori le Mura (p. 352). The train crosses the Tiber by an iron bridge and skirts the S.E. walls of Rome.
2071/2 M, Rome, — Arrival, see p. 111.
2. From Leghorn to Volterra and Colle.
A visit to Volterra, the antiquities of which are interesting, is hest accomplished from Leghorn. Bailwat via Gecina to Volterra station, 61 M., in 3-33/4 hrs.; express to Gecina (no through-connection) 6 fr. 35, 4 fr. 46 c. ; ordinary trains 6 fr. 95 , 4 fr. 15, 2 fr. 65 c. \ from Gecina to Volterra station 3 fr. 40, 2 fr. 40, 1 fr. 65 c. — Diligbngb from the station to Volterra in 2 hrs. (fare 1 V2 fr. 5 one-horse carr. 10 fr.). Tha%«k N^X^a intend to continue their journey southwards b"j VaA"!JL«.T«ai"Bv^\\»fc ^Jwjps^^ leave their luggage at Gecina. — Diliqkmor to GoWft VwVft^ ^''W^*^ a«\'«i > one-horse carriage about 12 fr.
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8 RouU2. VOLTERRA. From Leghorn
Volterra may also be reached from Pontedera,, a ptation on the Flor- ence and Pisa line, by driving up the valley of the Era (5-6 hrs.)«
Fbom Leohobn to Yoltbr&a. To (32 M.) Cecina (Maremme Railway) J see pp. 1, 2. The bianch-line to Yoltena ascends hence on the right bank of the Cecina^ traversing a district of great mineral wealth. — SVjM. RiparheUa; IOV2 M. Casino di Terra; 15 M. Ponte Oinori,
19 M. Volterra. The station is situated at the foot of the lofty hill on which the town lies. The extensive salt-works (Le Saline) in the vicinity supply the whole of Tuscany with salt.
The following excursion, for which a carriage may be hired at Volterra Station} is interesting to geologists. We first drive to Pomaranee^ a pleasant town, famed in the Renaissance period for its earthenware, with a large chateau of Count Larderello, and in about 3 hrs. reach Larderello on the Monie Cerboli, the central point of the boracic acid works belonging to the Larderello^ family, which are politely shown to visitors. The ex- cursion may be extended towards the S., hj Baffno a Morbo (with springs, good for gout, used perhajps by the Romans), Cattelnuovo, Batto^ and Monte- rotondOy to Massa Marittima (p. 2), a drive of 3 hrs. more. Near Sasso and Monterotondo in particular the country is covered with clouds of smoke, and the hot surface of the earth with incrustations of sulphur, sulphate of iron, etc. Near Monterotondo is the hot Logo Zol/oreOt a small lake strongly impregnated with boracic acid, which is obtained from it by evaporation by M. Duval, a Frenchman. Count Larderello'^s works yield about 1650 tons, and M. Duvars 6(X) tons annually, and the whole quantity is sent by contract to England, where it is chiefly used in the manufacture of glass and pottery. The lagoni, or pools through which the so/fioni or jets of boracic acid in the form of steam bubble up, are all, with the exception af those of Travale, in the region of the Cecina and G6rnia, and most prob- obly have a common volcanic origin.
The road from the station to (5 M.) Volterra ascends (diligence IY2 ^'O* The country presents a peculiarly bleak appearance. The effect of the rain on the soft and spongy soil is most prejudicial to agriculture.
Volterra. — *Albergo Nazionale, R. IV2-2 fr. j TJnione. — Ca/6 Etrttscoj in the market-place.
The celebrated Alabaster Works of Volterra afford occupation to nearly two-thirds of the population, but most of the patterns are unfortunately in very bad taste. The ordinary kinds of alabaster are found in the vici- nity, the more valuable in the mines of La Castellina, to the S. of Leg- horn. The traveller should visit the interesting work-shops, where sou- venirs may be purchased far more cheaply than at Florence or Leghorn.
Volterra (1805 ft.), chief town of an official district and one of the most ancient Etruscan cities , is an episcopal residence with 5700 inhab. (commune 14,000 inhab.), commanding in clear wea- ther charming prospects as far as the heights of Pisa, the Apennines, and the sea withthe islands of Gorgona, Elba , Gapraja, and Corsica.
Volterra (the ancient Volaterrae. Etruscan Velathri) was one of the twelve ancient confederate cities of Etruria, and was so strongly fortified that during the civil wars it withstood a siege by Sulla''s troops for two years. It afterwards became a Roman municipium, but gradually fell to decay and was totally destroyed in the iOth century. It was re-erected under the Othos, but does not now cover one-third of its ancient area. In the middle ages it was a free town, until it became subject to Florence in 1361. The last revolt of the inhabitants against the Florentines terminated on i7th June, 1472, when the town was captured and ruthleasly pillaged.
to VoUerra. VOLTERRA. 2. Route. 9
Among the Antiquities the ancient *Towxl WallSi once up- wards of 4Y2 ^* ill ciicumfeience, and nearly three times as ex- tensive as those of Fiesole and Cortona, are especially worthy of notice. Their dimensions (40 ft. in height, 13 ft. in thickness) and construction of horizontal courses of sandstone blocks (pan- china) are best inspected outside the Porta Fiorentiua and in the garden of the monastery of Santa Ohiara. One of the ancient gateways, the *Forta dell' ArcOi 20 ft. in height, is also still in existence. The corbels are adorned with almost obliterated heads. The Porta di Diana (^ilPortone')j another gateway, outside the Porta Fioreutina, has been much altered. Outside the same gate, below the burying-ground, is situated the ancient Necropolis, about halfway up the hill, at the place now called 8. Marmi. A number of tlie curiosities in the museum were found here, but the tombs have all been closed up again.
The Piscifuij outside the castle, a reservoir resting on six col- umns, is only shown by permission of the bishop , and is reached by a long ladder. The Thermae , near the Fonte S. Felice, are of Roman origin. Traces of an Amphitheatre near the Porta Fiorentina.
The Palazzo dbi Pbiobi or Palazzo Pubblico (PI. 19) in the Piasata, a handsome edifice, begun in 1208 and completed in 1207, is unfortunately somewhat modernised; the exterior is adorned with mediaeval coats-of-arms. It contains a collection of pictures, of -which the following are the most important : Signorellif Madonna and saints, 1491 (much injured); Dom, OhirlandajOy Christ in glory (^ruined by restoration in 1B74), and a Madonna, by the same.
Adjoining, to the right, is the entrance to the *OATnEDBAL (PI. 8), consecrated in 1120 by Pope Calixtus II., and enlarged in the 13th cent, by Niceolb Pisano, The facade dates from 1254.
Iktskiob. Above and beside the entrance are reliefs from the life of St. Octavlaims (i4th cent.) ; the pulpit is adorned with sculptures of the end of the 12th century. The two angels on the high-altar are by Mino da Fie- sole.- The sarcophagus of St. Octavianus is hy Rajff'aele CHoli (1527) ^ the elabo- rate roof by Fr. Cipriani (1570). — In the S. transept is a wooden group (13th cent) of the *Descent from the Gross. The chapel of S. Carlo, oppo- site , contains on the left an ^Annunciation by Signorelli (1491) , of rich colouring and attractive grace; above the altar, Mary Magdalene by Ca- millo Ineontri (1634) ; on the right, Ben. di Oiovanni, Nativity, with predello by Ben, Oozzoli; and Rosso Fiorenttno^ Descent from the Gross (unfinished).
Opposite to the cathedral rises the baptistery of S. Giovanni (PI. 6), an octagonal church, supposed to date from the 7th cent., and occupying the site of an ancient temple of the sun. The por- tal dates from the 13th century. To the left of the entrance is an ancient sarcophagus, with a relief of Narcissus. The fine arch of tlie high-altar Is by Balaimelli da Settignario (16th cent.), the octagonal font by Andrea Sanaovino (1502) , and the ciborium by Mino da Fiesole (1471).
S. Lino (PI. 13), a church founded in 1480 by Raffaele Maffei^ contains the tomb of that scholar, with a lecximXiftwV. ^XaXax^X^^ ^\V\>\o da Fiesole.
10 RouU2, VOLTERRA. From Leghorn
In the Via Ricciarelli is the house in which Daniele da Volierra, the celebrated pupil of Michael Angelo, was born in 1509 (he died at Paris in 1567). The house still belongs to the family of Ricciarelli, who possess the artist's *Elias.
S. Fbancbsco (PI. 10), with the Gothic chapel of the Confra- temith della Oroce di Oiomo of 1315 , contains frescoes from the life of the Saviour and the legend of the Cross by Cienni di Fran- cesco di Ser Cienni of Florence, 1410.
The most interesting object in Volterra is the *Mu8bo Nazio-
nale, a valuable collection of inscriptions, coins, bronzes, statues,
and vases, now contained in the Palazzo Tagassi (PI. 20), Via Vit-
torio Emanuele. Admission 1 fr.. Sun. free.
The museum, established in 1731, and greatly enriched by the collections of the erudite Mario OuarrKtcd in 1761, has lately been admirably arranged by Cavaliere If. Maffei. Seven rooms on the lower floor and as many on the upper are occupied by the collection of Cinerary Urns (upwards of 400). These are generally about 3 ft. in length, and date from the latest period of Etruscan art , i. e. the 3rd or 2nd cent. B.C. The subjects are more interesting than the execution, which is for the most part very mediocre. A few of them are composed of terracotta and sandstone , but most of them are of the alabaster of the environs. On the lid is the greatly reduced recumbent effigy of the deceased; the sides are adorned with reliefs , and some of them bear traces of painting and gilding. The re- presentations on the urns are partly derived from the peculiar sphere of Etruscan life, partly frova. Greek mythology. From the former, parting scenes are the most frequent; the deceased, equipped as a rider, is escorted by a messenger who bears a long sack containing provisions for the jour- ney or is accompanied by Charon with the hammer. Sacrifices and funeral- processions occur frequently, as well as banquets , races, contests of skill, etc. Greek mythology has supplied an abundant selection of subjects , e.g. Ulysses with the Sirens and with Circe, the abduction of Helen, death of Clytcmncstra, Orestes and the Furies, the Seven before Thebes (the gate a copy of the Porta deir Arco, p. 9), Polynices and Eteocles, (Edipus with the Sphinx , CEdipus slaying his father. There is a singular blending of luxuriance and melancholy in the subjects and treatment of these works, and the same peculiarity is often observed in the subsequent development of Etruscan art. — Five other rooms contain marble sculptures (archaic sandstone relief of a warrior), vases (mostly of a later style), coins, bronzes, utensils, gold ornaments, and fine glass vessels. — In the third story are the Arcfiives and the Library^ containing 13,(XX) vols., and a collection of coins and seals. On the staircase are a frieze in relief (9th cent.) from S. Giusto, an inscription of Gundibert, King of the Lombards, and other mediteval sculptures.
The CiTADBL (Fortezza) consists of two parts, the Cas9ero or Rocca Vecchiaj erected on the ancient town-walls in 1343 by Walter de Brienne, Duke of Athens, and the Rocca Nuova, built by the Florentines after the capture of the town. At the same time they constructed the prison II Mastio for the incarceration of political offenders, where the mathematician Lorenzo Lorenzini was confined as a suspected person by the Grand-Duke Cosimo III. for 11 years (1682-93). The citadel, now a house of correction, may be visited with permission of the Sotto Prefetto.
The Palazzo Maffei-Guamacci^ opposite the church of S. Michele, with its three towers, the oldest dating from the 13th cent., oontains pictures and a valuable collection of letters of Salv. Rosa.
to Volterra. VOLTERRA. 3. Route. 11
The Gothic Palazzo Jnghirami contains a small collection of pictures, comprising a *Portrait of the learned Fedra Inghirami, an original work of Raphael (replica in the Pitti Gallery at Florence).
The Casa Ducci hears the Roman epitaph of a boy, five years of age, probably a member of the family of the poet Persius, who was born at Volaterras in A.D. 34.
Outside the Porta Pisana is the rained Bomanesqae church of 8. 8te- fanOj near which are a fountain and a Roman marble portrait-statue, known as the Protomarzio, from a corruption of Prato Marzio, the ancient name of the place. — Farther from the town, between the churches of S. Giusta and La Badia, lies a deep ravine called Le Baize, which was comparatively recently formed by the action of water and continues to increase. Several buildings have already been undermined and destroyed, and the celebrated Oamaldulensian abbey of San Salvatore, founded in the ilth cent., is threatened with the same fate.
In the valley to the E. is the convent of B. Girolamo, the vestibule chapels of which contain terracotta altar-pieces from the studio of the Delia Robbia^s, one representing St. Francis with SS. Clara and Louis, another the Last Judgment (15(H). In the church is an Annunciation by Benvenuto di Qiovanni. — Farther on is the Villa Jnghirami (fine view), with some Etruscan Tombs, in which the burial-urns are still in situ (the gardener supplies a light, Vs ^^•)- Hence the rock-caves named Le Buche de' Sara- eeni may be visited.
A pleasant Excubsion may be made to the copper -mines of La Cava di Caporciano, near Monte Catini, 10 M. from Volterra. The road leads across the hill of La Bachetona to Monte Catini on the summit of the 8e- lagite, a mountain of volcanic origin. The square tower of the old castle commands an extensive prospect. The mines have been worked since the 15th cent. , and the operations were very successful till within the last few years, but since 1870 the yield has fallen off. The present possessor is Count Buturlin. The mineral was found in pockets or clusters , be- tween serpentine, known here as gabbro verde, and a peculiar species of red rock, gabbro rosso. The whole vicinity is extremely interesting for geologists. A number of peaks, such as Monte delV Abete, Poggio alia Croce, and Monte Massi, consist of gabbro rosso, which has been upheaved at a comparatively recent period through the surrounding sand and limestone. The view from *Monle Massi (1910 ft.) or from Poggio alia Croce O/a hr. from tfonte Catini) extends from the heights near Massa and Cai'Srara to- wards the N. to Monte Amiata on the S., and embraces the sea with the inlands of Elba, Capraja, and Corsica.
Fbom Voltbbka to Collb, 15^2 M. The high-road leads to- wards the E. through an undulating and attractive district. To the left is seenS. Oimignano (p. 14), to which a good road (flne views) diverges after 71/2 M. (reaching it after 11 M. more; pedestrians may take a short-cut, diverging 1 M. farther on, via Ranza and S, T>onaU>). To the right lies Pomarance (p. 8). Colle, see p. 13.
3. Elba and the Tuscan Islands.
A visit to Elba, which is strongly recommended to the scientific traveller and the lover of nature, is accomplished either from Leghorn or from Piombino (p. 2). Between Doth these points and PoHo Ferrajo, the capital of the island, communication is kept up by the 8ocieUt Riunite Florio-Rubattino, From Leghorn to Porto Ferrajo every Sun. forenoon in 4V2 hrs., return- ing on Mon. forenoon. — From Piombino to Porto Ferrajo every afternoon in 2 hra., returning every forenoon. — A steamboat of IVv^k %«2a\& wyavA^'s^Tc^ also makes a trip once weekly to the small iie\^\i\)0\vc\Tv^ V^wsAft (^lA\**<k Livorno- Pbrto-San-JSia/ano).
12 Routes, ELBA.
About 4 M. to the W. of Leghorn rises the cliff of Meloria, where the Pisans were so signally defeated by the Genoese in 1283, that they never regained their former supremacy. Farther to the W. (2172 M. from Leghorn) is Oorgona^ inhabited by fishermen, a sterile island, affording pasture to wild goats only. Between the latter and Elba lies (40 M.) Capraja ('island of goats', so. called by the ancients also), with 2000 inhab., where wine is produced.
Elba, Lat. Ilva, Greek jEthalia, consisting of an Imposing mountain-group, lies 6^2 M. to the S.W. of Piombino (p. 2), be- yond the islets of Palmajola and CerbolL The Torre di Oiove, sit- uated on the highest point, serves as a landmark to sailors. The vessel rounds the Capo della Vita and enters the beautiful bay of Porto Ferrajo (Albergo delle Api, fair), the capital, enclosed amphitheatrically by mountains. The island was celebrated in an- cient times for its iron ore ; in the middle ages it was subject to the Pisans, then to Genoa, to Lucca, and to the Appiani of Piom- bino, and was finally presented by the Emp. Charles V. to the Grand-Duke Cosimo I. of Florence, who fortified the harbour of Porto Ferrajo in 1548. As the name of the town indicates, the mining and export of iron form the principal occupation of the inhabitants (22,000), others of whom are supported by the tunny and sardine fisheries. Elba has acquired a modern celebrity as the retreat of the dethroned Napoleon, from 5th May, 1814, to 26th Feb., 1815. The Villa 8. Martino, the house occupied by the emperor, is still shown at Porto Ferrajo, on the height above the harbour, between the forts Stella and Falcone^ which were erected by Cosimo I., and command a view of the bay in front, and of the sea in the di- rection of Piombino at the back. It contains several Napoleonic relics. Below, adjoining the harbour, is the Bagno^ or prison, in which several hundred galley-convicts are confined. — The island is about 18 M. long, 6V2M. broad, and 90 sq. M, in area; it contains several fertile valleys, but lofty and precipitous mountains predomi- nate. Monte Capanne, the highest point, near the village of Mar- cianaj is 3300 ft. in height. The coast on the side next the main- land is less abrupt, and produces admirable wine and fruit, espe- cially near Capoliveriy where excellent Aleatico is grown. — An ex- cursion from Porto Ferrajo to the iron-mines is best made by tak- ing a boat to th.e Borgo del Magazzini, and walking or riding thence (^horse there and back 3 fr.) over the hill to Rio Castello and on to Rio Marina, where a guide to the mines (scarcely necessary) may be obtained. The ferriferous strata lie on the surface, and are re- cognised at a distance by the reddish-black appearance of the hills. On the coast, to the S. of Rio Castello, lies the picturesque strong- hold of Porto Longone, founded by the Spaniards.
About 71/2 M. to the S. W. of Elba lies the island of I^nosa, +he ancient Planasia, which, as its name indicates, is perfectly flat.
this island Agrippa Postumns, grandson of Augustas, was once
EMPOLI. 4. Boute. 13
banished, and to him are referred the considerable Roman remains wMcb still exist here. Farther to the S. (25 M. from Elba) rises Monte Cristo, consisting of granite-rock, 6 M. in circumference. It contains numerous springs, and the ruins of a monastery destroyed by pirates in the 16th century. The name is familiar through the well-known romance of the elder Dumas. Opposite the Monte Ar- gentarlo (p. 3) and about 6 M. from the mainland is Giglio, Lat. Igilium, a considerable island containing a village and vestiges of Roman palaces. The highest point is 1630 ft. above the sea-level.
4. From Florence to Siena and Chinsi vi& Empoli.
114 M. Railway. To Siena, SSi/a M., in 3-372 hrg. ; fares 10 fr. 90, 7 fr. 66, 4 fr. 96 c. — From Siena to Chiusi, 54 V2 M., in 2V4-4V2 brs. ; fares 9 fr. 95, 6 fr. 95, 4 fr. 46 c. — No quick trains.
Florence , see Baedeker' 8 Northern Italy. — 6 M. 8. Donnino; the valley of the Arno expands. 7 M. Signa^ with its grey pinnacles and towers, is famed for its straw-plaiting. The line crosses the Ombrone , which falls into the Arno, and enters the defile of the OonfolinOj which separates the middle from the lower valley of the Arno. Crossing the Arno, the train reaches (16 M.) Montelupo, Farther on we cross the small river Pesa,
20 M. Empoli (^RaiL Restaurant , unpretending), a small town with 6000 inhab. , with antiquated buildings and narrow streets, situated in a fertile district. Halt of 6-25 min. ; passengers to Siena have often to change carriages. The main line pursues a W. di- rection towards Pisa and Leghorn ; see Baedeker a Northern Italy,
The line to Siena traverses the fertile valley of the Elaa, on the right bank of the stream. To the right, on the hill, 8. Miniato dei Tedeschij picturesquely situated, with a lofty mediaeval tower. 23 M. PonteaElsa; 26 M. Oranaiolo. 30 V2 M. Caatel Fiorentino ; the town, on the height to the left, is the principal place in the Vol d^Elsa.
35^/2 M. Certcddo ; the town, on the hiU to the left, was the na- tive place of Oiovanni Boccaccio J who died here, 21st Dec, 1375, at the age of 62. His tomb in the church of 8. Michele e Giacomo (La Canonicajj erected in 1503, was removed some time after 1783 and his bones scattered. The house of Boccaccio, now denoted by a tablet, was restored in 1823 by the Countess Oarlotta Lenzoui-Me- dici, and fitted up in the mediaeval style. The remains of his mon- ument were also brought hither.
43^2 M. Foggibonsi (Aquilaj opposite the station , tolerably comfortable) ; the town (4000 inhab.) lies to the right. On the hill above it rise the old castie and the monastery of 8. Lucchese. In the church of the castle is an altar-piece and in the former refectory are frescoes by Oerino da Piatoja.
Feom Poooibonsi to Colls, 5 M., railway iii'2feTSi\Tv.^^.,^ ^^. CoUe (^Alb. del Buon Soggiomo , toleTaVJVft), %'6ivet%>\i <5.^JS\sA
14 Routed. S. GIMIGNANO. From Florence
Colle di Val d'Elsa to distiiignlsh it fiom other places of the same name, is an old town with 1000 inhah., frequently mentioned in the history of the Renaissance. It now consists of two parts, Colle Alto and Colle Basso. The first of these contains the palaces of the old, but now greatly impoverished aristocracy ; the house of the celebrated architect Arnolfo diOambio ; and the Cathedral, dating from the 13th cent., with a facade modernised in bad taste, a marble pulpit (of wliich the lower part belongs to the 13th cent., and the upper part, with reliefs of saints, to the 16th), and handsome carved choir- stalls and episcopal throne of the 17th century. At Colle Basso there are now important iron and glass works.
The interesting little town of 8. Oimignano may be conveniently visited from Poggibonsi or Colle, from each of which it is about 6 M. distant. Carriages may be hired at the stations for 4 frs.
S. €Mmignano (1180 ft. ; Albergo Leone Bianco^ Via S. Matteo, near the gate, well spoken of), an ancient and loftily situated town, with 8200 inhab., was a prosperous and independent place in the 13th and 14th cent., but in 1353, after having suffered terribly in consequence of the dissensions of the leading families of theSalvucci (Ghibellines) and Ardinghelli (Guelphs), it became subject to Flor- ence. Its walls, its towers (whence the name *S. Gimignauo delle belle torn') and its streets, all carry us back to the middle ages. Perhaps no other town in Tuscany presents so faithful a picture of Dante's time. Architecture of the Gothic type prevails.
In the centre of the town is the Piazza della Colleoiata, or del Duomo, with several important buildings.
The *Palazzo Pubblico or Comunale was erected in 1288-1323.
The Sala del Consiglio , on the second floor, contains a ^Madonna with saints and angels , and the kneeling donor Podesta Kello dei Tolo- mci (1317^, a fresco by Lippo Memmi of Siena; also pictures from sup- pressed monasteries in the neighbourhood: 8,9. Mainardij Madonnas; 13. Filippino Lippi^ Annunciation (two round paintings) \ 16. Fra Paolino, Ma- donna; 18. PinturicchiOy Madonna with two saints. — To the left of the exit into the court is the Oappella del Pretobe, or delle Careeri (now divided by a wall into two parts), containing a *Scene from the legend of St. Yvo, and allegorical figures of Truth, Prudence, and Falsehood, fres- coes by Sodoma. There are also many traces of frescoes in other parts of the palace.
The Torre del Comune (160 ft.) is the highest of the 13 towers which still exist out of the original number of 50. The largest of its three bells dates from 1328.
Adjacent is the cathedral, usually called *La Collbgiata, of the 12th cent., altered in the 15th hyOiuliano da Majano^ and now entirely modernised. It contains frescoes of the 14-15th centuries.
On the entrance-wall, ^3Iartyrdom of St. Sebastian, a fresco of colos- sal proportions by Benozzo Oozzoli^ 1465 ; Annunciation, two wooden figures (14th cent.) by Martinus Bariolomaei of Siena. In the K. aisle, scenes from the Old Testament (some in had preservation) by Bartolo di Fredi of Siena, 1%6; in the S. aisle, Life of Christ by Barna da Siena^ 1380. In the nave, above the arch, Paradise and the Inferno, by Taddeo Bartoli. — The visitor should particularly notice the decorations in the last side-chapel to the right, the *Capf£Lla S. Fina, which contains the bones of this local saint, who
to SUna, S. GIMIGNANO. 4. Route, 1 5
died at the age of 15 years. The chapel was designed by Oiuliano da Ma~ Jano ; altar-piece (recently restored) by Benedetto da Majano. The two •Fres- coes on the side-walls, representing the vision of the yoathfal saint and her burial, by Dom. Ohirlandajo^ are among the finest works of that master, and combine a fresh and life-like style with majestic gravity. — In the choir, centre of the right wall, Coronation of the Virgin , an altar-piece by Piero del Pollajuolo of Florence, 1483; to the right of this^ Madonna and four saints, hy Benozzo Gozzoli; on the left wall, same subject by Ta- magni; adjacent, *Marquetry (Hntarsia') choir-stalls of 1490. — The Oea- ToRio S. GiovANKi cootalns an Annunciation by Dom. Ohirlandajo, 1482, a work of no great importance.
Opposite the cathedral is the Palazzo del PodestI, with an Imposing loggia (now a theatre). It Is surmounted by the Torre delta Bognosa or delV Orologio, which Indicates the height beyond which private Individuals were prohibited from building.
The Via S. Mattbo descends from the Piazza , passing the two towers of the Salvucci , to an ancient gateway , which marked the limits of the town until the 13th century. Immediately to the right in this street is the Biblioteca Comunale (librarian, Preposto Ugo Nomi), which contains 9000 vols, and 200 codices. One of its treasures is a copy of AlciatVs Emblemata (Lyons, 1564), along with which are bound up several interesting autographs, including those of Luther and Melanchthon. Adjacent is a small Museum, — Far- ther on are 8, Bartolo (originally S. Matteo), a church of the Knights Templar , with a 12th cent, facade , and the Palazzo Pes- ciolini. — In the Via Nuova, which diverges to the right , are the church of 8. Chiara on the left, and farther on , on the right , the Hospital, with numerous majolica vases, and the church of 8. Qiro- lamo (behiud the high-altar, Madonna and saints by Vincenzo Ta- magni, 1522, with a glory by a later painter) , and finally , to the left of the gateway, the 12th cent, church of 8. Qiacomo , another church of the Templars , with frescoes by a Sicnese master of the 13th century.
The Via delleRomite, diverging from the Via Nuova at S. Chiara, leads to *S. Aoostino, begun in 1280 (chief entrance usually closed ; sagrestano, Via Nuova 17).
This church owes its fame to the *Frescoes in the Chois by Benozzo Oozzoli (1465), where the master has pourtrayed the life of St. Augustine in 17 scenes, from his school-days to his death. Though not of uniform excellence, nor in equally good preservation, these pictures aione repay a visit to S. Oimignano (the finest are: St. Augustine as teacher of rhe- toric in Rome; Death of St. Monica; *St. Augustine on the bier). — The Cappklla S. Guglielmo, to the right of the choir, contains a IJativity and Death of the Virgin, by Bartolo di Fredi^ in which several touches of real Italian life are traceable. — To the left, in the Cappella del S. Sagka- MENTO, are frescoes by Vincenzo da S. Oimignano. — On the N. side of the church, St. Geminianus and three worshippers, a fresco by Seb. Mainardi^ a pupil of Dom. Ghirlandajo ; farther on , St. Sebastian , the deliverer from the plague, the effects of which are symbolised by flashes of light- ning, hy Benozzo Oozzoli, 1464, of less importance than the frescoes in the choir. To the right of the principal entrance : *Altar-piece (St. Bartoldus) by Benedetto da Majano, 1494; under the organ are ^escoes by ^«^> ISx^.- nardiy representing Saints in simple groups.
From S. Agostlno we return to the maTlLet-^\«.cei -wVVOdlV^ ^V
16 Route 4, MONTE OLIVETO. From Florence
joined by the Piazza dblla Cistbrna , distinguished by the two low towers of the Ardinghdli , on the right. The Via del Gastello leads to the left to the church of 8. Lorenzo in Ponte, with a portico, now built up, of the 13th century. — The terracotta ornamentation of the windows of the buildings, many of which are in the form of a horseshoe, should be observed.
From the Piazza della Oistema the Contrada di San Giovanni descends to the right to the Palazzo PrateUesi, in which the prin- cipal saloon of the upper floor contains a Madonna with saints, a fresco by Tamagni, Farther on, to the left, are 8, Oiovanni Evan- gelistay a Johannite church of the l!2th cent., and, in the street, a figure of the Madonna, by Mainardi,
A private garden at the Fortezza , the highest part of the old fortifications (ascend to the right from La CoUegiata), commands a fine view of the town and neighbourhood.
We may drive in V4 hr. to the venerable chnrch of S, Maria Auunta di Calloriy or Cellole^ sitnated outside the Porta Matteo, and dating from the 11th, or perhaps from the 10th cent., containing remarkable capitals and cnrions ornamentation in the apse. Fine view.
Beyond Poggibonsi the Railway begins to ascend considerably. To the right, Staggia with a mediaeval chateau ; farther on, to the right, the ancient and picturesque chateau of Monte Biggioni. The train then passes through a long tunnel (3 min.).
591/2 M. Siena^ see p. 20.
Siena is a terminal station, loftily situated, from which the train backs out. On the journey to Orvieto , the train returns part of the way to Empoli , and then diverges at an acute angle towards the S.E. We traverse the hills which form the watershed between the Ombrone and the valley of the Chiufm. Several tunnels. 65 M. Arbia. This district is one of the bleakest in Italy, the chief fea- tures being grotesquely shaped hiUs of sand, and barren fissured mountains, interesting to the palaeontologist only.
79 M. Asdano; the pleasant little town (^Alb. del Sole, clean; 7400 inhab.), I72 M. to the right of the railway, possesses fortifica- tions constructed by the Sienese in 1351 , and several handsome churches with pictures of the early Sienese School.
Asciano is the most convenient starting-point for a visit to the famous, but now suppressed, Benedictine convent of *Moiit6 Oliveto Maggiore (6 M.; a drive of I3/4 hr. there, and i^z^^' back; carri- ages at the Alb. del Sole, fare 10-12 fr.). The road, leading by Chiuaure, is rough and more suitable for walking.
Visitors apply beforehand to the 'Ispettore'' of the Istituto delle Belle Arti at Siena (p. 32), from whom they receive a 'permesso' to present to the ^Sopraintendente' at the monastery. Those who have not time to send this two days in advance should provide themselves with eatables for one day. Ordinary visitors are not allowed to stay more than two days at the convent ('pens'. 5 fr.).
The convent, founded in 1320 by Bernardo Tolomei and afterwards xreatly enriched by donations, still affords an excellent idea of a great
to Siena. ASCIANO. 4, Route 17
establishment of the kind. The monks mast have been wonderfully energetic to hare been able to transform the sterile chiJk-soil here into a smiling oasis. iEneas Sylvius Piccolomini (Pius II.; p. 28) gives an interesting description of the monastery in his 'Commentaria\
The walls of the Monastkbt Coukt are adorned with celebrated ^Frescoes by Luea 8ignorelH (1497) and Ant. Bazxi^ called Sodoma (15U5), representing scenes from the legend of St. Benedict. The order of the pictures does not correspond with the date of their execution. The series begins with the first picture on the wall opposite the entrance (adjoining the entrance to the church), representing St. Benedict's departure from home, by Sodoma. The earliest part of the series are the frescoes on the entrance-wall, executed by Signorelliy eight in number: Totila kneeling to the saint; Soldier in disguise, attempting to deceive the saint; Temp- tation of the fasting monk ; Punishment of two monks addicted to dainties ; Resuscitation of a dead man whom Satan has thrown from a wall; Exor- cism of Satan; Overthrow of the idol; Resuscitation of a youth killed by the fall of a house. — The ^Sending forth of Missionaries^ on the left of the corner to the right, is by RicciOj but all the other pictures are by Sodoma^ whose sense of beauty is everywhere apparent, though he is doubtless far inferior to Signorelli in depth and excellence of conception and execution. In the first pictures by Sodoma we can trace a resem- blance to the frescoes of Finturicchio in the Cathedral library at Siena, and, in the others, features that recall Leonardo da Vinci. — The Chdrou (entrance to the left of the monastery court), which was modernised last century, contains little to detain us beyond the handsome choir-stalls and reading-desk, in inlaid work, by Fra Qiov. da Verona (1502-5). — In the Libreria are a door and a cabinet, also beautifully inlaid by the same master. — The visitor should notice the extensive stables at the back of the monastery, the different sections of which bear tablets with the names of the chief towns of Italy, in order that guests might know on arriving where to put up their horses.
The Emperor Henry YU. died, Aug. 24th, 1313, at BuoueonvetUo, 41/2 M. to the S.W., on the Ari>ia. The churches contain a few ancient pictures of the Sienese school.
Fbom Asoiano to Gbossbto, 59 Vs M., branch-line in SVs hrs. (fares 11 fr., 7 fir. 70, 4 fr. 95 c.) — 8 M. 8, Giovanni d'Asso (tolerable inn). The Ca« nonica contains six small and aneient paintings of the Sienese school. Mte. Oliveto is reached hence in 11/2 hr. (p. 16; a car with one horse may be obtained). — 14 H. Torrenieri^ on the old road from Siena and Buoncon- vento (see above), via 8. Quirico, Badicofani, and Bolsena (p. 65), to Rome.
— [About 5l^ M. to the S.W. of Torrenieri (omnibus 2 fr.) lies Mont- aldno {Alhergo del Qiglio^ tolerable, bargaining necessary), a town which early in the middle ages belonged to the abbey of S. Antimo, and after- wards to Siena. In the Palasto Munidpale is the Cappella delle Garceri, which contains a small collection of pictures from suppressed mon- asteries, including a Descent from the Cross (1382) and a Coronation of the Virgin (1388) by Bartolo di Fredi of Siena. The Cathedral was begun in 1818. The dissolved Franciscan Monastery is now a hospital. Over the chief entrance of the church belonging to it is a group of the Madonna, John the Baptist, SS. Peter and Sebastian, of the school of Delia Robbia (1507). A room adjoining the sacristy is adorned with frescoes of the latter part of the 15th cent., and the monastery court contains others dating from 1438. Fine view from the piazza adjacent to the modern church of the Madonna J on the E. side of the town. — The rail wav- station of Monte Amiata (p. 18) lies about 8 M. to the S.E. of Montalcmo. To the N. of Caetelnuovo deWAbate^ within about 27a M. of Monte Amiata, is S. Antimo^ which was an independent abbey down to the 13th century. The handsome church was built of white alabaster and travertine in the 11th cent., and its rich portal dates from 1292.
About 4 M. to the S.E. of Torrenieri (omnibus ly* fr.) lies B. dairies iAlbergo del Lepre , tolerable) , which was the resld^uo6 oil wi Vcu^^xvs^
fovernor during the Hohenstaufen regime and "wa^a ioTW?\«6\ Vj ^vsvk». Va- 472. The handsome * Collegiate Church in tli© IiOinbM^ »\,^\^n?^^ ^vi^v\v5we.^
Bakdekku. Italy II. 10th Edition. *1
18 Routed. MONTEPULCIANO. From Florence
in the 8th cent.; higlily ornate porch of 1298 ; interior disfigored in tli* 17th cent. ; choir-stalls of the 16th century. The adjacent Miserieordia churcl contains a high- altar-piece by Sadoma. The Pakuato CMgi, erected ii 1685-87, deserves a visit (keys at the Fattoria Ghigi^. The Orti Leo nini (keys at the same place), a neglected park of the 16th cent., adjoin ing the town-wall, afford an admirable view. — The hot Bat?a cf Vig no»t, 3V^ M. to the S. of Quirico, were much frequented in ancient times and again during the Renaissance period, but are now neglected. Th* ante-chamber of the bath-house contains an ancient votive stone. Amouj the famous mediaeval visitors were St. Oatharine of Siena and Lorenzo i Magniflco. — From S. Quirico to Pienza (p. 20) 41/2 H.] —
21 M. Monte Amiata^ the best starting-point for a visit to the moun tain of that name, the highest in Tuscany, lies 2Vs M. to the S.E. o OastelnuoYO deirAbbate (p. 17) — [By omnibus in 3 hrs. to CasUl del /Ya»< (2V2 fr. ; Locanda Amiatina), where a guide may be obtained at the Muni cipio; thence on horseback in 3V4 hrs., or on foot in 41/2 hrs., to th< summit of the *Monte Amiata (6645 ft.), which affords an admirable survey of the whole country between the Tyrrhenian Sea, the Apennines, and th Giminian Forest (p. 73). The rock-formation is volcanic and interesting i geologists. A pleasant return-route leads through beautiful woods to Vive a suppressed Camaldulensian monastery, now the property of Count Cex vini, where a one-horse carriage may be hired of the miller. — From Viv to Stat. Monte Amiata 11 M., or to Torrenieri 17 M. The latter road load by CastigUone dWrcta, not far from the Baths of Vignoni (see above), an< by S. Quirico (p. 17).] —
28 M. S. Angelo and Cinigiano. The train follows the right bank <i the Orcia^ the E. affluent of the Ombrone, and crosses the latter. — 32 Vs H Monte Antico. At Pcigcmieo the train quits the Ombrone and begins t thread its way among the hills. kSl M. Rocea Strada, a village (1640 ft. on the right ; then Stieciano. At (53 M.) Monte PescaXi the line unites wit) the Maremme Railway , to the N. of Grosseto (p. 3).
821/2 M. Rapolano. The village, to the right, possesses baths whicl are frequented in summer. The country becomes more attractive
90 Y2 ^* Lucignano ; the mediaeval village lies on the hill to th< left. The improving cultivation of the soil indicates the proximity 0 the charming valley of the Chiana. To the left, in the distance, thi chain of the Apennines. — 94 M. Sinalunga; on the right the village where Garibaldi was captured on his march to Rome, 24th Sept 1867. — 98 M. Torrita, Montepulciano becomes visible to the right
103 M. Montepulciano; the lonely station is 6M. from the towi (omnibus in V/2'^.j meeting nearly every train ; fare2fr.); th road passes through several small villages.
MontepalciailO. — Albbkgo Mabzocco (BnuzicheWs)., with trattoria Via Garibaldi 32, tolerable, R. 1-1 V2 fr., D. 2-3 fr. — The Wine of MonU pulciano is justly celebrated. The red wine is strong and somewhat rougli ^ Vino santo'' is a sweet white wine (2 fr. per bottle). Vermouth is a whit wine flavoured with fragrant herbs and wormwood.
Montepulciano , a picturesque town with 3000 (or with the ad joining suburbs 13,000) inhab., surrounded by mediaeval walls, lie conspicuously on the slope of a mountain (2070 ft.). It was th birthplace of the scholar and poet Angelo Ambrogini (1454-94] Rurnamed Politianus after this his native place ('Respublica PO litiana'), the friend of Lorenzo 11 Magniflco and preceptor of his ohil dron. The beautiful situation as well as the monuments of the plae repay a visit. The sights may be inspected in 4-5 hours.
to Siena. MONTEPULOIANO. 4. RouU. 19
We follow the main street, generally running from E. to W., and ascending from the gate next the railway-station to the plateau of the hill on which the town lies. It is first named Via Oaribaldiy then Via Cavoutj and lastly Via Poliziano. — In the Via Garibaldi, No. 32, on the left, is the Palazzo Tarugi (containing the above- mentioned Alh. Marzocco), built by Vignola. Opposite, Nos. 35-37, Palazzo Avignonesij dating from the latter half of the 16th century. Then, also on the right, 8. Agostino, of the 17th cent., with curious touches of Gothic. — In the Via Cavour, on the left, Chieaa del Oesiij a characteristic example of the Jesuit style. On the right the *Mercato (market-halls) by Vignola. -^In the Via Poliziano, on the left, No. 1, is the house in which Angelo Poliziano was born, a brick building of the 14th cent., with an inscription.
We next reach the Piazzetta di S. Maria, with the small church of S. Maria of the 13th cent, (handsome portal). It com- mands an admirable view of the lakes of Montepulciano , Chiusi, and Trasimeno; to the left rises Monte Amiata; farther up we obtain a survey of Pienza, S. Quirico, Montalcino, and the valley of the Chiana. — A road hence descends to the left in 12 min. to the —
*Madonna di S. Biagio , in the valley, designed by Antonio da SfingaUo and begun in 1518. The fine marble chapel of the high- altar, by Qiov€mozzo and Lisandro Albertini, dates from 1584.
Returning to the hill, and again following the main street, we next reach the Piazza Gbande. The interesting fountain in the centre dates from 1520. On the left is the —
Palazzo MunicipaUj of the 14th cent., resembling the Palazzo
Pitti at Florence, and coutaining a f^w pictures and curiosities.
Ante-chamber of first floor: Madonna, John the Baptist, and saints, of the school of Delia Robbia. — Pictubb Gallbry on the second floor. I. Room: Matteo da Siena (?), Madonna. II. Room: 9. 8eb. del JPiombo^ Pope Paul III.; 80. PacchiarottOy Madonna; *86. Umbrian School (ascribed to Raphael) , Portrait of a lady. A collection of dies once nsed by the engraver Gerbano is preserved here.
On the W. of the piazza is the Cathedraly with a ruinous facade.
In the Intbriob, over the principal entrance, are the Death, Assumption, and Coronation of the Madonna by Taddeo Bartoli. The church was once adorned with an imposing monument to Bartolommeo Aragazzi, secretary of Pope Martin V., erected in 1427-29 by the famous architect Michelozzo Michelozzi^ with the assistance of his master Donatello. It was taken down, however, during last century, when several parts of it were lost and others were placed in different parts of the church : thus, to the left of the principal entrance, two reliefs; by the two first pillars, two alle- gorical ^Statues; by the high-altar, marble group of cherubs with gar- lands, forming me top of the monument.
To the right, opposite the Palazzo Municipale, is the Palazzo Contuceij by A. da Sangallo, and adjoining it the Palazzo Nobile- Tarugif attributed to the same master.
We next enter the Via Riccl, where on the right rises the * Pa- lazzo Bomhagliy a Gothic brick building. — Crossing the Piazzetta della Misericordia, with the church of 8, Franc^aco ^^\?cC\p. ^<5»Vw»S>s and fine view, we now descend the Via de\ Poft|^o\o» \xiv\«v«i^\».\s?ei
20 RouU5, SIENA. Oi&s.
to the left in this street is the enti&nce to the Oratorio deUa Mi- aericordia, which contains a Christ in a glory and an Annunoiation
over the high-altar of the school of the Delia Robbia.
A Yiflit to PisMZA is most conveniently made from Kontepuldano : about 9 M., one-horse carr. there and back 10, two-horse 20 ft. Cump. p. 18.
Fienxa (Albergo Prand , poor), a small town with about 2000 iithab.. was originally called CorsignanOy hut subsec[uentiy named the Hown of Pius after Pius II. C^neas Sylvius Piccolomini, p. 28), who was bom here on 18th Oct. 1406, and who adorned the town with very handsome buildings, chiefly designed by the Florentine Bernardo Rottellino and the Slenese Francesco (Oiecco) di Oiorgio (1499-1602). As all these buildings date from about the same period (14^) and are situated in the same piazza (del Duomo), they auord a more compact survey of early-Benaissance architecture than is to be obtained in most Italian towns. The chief edifices are the Cathedral, with its studiously simple facade; to the right of it is the Veseovado or episcopal palace ; opposite the eattiedxal the Palazzo Pubblico, with a colonnade*, to the right the finest of all, the * Palazzo Piccolomini , which like the Palazzo Rucellai at Florence exhibits the rustica style in combination with pilasters (handsome court and colonnade) ^ in front of the palace is a charming Fountain of 14G2. — The right transept of the cathedral contains a Madonna with four saints bv Matteo da .Siena; the choir-stalls, carved in the Oothic style, date from 1462; in the chapel to the left of the high-altar is an Assumption of the Virgin by Vecchietta; in the left transept a Madonna and four saints by Sano di Piutro. The Cathedral Treasury (shown by the sagrestano in pre- sence of one of the canonici, sacristan 2 fr.) contains some early Renais- sance works: crozier in gilded and embossed silver, a Pucvobiscum, a silver censer in the Oothic style, *Mitre of Pius II. decorated with pearls and jewels, reliquary of St. Andrew of Salerno, crucifix with rich fili- gree-work, etc. — The Opera del Duomo^ to the left of the cathedral, con- tains the ecclesiastical vestments, including those of Pius -11., one of which is of Flemish , the other of Italian workmanship.
Continuation of Journey. To the right we soon observe the Monti di Cetona, which are connected with the Monte Amiata (p. 18). To the left stretches the long Lake of Montepultiiano, beyond which is the Lake of Chiusi , connected with the other by a canal. The lakes exhale unhealthy malaria in summer.
108 V2 M. Chianciano, — 114 M. Chiusi, see p. 60.
5. Siena.
Hotels. *Oband Hotkl Rotal db Sibnnb (PI. a: E, 3), Via Cavonr, with its back to the Lizza (p. 35), R. from 2-3, D. 4, B. I1/2, L. & A. 1, omn. 1 fr. ; •Gband Hotel Continental (PI. b; E, 4), Via Cavour 15, opposite the post-office, R. from 2V2, L & A. 1, B. 174, luncheon 2Va, D. iVz, omn. 1 fr.; Aquila Neua, Via di Gittit (PI. D, 5), a good house in the Italian style, similar charges. — Scala (I'l. d •, D, 4), Piazza 8. Giovanni, opposite tl»e Baptistery (p. 26) unpretending, but with large rooms (I'/s fr.); Tkb MoKi (PI. F, 3), Via Garibaldi, near the station, for moderate require- ments, R. 172 fr.; Il Sasso, with restaurant, Via Gavour, near the post-
nazzi\ Via Sallustio Bandini 19; Mme. Marion, Via Ricasoli 37; Pas- quini, Via dclle Belle Arti 19 (pension at each 5-7 fr. per day, even for a short stay).
Trattoria. Aquila Nera, see above; Sasto, see above, good; La Tos- eana (formerly Minerva), Wk del Re 4, with rooms (1-2 fr.), unpretending;
History.
SIENA.
5. Houte. 21
Scala^ see above. — Witie and fine view at TallianVg^ Via delle Belle Arti 31, and at the Fictschetteria il Confortabile^ Via del Gastoro, near the Piazza del Duomo (sometimes open in the evening only). — Beer at Ba- der's^ on the Lizza (p. 35).
Caffk Cfreco, near the Casino de"* Nobili (p. 25).
one-horse
Ifr. -
- 80
- 50
2 1
50
|
Day two -horse |
At 15 one-horse |
|
Ifr. 50 1 - — 60 |
Ifr. 50 1 - - 60 |
|
3 — 2 50 |
3 - 2 50 |
two -horse
Ifr. 80
- I
4 3
30 70
Cab Tariff: In the town : to or from the sta- tion
— first half-hour ....
— each additional Va hr. Beyond the toton, as far as 2 M.,
for one hour . .
— each additional hour. .
Box above 22 lbs. 30 e.
Yetturini. Turillazzi and Nat, Ceecarelli, Via Gavour 23 and 25; car- riage per day 25 fr., half-day 8-10 fr. Saddle-horses, per day 7V2 fr., half- day 5 fr.
Post and Telegraph Office, Via Gavour 16, in the Pal. Spannocchi (PI. 25).
Baths. Swimming-bath near the Fontebranda (poor; water cold); warm baths at MazzeVs^ Via Dupr^ 45.
English Church Service at the Grand Hotel Gontinental, from March to May.
Good Photographs at Car. Paolo LombardVs, Alia Gostarella No. 8, near the Gaflf6 Greco. — Carved Wood (comp. p. 23): Oosi^ Ouidi^ A Querci^ Via Belle Arti 31, near 8. Domenico; Carlo Cambi, Via del Gapitano 5, near the cathedral.
Principal Attractions. Piazza del Campo (Vittorio Emanuele; p. 23), Duomo and Opera del Duomo (pp. 26, 28); walk through the town. To the town and its treasures of art the traveller should devote 2V2-3 days at least. On 2nd July and 15th August, horse-races, called il Palio. take place, presenting a very picturesque scene (seat on grand-stand 2-2*^ fr.).
Siena, the capital of the province of that name, with 25,000 inhab. (incl. the snhurhs), the seat of a university which was in high repute as early as the 14th cent., and the residence of an arch- bishop, is picturesquely situated 25 M. due S. of Florence, and 1330 ft. above the sea, on three connected hills (the clayey soil of which is called 'Terra di Siena'). It is now a busy trading and man ufacturlng place; it also possesses several libraries and scientific societies , and is one of the pleasantest towns in Tuscany, suitable for a stay of some duration. The climate is healthy, the atmos- phere in summer being tempered by the lofty situation ; the lan- guage and manners of the inhabitants are pleasing and prepossessing. Most of the streets are narrow and crooked, hut they contain many palaces and handsome churches. Next to Rome, Florence, and Vcn- nice , Siena is perhaps the most important town in Italy for the
study of the art of the 13-16th centuries.
Siena, the ancient Sena Julia^ or Colonia Julia Senensis, is said to have been founded by the Senonian Gauls and converted into a Roman colony by Augustus, whence it derives its arms, the she-wolf and the twins. The only Etruscan antiquities here are a few tombs which were discovered in 1864 near the Porta Gamollia. The town attained to the height of its prosperity in the middle ages. After the death of the Gountess Matilda (lllo) her extensive dominions were dismembered, and. tYi^^ ^\\Aa.%-t>& ^\ Siena, as well as those of Pisa, Lucca, and TJloTence, R\iftc^^^<fc^ Va. «»N«^- lishing their indepeadence. The goYemnieiit itieu i^W VnX^ MJtvfe \i»»^a
22 Routed. SIENA. History of AH.
of the nobility, but was wrested from them by the people in 1133. The ensuing conflicts, however, terminated in favour of the nobles, and Siena became the leader of the Ghibelline party in Central Italy, while Florence was the stronghold of the Guelph faction. Farinata degli Uberti and the Ghibellincs from Florence were welcomed in Siena, and on 4th Sept., 1260, a great victory over the Guelphs, the bloodiest recorded in the an- nals of Tuscany, was gained near Monte AperlOy on the Arbia (6 M. distant), with the aid of the German troops of King Manfred of Naples. Ten years later Charles of Anjou succeeded in gaining possession of Siena and in making it a member of the Tuscan-Guelph confederation of towns ; but the city kept a jealous watch over its privUeges, and, notwithstanding several attempts on the part of the nobility to re-assert their influence^ ita constitution remained unchanged. In the 14th and Idth centuries Siena numbered nearly 100,000 inhab. , and vied with Florence in wealth and love of art. At length the supremacy was usurped by tyrants, such as (about 1487) Pandol/o Petrueci^ surnamed II Magnifico, whom Macchiavelli represents as a pattern of a despot. In 1493, when Charles YIII. of France arrived in Italy, Siena concluded an alliance with him, and during the troubles of the first half of the 16th cent, the citizens for the most part sided with the French, by whom the town was usually garrisoned. On 22nd April, 1555, the French garrison was compelled by famine to capit- ulate to the Spanish besiegers, by whose aid Duke Cosimo I. of Tuscany succeeded in gaining permanent mastery of the place.
History of Art. The bitter political fate which overtook Siena, and converted the mighty rival of Florence into a quiet provincial town, will strike the antiquarian as a very fortunate circumstance ; for here are still preserved many monuments and reminiscences of mediseval life compara- tively unaffected by the vicissitudes and the progress of subsequent ages. The conservative character of Siena has not, however, been produced, as in the case of Bruges, by the withdrawal of the stream of history \ for even when at the height of its power, particularly as compared with Florence, it manifested a preference for old established rules and a dislike for inno- vations. In the province of Art, despite the abundant supply of artists at their disposal, the citizens never seem to have taken the initiative, but adhered with remarkable tenacity to the earlier style. The best period of Sienese art still belongs to the middle ages, when the towns of Italy had begun to pride themselves on their practice of art, but before the pedantic element had given way to the pure sense of the beautiful. There is no town in Italy which presents such instructive examples of the Italian Gothic Architecture of the 13th and 14th centuries as Siena, where we find magni- ficent stone buildings vying with graceful structures in brick. If the Ca- thedral had been built according to the intentions of the citizens, it would have been one of the largest and most imposing churches in existence, and even in its reduced proportions it is one of the finest in Italy. In the secular buildings (of which perhaps the Palazzo Buonsignori is the finest example) the pointed style predominates ^ the windows are gene- rally divided by small columns, and the whole edifice is crowned with pinnacles. In the 15th cent., when the motive of the castellated mansion was clothed with Renaissance forms, Siena was not slow to imitate the example of Florence. It is, however, uncertain whether Rossellino and Fbancesco di Giobgio have been correctly designated as the architects of the Piccolominiy Spannocchi ^ and Nerucd palaces. The most interesting of the Renaissance churches is the small round church degli Innocently ad- joining the Spedale della Scala.
Siena has produced no independent school of Sculpture, though a liberal patron of foreign masters. As throughout the rest of Tuscany, the development of art did not progress rapidly here till the beginning of the 13th century. Niccolo Pisano, the most famous sculptor of the wth cent., and his son Giovanni were employed at Siena; and the sculptures on the font of S. Giovanni and on the Fonte Gaja are admirable works by Jacopo della Quercia (1374-1438), the earliest representative of the Renaissance style.*
JPAiBting was the favourite art of the early Sienese. As early m the
Piazzadel Campo. SIENA. Route. 5. 23
13th cent, tliqy could boast of Duccio di Buuninsbgna, a painter wliose works far surpass those of Gimabuo in beauty and gracefulness. On his completion in 1310 of the ^Majestas^ or Triumphant Madonna, for the high-altar of the cathedral of Siena, the picture was carried to the church in solemn procession (p. 28). An equally important master was Simonk Habtini (1283-1344), who has been immortalised by a sonnet of Petrarch, and who, like his contemporary Giotto, practised his art and exercised his influence far beyond the limits of his native city. Works by his hand are, or were, to be found at ITaples, Orvieto, Assisi, and Avignon, as well as in the Palazzo Pubblico at Siena. So famous indeed was his name that it was usual to attribute to him all the best works of his period. His compositions are of a very primitive character, but he certainly possessed great skill in his rendering of tender sentiment. Closely akin to these two masters was Lippo Mbmmi, who executed large frescoes with the same elaborate care as miniatures in missals. Several painters of the 14th cent, followed in Simone''s footsteps, such as Babna or Bebna, Ldoa Thome, and Lippo Vanni, without however exhibiting much individuality. The easy narrative style and the imaginative allegory were cultivated by the brothers Pietbo and Ambbogio Lobenzetti (both of whom pro- bably died of the plague in 1348), and the approach of the Sienesc school to that of Giotto was thus accomplished. A little later, however, the works of Babtolo di Fbedi (1330-1409) fell short of those of his predecessors, and this was still more the case with those of Taddeo Babtoli (1362-1422?), who was far inferior to his Florentine contem- poraries. For a time all artistic progress at Siena seemed to be at an end, and throughout the Idth cent, the city did not give birth to a single master of note. The painters Domenico di Babtolo , Lobbnzo di Pietbo (nicknamed Ybcghibtta), Bbnvenuto and Matteo di Giovanni, and others uf this period adhered tenaciously to the limited methods of their prede- cessors, from whose influence they were unable to emancipate themselves. At the close of tiie century, owing to contact with neighbouring schools, whose representatives were frequently invited to Siena, and to the intro- duction of the study of Florentine, tfmbrian, and Lombard masters, the tide of progress at length began to set in. The most distinguished Sie- nese masters of this period, far surpassing their contemporaries Fungai- Pacchia, Paechiarotio , and others, were Baldassabb Pebuzzi and Gio- VANAMTONio Bazzi, sumamed II Sodoha. Peruzzi (1481-1537), who was associated with Raphael at Rome, was endowed with an admirable per- ception of beauty of proportion, and was famous both as an architect and a decorative painter, but Siena now possesses none of his works. Sddoma (c. 1473-1549), on the other hand, may be thoroughly studied at Siena. A Lombard by birth, he brought to Siena some traces of Leonardo''s style, but instead of cultivating this, he seems to have trusted to his own nat- ural ability, and with such success that in one respect he vies with Ra- phael himself. In the delineation of beautiful and youthful figures he is unsurpassed, and his technical skill in fresco painting and his fertility arc marvellous i but, in spite of his strong sense of the beautiful, his works are apt to pall upon the taste owing to the superficiality of their composition. With Dom. Beccafdmi (1486-1551), who frequently altered his style, begins the final period of decline from which Siena never recovered. In the art of Wood Carving Siena has always taken the lead among the towns of Italy. In the 15th and 16th cent, the Barili family (particu- larly Antonio i d. 1516, and Giovanni y d. 1529) distinguished themselves in this branch, and their modern representative is Oimti, whose pupils 6osi, Guidi, and Querci are mentioned at p. 21.
In the centre of the town , at the nnion of the three hills on which it stands, is the picturesque "Tiazza del Campo » now offi- cially called Vittorio Emanuele (PI. D, 5), which has been men- tioned by Dante (Purg. xi. 134). It is semicircular in fo^^sv^ -axA. depressed towards the centre, somew\i«Lt i^eifi^iV\s\% ^^a. ^^^ssvsso^ theatre. The popular assemblies and tftstVv«\a Ql ^^ «wssk«*» '^^^
24 Bouie 5. SIENA. Palazzo Puhblieo,
pnblic took place here, and it is here that the Palip hoise-iaces (p. 21) are now held. — The piazza is enclosed by pinnacled pal- aces. On the diameter of the semicircle rises the —
^Palazzo Pnbblico fPl. 22^ D, 5), a huge brick edifice of four stories, erected in 1289-1309, with pointed windows divided by small columns, and wings lower than the central part of the build- ing. (The wings of the second floor are of a later date; comp. p. 28. J Adjacent rises the slender tower del Mangia^ begun in 1325, and finished about 1345, so named after the stone figure of a man which used to strike the hours (a popular figure somewhat resembling the Roman Pasquino, p. 201); fine view from the top. At the foot of the tower is the Cappella di Piazza^ in the form of a loggia, begun after the cessation of the great plague of 1348 which carried off 30,000 persons , and completed in 1376, with damaged frescoes by Sodoma. The upper part was added in 1460 by FederigJd. The she-wolf on the column in front of the right wing, the arms of Siena (p. 21), dates from 1429.
The ^Interior (custodian i/z-i fr. ; best time 10-2) is embeHished with numerous frescoes of the Sienese school. Among those on the Ground Flooe are a Coronation of the Virgin, by Sano di Pietro, 1446 5 a Ma- donna with SS. Ansano and Galgano, and another with St. Leonard, both by Sodoma; Hadonna with saints, by Vecchietta; a Eisen Christ, by So- doma, 1635 (?), in the room of the Sindaco.
On the FissT Floob, the custodian first shows the Sala dbl Gran C0N8IGL10 (or del Mappamondo ^ or delU Balesire) , adorned with large frescoes : *Madonna and Child under a canopy borne by saints, by Simone Martini^ 1315, a composition with numerous figures, somewhat stiff, but with beautiful details ; opposite, *Equestrian portrait of Guidoriccio Fo- gliani de Bicci by Simone Martini (1328) ; beneath , Madonna by Cfuido da Siena, the date of which , 1221 , appears to be spurious (prob. 1281 •, for- merly in 8. Domenico) ; then , to the right and left, *S. Ansano and ♦S. Vittorio, and, on the other wall to the right, S. Bernardo Tolomei, all by Sodoma; then 8. Bernardino by Sano di Pietro and 8. Catarina by Vecchietta. — The vestibule of this hall is adorned with frescoes by Taddeo Bartoli, representing ancient heroes, Judas Sfaccabseus, and St. Christopher and other saints (1441). The vault of the archway is occupied by a curious view of Rome. — A beautiful iron railing (1435-45), adjoined on the right by a font by Turini, separates this vestibule from the Council Chapel, which is embellished (left) with frescoes of the Death and Assumption of the Virgin by Taddeo Bartoli, and contains handsome benches carved by Domenico di Niccolb (1429). The altar-piece is a Holy Family by So- doma; on the right is an organ by A. Pifferio (1519). — To the right of the Sala dc^ Consiglio is the Sala della Pace, or dei Nove, with frescoes by Amhrogio Lorenzeili, painted in 1337-43, representing 'Good and Bad Governmenf , three pictures which arc indispensable to those who desire an insight into the disposition of the proud citizens of Siena in the middle ages. The allegories and allusions of a more or less obs- cure character which they contain are at least interesting as being of a much more homely kind than those customary in modern times. One of these mural paintings represents the ideal of a state, under the guidance of wisdom, justice, and other virtues, while the two others pourtray in a realistic style the consequences of good and bad government. The preservation is imperfect, but the spectator will not fail to admire the beads of Peace, Justice , and Concord in the first of the series. — Adjoining is a room with portraits of the eight popes and thirty-eight cardinals to whom Siena has given birth. — Another Room contains some frescoes recently transferred from other buildings, a Hadonna by Matteo da Bkna,
Casino de' Nobili. SIENA. 5. Route. 25
1484, and S. Bernardino preaching in the Campo (p. 23), by Sano di Pietro^ interesting for its representation of the piazza at that period. — The ad- joining Sala di Balia, or db** Pbetobi, is adorned with ostentations ^Frescoes from the history of Pope Alexander III. by Spinello Aretino (1408 ^ includ- ing a naval victory of the Venetians, and the Emp. Frederick Barbaroasa and the Doge leading the Pope's horse). In the centre of the room are two fine coffers, one carved by BariU, the other adorned with paintings said to be by Fra Angelico. — The last room is the Sala dbl Gongistoro, with ceiling - paintings by Beecafumi^ a fine marble doorway by Jaeopo delta Quereia (above which is the Judgment of Solomon by Luea CHordano)^ Florentine 'Arazzi* or tapestry (partly of the 16th cent.) on the walls, and modern bnsts of statesmen and other illnstrious citizens of Siena.
The rear of the palace, abutting on the Piazza del Mereato (PL D, 5, 6), or vegetable market, is also very pictnresqnc. The piazza com- mands a good view of the environs.
At the E. end of the Piazza del Campo is the Palazzo del Go- vemo (p. 30 ; facade towards the Via Ricasoli). — In the centre of the piazza, opposite the Palazzo Puhblico, rises the marble *Fonte Oaja, a modern reproduction (1868) hy Tito Sarrocchi of the original fountain of 1343. The beautiful bas-reliefs of the Christian vir- tues and of the Creation of Adam (left) and the Expulsion from Eden (right) were executed by Jaeopo della Quereia in 1409-19 (originals, in a very damaged condition, now preserved in the Opera del Duomo, p. 28). A subterranean conduit, 18 M. in length, supplies the fountain with delicious water.
Ascending by steps through one of the passages beyond the Fonte Gaja , we reach the beginning of the Via di Citta, which presents a busy scene, especially in the evening.
To the right, the *Loggia of the Casino de' Nobili (PI. 2; D, 5), once the seat of the commercial tribunal. It was built in imitation of the Loggia de' Lanzl of Florence in 1417, but the upper story is later. The sculptures are by Sienese masters of the 15th cent., such as Ant. Federighi (who executed the figures of S. Ansano, S. Savino, and S. Vittore, and the stone bench on the right), Lorenzo di Mariano (stone bench on the left) , and Vecchletta (figures of SS. Paul and Peter). — The N. prolongation of this street towards the Porta Camellia is the Via Cavour (p. 35). — A little to the N. of the Loggia Is the Piazza dell' Indipcndenza, with a Statue of Italia by Sarrocchi , in memory of Sicncsc patriots who fell in the struggle for the union of Italy (near PI. 27; D, 5).
Proceeding to the left, past theCaff^ Greco, and then ascending the Via dbi Pbllegbini , a side-street to the right , we reach the small Piazza S. Giovanni. Here, in the corner to the left, is situated the Palazzo del Magnifieo (PI. 18; D, 5), erected in. 1508 for the tyrant Pandolfo Petrucci (p. 22), from designs by Giacomo CozzarelU. The bronze ornaments and flag-brackets on the outside are in admirable keeping with the style. One room is embellished with frescoes by PintuHcchio^ discovered in 1882.
In a straight direction we obtain a fiiiift svjirje^ <il ^'^ ^<2?vs. ^\ the loftily situated cathedral, nnder ^McJVi \b ^^ ^^\i^-^'^^^»'^ ^
26 RouU5. SIENA. Cathedral.
forming a kind of crypt, now the elmrch of *S. Gioyanni (PI. 5), with a fine, but unfluished Gothic facade (after 1317).
The marble *'Font is an admirable early-Renaissance work, designed by Jacopo delta Quercia (1416) , who also executed the statuettes of John the Baptist and the four prophets, and one of the six bronze-gilt "^Reliefs from the history of John the Baptist (Zacharias led out of the Temple, 1430). The others are by Lorenzo Ohiberti (Baptism of Christ and John the Baptist brought before Herod, 1427), Donatello (Head of John the Baptist brought before Herod and his guests, 1427) , and Turino di Sano and his son Oiovanni di Turino. The last also executed the figures of Charity, Justice, and Prudence ; those of Faith and Hope are by Donatello. — The frescoes by Sieneso painters of the 15th cent, are of inferior value. — Over the high-altar is a Baptism of Christ by And. and Baf. Puccinelli of Brescia.
From the Piazza S. Giovanni we may either follow the street to the right, past the Palazzo Arcivescovile (PI. 13), or we may ascend the steps to the left. By either way we reach the Piazza del Duomo-
The **Cathedral, or Chiesa Metropolitana (PI. C, 4, 5), occupy- ing the highest ground in the town, is said to stand on the site of a temple of Minerva, which was succeeded hy a church of S. Maria Assunta. The present building was begun early in the 13th cent. ; the dome was completed in 1264; and about 1317 the choir was prolonged to the E. over the church of S. Giovanni (see above). Owing to certain structural defects, to which the present irregu- larity of the edifice is still perhaps partly due, it was resolved in 1339 to erect a huge nave, of which the present cathedral was to form the transept only, according to a plan preserved in the Opera del Duomo (p. 28). Parts of this building , designed in a beautiful style , still exist on the S. side of the oaihedral in the form of a ruin. After the plague of 1348 this ambitious plan was abandoned, and the original structure was then completed. (Length 97 yds., width 26y2y<is., length of transept 55 yds.) The ♦Fa- cade, constructed in 1284-1380 from a design by Oiovanni PisanOy showing a combination of the pointed and circular styles , is com- posed of red, black, and white marble, and richly decorated with sculptures representing prophets and angels by different masters; the mosaics were added in 1878 by Mussini and Franchi. The cam- panile , consisting of six stories , does not taper towards the top.
On each side of the entrance is a column bearing the wolf of Siena.
The '^Interior consists of a nave and aisles extending to the choir and intersected by a double transept, with an irregular hexagonal dome over the centre. The horizontal bands of colour, the continuous rows of busts of popes (in terracotta; about 14(X)) over the arches, and the pillars with the half-columns will at first produce an unfavourable impression on northern travellers, but they will find that the pleasing ornamentation in marble compensates to a great extent for organic defects.
The stained glass in the large circular window in the wall of the en- trance was designed by PeHno del Vaga, 1549. Over the entrance is a graceful tribune of 1483, borne by two columns. The *Ba8ins for holy water arc by Ant. Fedenghi^ a pupil of Jac. dclla Querela, 1462-63.
The marble **Pavement is quite unique, being covered with 'Graffito'
representations from designs by eminent artists: scenes from Old Testament
history, Moses, Samson, Judas Maccabeeus, Solomon, and Joshua by Do-
menico di Niceolb (1423); Abraham's sacrifice, Adam and Eve, Hoses on Mt.
Sinai, etc., hyBecca/umi; the symbols of Siena and the towns allied with
Cathedral. SIENA. 5. Route. 27
it, Hermes Trismegistus, Socrates and Crates, tbe Sibyls, and other iigures by masters of less note. The esecution varies. The oldest scenes axe simple outlines engraved on the w^hite marble and filled with black stucco. Shading was then introduced by the use of grey and also of coloured marble, so that the graffito gradually developed into an elaborate mosaic. The pavement is generally covered by a wooden flooring, which is, however, removed on Aug. 15th (Feast of the Assumption). Some of the original works are now in the Opera del Duomo (p. 28).
Left Aisls: At the entrance-wall, statue of Pope Marcellus II., by
D. Cafaggi. — 4th Altar (of the Piccolomini), with sculptures by Andrea Bregno (1485) and statues of SS. Peter, Pius, Gregory, and James, by Michael Angela , and St. Francis, begun by Torrigiani and completed by Michael Angela. — The entrance-wall of the Libreria is embellished with fine sculptures in marble, by Lorenzo Marrina (1497). Over the door: Coronation of Pius III. (Piccolomini; 1503), who reigned 27 days only, by Ber. PinturiccftiOy who also painted the frescoes in the library (p. 28). — Farther on is the Honument of Bandino Bandini, with the Risen Christ and angels, attributed to Michael Angela.
The *PoLPiT, octagonal in form and constructed of white marble, borne by ten columns, some of which rest on lions, and adorned with admirable reliefs from the New Testament, is by Niccalb Pisano^ his son Giovanni f and his pupils Ai-nol/o and Lapo (1266-68). The (light of steps was designed by Bernardino di Oiacomo (1543).
The Left Tbansept contains the Cafpblla S. Giovanni, with a portal by Marinna. In the interior are a ^'Statue of John the Baptist by Dona- tella^ 1457; statues of SS. Catharine and Ansanus, by Neroccio (14[87) and Oiov. di Btefano, respectively; a font, perhaps by Jacopo della Quercia; stucco enrichments on the walls by Peruzzi; and five small frescoes by Pinturiechio ,, three being scenes from the life of Alberto Arringhicri, the donor. — Farther on in the same transept are statues of Popes Pius III. and Pius II. by P. Balestra and O. Mazzuoli respectively. — The chapel to the left of the choir contains a relief of the 11th cent., representing the Annunciation , the ITativity, and the Adoration of the Magi, removed hither from the old church of Ponte alio Spino , about 3V2 M. from the town (p. 37). The bronze relief in the pavement in front of this work is by Donatella, and marks the tomb of Bishop Giovanni Pecci (d. 1420).
The Choib contains a high-altar executed from a model by Baldassare Peruzzi (15S2); and behind it richly carved *Choir-stalls, reading-desk, etc., by BartaU) Nerani^ surnamed Rtccio (1567), and inlaid work (intarsia) by Pra Giovanni da Verona (1472). The bronze 'Canopy is by Lorenzo di Pietro, surnamed Vecchietta (1472); the angels, acting as candelabra, are by Gio- vanni di Ste/ano and Francesco di Giorgio (1^9) , the front row of stalls and the reading-desk by Ra/faele da Brescia (1520). The frescoes, by Beccafumi (1544), were entirely renewed and altered at the beginning of the present century. — By the pillars of the dome are two flagstaff's from the standard-waggon of the Florentines (il caroccio), captured at Monte Aperto in 1260, or, according to some authorities, those of the victorious waggtm of the Sienese. Over a neighbouring altar is the crucifix which the Sienese carried with them on that occasion. — To the left of the high-altar is an organ-loft by Barili (1511), above the entrance to the sacristy, which contains (to the left) a font by Turini.
In the chapel to the right of the choir are reliefs of the Evangelists and St. Paul, by Francesco da Imola and Giov. Turini.
The Right Tbansept contains statues of Popes Alexander VII. (by
E. Ferrata) and Alexander III. (by A. Raggi). — The tomb of Bishop Tommaso Piccolomini (d. 1483) is by Neroccio. — The Cappella del Voto, belonging to the Chigi^ built by Alexander VII. (Fabio Chigi of Siena, papal nuncio at the Peace of Westphalia in 1648, pope in 1665-67) in 1G61, is richly adorned with lapis lazuli, marble, and gilding., a.\^^ t^wXaSox^ statues of St. Jerome and Mary Magdalene (said ori^TiaAV^ Aq \\a.NVi.\i<ft,«iv an Andromeda) by Bemini. At the end of tb,e T\0it «Aft\e, \a «i ^Va-Va^ «^ Pope Paul v., by F. Signorinu
28 Routed. SIENA. Opera dd Duomo.
In the left aisle, afl already mentioned, iA the entrance to the cele- brated ^^Library of the Cathedral (Libreria; fee Vz fr.)i formerly the Sala Piccolominea. erected by order of Cardinal Francesco Piccolomini, afterwards Pope Pins III., in 1495, and adorned in 1605-07 with ten frescoes by fVn- iuricchio, representing scenes from the life of JBneas SyMus Piceolomini of Pienea (p. w), afterwards Pope Pius II. (1458-64) : (1) Departure of iEneas Sylvins for the Council of Basle ; (2) ^neas Sylvins in presence of King James of Scotland, to whom he had been sent by the Council; (3) His coronation as a poet by Emperor Frederick III. at Frankfort in 1445; (4) iEneas Sylvius doing homage to Pope Eugene IV. in the name of the Emperor ; (5) Betrothal of Emperor Frederick III. with Eleonora of Portugal at Siena by iEneas Sylvius ; (6) ^neas Sylvius created a cardinal by Pope Calixtus III. •, (7) ^neas Sylvius elected Pope Pius II. ; (8) Pius II. at the diet of princes in Mantua; (9) Canonisation of Catharine of Siena; (10) Death of Pius II. at Ancona, while preaching a crusade against the Turks. Some of these pictures, which are connected by beautiful figures of nude or half-nude children, are admirably preserved. Vasari asserts that Ra- phael assisted in their execution. It is tolerably certain that Raphael was at Siena at the same time as Pinturicchio, and it is not improbable that he furnished the older and less imaginative master with designs of which the latter availed himself more or less freely. Designs for these frescoes attributed to Raphael are now preserved in the Uffizi (that of No. 1), in the Br era at Milan (No. 3), by the Duke of Devonshire at Chatsworth (No. 4), and by Sign. Baldeschi at Perugia (No. 5; p. 49). — Thpi ^Missals , embellished with beautiful miniatures , also deserve attention (No. 5 and No. 9 by Liberate da Verona^ No. 12 by Oirolamo da Cremona^ No. 11 by Stmo di Pietro). — The S. side-entrance of the cathedral is surmounted by a relief of the Madonna by Micheloxzo.
Opposite the S. side of the cathedral, in the comer where the steps ascending from S. Giovanni terminate under the arches of the nncompleted nave (p. 26), is the *Opera del Dnomo (delta Metro' politana ; PI. 12; C,5), which contains several interesting works of art.
In the entrance-passage is the custodian^s bell (V2 fr.).
The hall on the Gbound Floob contains a famous antique *Oroup of the Graces, found at Rome in the reign of Pius II. and presented by him to the cathedral library, but removed thence in 1867 by desire of Pius IX. From this work Raphael made his first studies from the antique (drawing at Venice). The superb Renaissance pedestal is also interesting. The ^Sculptures from the Fonte Oaja (p. 25) by Jacopo delta Querela, representing a Madonna, the Virtues, the Creation of Man, and the Expulsion from Paradise, which are among the ma8ter''s finest works, are unfortunately much damaged. Sculptures from the Cappelta di Piazza (p. 24), and others from the facade of the cathedral before its restoration. — Antique sarcophagus with sea-gods ; ornamentation of an organ-screen, representing the Transfiguration, by Sodoma. On the Fibst Floob : Drawings and copies of the ^Ora/fiti of the Cathedral Pavement, destined to replace the originals; also some of the originals themselves (comp. p. 27) and four copper-plates with the four chief designs. — On the Second Floob several interesting plans and architectural designs; handsome embroi- deries ; crosiers ; ring of Pius II. Also several early Sienese paintings, the chief of which is the large ^Picture by Duccto di Buoninsegna : on the left the Triumphant Madonna with the Child and saints, the once bighly revered 'Majestas', which was placed over the high-altar in 1310 (p. 23), with the inscription: Mater Sancta Dei, sis eaussa Senis reqmei^ sis Dueio vita, te quia pinxit ita. On the right is the Life of Christ, in 25 sections, originally forming a background to the Majestas. Also four saints by Anibr, Lorenzetti; a Byzantine Madonna of the 12th cent.; a Credo by Taddeo Bartoli; a ^Nativity of the Virgin by Pietro Lorenzetti (1342), in a lifelike genre style; and a picture of the 15th cent, (perhaps by Sano di Pietro), showing the original form of the Palazzo Pubblico (p. 2i).
A(^'oinIng the Opera is the Palazzo Beale (Pl. 23), erected by
S. Maria della Scala, SI£NA. 5. Route 29
Bern. Buontalenti in the 16th cent., now the seat of the prefectuie. — Farther on, in the Via del Gapitano (see below) which diverges here, is the Palazzo Peed (PI. 20), a Gothic brick building of the 13th century. About 1360 it was appointed the official residence of the Gapitano dl Giustizia, or chief judicial functionary of Siena ; in 1457 it was acquired by the jurist Tom. Pecci ; and it is now the property of Sign. E. Grotanelli di Santi , who has had it restored without and within by Sienese artists.
Opposite the fagade of the cathedral are the church and hospital of S. Maria della Scala (PL G, 5), of the 13th century. Over the high-altar of the church is a Risen Ghrist , a statue in bronze by Vecchietta. The choir-stalls are by Ventura, the organ by J5. Peruzzi. Adjoining the handsome entrance-hall of the hospital is a large sick-room called 'II Pellegrinajo*, adorned with frescoes from the history of the monastery by Domemco di Bartolo (1440-43) and other masters. Pleasing view from the windows (fee 1/2 ^r*)* — Descending to the left at the N. angle of the Piazza del Duomo by steps and under several arches, we reach the church Degli Innocenti (PI. C, 4), externally a very rude edifice, but Vlth a charming interior in the form of a Greek cross* (Burckhardt).
The above-mentioned Via del Gapitano leads to the quarters of the town situated on the S. and S.W. hills. It soon crosses the small Piazza Postierla, with the Palazzo Chigiy now Piccolomini (PI. 16; 0, 5), on the right, which contains two saloons adorned with frescoes by Bernhard van Orley, a Fleming who joined RaphaeVs school. The column with the wolf in the piazza dates from 14iB7. — Not far off, in the Via di GittSi, which diverges here to the left, is the Palazzo Piccolomini i now Nerucci (PI. 19; G, D, 5), erected by Bernardo Rossellino in 1463 for Gatharine, the sister of Pius II. Beyond it is the Palazzo Saraciniy the vaulting in the court of which is tastefully painted. — In the Via di Stalloreggi, diverging from the Piazza Postierla to the right, is the Casa Bambagini - Oalleiti, on the facade of which is a fresco by Sodoma (^Madonna del Corvo').
On the left, in the Via S. Pibtbo, the continuation of the Via del Gapitano, is the * Palazzo Buonsignori (PI. 15; G, 5), a hand- some Gothic edifice of the 14th cent., in brick, with a rich fagade, restored in 1848. The vestibule, court, and staircase are in a heavy rococo style. — At the church of 8. Pietro alle Scale (PL 9 ; G, 6 ), which contains paintings by Salimbeni and Rutilio Manetti (16th cent.), the street bends to the right. — Following the main street and passing under an archway , we enter the Piazza S. Agostino (PL G, 6), with the R. Collegio Tolomei, formerly a monastery and now a much frequented grammar-school (Liceo), and the church of —
S. Agostino (PL G, 6), remodelled by VanviteUi in 1755, the entrance to which is in the Liceo, to the left.
Over tbe 2nd altar on the right, a Ctuc\^x\ou \j^ PUVro Pe-cu^jVao. Blassacre of the Innocents by Malteo da £iena 0-^SS£) , \a ^ OQ».^«iV ^"s*- ^*^ right. Statue of Pfus II. by DupvL Altar-piece, au K^OT;»X\v>Ti ^iV \.\3LVi^\^«^v»"i
30 Route 5. SIENA. Palazzo del Qovemo,
Sodoma. At the back of the choir, on the left, the ^Legend of 8. Agostino Novello in three sections, hy L^o Memmi^ probably his best work. Also pictures by Salimbeniy RuHlio Manettiy and others.
About 250 paces beyond the Porta Tufi (PI. B, 7) is the Cimi- tero della Misericordia , containing among its monuments a good Pietk by Dupr^ and several statues by Sarrocchi (fee 30-50 c). — Following the Via della Cerchia (where the small Palazzo Finetti should be noticed) to the W. of S. Agostino , and bending to the right, we enter the Via Baldassare Peruzzi, on the left side of which are the suppressed monastery (now a barrack) and the church of —
S. Maria del Carmine (PI. B, 5), a handsome brick edifice, with campanile and cloisters, by Baldassare Peruzzi (open 7-9 a.m. only). On the right is the Cappella del Sagramento with a Nativity of Mary by Sodoma; 5th altar on the left, St. Michael by Beccafumi.
Opposite is the Palazzo Pollini , formerly Celsi (PI. 21 ; B, 5), attributed to Peruzzi. — We may now proceed straight on through the Via delle Fosse di S. Ansano (with the R. Istituto Toscano dei Sordo-Muti , or Deaf and Dumb Asylum) either to the Piazza del Duomo, or, by turning a little to the left towards the end of the way, we may reach the Porta Fontebranda (see p. 34).
Outside the Porta 8. Marco (PI. A, 5) there is a fine view.
The E. angle of the Piazza del Campo is occupied by the ♦Pa- lazzo del Governo (PL 17; D, E, 5), one of the most imposing pri- vate edifices at Siena, erected for Giacomo Piccolomini in 1469-1500, probably from a design by Bernardo Rossellino. The principal facade with its tasteful decorations in wrought iron (horses' heads, etc.) looks towards the Via Ricasoli and the small Piazza Piccolomini. The palace now contains the extensive * Archives (director, Sign. Lisini),
one of the most important collections of the kind in Italy.
Parchment Charters^ 52,000 in number, the oldest dating from 736. Under glass are a nnmber of interesting specimens of these docnments. Autographs of celebrated men (Pins II., Leo X.), Miniatures^ etc. There is also a valuable collection of the Covers of the old Treasury Reffi$ters (Biceherne)^ in chronological order, painted with scenes from sacred and profane history, and aflfording an admirable survey of the development of Sienese art. They include works by Dietisalvi, Duedo, and the Loreruetti,
In the vicinity is the University (see p. 31). — The *Loggia del Papa (PI. 11 ; E, 5), in the Piazza Piccolomini, opposite the Pal. del Governo, was erected in 1460 by the Sienese Antonio Federighi by order of Pius II. (iEneas Sylvius Piccolomini), and dedicated by the pope *gentilibus suis'.
Adjacent is the church of S. Hartino (PI. 8; E, 5, 6). Over the 2nd altar on the right , a Circumcision of 'Christ by Ouido lieni. On each side of the 3rd altar are ornamental sculptures in marble l»y Lorenzo di Mariano, surnamcd II Marrina; on the left: Nativity of Christ by Beccafumi. The choir contains gilded wooden statues, attributed to Jacopo della Quercia.
The Via Ricasoli, which passes the Loggia del Papa, tra- ror/}fis the nrest of the S.E. hill and leads to Porta Pispioi and
8. I^irito. SIENA. 5. Route, 31
Porta Romana, the two S.E. gates. — Immediately to the right in this street is the Fonte di Pantaneto^ dating from 1352, recently restored. To the left, a little farther on, the Via di Follonica descends to the Fonte di Follonica, constructed iu 1239 and situated in a garden far below. — After 5 min. more, a few paces beyond the church of 8. Giorgio (PI. E, 6), the Via db' Pispini diverges to the left, in which we first reach the church of —
S. Spirito (PI. E, 6, 7), with a dome dating from 1508, and a
portal from 1519, the latter designed by Baldassare Peruzzi,
The 1st chapel on the right (Cappella degli Spagnuoli) contains, above a St. Bosa by Viterbo, the following ^Paintings by Sodoma: Madonna pre- senting the gown of the Order of the Dominicans to St. Alfonso, in the presence of SB. Octavia and Lucia; to the right and left SS. Sebastian and Anthony the Abbot; in the lunette, St. James on horseback (fresco). To the right is a Nativity of Christ in terracotta by Ambrogio delta RohUa (1504). — Over the door leading to the sacristy, Crucifixion, by Bono di Pietro. — Over the 3rd altar to the left. Coronation of the Virgin by Pacchia, — In the Cloistbbs (sagrestano 5-6 soldi): Crucifixion by Fra Paolino (1516).
The Fonte etc' Pispini dates from 1534. The neighbouring Porta Pispini is adorned with a damaged fresco (Nativity) by Sodoma.
Opposite S. Spirito we enter the Vicolo del Sasso, follow to the right the broad Via S. Girolamo, and passing the column with the wolf, reach 8. Oirolamo (PI. D, 7), belonging to a nunnery (3rd altar to the left : Madonna by Matteo da Siena, framed in marble by Lor. di Mariano). On the left we next reach the church of —
88, ConcezionCy or Servi di Maria (PI. D, 8), erected in 1471, with a beautiful interior (1511-33) attributed to Bald. Peruzzi.
First altar to the right: Madonna, by Coppo di Jliarcovaldo y 1261. Fourth altar to the right : Massacre of the Innocents, by Matteo da Siena, 1491; above, Adoration of the Shepherds, by Taddeo Bartoli, — In the right transept, above the first door leading to the sacristy: *La Vcrgine del Popolo\ by Lippo Memmi, an able work. — At the back of the high- altar, 'Madonna del Manto'*, ascribed to Qiovani^ di Pietro^ 1436. The Coronation of the Virgin, by Fungai (1500?) , is one of his earlier works.
The Porta Romana (PI. D, 8) is adorned with a fresco (Cor- onation of the Virgin) begun by Taddeo Bartoli and finished by Sano di Pietro. — About 1/3 M. beyond the gate is the church of Madonna degli Angeli, the choir of which contains a Madonna with saints, by Raffaele da Firenze, 1502.
Opposite the N. side of the Palazzo del Governo (p. 30) the Via S. VioiLio leads to the E. to the church of the same name and to the Univertity (PI. 28; E, 5). The entrance to the latter is in the cx)rner to the right ; in the corridor is the monument of the cele- brated jurist Niccolb Aringhieri (d. 1374), with a bas-relief re- presenting the professor in the midst of his audience.
The neighbouring church of 8. Maria di Provenzano (PI. 7; E, 5) dates from 1594. — Traversing several streets to Wva ^. ^^ reaeh the Piazza di S. Fkancesco (PI. ¥,5"), m -^VVOcv tV^^ ^2wi church of S. Francesco and the Oratorio dl B. ^exuwWwo*
32 Routed SIENA. Oratorio di 8. Bemcardino.
The chuioh of S. Ihranoeseo , now undergoing restoration , has fine cloisters of 1518, in which, adjoining the side-entrance to the church J are architectural sculptures from tombs of nohles dating from the 14th century. To the left of the entrance to the seminary is a relief of the Madonna hy CozzarellL The chapel contains a *Madonna nourishing the Child, hy Ijorenzetti (wall facing the windows), and a Madonna and saints hy Bamu (left wall). Farther on in the cloisters are some relics of a fresco of the Madonna by Am- brogio Lorenzetti.
The ^Oratorio di S. Bernardino (PL F, 5) possesses admirable
pictures, especially by Sodoma. Afternoon light best. The 'custode'
lives at No. 6, adjoining (fee Y2 fr.)*
LowBB OsATosio : Scenes from the life of St. Bernardino, of the close of the 16th century. — *Uppbb Obatobio : Presentation in the Temple, Salutation, Assumption, and Coronation of the Virgin^ SS. Anthony, Bern- ardino , Louis , and ^Francis, by Sodoma^ 1518-32, the single figures being of great beauty. Betrothal and Death of the Virgin, by Beecafumi^ 1518. Nativity of the Virgin, and Annunciation, by Oirol. del Petechia., 1185. The visitor should observe the admirable enrichments of the ceiling, the frieze, etc., which are among the most tasteful of early -Renaissance works, executed by Oiuliano Turapilli after 1496. Altar-piece by Beccafumij 1537.
The Via del Rossi leads straight to the Via Cavoub, which with its prolongation, the Via Camollla , extends from the Casino de' Nobili (p. 25) to tlie Porta Camollia, a distance of nearly 1 M. Approaching from the Casino de' Nobili, we first reach a small piazza, named after the Palazzo Tolomei (PI. 26; E, 4), a Gothic edifice of 1205, on the left, aud also adorned with a wolf. Farther on are the Palazzi Paimim (1540), Bichi (1520), with a fine loggia with modern paintings, Gori (1677), and *8pannoechi (PI. 25 ; E, 4), built in 1470 by a Florentine master, with a bold colonnaded court, and recently thoroughly restored. The last now contains the Post and Telegraph Office. — In the vicinity is the Piazza Salimbeni, with a statue of Sallustio Bandini (1677-1766), the drainer of the Sienese Maremme, by Tito Sarrocchi, erected in 1880.
To the left diverges the Via dblle Belle Abti, which contains the Art Institution and the Library and leads straight to the ohurch of S. Domenico (p. 35).
The *l8tituto dalle Belle Arti (PI. 10 ; D, E, 4) contains a valu- able collection of pictures, principally of the older Sienese school, formed at the beginning of the present century of works procured from suppressed monasteries and from the Palazzo Pubblico, and gradually extended since that period. Adm. 9-3 daily (1 fr.), ex- cept on Sundays and holidays (bell below, to the right).
The numbering of the pictures is as nearly as possible chronological, though a few of the most important canvases have been transferred out of order to the better light of the cabinets. There is no catalogue, but the names of the artists, so far as known, are attached to the frames.
At the entrance. Reliefs of little value. — I. Cosbidob, to whioh the
attendant directs us: 1-15. Pictures of the 13th cent., still in the Byzantine
style; IG. Margaritone d'Arezzo^ St. Francis^ 17. Outdo da 8i«na^ Madonna }
23-34. /Jurct'o di Buoninsegna^ Madonnas*, 39. Ambrogio Lorenzetti^ Annun*
JUIIuto dtlU BdU Aril. SIKNA. fl hy Pi'Ira La
_._.]OB(l3UJi 65^. V ^liteM 4i 5i«u, Cmcll
/wiH, CarluoDS (or the ,
Portrul of An old mini B35. Vortw, Fortcait;
III, CuBBQioH: Pictures Tty Tadden Baftalty <^ovamt at raoto^ att
ii Piurt (Ihe 'Sienaso Fr« Aneelico'), Strotcio di Birl. (Laadi), etc. II Titira di Olenaiml, St. Bemardlna. — IV. Cabikgt : 26S. Sms di Pfafrt, t donnft BBd B(. C«lii(to« ; •STl. sademo, Smurging of Christ (Iteko)! 970, ff amtame Oitga, Flight of «iims, RMJiQmlDg prisoBen. 'Woollen pUMi bs A Barili. — V. C.wbet: 369-280. Painting! bj Bonn dl Hiiro.- 1! ISB. .indria
of tb
. and CI
worliB by p,r-- — -
by Pdlro lurtmittl (1829), transferred from panel id ei la. roddw aaddi, Budonnai 123, 194. flpiMUo Ar BMIoB of Ihe Virgin. S«. Anligae lercopbagua witl ixn: IS2. Lippe Miami, 88. WicliBel, Jeroms, and Ahw dl «(irB, Coronation of the Virgin. — X. C laite altar-pieces hy Aami d* Rdro, Ha4onnaa and sa
whtehco
Nareiils. — IX. C.
±^
1 1 138. Luea dl Tenant, ance, *3e9, 31
AnnoDoIaUoii: im IViddu di Sarlole, I ■tadOBna (13^. — Ws now relnrn to 1 XI. Lakbk Hali.. To Ibo ligtal am Boiama, Ubrist an IbE Ut of Oliyes, Cbriat in Pureatoiy, two frescoai brougbt from 8. Crow. To tht left: 307. Frmterieo dl eisTfio, Nali'ltyi SSI. ?Was Hadonna and aainta ; 371. Plntaricchia, Holy family ; •S». &<- doaia, Judith; -SlI. PamMimUii, Dadanna and 63. Unuphrina and Erai- mai| US. Becatfmu, Pall of Ibe angela; SID. firmtcuca di aiarita, Coron- ■Uon OC Ibe Viwln; 5U. fM-. dei/tafcAfo, Annnnciallun and Viailatlun (af- lor Ibe picture fay Albertlnetli In the Uffliili -BIS. Bodoma, Descent from the Odh; 313. BKcafiKtl, Cbrist In PaigaUrTi 339. Fimeal, Madonna and Binta-, SSI. Ilitta^cckle. Holy Famllyi 339. FoctilaroIU, Aicenilonj 311. fiwacB di BiBTfiB, OrnelAilan. — XII. Ronii: •Uid. Bommiehiao, Land- Kkpet U>1- JcBi anapSil, aea-pjecei 112. Falma Olovane, Braien Serpenti Alt. Old copy of Hap/raal'i Madonna dell* Peria (in Hadrian ITS. Carmainlo, Hnna-playan , 11». Pnlma VtrtMo, Hadosna 1 132- H«(«Wci»ib, Holy Family ; ^. L«<mi OraiuOi l.ntnH^\ 13 T. Copy at Arnhrrgtr CbarieB V. , 139. j/o-
S); (30. E
family, M). Body
tbarise, U3. T<ro nild-
ni, AnuunctattoD|Ue, 151. Fra Bi
i^opy 01 .amwr^Ffr, i^nariett v . i a u UTB1 St. Catharine ; 188. Alldarftr.^
'ibtiii and two BnKeU,'ui, IB.' _ '"falpping the Ci
.; Sod.
iioennlnja, i^ni^ v'Miwi
34 Routed. SIENA. BihlioUeaComunale,
a number of Durer's wood-engravinga. The second room contains the bust of Count Gori Tannilini (1880), the donor of the collection ; to the left is an engraved Pietk from a drawing by Michael Angelo (1547).
Travellers who desire to visit the Monte Oliveto Mag^ore (p. 16> mast obtain a ^permesso* from the ^Ispettore^ of the Istituto delle Belle Arte, which they should forward to the *Sopraintendente^ at the convent.
The BiblioteeaComimale (PI. 1 ; D, 4), containing 60,000 vols, and 5000 MSS., was founded in 1663 (open daily, 10-2, and 5 or 6 to 8). In the 17th cent. Siena possessed sixteen libraries, and in 1654 even one for women.
The chief objects of interest are: the ^Greek Gtospels, formerly in the chapel of the imperial palace at Constantinople, of the 11th cent., originally bound in silk, with pictures in enamel mounted at a later period in silver-gilt; ^'Treatiseon architecture by Francesco di Giorgio^ with sketches and drawings by the author; *Sketch-books of Baldcusare Peruzzi and Oiuliano da J3angallo\ letters of St. Catharine.
Beyond the library, to the left, we descend tbe Via Costa S. An- tonio, and enter the first side-street to the right, which leads straight to the upper entrance of the Honsfi of St. Catharine (PI. 3; D 4) : *Sponsae Christi Katherine domus*. Visitors knock at the door to the left (Y2 fr.). St. Catharine of Siena, the daughter of a dyer named Benincasa, was bom in 1347, took the veil at the age of eight, and having become celebrated for visions, she prevailed on Pope Gregory VI. to retransfer the papal throne from Avignon to Rome (1377). She died in the year 1380, and was canonised in 1461. The best-known vision is that of her betrothal with the Infant Christ, a favourite theme vnth painters. Her festival is on 30th April.
The different rooms in the building have been converted into small chapels or Obatobieb, which belong to the Confratemitit di S. Caterina. Above the altar in one of the Upper Obatgeies, once a kitchen, is a portrait of the saint, by Fungai\ the other pictures are by Salimbeni and Fr. Vanni; attention should also be paid to the beautiful ceiling, the pil- asters, and the '^Pavement of glazed tiles in the Renaissance style of the 15th century. — The pretty little court is attributed to Bald. Peruzzi. — The Oratohio del Crocifisso contains the wonder-working Crucifixion, a painting by Oiunta Pisano (?), from which St. Catharine, according to the legend, received the stigmata. — Below is the Chdrch (key kept by another custode), containing the following paintings : Oirol. del Pacchia, St. Catha- rine healing Matteo di Cenni from the plague; St. Catharine rescuing Dominicans from murderers ; The dead body of St. Agnes of Montepulciano stretching out her foot to be kissed by St. Catharine. The fourth picture, representing the saint being attacked by Florentine soldiers , is by Sa- limbeniy 1604; over the altar, *Statue of St. Catharine by Neroccio; above, ♦Angels by Sodoma.
On leaving the church we come to the Via Benincasa (formerly dei Tintori\ PI. D, 4), which is stUl inhabited, as in ancient days, by dyers and fullers. Over the door of the house on the left is a bust of St. Catharine by Cozzarelli. Not far off is the celebrated foun- tain of Fontebranda (PI. C, D, 4), picturesquely situated at the base of the hill of S. Domenioo, mentioned as early as 1081, renovated in 1198, and praised by Dante (Inf. 30, 78 : *Per Fontebranda non darei la vista'). Close by is a bathing establishment. — The Via di Fon- tebranda ascends to the Campo (left) , and to the cathedral (right). — Passing the fountain, and ascending to the right, we reach —
B. DomenicD (PI. D, 3, 4), a lofty brink ftditlce in the OoEhiu style (ilflQ'iiG6), the caasaiTe siibstractions of which mst on the alope of the bitl, with a csmpanilo dBtine from 1340.
TUB iTTEBios Is destitdU of ilsles, SDd hat a traiuepi and ap«n root. Al tUB BnlranOB, lo tba riKht, ia tho CiFPBi.Li OKttg Vol™ (eluiad), odb- iBiDlDe an alUr piece of St. Catharine hj Aadria Vmnl. — FaHher on, to tbe riitht: HonnmBnt of tbe loBibeTnatlclan Oius. Plafdeiant li. tSGO), bv Be^herDnl. — TblFdaJUc: 3t. Peter Ibe StrtjT, bj BalinitenI, mB. — The •Cbu'bi. or St, CttaAiuSE, In vblcli tbe bead n( the eilnt li preisfVBd in a itlTer lelldnarr enclotifd in a ehripo dating frum lleO, la adorned wlib admirable freecoei bj Sudama (hen Ugbi a^nnt mlddaj). On tbe wall near tbe nltar, St. CeUiarine In ccgtssf, snppurtEd by two sisten (the so-called 'SyenlmBDln'. or faint), apd on angel bringing her the hoeli on
itatod enlprit-, to the right, Healing of the posaessed, by ^anrcjco Fmmi, IB98. "■--• "■- ^-^ -• -
li rioWy d ..__ „
to the right: HaliTily of Ohrist by Fraits. ai aiarg^i, eiecuien nnaer ins inflasDeB of Ln« Slgnorelll, to whom tbe work waa fonnerly attribnted; (he apper part la prolwhly by Uattea da Bttna^ tha forogroand b; Faneoi-
OsoiE. Tbe beautiful -Marble Clborlom at thB hlgh-altar, bitberta ucHbed by the Slenese to Michael Aogelo, Is more probably the KOrk of Bmedato da Uajimc. — A beautlftil -VIkw of Iba lofty and Impoelng Calbodral may be obtained froiu tbe iof,t at the back of the bigb-allar. — Tbe 3n> Ohu-ei. to the loft of tbo higb-attar cnntalns to the right: SB. Barbara, Mary Magdalene, and Oathsrine by MBllto da SItna, 1!T9; in the InneltB above, a Piet& by GHrol. Amciniulg,- the Hadonun with ulntl lo tbe left U by the same maBter, 1608; the lonette rBpresenting the Adonklion of the Magi is by Matleo da Siena. — Tbe 2aD Csirai, to tha right of the bifh-allar contaios numerous old tombetoncB nith eoals- or-amm, many of which belooi to OerniaDB who Itudled el the nniTeraity in the ISib end IGtb cenlarUs.
Wb now retain by the YU. del PatadiBO and the Bmall Piaiza QiDseppe Pianigiani, In whiob standn the little ohurrh of S, Maria dtlU Nevi [PI. 6 ; E, 4), with a ohirming Reniiaaanoe ta^sde (to- wanls the Tia Cavonr], and a good picture by MatCeo da Siena (~Ma- doDna with iiumerona salntB, 147T), to tha Via CiYona fp, 16), which farther on coataina the Pal. Mocenni, Pal. Ciaia, and othets.
We next oome to the small Piazza 8. PetronlUa (PI. E, F, 3), on the Tight, wlienne the Vin Garibnldi leads to the Porta H. Lorenio sud the railway- alatlon. — The streets to thu left of Via Oasonr open into the Li>ia (PI. E, 3, 3], a soiall promenade which waa laid ont In 1779 on the site of a former fortress ereoted by Obarlea V., commanding good ilens of S. Domenico and the Gatbedial. These nalkB extend bb far aa tbe entranoe to Fort St. Barbera, built by Coslmol. In 1560, open to the public and commanding a line view.
Farther on, the Via Cavour takes the name of Via i>i Camollia {PI. F, 1, "£). Wo diverge to the right to tho old monastery di Cam- ponri, nowthepooT-honBe(PI. F, 2; ring"); the cloiatera are adorned with ^ freaoo by Matleo Batdueai. Haadaome rococo church,
We follow thu Via Camollis fot aome minntea more ; oppoalte a small piar.za we tnm to the left under an archway, mv4 \iiW«tA\-«^ the Via Fonteglufita, arrive at the little cVvuitV ot —
Tantegiiuta (PJ. F, 2), belonging lo uliioftiBtVBoCi. (Jt t\w*.<>-i
36 Bouted. SIENA. Exeu/rsionf,
ring the bell to the right), and huilt hy Franeesco di Cristofano Fe- ddi and Qiaeomo di Giovanni in 1479. The vaulting, borne by four marble columns, dates from 1482 ; the N. Portal from 1489. Beautiful *High-altar by Liorenzo di Mariano (1517), one of the finest existing sculptures of Raphael's time. The simple but fine bronze holy- water basin is by Oiov. delle Borribarde (1480). The 2nd altar to the right is adorned with a Madonna by L, Vanni, with a view of Siena and its towers (1590) ; the 3rd altar on the same side has a Coronation of the Madonna by Fungai ; the 2nd to the left a *Fresco by B, Peruzzij the Sibyl announoing to Augustus the Nativity of Christ. Over the entrance are a 'sword , helmet, shield, and some bones of a whale, presented by Columbus. Above the side-entrance (outside) is a relief of the Madonna by Neroccio,
Farther on in the Via Camellia, to the right , No. 48, opposite the small Templar church of 8, Pietro delta Maggiont^ is the house of Baldassare Peruzzi (p. 23), indicated by an inscription.
A pleasant Walk may be taken by a road skirting the town- walls to the right, outside the Porta CamoUia (PI. F, 1), with fine views of the Tuscan hills. On a height opposite, beyond the railway- station, lies the monastery of Osservanza (see below) ; in the valley below , outside the Porta Ovile (PL F, 4), is the picturesque Fonte Ovile. In about ^2 ^'- w© reach the Porta Piapini (PI. F, 8 ; p. 31). — About V2 ^' beyond the Porta Camellia, on the road to Colle, stands the Palazzo dei Turchi, generally known as the Pal. dei Diavolij a fine brick building of the close of the 15th century.
Excursions (most of them best made by carriage). — Aboat 2Vs M. to the N.E. of Siena, beyond the railway-station, is sitnated the suppress- ed Franciscan monastery of I'Osservanzai erected in 1423 and enlarged in 1485 by Cozzarelli. The K. aisle of the church contains a ^Coronation of the Virgin, by Andrea delta Robbia; at the back of the high-altar, in which is preserved the silver reliquary of S. Bernardino, by Ant. Fed- erighi. are two ^Statues, Mary and the Archangel Gabriel, of the same school. Pandolfo Petrueci is interred in this church (d. 1512; p. !^). In the sacristy is a Pietk in terracotta, by Cozzarelli.
S. Colomba, Oelsa, and Karmoraja are most conveniently visited on horseback ; there and back, with stay, in 5Vs hrs. •, horse 5 fr. ; one-horse carriage (carozzino) 6 fr. For larger carriages the road is only good as far as S. Colomba. — Leaving the Porta Camollia, we follow the high-road for 2V< M. and then diverge to the left by the road descending between two cypresses into the valley. This road leads us to the villa 3. Colomba (4V2 M.), designed by Bald. Peruzzi, now the property of the CoUegio To- lomei (p. 29), with handsome staircase, and fine view from the balcony. — After descending from S. Colomba we continue to follow the road by which we arrived, which leads through beautiful woods to Celsa (3V4 H. from Colomba), a castellated villa, also designed by Bald. Peruzzi, where Mino Celsi, a defender of the doctrines of Luther, lived at the begin- ning of the 16th century. View from the highest story (refreshments sold by the fattore of the villa). — About 2V4 M. beyond Celsa is Marmoraja, where on 7th Sept., 1187, peace was concluded between the Bepublio of Siena and Bishop Hugo of Volterra. The piazza in front of the church affords a fine view of Volterra, Colle d'Elsa, 8. Gimignano, etc.
The Oertosa di Pontignano, 5 M. from the Porta Ovile, was foxuided in 1343, fortified in 1383, and suppressed in 1810. The church was mod-. ernised in the 17th century. "^View from the Parocchia.
SIECI. 6. Route. 37
B. Anaano in I)ofana« 9 M. from Porta Pispini, is reached by a good road diverging from the high-road to the left about IV4 M. beyond the Taverna cf'Arbiay near the bridge over the Arbia. The parish - church contains a Madonna by Bald. Peruzzi. Visitors should apply at the par- sonage for a guide with the keys of the (8 min.) MarUrio di 3. Ansano, a handsome brick edifice by B«Ud, Pertuzi.
The Abbazia di 8. Eugenic, IV4 M. to the S. of the Porta S. Marco, commonly known as II Monastero^ is an ancient Benedictine monastery said to have been founded by Wamfried, a Lombard, in 760, fortified in 1553 by Pietro Strozzi, and secularised last century. The buildings are tho- roughly modernised. The church contains several early Sienese pictures, some of which have been ruined by restoration. •View from the garden.
The high-road next leads to the Osteria della Volte^ about 5 M. beyond the Porta S. Marco, whence a road diverges to the right to (4 M.) Cetinale, a villa erected by Flavio Chigi , a nephew of Pope Alexander VII., from designs by Carlo Fontana in 1680. With the villa is connected the 'Thebais'* park, profusely embellished with sculptures and containing fine old timber. *View from the hill (^Romitorio'') above the villa. Permessi in the Palazzo Chigi at Siena, Via di Citt^.
About IV2 M. beyond the Osteria della Volte lies the venerable church of S. Giovanni di Ponte alio BpinOy dating from the beginning of the 11th century. About 3 M. further is Roiia^ the church of which con- tains a holy-water basin of 1332. We may then proceed to (2 M.) Torri or 8. Mustiola a Torri in Val-di-Mersey an old monastery belonging to the Vallombrosians , possessing a church, consecrated in 1189, and a fine Romanesque monastery-court, now used as farm-buildings.
About 9 M. to the 8. of Rosia (along the road to Massa Marittima, and then to lAie left) lie the ruins -of the Cistercian monastery of *S. Gal- -gano, founded in 1201 by Ildebrando Pannocchieschi, Bishop of Voltorra. The abbey-church, a building of travertine and brick, erected in 1240-68, is imposing even in its ruins. The only relics of the original archi- tecture in the secular buildings , now used as a farm , consist of a few windows. The monks were distributed among other monasteries in 1652, and in 1781 the church, which had been injured by lightning, was closed.
The chateau of *Belcaro, to the W. of Porta Fontebranda, reached by carriage in l^/z hr., commands a splendid view of Siena and its envi- rons. On the ground-floor is a ceiling -painting by Bald. Peruzzi: Judg- ment of Paris. The frescoes in the chapel, by the same master, have been sadly injured by 'recent restorations.
6. From Florence to Pemgia vii, Arezzo and Teron-
tola (Chiusiy Rome).
103 M. Railway. Express in 41/4 hrs. , fares 20 fr. 10, 14 fr. 5 c, ordinary trains in 6-8 hrs., fares 18 fr. 70, 13 fr. 25, 8 fr. 40 c. — To Arezzo, 541/2 M., in 2-4 hrs., fares 10 fr. 86 c, 7 fr. 55c., or 9 fr. 86, 6 fr. 85, 4 fr. 45 c. i thence to Cortona, IV/2 M., in V^-'A ^'\ fares 3 fr. 45, 2 fr. 46 c, or 3 fr. 15, 2 fr. 25, 1 fr. 40 c. — Those who wish to see Arezzo and Cortona and arrive at Perugia in one day, had better leave Florence in the afternoon or evening and sleep at Arezzo.
The ExFKEss to Rome quits the Perugia line at Terontola (see R. 9), where passengers for Perugia generally change carriages.
Florence^ see Baedeker's Northern Italy. The train describes a curve round the town and runs along the N. bank of the Arno. By degrees the valley contracts ; Fiesole on the height to the left long remains visible. 71/2 M. Compiobbi. To the left rises the mountain- chain of the Pratomagno. 10 M. Sieci. 12^2 M. Pontaaaicvit..^ ^\.NX^<5k Influx of the Sieve into the Arno ; to the letl a \)fta\v\.\lv3\ ^Nxs^:^'^^ ^'^ the valley of the Sieve. The train passes t\iio\i^\L a. ^'fixN. Vix\i><^>
38 Boute 6. AREZZO. From Florence
and then Grosses to the left bank of the Axno. From (1772 M.)Rignand a pleasant excnision (a drive of ^^hr.) maybe made to the fine VillM San MezzanOf belonging to Marchese Panciatichi of Florence. Th# train passes through another tunnel and reaches (22 M.) Jncisa% with a conspicuous castle. The river forces its way here through the limestone rock, whence the name of the village. 25 M. FiyLine^ The vaUey of the Arno near Figline, and farther on , near Monte— varchi and Arezzo, is very interesting to palaeontologists owing X9 the numerous fossil bones of the elephant, rhinoceros , mastodon, hippopotamus, hyxna, tiger, bear, etc. , which have been found here. This basin seems to have once been filled with a fresh-water lake. ^
30 M. S. €(iovaiini, a small town to the left, the birthplace of | the famous painter Maaaccio (in 1401) and of Oiov, da 8, Giovanni^ sumamed Manozzi (1590-1636). The Cathedral contains pictures by the latter: Beheading of John the Baptist, Annunciation, etc. The sacristy of 8. Maria delle OraziCy on the old town- wall , con- tains a Madonna, once ascribed to Masaccio, and other old paintings. '
33^2 ^' Montevarchi {^Loc. dUtalia, in the main street), with 9600 inhabitants. The loggia of the principal church in the piazza is embellished witli an elaborate relief by Delia Robbia ; opposite is the house of Benedetto Varchi (d. 1555), the Florentine historian and independent favourite of Cosimo. The Accademia di Val d'Ar^ nese contains a valuable collection of fossil bones (see above).
Yiews as far as Arezzo on the left. The train ascends, passing through four tunnels, to (38 M.) Bucine^ a village close to the line on a hill to the right. Four more tunnels. 41 Y2M. Laterina ; 44 Y2 M. Ponticino, The train now gradually ascends to (54^/2) M. Arezzo.
Arezzo. — *Inghiltebra, ♦Vittobia, R. 2, L. V2, A. V2 fr-» opposite each other in the Via Cavour; La Stella, Corso Vittorio Emanuele 67, with a good trattoria. — *RiUor. d'ltalia^ Corso Vittorio Emanuele 15. — Caffi dei Oonstanti, Via Cavour. — JtaUan Protestant Church, Via S. Loren- tino 10.
Arezzo (780 ft.), the ancient Arretiumj the seat of a bishop and
a prefect, is a clean and pleasant town with 12,000 (or, including
the neighbouring villages, 39,000) inhab., in a beautiful and fertile
district, abounding in historical reminiscences.
Arretium was one of the most powerful of the twelve confederate cities of Etruria, and (like Cortona and Perusia) concluded peace with the Romans in the great war of B.C. 310, after which it continued to be an ally of Rome. In 187 the Consul C. Flaminius constructed the Via Flaminia from Arretium to Bononia (Bologna), of which traces are still distinguishable. In the civil war Arretium was destroyed by Sulla, but was subsequently colon- ised (Colonia Fidens Julia Arretium), and again prospered. Its manufactures were red earthenware vases, of superior quality, and weapons. — In the middle ages the town suffered greatly from the Goths and the Lombards, and at a later date from the party-struggles of the Guelphs and Ghibellines, in which it generally took the part of the latter against the Guelphs of Florence. In the 14th cent, it was for a time subject to the rule of the Tarlatif and in 1337 temporarily, and in the i&l\i ce^iit. xmdex Cosimo I. £nally to that of Florence.
Arezzo is the birthplace of many disUns^&hA^ ^^^1^ % ^^ vrY^oxcv xti.v^
to Perugia, AREZZO. 6. Route. 39
be mentioned: C. OUniiti Maecenas (d. 9 A.D.), the friend of Angustas and patron of Virgil and Horace; the Benedictine monk Outdo Aretino or Chtido Monaco (1000-1050), the inventor of our present system of musical notation; Francesco Petrarca, the greatest lyric poet of Italy, bom of Florentine parents in 1304 (d. 1374); Fietro Aretino, the satirist (1492-1557) , several members of the noble family of the Accoltiy jurists and historians; in the 15-17th cent. ; A. Cesalpini, the botanist and physician (1619-1603) , Franc. Redi, the physician and humourist (d. 1698). — Arezzo has also pro- duced several artists: Margaritone (about 1236), a painter and sculptor of no great importance ; Spinello Aretino (1318-14l(J), an able pupil of Giotto, whose style he steadily followed and rendered popular (his best works are in S. Miniato near Florence , in the Gampo Santo at Pisa , and in the Palazzo Gomunale in Siena); at a later period Giorgio VasatH (1512-74); the painter, architect, and biographer of artists. The town, however, never possessed a school of its own. Its requirements in the province of art, which were at their height in the 13- 14th cent, were fulfilled by Florentine and Sienese masters, and Giotto, Lippo Memmi, Lorenzetti, and others were employed here.
Leaving the station, we follow the Yia Guido Monaco, which leads straight into the heart of the town. In the Piazza Guido Mo- naco is a statue of Guido Monaco (see above), by Salvini, erected in 1882. In the Piazza del Popolo, to the left, is a column, erected in 1880 to commemorate the Italian struggles for independence.
A little farther on the Via Guido Monaco ends in the Via Cavour. Here, in the small Piazza Umbbrto, is a Monument to Count Fossombroni (b. at Arezzo 1754, d. 1844; PL 1; p. 43).
The church of S. Francesco (PI. 2), founded in 1322, at the corner of the piazza, contains fine frescoes of the 15th century.
On the entrance-wall is a fresco representing Christ at table with Mary Hagdalene, by Spinello Aretino (see above), perhaps the greatest of the foUowerB of Giotto. The wheel-window, by ChtglieUno da Marsilia (c. 15(X)) represents St. Francis receiving the rules for his order. — The Left Aislk, recently freed from whitewash, contains frescoes by Spinello Aretino, sadly injured ; the best in the restored chapel of St. Anthony of Padua. At the end is the tomb of Antonio Koselli (d. 1467). — At the end of the wall on the right is an Annunciation by Spinello Aretino (c. 1885).
In the Ghois : *Frescoes by Piero delta Francesco, the master of Luca Signorelli (best light in the evening). They narrate the legend of the Holy Cross, according to which a seed of the tree of knowledge, planted npon Adam s grave, grew up to be a tree. Solomon caused the tree to be felled and a bridge to be constructed of the wood , of which the Queen of Sheba afterwards discovered the origin. At a later period it was used for making the Holy Cross. The Emp. Heraclius rescued the cross in a battle with the Persians, and it was afterwards re-discovered by St. He- lena. All these scenes, from the death of Adam down to the finding of the Cross, are pourtrayed by Piero with great technical skill, in which respect, as well as in his appreciation of the nude, ho surpassed all his contem- doraries. His pictures , however, are stiff and destitute of gracefulness. — The Evangelists on the ceiling have been attributed to Bicci di Lo- renzo. — The chamber at the bottom of the Campanile, entered from the choir, also contains frescoes by Spinello Aretino: Madonna enthroned, St. Michael overcoming the dragon, and St. Michael appearing to Gregory the Great above the tomb of Hadrian (castle of S. Angelo) during the plague at Borne ; opposite, Gregory distributing alms, St. ^gidius hunting, the Mass of St. Gregory.
The Via Oavour forms a right angle with the Corso yiTTOB.\ft
Emantjele, the principal street of the tcwn. KacekTv^\xv^ VJo^.^ ^X^^'^x.^
to the left, we observe on the right the mleieaWiv^ <^>rt^ ^^ —
40 Route 6 AREZZO. From Florence
S. Maria della Fieve (PL 3), founded at the beginning of the lith cent., which retains the original choir, seen from the Piazza Yasari ; the tower and facade were added by Marchione in 1216, but the latter was left unflnisbed till 1330. Above the main portal are a Madonna between angels , and figures of the months ; and at tbe door to the right is a Baptism of Christ, of 1221. The interior consists of a nave and aisles with a broad apse, a crypt, and an open wooden roof above the crossing, all restored in the ancient style. On tbe entrance- wall is an alto-relief of the Adoration of the Child (11th cent.); and behind the high-altar are a *Madonna and saints. Annunciation, and other works by Pietro Lorenzetti of Siena (1320). The font in front is perhaps of the same date.
At the back of the church is the picturesque Piazza Yasari, with a fountain and a Monument of Ferdinand III. (PI. 4), erected in 1822. On the N. side are the Loggie (PI. 5) built by Yasari in 1573. — Adjoining the choir of S. Maria della Pieve is the building of the Fratemith della Miaericordia (PI. 6) , now occupied by tbe law courts, with a handsome Gothic facade, begun by Florentine artists in 1375 , and adorned with figures in 1434 by Bernardo di Matteo of Settignano.
Passing under Yasari's Loggie we now return to the Cobso, which we reach just opposite the Palazzo Puhblico (PI. 7). This edifice, built in 1322, and adorned with numerous armorial bearings of the ancient Podest^, is now used as a prison.
A little farther on the Yia dell' Orto diverges to the left, near the entrance to which. No. 22, a long inscription indicates the bouse (PI. 8) in which Francesco Petrarca was born (p. 39). Adjacent rises the —
'^Cathedral, a fine specimen of Italian Gothic, begun in 1177,
with later additions; facade unfinished.
The Inteuiob, which has no transept and is of handsome and spacious proportions, contains stained-glass windows, dating from the beginning uf the 16th cent., by Ouillaume de Marseille \ the middle window in the choir is modern. G. de Marseille also painted the first three arches of the nave, the others being by JSalvi Castelucci (1668). In the Bight Aislb is the Tomb of Gregory X,, by Margaritone (? Pisan school). This inde- fatigable prelate expired at Arezzo, 10th Jan., 1276, on his return from France to Rome, after having proclaimed a new crusade. Adjacent, an ancient sarcophagus (lid modern), with the bones of several martyrs of Arezzo. Above are a Gothic tabernacle and a fresco of the Crucifixion by Berna (c. 1380). — On the High Altar, marble *Sculpture8 by Giovanni di Francesco of Arezzo and Betto di Francesco of Florence, executed in 1869- 1375: Madonna with SS. Donatus and Gregory, and bas-reliefs from their lives. — In the Left Aisls, at the £. end, is the *Tomb of Guido Tarlati di Pietramala, the warlike bishop of Arezzo, the work of Agostino and Agnolo da Siena^ about 1330, from the design of Oiotto, as Yasari conjec- tures, in 16 sections, representing the life of this ambitious and energetic prelate, who, having been elected governor of the town in 1321, soon dis- tinguished himself as a conqueror, and afterwards crowned the Emperor Louis the Bavarian in the church of S. Ambrogio at Milan (d. 182^. — '^lose to the door of the sacristy is a St. Magdalene, al fresco by Piero
Ma Francesco. The large Chapel of the Madonna^ erected in 1796, con-
us £ve *Tcrracottas hy Andrea della Robbia.
io Perugia, AREZZO. 6. Route. 41
The Marble Statue of Ferdinand de* Medici in front of the cathe- dral was erected by Qiovanm da Bologna in 1595. In the piazza (No. 1) is the Palazzo Comunale (PI. 9), with old armorial bearings.
We now follow the Via Ricasoli, and turn to the right into the Via SasBoverde, at No. 12 in which, the Palazzo Capel di FerrOj is the small manicipal Finacoteca Bartolini (open 10-3 ; ^2 ^^0) containing ancient frescoes, old and modem oil-paintings, and engravings, but little that is particularly striking. In the first large room (No. IV.) : *No. 8. Luca Signorelli , a largo altarpieco With the Madonna, David, and St. Jerome, and the kneeling donor, the jorist Niccolo Gamurrini (painted about 1520). There are also some good portraits, a St. Rochns, and drawings by Vasari.
Above the door of the church of S. Domenico QPl. 10) is a Ma- donna ^al fresco^ by Angelo di Lorentino (c. 1480). The interior contains a Crucifixion by Parri Spinello, and, on the right, a painted Gothic *Tabernacle, with coats-of-arms, by Giovanni di Francesco of Florence.
In the Borgo di S. Tito, on the right, is the House of Giorgio Vatari (No. 27; PI. 11), containing works by the master. The street leads back to the W. end of the Via Cavour (p. 39).
The municipal ^tfusenm stands at the comer of the Via Gari- baldi and the Via S. Lorentino (adm. daily 9-4 ; foe V2 fr.).
Boom I. Black Etruscan vases, with reliefs ^ glass \ stone-weapons \ in the middle, Greek vases, with representations of the l)attles of the Ama- zons and the Abduction of Hippodamia. — B. II. : Bronze statuettes, coins, etc. — B. III. Cinerary urns , fragments of vases of red glazed clay ( V<ua Arretinai ]p. 38), and numerous moulds. — B. IV. Mediaeval articles and majolicas with designs after Baphael ; 37. Carved ivory casket of the 7th cent.; bronzes; in the middle, seals; above, Benaissance figure from a fountain. — B. Y. Weapons, various utensils; in the middle, a bronze reliquary by Forzore (1488). — B. VI. Antique urns and reliefs (62. Lady at her toilet). — BB. VII-XI. : Natural History collections. B. Vn. and VUI. contain a palseontological collection, chiefly from the Val di Chiana.
The same building also contains the Town Libbabt, which comprises a few MSB. (open 9-12 and 2-5).
In a small piazza adjoining the Via Cavour stands the church of SS. Anniuuiata (PI. 12), a handsome Renaissance structure chiefly by Antonio da Sangallo ; the *Interior, with its barrel and dome vaulting, is very picturesque; at the last altar on the right, Ma- donna in clouds with St. Francis , by Pietro da Cortona ; stained glass by Guillaume de Marseille (1525).
Farther on in the Via Cavour is the Badia di S, Fiore (PI. 13), also situated in a small piazza, which is now the seat of the Acca- demia Aretina di Scienze, Lettere ed Arti, The Libbaky, formerly the refectory, contains the Feast of Ahasuerus by Vasari, 1548.
At the lower end of the Corso, near the Porta S. Spirito, the Via dell' Anflteatro (to the left) leads to the church of 8. Bernardo (PI. 14) ; the frescoes in the anterior quadrangle (G!t)d the F^^\^«t. and the four Evangelists) were painted I07 Vasatl ^\. ^^ "s^^ ^^ seventeen (1529); holow is the Madouna a^^emxx^ Xq '^^.^ ^^-tx^^-
42 Routes. FOJANO. From Florence
dino, attril)uted to Bartolommeo delta Oatta, — The cloisters to the left contain some indifferent frescoes in chiaroscuro (life of Guide Monaco and St. Bernardino) and a view of mediasval Rome. In the garden are the insignificant remains of a Roman amphitheatre.
About '/4 ^- from the Porta S. Spirito (outside which we take the avenue to the left, and then at the corner, after 3 min. , the road to the right) is situated the church of S. Karia delle Orasie , with an elegant early-Renaissance porch borne by columns , by Benedetto da Majano (f)j and a handsome marble altar by Andrea delta Rohbia,
Railteay from Arezzo to Fostato^ see B. 8.
Fbou Arezzo to Stia and PaATovEOCHio , 28 M., railway in 2 hrs. (fares 5 fr. 10, 3 fr. 60, 2 fr. 80 c). — At (5 M.) Oiovi, the first station, the line enters the valley of the Amo, which it thenceforwards ascends. — 9 M. SiAhiano'^ 12V2 M. Santa Mama; 15 M. Raesina,
19V2 M. Bibbiena {Albergo Amorosi\ carriage from the station to the town 1/2 fr.), pleasantly situated on a hill above the Amo, was the birth- place of Cardinal Bernardo Dovizio, surnamed Bibbiena (1470-1520), the patron of Raphael. A little to the N. of the town is the former monastery- church of Madonna del Sasso, a domed structure in which the axis of the choir forms a slight angle with that of the nave. It contains some interest- ing terracotta work and a good altar-piece. — Bibbiena is the starting- point for a visit to the convent of La Vema (about 7Vs M. \ carriage 8 fr.) ; comp. Baedeker's Northern Italy.
22Vs M. Poppi, on a hill (1425 ft.) on the left bank of the Amo. 231/2 M. Porrena.
28 M. Pratoveechio-Stia. The station lies between Pratoveoohio (1410 ft. \ Alb. Battieri) and Stia (1460 ft.; Alb. delta Stazione Alpina, well spoken of), two pleasant little towns, with about 8000 inhab., well-adapted as starting-points for expeditions to Camaldoli (guide 3-4 fr. per day and food) and other points in the Casendno or upper valley of the Amo. Stia ha« an old and partly Romanesque church. — About IV2 M. to the S.W. of Fratovecchio is the large ruined castle of Romena, mentioned by Dante in the Inferno (xxx). For farther details see Baedeker^g Northern Italp.
From Arezzo to Monte Sansavino, I2V2 M., diligence daily, in 2 hrs. The small town of —
Monte Sansavino (Alb. del Sole^ by the Porta Fiorentina, tolerable) was the birthplace of the famous sculptor Andrea (Contueci da) Sanso- vino (b. 1460, d. 1529). — The church of S. Chiara, in the principal piazza, contains (left) groups of St. Anthony and the '^'Madonna and Christ with four saints, designed by Sansovino and executed by the Robbia''s. On the right SS. Sebastian, Lawrence, and Rochus, hj Sansovino; ^Adoration of the Shepherds by the Robbia''s; on the central pillars Sienese paintings of the 15th cent.; to the right and left of the high-altar are prophets by Vasari. In the ^Ruga Maestra\ or principal street, on the right, is the Pal. Munieipale, erected about 1517; the Bala del Consiglio ct^ntains a carved *Door of the 16th century. Opposite the town-hall is a '^Loggia by Ant. da Sangallo the Elder. On the right, farther on, is the church of the Misericordia ^ containing a monument of 1498. On the right we next observe S. Agostino, with a facade of the 14th cent. ; it contains an Assumption by Vasari ; the monastery-court is by Ant. da Sangallo the Younger. The Pal. Filippi^ on the left, No. 17, has fine balcony-railings and lantern-holders in wrought iron, of the 18th century.
From Monte Sansavino to Sinalunga (p. 18), 9V2 M*; or a pleasant round may be made by Fojano and Betolle to Torrita, another railway- station (p. 18; one-horse carr. 8-10 fr.). — Fojano (Alb. delta Viitoriay tolerable) is 8 M. from Monte Sansavino. On the right, near the entrance to the town, is S. Francesco^ with a fine loggia, dating ftom the end of the 15th cent.; in the interior are several Delia Robbia's. 8. Domemeo and the Collegiata in the town also contain Robbia's ; the latter possoMes a Coronation of Mary by Luca Signorelli (?). — At Betolle is the Villa of Count Passerini, containing a valuable coUectiou of Etrusean aBtiquitiea
to Perugia. CORTONA. 6. Route. 43
(golden bracelet with rams' heads, huge dish with contests of the giants and Bacchic scenes, etc.). One-horse carr. to Torrita (^4 hr.) 272-3 fr.
On leaving Arezzo we obtain a beautiful retrospect of the town. 'To tbe left is the chain of hills which separates the valleys of the Aino and Ghiana from the upper valley of the Tiber. Beyond a tun- nel the train runs straight across the plain to (62 M.) Frassinetto and (66 M.) Castiglione FiorentinOy the latter on a mountain spur. Farther on, to the left, the dilapidated fortress of Montecchio. The high-lying Cortona next becomes visible to the left in the distance.
The luxuriant Valley of the Chiana, which was anciently a lake, was a noisome swamp down to the middle of last century. The level was raised and carefuUy drained, the brooks being so directed as to deposit their alluvial soil in the bottom of the valley. This judi- cious system was originated by Torricelli and Viviani , celebrated mathematicians of the school of Galileo , and carried out by the worthy Count Fossombronij who combined the pursuits of a scholar and a statesman (p. 39). The Chiana ^ Lat. ClaniSj which once flowed into the Tiber, now discharges most of its waters into the Arno by means of a canal , and only one arm , which joins the Paglla at Orvieto (p. 61), reaches the Tiber.
72 M. Cortona. The station lies at the foot of the hill on which the town itself is situated, near the village of Camuscia.
A carriage -road (8/4 hr. ; omnibus 1 fr.) ascends to Cortona, passing S. Spirito on the right, and reaching the town on the S. side. Pedestrians cut off the windings by following the old road, which passes the Madonna del Calcinajo (a small early-Renaissance building by Francesco di Giorgio, 1485- iDl 4, with a handsome altar of 1519) and leads to the low-lying S.W. gate of the town (p. 44).
Cortona. — Albbboo della Stella, at the W. entrance of the town , Alb. ^azionalb, farther np in the Via Kazionale, both clean and good. (Enquiry, as to charges had better be made beforehand.) Comp. the small Flan at p. 88.
Cortona (2170 ft.), a small, loftily-situated town with 9000 in- hab. (whole parish 26,000) , lying above the valley of the Chiana, and not far from the Trasimene Lake , is one of the most ancient cities in Italy. Its situation and views , its Etruscan antiquities,
and several good pictures it possesses, render it well worthy of a visit.
It appears that the Etruscans, immigrating from the plain of the Po, wrested the place from the Umbrians, and constituted it their principal stronghold when they proceeded to extend their conquests in Etruria. Cortona was one of the twelve confederate cities of Etruria , and with them shared the fate of being converted into a Roman colony. After various vicissitudes and struggles it came under the dominion of Florence in 1410.
LucA Signobelli , one of the most distinguished painters of the 15th cent., was bom at Cortona in 1441. He has justly been called a precursor of Michael Angelo. Like his master Piero della Francesca (pp. 39, 56), he was a zealous student of anatomy ) in the embodiment of the nude, in the conception of movement and foreshortening he surpasses «.\\ \iS.% ^<sviNfe\&r poraries. On the other band, his deficiency ot reftn^^ \)\qXr>t\»X %«tkNJ«iv«QS. forbids the full development of plastic vigour iti \ua ^\«\\«^%. ^^ '^^X^. fore prefers exteDBive fresco-paintings to ea8eV^\c\.ut«B »* ^ «\xV«!J«^» visx
44 Route 6, CORTONA. From Florence
for his abilities. Frescoes of this kind he has executed in the Sixtine Chapel at Rome (1508; p. 288), at Monte Oliveto (1497; p, 17), and at Orvieto (149d; his principal work, p. 63). His native town, where he held several municipal appointments and lived almost constantly for the last twenty years of his life (d. 1523), still contains a number of his works, none of which, however, are of much importance. — Gortona was al«ro the birthplace of Pieiro Berettiniy surnamed Pieiro da Cortona (1596-1669), the painter and decorator, who was chiefly employed at Rome and Florence.
From the S. entrance of the town, whicb we have reached by the road, the Via Nazionale leads in 3 min. to a semicircular terrace on the left, commanding an unimpeded view of part of the Trasimene Lake and the surrounding heights. On the right is the church of —
S. DoMENico, dating from the beginning of the 13th cent. ; on the high-altar an *As8umption by Bart, delta Oatta (?); on the right , *Madonna with St. Peter Martyr and a Dominican monk , by L.Signorelli (1515); on the left, Coronation of the Virgin, by Lor, di Niccolb (1440), presented by Cosimo and Lorenzo de' Medici; on the right, *Madonna with saints and angels, an early work of Fra Angelico.
The Via S. Margherita, which ascends steeply to the right, see below. The Via Nazionale leads straight to the Piazza Vittoeio Emanuelb, where the Municipio (PI. 1) is situated. Here, to the left, diverges the Via Guelfl, in which are situated, to the right, a beautiful palazzo of the 16th cent., and lower down the church of S. Agostino, with a Madonna and saints by Pietro da Cortona (be- yond this the street leads to the S.W. gate, Porta S. Agostino, p. 43).
Turning to the right from the Piazza Vitt. Em., we immediately reach the small Piazza Signobblli, where we observe, opposite to us, the Palazzo Pretorio, and on the left an ancient Marzocco (lion).
The Palazzo Pretorio (PI. 2), with numerous armorial bearings of old magistrates, is now occupied by various public offices, and con- tains ihe Accademia Etrusca ^ founded in 1726, which possesses a *Mu8BUM OF Etbuscan Antkiuitibs, well worth visiting. (Fee
Y2-I ff' to the custodian, who lives close by.)
The gem of the collection is a circular Etruscan ^Candelabrum (lani- padario)y made to hold 16 lights ; on the lower side in the centre a Gorgon^s head , surrounded with a combat of wild beasts ; then wave-like orna- mentation; and finally eight ithy phallic satyrs, with dolphins below them, alternately with eight sirens ; between each pair of lamps a head of Bacchus. — An encaustic painting on slate, representing ^Folj/hpmnia^^ is said to be ancient. — Remarkable Etruscan Bronzes^ a Votive Sand with numerous symbols, Vases^ Urns, Inscriptions^ etc.
The PoNBUMi LiB£ASY,in the same building, possesses a fine MS. of Dante.
The Via Casali descends from the Palazzo Pretorio to the —
♦Cathedral, a handsome basilica, ascribed to Antonio da San- gallo , altered in the 18th cent, by the Florentine Aless. Oalilei.
The CuoiR contains a Descent from the Cross, and ^Institution of the Last Supper, with predella, by Ltica Signorelli^ very quaint compositions (1512). Also a Pietli, a Conception of Christ, and a Nativity, by tne same master. — In the SACRisTr, a Madonna by the same. To the left of the choir, an ancient sarcophagus, representing the contest of Dionysas against the Amazons, erroneously supposed to be the tomb of the Consul FJaminius (p. 46).
to Perugia, TERONTOLA. 6.. Route. 45
■ Opposite the cathedral is the *Bapii$tery, formerly a Jesuit church, containing three pictures by Fra AngeHco da Fiesole : the Annun- ciation and two *Predelle , representing scenes from the life of the Virgin and S. Domenico.
Passing the colonnades of the theatre in the Piazza Signorelli, we follow the Via Dardano straight to the Porta Colonia, where we obtain the best survey of the •Ancient Etruscan Town Walls, constructed of huge blocks, and for the nlost part well preserved, which surround the town in a circumference of about 2860 yds. , and along the outside of which we may descend. Even the gateways are still recognisable.
Ascending the Via S. Margherita from S. Domenico, we reach (20 min.) the hill commanding the town, on which are situated the church of S. Margherita, and a dilapidated fortress (see below). — About halfway up, the Via delle Santucce diverges to the left, and leads in a few minutes to the church of 8. Niecolbj with a small entrance-court planted with cypresses.
The Interiob 0/2 fr.) contains a freely-restored fresco and an ♦Altar- piece, painted on both sides (in front the Body of Christ borne by angels and snrronnded by saints ; at the back, Madonna della Seggiola with SS. Peter and Paul), by Luca Signorelli. — The sacristan will point out a direct route, ascending hence by steps to S. Margherita.
The church of S. Mabqhbrita, a Gothic building by Niceolh and Giovanni Ptsano, possesses a handsome rose-window, which has of late been partly renewed and enlarged. In the high-altar is the tomb of the saint (14th cent.) ; the silver front with the golden crown was presented by Pietro da Cortona. The platform of the Campanile commands a splendid view. — The visitor should not omit to ascend somewhat higher to the old *Fortbzza, 2165 ft. in height (trifling fee • custodian sometimes difficult to find), from the walls of which the noble prospect is entirely uninterrupted, ex- cept at the back, where it is bounded by the mountain-chain (^Alto di S. Egidio, 3430 ft.).
Besides the town-walls , there are several less interesting anti- quities: an ancient vault beneath the Palazzo Cecchetti; near S. Margherita, remains of Roman Baths j erroneously called a ^Temple of Bacchus^; outside the gate of S. Agostino, an Etruscan tomb,
the ^Orotta di Pitagora\
The visitor may (by presenting a visiting-card) possibly obtain access to the private collection of Siff. Colonnese in the Palazzo Madama, Via Nazionale 5: beautiful half-length picture of St. Stephen and a Nativity by Lucfl Siffnorelli.
76 M. Terontolay an unimportant place near the N.W. angle of the Trasimene Lake, is the junction of the lines to Chiusi, Orte, and Rome (see R. 9), and to Perugia and Foligno. Passengers in the latter direction change carriages here.
The Lago Trasimeno, the ancient Lacus Trasimenus (84^ IX..'^^ is 30 M. in circumference, and 8-14 M. «i<mo%«^ ^tv\ \^ ^vyrtwvw^^^ by wooded and olive-clad slopes, wMc\v as \\vfe'^ x^^^^^ '^'^^ ^'^ ^
46 Router. PERtfOIA.
considerable height. The lake contains three small islands , the Isola Maggiore with a monastery, the laola Minore near Passignano^ and the Isola Polvese towards the S. ; on the W. side an eminence abuts on the lake, bearing the small town Gastiglione del Lago (p. 59). Its shores abound with wild-fowl, and its waters with eels , carp, and other fish. The brooks which discharge themselves into the lake gradually raise its bed. The greatest depth, formerly 30-40 ft., is now 20 ft. only. In the 15th cent, a drain (emissa- rium) conducted the water into a tributary of the Tiber. In an- cient times the area of the lake appears to have been smaller. A project for draining it entirely, formed by Napoleon I., is still fre- quently canvassed.
The reminiscence of the sanguinary victory which Hannibal gained here over the Roman consul C. Flaminius in May, B.C. 217, imparts a tinge of sadness to this lovely landscape. It is not difficult to reconcile the descriptions of Livy (22 , 4 et seq.) and Polybius (3 , 83 et seq.) with the present appearance of the lake. In the spring of 217 Hannibal quitted his winter-quarters in Gallia Cisalpina, crossed the Apennines, marched across the plains of the Amo. notwithstanding an inundation, devastating the coimtry far and wide in his progress, and directed his course towards the S. , passing the Soman army stationed at Arezzo. The brave and able consul followed incautiously. Hannibal then occupied the heights which surround the defile extending on the IT. side of the lake from Borghetto to Passignano, upwards of 5 M. in length. The entrance at Borghetto, as well as ttie issne at Passignano, were easily secured. Upon a hill in the centre (site of the present Torre) his principal force was posted. A dense fog covered the lake and plain , when in the early morning the consul , igno- rant of the plan of his enemy, whom he believed to be marching against Rome, entered the fatal defile. When he discovered his error, it was too late: his entire left flank was exposed, whilst his rear was attacked by the hostile cavalry from Borghetto. ITo course remained to him but to force a passage by Passignano, and the vanguard of 6000 men succeeded in effecting their egress (but on the following day were compelled to sur- render). The death of the consul rendered -the defeat still more disastrous. The Romans lost 15,(XX) men, while the remaining half of the army was effectually dispersed^ and the Roman supremacy in Italy began to totter. The slaughter continued for three hours. From the Gualandro two small brooks fiJl into the lake. One of these, crossed by the road, has been named Sanguinetto in reminiscence of the streams of blood with which it was once discoloured.
The line skirts the lake and passes through a tunnel. 80 M. Tuoro; 83 M. Passignano. Two tunnels. 89 M. Magione^ with an old watch-tower of the time of Fortebraccio and Sforza ; 97 M. Ellera,
103 M. Perugia, picturesquely situated on the hill to the left.
7. Perngia.
Arrival. Omnibus to the town (1 fr., in Va l"*-; down 20 min.) in great request, so that no time should be lost in taking a seat (rarely cabs). (Before the first bend of the road to the left, a good path to the right as- cends to the town in 20 min.)
Hotels. ^Gbano HdxEL de Pebodse, well situated at the entrance to the town near the Prefettura, first class, with corresponding charges (D. 5 fr.) ; English landlady; rooms not always obtainable unless previously ordered. — Grande Bbetagne or Posta, at the beginning of the Oorso vannucci, R. from 2, D. 4, B. 11/2, L. & A. 1, omn. 1 fr. — Second class : Alberqo & *Rest. Belle Arti, via Danzetta, a side-street of the Oorso, R., L., &
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HiktoryofAH, PERUGIA. 7:ndute, 47
A. 11/2 ff' 2 unpretending bat clean) Alb. & Rrst. Bblvbdbre, Via Sette, another side-street of the Gorso.
Restaurants. ProgressOy Via Hazzini 81 (PI. B, C, 4), near the Piazza Sopramnro^ see also above. — Beer at Via Baglioni 39a.
Cafis. ^Baduely TrcuimenOy both in the Corso ; Melinelli, in the Piazza S. Lorenzo, opposite the cathedral-fountain.
Post Office (PI. B, 4, 6), Via Baglioni 83. — Telegraph Office at the Prefettura, in the Piazza Vittorio Emannele. — Diligence Office, Corso 38; to Vmbertide (p. 67), daily at 7 a.m. and 4 p.m., 3 fr. ; to Todi (p. 55), daily at 6.80 a.m., 5 fr.
Engliah Ohuroh Service at the Grand Hotel. — Italian Frotestant Churchy Piazza Vittorio Emannele.
Pemgia is well adapted for a snmmer-resort , and apartments are not expensive. — At least a day or a day and a half shonld be devoted to the town. Guides are not indispensable, and dilettanti are cautioned against purchasing their 'antiquities\
Perugia , the capital of tbe province of Umbria, with 17,000 in- hab. (including the villages 51,400), residence of the prefect, of a mUitaTy commandant , and a bishop , and the seat of a nniverslty, lies on a group of hills about 1300 ft. above the valley of the Tiber (1705 ft. above the sea). The town is built in an antiquated style, partly on the top of the hill , and partly on its slope. Numerous buildings of the 14-15th cent, (when the town was at its zenith), the paintings of the Umbrian school, and the fine views of the pecu- liar scenery, make Perugia one of the most interesting places in Italy.
Perugia was one of the twelve Etruscan confederate cities, and not less ancient than Gortona, with which and Arretium it fell into the hands of the Romans, B. G. 310. It subsequently became a municipium. In the war between Octavianus and Antony, who in the summer of 41 occupied Pe- rusia, and after an obstinate struggle was compelled by the former to sur- render (bellum Perusinum), the town suffered severely , and was finally re- duced to ashes. It was aifterwards rebuilt and became a Roman colony under the name of Augtula Perusia. In the 6th cent, it was destroyed by the Goth Totila after a siege of seven years. In the wars of the Lombards. Guelphs, and Ghibellines it also suffered greatly ; in the 14th cent, it acquired the supremacy over nearly the whole of Umbria, but in 1370 was compelled to surrender to the pope. Renewed struggles followed, owing to the con- flicts between the powerful families of Odd! and Baglioni. In 1416 the shrewd and courageous Braccio Fortebraccio of Montone usurped the su- preme power, whence new contests arose, until at length Giovanni Paolo Baglioni surrendered to Pope Julius II. Leo X. caused him to be executed at Rome in 1520. In 1540 Paul III. erected the citadel, ^ad coercendam Perusinorum audadam'y as the inscription, destroyed during the last revo- lution, recorded. In 1708 the town was captured by the Duke of Savoy, on 31st May 1849 by the Austrians, and in 1860 by the Piedmontese.
TJmbrian School of Painting. As early as the time of Dante an Um- brian artist, the miniature painter Odbbibi of Oubbio, was celebrated, and art was practised in Gubbio, FabrianOy PerugiOy etc. The neigh- bouring Siena doubtless exercised an influence on the prevailing style of art, which was confirmed by the situation of the towns, the character of their inhabitants, and the religious atmosphere diffused by Assisi and Loreto. Neither dramatic power, nor wealth of imagination is to be found in the Umbrian style, its characteristic features being reverie, tranquillity, and gentleness of sentiment. The men pourtrayed often ap- pear destitute of individuality and vigour, the female figures, on the other hand, excite our admiration owing to their winning and devout expres- sions. Technical improvements seem to have been introduced but slowly .^ but the old style was thoroughly cultivated and reud^^t^ mnt^ «\\.^%.^>K's^ by frequent use of decorative adjuncts.
"48 Route?, PERUGIA. Sistdry of AH.
Setting aside the painters of the 14th cent., who were dispersed among various small towns , we find that Ottaviano Nelli of Chibhio (l&th cent.) was the first able representative of this school. Works by this master are preserved both at his native town and at Foligno. Kelli was, how- ever, eclipsed by Oentile da Fabrumo (b. about 1360), who probably had studied the Sienese masters in his youth, and who afterwards un- dertook long journeys {e.g. to Venice and Rome), thus establishing his reputation throughout Italy. His style not un^equently resembles the Flemish. Besides Gubbio and Fabriano, other Umbrian towns possessed local schools of painting, such as Camerino and Foligno. The latter, i&bout the middle of the loth cent., gave birth to Niccolb Alunno , a man of limited ability, which, however, he cultivated to the utmost. His prevailing theme is the Madonna, to whose features he imparts beauty in happy combination with reverie ; and in this department he may be re- garded as the precursor of Perugino and Raphael.
Meanwhile Prbugia, the largest city in this district, by no means remained idle. In this wider and more enterprising field the old con- ventional styles were soon abandoned as unsatisfactory, and the necessity of adopting the Florentine style was urgently felt. In the latter half of the 15th cent. Benedetto Buonfigli was the first who strove to throw aside the local style of painting , and the same effort was made by Fioremo di LoreneOy a younger master and perhaps a pupil of Benedetto.
This improved style was brought to maturity by Pibtbo Vannucci of Gittit della Pieve (144i6-1624) , sumamed Pkbuoino , after the chief scene of his labours, a master to whom the Umbrian school is chiefly indebted for its fame. Perugia was, however, by no means the only sphere of his activity. He repeatedly spent years together in Florence, and was em- ployed for a considerable time in Rome. His endeavours to overcome the defects of his native school were crowned with success. In Ver- rocchio's studio in Florence he was initiated into the secrets of perspec- tive and the new mode of colouring, and in both respects attained con- summate skill.. Down to the beginning of the 16th cent, his excellence continued unimpaired, as his frescoes in the Cambio, and several works in the Gallery at Perugia sufficiently prove. During the last twenty years of his life, however, his works show a falling off, occasioned, doubtlessly, by his accepting more orders than he could conscientiously execute, whereby his art was degraded to a mere handicraft. He seems , indeed, to have had more studios than one at the same time, as for example in 1502-5 both at Florence and Perugia , in the latter of which the young Raphael was employed.
Another great master of the Umbrian school , vying with Perugino, is Bkrnabdino Betti, sumamed Pintdbicchio (1464-1513). Although he exercised no considerable influence on the progress of Italian art, and in- troduced no striking improvements like Leonardo, and others, yet he thoroughly understood how to utilise the traditional style and the cur- rent forms, and was marvellously prolific as a fresco painter. The Va- tican and Roman churches, the Cathedral Library at Siena, and the Col- legiate Church at Spello, are the chief scenes of his activity. — Amongst the younger contemporaries of Perugino we must next mention Oiovanni di PietrOy sumamed Lo Spagna after his native country, whose paintings are hardly inferior to the early works of Raphael , and who , in common with all the Umbrian masters, exhibits great ease of execution.
Other assistants of Perugino, but of inferior merit, were Oiannieola di Paolo Manni (d. 1544) and Eusebio di 8. Oiorgio. The latter was so successful in imitating Raphael in superficial respects , that several of his pictures, amongst others the Adoration of the Magi in the picture-gal- lery at Perugia (Sala del Pinturicchio, "So. 23, p. 50), have been attri- bated to Raphael himself. Of Sinibaldo Ibi and TU>erio d^Assiei^ who flourished during the first twenty years of the 16th cent., little is known, and their works are rare. Oerino of Pistoja seems to have been a good painter of the average class , and the works of Domenieo di Paris Al/ani, a friend of Raphael , possess considerable attraction. These last masters, however, show little individuality, and before the middle of the 16th cen-
ColUgio del Cambio. PERUGIA. 7. Route, 49
tnry the Umbrian school was completely merged in those of Rome and Florence.
At tlie entrance to the upper part of the town, on the site of the citadel, which was removed in 1860, extfends the Piazza Vittorio Emanuele {Tl. B, 5) , in which rises the Prefettura, a simple and handsome modern building , adorned with arcades on the ground- floor. The garden-terrace affords a superb •View of the Umbrian valley with Assisi, Spello, Foligno, Trevi, and numerous other vil- lages , enclosed by th6 principal chain of the Apennines extending from Gubbio onwards ; the Tiber and part of the lower quarters of Perugia are also visible. (A band plays here two evenings a week.)
Northwards from the Piazza Vittorio Emanuele runs the Corso Vannuccl to the left, leading to the cathedral-square ; and the Via Baglioni to the right , leading to the Piazza del Sopramuro (p. 53).
"We follow the CobsoVannuooi, the busiest and handsomest street in the town. On the right (No. 8) is the Palazzo Baldeschi (PI. 21 ; B, 4) ; on the 2nd floor is preserved a •Drawing by Raphael (Pintu- ricchio?) for the 5th fresco in the library of Siena Cathedral (p. 28 ;
fee 72 f'O*
On the left, farther on, is the •CoUegio del Gamble (PI. 31; B, 4), the old chamber of commerce, with the *Udienza del Cambio, containing celebrated frescoes by Perugino, dating from his best period, 1500. (Adm. from 9 a.m.; custodian 1/2 fr.; best light in the morning.)
On the wall to the left of the door. 1st Arch : to the left, Fabius Mazi- mus, Socrates, and Noma Pompilius^ with Prudence above ; to the right, Furius GamiUus, Pittacos, and Trajan, with Ju&tice above. 2nd Arch: to the left, Lucius Sicinius, Leonidas, and Horatius Codes, with Valour; to the right, Scipio, Pericles, and Gincinnatus, with Temperance. On the pillar between the arches is a portrait of Perugino. — Opposite the en- trance: to the left, the Transfiguration as the fulfilment of faith; to the right , ^Adoration of the Magi , as a revelation of love. — Bight wall. 1st Arch: to the left. Prophets, to the right Sibyls, as the heralds of hope; above, Jehovah. The 2nd Arch is occupied by the finely-carved judicial throne and the money-changers^ bench. — On the ceiling are me- dallions of the seven planets, surrounded by admirable arabesques. Ra- phael is said to have been one of Perugino s assistants in the execution of these frescoes ; his style is traceable in the Madonna of the Nativity. Perugino received 350 ducats for his work from the guild of merchants. The exquisite carved and inlaid work ('tarsia') of the judicial benches, doors, etc., by Antonio Mercatello, which are amongst the finest Renaissance works of the kind, also deserve notice. — The adjacent Chapel contains an altarpiece and frescoes by Oiannicola Jfanni.
Immediately adjoining the Collegio is the •Palazzo Fabblico (or Comunale, PI. 22 ; B, 4), a huge edifice of 1281 and 1333, re- cently skilfully restored, with its principal fagade towards the Corso and a second towards the Piazza del Duomo. It Is adorned with fine windows , a handsome portal , and Gothic sculptures (the armorial bearings of the allied towns, saints, etc.). Over the portal in the Piazza del Duomo are a griffin and a lion in bronze (14th cent.); below are chains and bars of gates, GOmisi<^'Ci!^T^N^^ ^^^ victory gained by the Perugians in 1358 ovei t\ift ^ij&uwi^* 'tXikfe Oc^sJL
Baedbkeb. Italy II. 10th Edition. Iw
50 Route 7. PERUGIA. Palazzo Pubhlico.
entrance is in the Gorso. On the 2nd floor is the Sala della Statis- tical yfith. a fine Renaissance door, in a lunette ahove which is a Ma- donna by Fior, di Lorenzo. On the same floor is the Sala dbl Gafi- TANO DEL PopoLO, an apartment of nohle dimensions. On the 3rd floor is the municipal •Picjtxtbe Gallery fPinacotcca Vannucei)^ formed since 1863 of works collected from suppressed churches and monaster- ies , and of great value to the student of Umbrian art. (Adm. from 9 a.m.; tickets 1 fr., in the Sala della Statistica.) Catalogues provided. The Vestibule contains a few unimportant pictures and also works of art for sale. Adjoining it is the Sala dbi Gimblii (A): 1. Meo da Siena, Madonna and saints, a drawing. "So. 2. Two saints, and No. 3. The Apos- ties (the latter as predelle) evidently belong to the same work. 12. Am- brogio Lorenzetti^ Madonna and four saints \ *26. Margaritone cTArezxo (1272X Large crucifixion ; 22-24, perhaps by the same master. — Sala B (formerly the Cappella dei DecemtkiH), with frescoes by Benedetto Bonjigli. To the right of the windows and on the entrance-wall are scenes from the life of St. Louis of Toulouse. Opposite the windows are the Burial of that saint and the Martyrdom of St. Herculanns on the occasion of the capture of Perugia by Totila. On the adjacent wall is the Burial of St. Herculanns. — From the corridor (C) we enter the Sala dei Stagchi (D) : Frescoes of the Umbrian School (14th and 15th cent.), transferred to canvas. The glass-cases contain codices and choir-books with miniatures. — Sala di Taddbo Babtoli (E): Sienese pictures of the 15th cent., most of them valuable. Taddeo Bar- otli (1403): 9. Madonna with angels and saints; 10. Descent of the Holy Ghost. Tom. d'Arcangelo of Cortona: Exploits of the condottiere Braccio Forte- braccio (frieze). — Sala del Anoeligo (F): *1-20. Fra AngeUco d^ Fietole, Fragments of a large altar-piece (Madonna with angels, Annunciation, Saints, Miracles of St. Nicholas of Bari); *^1. Piero della Francesca, Madonna and four saints, with the Annunciation above. — Sala del Bonfigli (G). Bonfigli: 7. Annunciation, with St. Mark *, 10. Adoration of the Magi ; 13. Ma- donna with angels playing on instruments. Oiovanni Boccati da Camerino: 16, 19. Madonna and angels. — Sala di Bebnabdino di Mabiotto (H). Ber- nardino: 1. Marriage of St. Catharine; 2. Madonna and saints. 10. Bonfigli, 'Gonfalone'* (sacred banner) of the Fraternity of S. Bernardino di Siena (Christ blessing the saints, below which are believers burning objects of luxury). 12. (kiporali , Christ and the Madonna in glory (fresco). *14. Nic- colb Alunno , Gonfalone of the Brotherhood of the Annunziata (1466). — Sala di Fiobenzo di Lobemzo (J): '^4. Fioreneo, Adoration of the Magi (among whose followers is the young Perugino to the left); 24. PeruginOy Coronation of the Madonna. — Gabinbtto di Fiobbnzo di Lobbnzo (L): *2-9. Fiorenzo, Miracles of S. Bernardino (2-6, masterpieces; 7-9, in the same style, but inferior); 16. Fiorenzo (?), Bust of the Madonna in a garland, with angels'' heads below. — Sala del Pbbuoino (M). Ca rattoli, Marble bust of Perugino. Perugino: 11. Baptism of Christ; 20. Nativity; 21, 16, 12, 7. Predelle; 8, 9, 13, 14, 17, 18, 22, 23. Saints; all being fragments of a large altar- piece. Below No. 4. (St. James, by Perugino) is an autograph letter of the master to the Prior of S. Agos- tino. — Sala del Pintcbicohio (N). Perugino: 2. Transfiguration; =^3-5. Predelle; 6. Madonna and saints. ^. Spagna, Madonna and saints. '^ Pinturicchio : Large altar-piece in its original frame, the Madonna with the infant Child and St. John; on the left, SS. Augustine and Jerome; above, the Annunciation ; in the pediment, a Piet^ ; in tlie predelle, scenes from the lives of SS. Augustine and Jerome; 12. Gonfalone with St. Augustine (on silk)' Perugino : 14. Madonna , worshippers , SS. Francis and Bernardino ; 15. Madonna and saints; 16. John the Baptist with saints. Raphael'. ^17. Strip of decorative painting; 24. God the Father with angels (both belonging to the Entombment in the Galeria Borghese at Rome). Eusebio di San Giorgio: 18. Madonna with saints; '^23. Adoration of the Magi. 20. Pupil of Raphael (?), Madonna, resembling the Conestabile Ma- donna ^ formerly in Perugia. — Sala di Giannigolo Manhi b di Bbbto
Cathedral. PERUGIA. 7. Route. 51
(O). — Sala dslla Souola di Pebcgiko (P) : 36. Alfani , Holy Family, designed by Raphael. — The following rooms are the Sala Doxenico Al- fani, Sala della Torse, and Sala Obazio Alfani.
The Biblioteca Pubblica, which has recently been transferred to this Palazzo , contains about 30,000 vols. , and some fine HSS. of the 11-ldth cent., with miniatures.
In the Piazza del Municipio rises the *Fonte Maggiore , dat- ing from 1277, and one of the finest fountains of that period in Italy. It consists of three admirably-constructed basins, adorned with numerous biblical and allegorical figures In relief, executed by Niceolb and Giovanni Pisano and Amolfo del Cambio (1280; two of the statuettes are modern substitutes). — The W. side of the piazza is occupied by the Episcopal Palace (PI. 30), behind which is the so-called Maeath delle VoUe (PI. 32), a relic of the Palazzo del Podest^, which was burned down in 1329 and again in 1534.
The Cathedral of 8. Lorenzo (PI. 11 ; B, 4), dating from the 15th cent., is externally unfinished. Adjoining the entrance from the Piazza del Municipio is a pulpit.
The ^Interior, consisting of nave and aisles with a short transept, is of spacious but heavy dimensions. — On the right of the entrance is the tomb of Bishop Baglioni by AffosUno di Duccio (1461) , beyond which is the Gaffella S. Bbknabdino, with a Descent from the Gross, the master- piece of Baroecio (1569) ; the painted window representing the Preaching of St. Bernardino of Siena is by Constaniino di Rosaio and Arrigo Fiam- mingo of Malines (1565; restored in 1863). — Opposite, in the left aisle, is the Gaffella dell^ Anello, which down to 1797 contained the cele- brated Sposalizio by Perugino , now at Gaen in Normandy. The beauti* fully carved stalls were begun by Qiulio da Majano and finished by Do- menico del Tasso in 1491; the elegant tabernaculum was executed by the goldsmith Cesarino del Rosceito^ in 1519. — Farther on in the nave is a Pieta in relief, by Agoatino di Duccio (^). — In the Right Transept, a marble sarcophagus containing the remains of Popes Innocent III. (d. 1216), Urban IV. (d. 1264), and Martin IV. (d. 1285). — The adjoining Winter- Ghoib contains an *Altar-piece by Luca Signorelli: Madonna with SS. John the Baptist, Onuphrius the Hermit, Stephen, and a bishop as donor. Be- low the 2nd window to the left: Ghrlst imparting his blessing, and saints, by Lodovico di Angela.
In the LiBBABT are preserved precious MSB., such as the Godex of St. Luke of the 6th cent., in gold letters on parchment.
On the W. and N. side of the Cathedral is situated the Piazza Danti (PI. B. C, 3, 4), with a bronze statue of Pope Julius III. by Vine. Dantl (1556). — From the N. angle of the Piazza Danti the Via Vecchla descends to the *Arco di Augusto (PI. 2; 0, 3), an an- cient town-gate with the inscription Augiuta Perusia. The founda- tions date from the Etruscan period, and the upper part perhaps from the Augustan epoch after the conflagration. From this point the partly preserved walls of the ancient city, which occupied the height where the old part of the present town stands, may be distinctly traced.
The small space in front of the Arco di Augusto is called the Piazza FoRTSBaAooio (PI. 0, 3); to the left is the Palazzo Qalenga^ formerly Antinorij by Alessi. — A little to the N. lies the chutcK of 8. Agostino (PI. 5 ; 0, 2), to the right of vhi^Yi \a wi Qx^Xari ^orsv- tainlng several pictures hy Alfani, Scaxamuwi, e\.<i.
52 Route?. PERUGIA. University,
From the Palazzo Galenga the Via dell' XJniYerslti leads in a few minutes to the TJniverBity (PI. B, 2), established in 1320 in a mon- astery of Olivetans, which was suppressed by Napoleon. It possesses a small Botanic Oardeny Natural History and Art History CoUeetionSy and a Museum op Et&usoan and Roman ANTiQurrras (eurator,
8ig. Angelo Lupatelli').
The Museum of Antiquities is on the first floor. On the Staireage are Etruscan and Latin inscriptions and unimportant Roman sculptures. The Corridor chiefly contains Etruscan urns and a few casts from antique and Renaissance sculptures. *17o. 279. Terracotta urn in the form of a re^cumbent man, who is being seized by a goddess of death with the features of a fiend; the hollow interior once contained the ashes of the deceased. The OaMnetto di Antiqitaria contains stone weapons, urns, and Etruscan and Roman anticaglias. In the 3rd Room, Mountings of a chariot with figures and ornamentation, resembling the most ancient Asiatic style (in a cabinet opposite the windows) *, large gold Earring with a female head (in a the cabinet in the middle of the room) ; two Mirrors with scenes from the myths of Meleager and Helen. In the 4th Room, Vase of admirable Attic workmanship, with red figures of Dionysus and Ariadne (cabinet opposite the windows). — The Chtardabassi Collection ^ at the end of the second corridor, contains various interesting objects from Etruscan graves. In the 1st Room, Collection of cut stones. In the 2nd Room, fine ^Mirror- case, with a representation of Dionysus on the panther, toilette articles, and amber and coral ornaments (catalogue 1 fr.). — Oabinetto Cristiano/, Central Room, Coffin of Bishop Baglioni, with a sumptuous velvet covering (■15th cent.) \ episcopal vestments of the 16th cent. ; richly carved slabs from the confessionals of S. Agostino, perhaps by Barili; voting-urn used in municipal elections, with the arms of the Guilds (15th cent.). 2nd Room (to the right), Reliquary containing the remains of the condottiere Braccio Fortebraccio , who fell at the siege of Aquila on 5th June , 1424 (formerly in S. Francesco dei Conventuali) r, Seal of Card. Bembo by Lau- tirio di Perugia; Madonna by Agostino di DucciOy and other terracottas; fine marble ^Relief of St. Francis, by Luca delta Robbia; bust of one of the Baldeschi family (15th cent.); weapons; majolica. In the 3rd Room (to the left) three masterpieces of enamel-work (^champs leves'): a goblet which once belonged to Pope Benedict XI. (d. 13041, and a cup and plate or saucer executed by Catalorzio di Pietro of Todi (14th cent.); to the right, ivory carvings, including a circular piece with chessmen, and a represen- tation of French knights starting for the chase (14th cent.). — The Cor- ridor contains medireval sculptures; statues from the Maestk delle Volte by Agostino di Duccio; and a model of the Fonte Maggiore (p. 51).
The Natural Histoiy Collections are unimportant.
The University Church, the key of which is kept by the curator of the 3Iuseum, contains mediseval works of art and plaster casts, including those of an 8th cent, tabernaculum and an early-Christian sarcophagus.
Near the Gate of S. Angelo (PI. A, 1), to which the Via Longara leads from the Piazza Fortebraccio , is situated the architecturally interesting church of S. Angelo j a circular structure with 16 antique columns in the interior, in the style of S, Stefano Rotondo in Rome, probably dating from the 6th cent., with additions of a later period. — On the other (S.) side of the Longara is 8. Agnese, adorned with frescoes from the later period of Perugino and his pupils.
Ascending from the Piazza Fortebraccio (see above) by the Via Rnturlcohlo to the S.E. (or from the Piazza Dantl, p. 51, by the Via Bontempi to the E.), crossing the Piazza de' Gigli, and then taking the first side-street (Via Raffaello) to the left , we reach *8. Bevero (PL i4; 0, 3}, formerly a convent of the order cf Cam»ldoli,
8, Severo. PERUGIA. 7. Route. 53
now a college, in the chapel of -svhich Raphael painted his first fresco,
probahly in 1505, having left Perugino's school the year before, and
gone to Florence. Entrance adjoining the chapel (custodian 1/2 ^'O* The fresco, which was seriously damaged, and of late has been restored by Consoni , resembles the tipper part of RaphaePs Disputa in the Va- tican; above, God the Father (obliterated) with three angels and the Holy Ghost; below, the Redeemer and the saints Manrus, Placidns, Bene- dict, Romnald, Benedict the Martyr, and John the Martyr. The inscription (added at a later period) runs thus : Raphael de Urbino dam. Oetaviano Ste- phana Volaierrana Priare Sanetam Trinitaiem angelas astantes tanctosque pinsiL A. D. MD V. At the sides, lower down, St. Scholastica, St. Jerome, St. Joiin Ev., St. (Gregory the Great, Boniface, and St. Martha, by IHetra Perugina. Inscription: Petrus de Casira Plebis Perusinus, tempore damini SUvestri Stephani Volaterrani a dextris et sinistris div. Ghristipherae sanctas ianetasque pinxit A. D. MDXXI.
A vaulted passage under the clock of the Palazzo Pubblico (p. 49) leads from the Corso Vannucoi to the Via db' Priori, the best route to the sights of the W. quarter. The Via Deliziosa, diverging to the left near the small piazza in front of the Chiesa Nuova (PI. 10 ; B, 4), contains (PI. 18) the House of Perugino (? ; denoted by a tablet).
We continue to descend the Via de' Priori, passing the mediae- val Torre degli Seirij or degli Scalzi (Pi. 34 ; A, 4), and the Madonna delta Luce ^. 4), a pleasing little Renaissance church of 1518, and reach an open space on the right. Opposite us here rises the —
"'Oratorio di S. Bernardino (^Confratemitd, delta Qiustizia\ PI. A, 3). The fa^e , executed by Agoitino di Duceio , a Florentine sculptor, in 14J59-61 , is a magnificent polychrome work, in which both coloured marble and terracotta are employed, while the ground of the numerous and very elaborate sculptures is also coloured. A picture in the interior, representing the festival of the church, con- tains an admirable view of the facade.
Immediately adjacent is the church of S. Francesco del Con- ventuali, or del Prato (PI. 9 ; A, 3), for which Raphael painted the Entombment now in the Borghese Gallery at Rome (p. 185). Sev- eral frescoes of the 13th cent, have recently been discovered in the crypt (Betrothal and Death of the Virgin). The church is in a very precarious state.
To the E. of the Corso, and parallel with it, stretches the Piazza del Sopramuro (PI. C, 4), resting on extensive substructions, part of which belong to the ancient Etruscan town-walls. On the E. side of the Piazza rises the Palazzo delCapitano delPopolOj after- wards the Palazzo del Podest^ (PI. 29), dating from 1472; adjoining it is the Old University j built in 1483 ; both edifices are now occu- pied by courts of justice (PI. 35).
The Via Baglioni leads hence towards the S. to the Piazza Vittorio Emanuele (p. 49). "We descend here immediately to t\ift\fcl\..»^"!va.'^vc\% the substructions of the old citadel , whei© axv a.Tvc\etv\. %^\fe ^ ^^C^s^ Porta Mania (PL 33; 0,5), with interesting %cu\^\.\3ix^^ ^ ^^^^ ^^
54 Route 7. PERUGIA. 8, Pietro de' Caainmst.
insoriptions Augusta Perudia and Colonia Vibia, whicli was removed from its old site to make way for the fortress, lias been re-erected. — ]Wc turn to the left here, and follow the broad main street with an avenue of acacias, at the end of which, to the left, rises the small Gothic church of 8, Ercolano (PL 6 ; C, 5), with an altar consisting of an ancient sarcophagus.
Following the Corbo Cavoijb, the continuation of the Via S. Ercolano, to the left, we reach a small square in which stands the church of —
S.Domenico (PI. 7; C, 6), originally a Gothic edifice of the 13th and 14th cent., built by 6iov. Pisano in 1304, and almost entirely re-erected by Carlo Madema in 1614, with a lofty campanile, part of which has been taken down.
In the Left Tbansept is the '^Monument to Pope Benedict XI., who fell a victim to the intrigaes of Philip IV. of France, and died in 1304 from eating poisoned figs. It was executed by Oiovannt Pisano^ and is one of the most famous monuments of its kind; above the recumbent figure of the pope rises a lofty canopy, borne by spiral columns and adorned with mosaics (above is a Madonna between St. Dominicus and the kneeling pope on one side and St. Herculanus on the other). On the adjacent wall is the monument of Bishop Benedetto Guidolotti (1429). — The Choir, with a rectangular termination, contains a huge Gothic window filled with rich stained glass, the largest of its kind in Italy (218 sq. yds.), executed in 1441 by Fra Bartolommeo of Perugia, and recently restored. This window belonged to the original church of Giov. Pisano. — The in- laid Choir Stalls (tarsia) date from 1476.
After a few minutes more we pass through the Porta 8, Pietro, richly decorated by Agostino di Duccio (1473), and reach the old monastery and church of —
♦S. Pietro de' CaBinensi (PI. 13 ; D, 7, 8 ; entrance in the first court in the corner diagonally opposite, to the left). The church, founded about the year 1000 by S. Pietro Vincioli of Perugia, is a basilica, consisting of nave, aisles, and a transept, with a richly gilded flat ceiling, borne by 18 antique columns of granite and marble and two pillars, and contains numerous pictures.
In the Nave, above, are eleven large pictures by Ant. Vaxillaechi, sur- named VAliense, of Perugia, a pupil of Tintoretto and Paolo Veronese, exe- cuted in J 592-94. — The Right Aislb contains several Umbrian pictures. The chapel of St. Joseph , adorned with modern irescoes , contains , on the left , the monumental *Relief of a Countess Baldeschi , in terracotta, from a drawing by Fr. Overbeck ; on the right. Holy Family, a copy from Andrea del Sarto, by Pontormo. — Then, above the door leading to the monastery, Two saints by Sasso/errato, after Perugino, and a Holy Family after Bonifacio of Venice. Above the door leading to the Sacristy, Three saints, also after Perugino by 8as»o/errato. — In the Saceisty (shown by the custodian , 5 soldi) are five small half-figures of *Saint8, by Perugino (which formerly surrounded the Ascension by the same master, removed by the French, now in Lyons); Holy Family, by Parmeggianino ; *Infant Jesus and St. John, after Perugino, by Raphael (?); S. Francesca Ro- mana, by Caravaggio. — The Choir-books are embellished with good min< iatures of the 16th century.
The '^Choib Stalls, in walnut, are admirably carved and inlaid (tarsia)
by Stefano da Bergamo^ 1535; the doors at the back are by his brother
Ifamiano. — Under the arch of the Choir, on each side, are ambones (pul-
pita) in atone, with reliefs on a golden ground, by Franc, di Quido^ 1517-21.
EXCURSIONS FROM PERUGIA. 7. Route. 55
The Left Aisle, beginning at the upper end by the choir, contains a picture by BwmfiifH (?), Mary with the body of Christ and two saints, 1469. In the adjoining clu^pel is a marble altar with reliefs, partly gilded, by Mino da Fiesole , 1473. In the next two chapels : pictures by 0, Reni^ Qiorgxo Va- tarif and others. Between these, on the wall of the aisle: Jndith, by Scuso- /errato. Then, Adoration pf the Magi, by Eusebio di 8. Giorgio ; Annnn- ciation, after Raphael, by Sagso/errato ; Piet&, a late work of PeruginOy part of a large dismembered altar-piece from the church of S. Agostino.
Close to S. Pietro , on the opposite side of the street, are the gardens of the Passeggiata Pubblica (PI. D, 8), extending to the Porta S. Costanzo, and commanding a magnificent *Prospect of the valley of Foligno and the Apennines.
The visitor may also inspect the following private collections : the collection otAvv, Bomualdij Via del Bufalo, No. 5 (near the Alb- ergo Gran Bretagna), comprising bronzes, coins, cameos , drawings and paintings by An. Carraeci^ PeruginoQi), eto. (for sale). — The Qalleria Monaldi (PI. 26 ; B, 5), in the palazzo of that name, at the corner of the Via Baglioni and the Piazza Yittorio Emanuele , and the Qalleria Meniconi (PI. 25 ; C, 5), Via di Porta Romana , both chiefly contain works of later masters (end of 16th and 17th cent.).
Outside the Porta del Carmine lies the Cemetery QPl- E, 3), con- taining a monnment to the champions of liberty in lo59.
Outside the Porta S. Costanzo, on the road to Assisi, lies the church (restored) of 8. Costanzo (PI. D, E, 8), dating from the ilth cent., with an ancient portal. —About 3 M. to the E. of Perugia, */« M. on this side of Ponte 8. OiovmM (p. 72), the first station on the route to Foligno and Rome, the Ancient Etsuboan Xbobopolis of Perugia was discovered in 1840. Carriage there and back, a drive oflV2-2hrs., 12 fr. — The most interesting of the tombs, and one of the handsomest, though not oldest in K. Etruria, is the ''SeiMlcro de* Volumnii (the tomb of the Volumnii, 3rd cent. B. G.), close to the road, where it is intersected by the railway. It consists of ten chambers, hewn in the coarse-grained tufa. A number of cinerary urns, with portraits of men and women, and various kinds of decoration, were found here. Some of the objects found in the tomb have been left in their origimd positions, but most of them are now preserved in a chamber built above it. The custodian is to be found at the neighbouring Villa BagUoM (fee V« fr., for a party 1 fr.).
The convent of MontefiorentinOy between Perugia and Assisi, contains a Madonna by Gio9. 8anti (1489).
Fbok Peruoia to Todi, about 28 M. (diligence, see p. 47). This road, once greatly frequented, but now of merely local importance, descends rapidly into the valley of the Tiber , which it crosses , and then remains on its left bank. The scenery presents no great attractions. About half- way between Perugia and Kami, and 19 BI. to the E. of Orvieto, lies —
Todi (Posta. at the gate), the ancient Umbrian Tuder^ a high-lying town (1495 ft.) with 4-5000 inhab. (commune 15,500) -, the hill is so abrupt that the upper part of the town is not accessible to carriages. Its ancient importance is indicated by the fragments of walls and the extensive ruin of a Temple, or Bcuiliea, usually styled a temple of Mars. Although poor in treasures of art, the town boasts of several interesting edifices, among which are the Ca- thedral and the Town Ball in the Piazza. The church of 8. Fortunato pos- sesses a handsome portal. The finest building of all, however, is the pilgrimage-church of *8. Maria della Consolaeione, in the form of a Greek cross and covered with a dome. The arms of the cross are also sur- mounted with domes, and are polygonal in shape with the exce^U^^ of the choir , which is semicircular. The extetlOT V^ T«a\^-t>K82>^^ ^«s« \N* simple and massive style, and the InteTioT tot \\a «Y^DQXttaVi\s*N."^"t'^'^^"«^^'^^- and the delicately graduated omamentatVoTi oi V\a ^\\\Kt%. ^«a^^{» ^^''^ ^^
56 Soute 8, OITTA DI OASTELLO. From Arezto
the noblest creations of the Renaissance period, this edifice was naturally attributed to Bramante. Documents, however, name Cola di Matteueeio da Caprarola (1606) as the architect, and Baldaasare Peruzsi as his ad- viser. The progress of the building was remarkably slow, and it was not completed till 1604. — Todi was the birthplace of Jacopone da Todi (d. 1306), author of the ^Stabat mater doIoro8a\
Fbom Todi to KAsm, 28 H., by the villages of Rosaro^ Castel TodinOy and San Oemine. About IV2 M. from the last, on the ancient, now abandoned Via Flaminia, are the interesting ruins of the once prosperous Carntlae. From San Gemine (7Vt H. from Narni) two roads descend gradually to the beautiful valley of the Nera^ one leading S.E. to Temi (see p. 84), and the other S. to Nami (p. 87).
is. From Arezzo to Fossato.
84 H. Bailwat (Ferrovia ddf Appennino Centrale) : one through-train daily in about 5 hrs. (fares 12 fir. 25, 7 fr. 65 c).
ArexzOy see p. 38. — For a short distance the train follows the line to Rome (p. 20), but it soon diverges and begins to ascend more rapidly towards the hills to the E. of Arezzo, affording a pictaresqne retrospect of the town and plain. It mounts as far as tbe Scopettone, the W. parallel chain of the Umbrian Apennines, separating the valleys of the Arno and Tiber. This part of the line, the most in- teresting from an engineering point of view, traverses 20 tunnels and several viaducts. — Beyond (11 M.) Palazzo del Pero we descend to the N. E. through the wooded valley of the Cerfone, a tributary of the Tiber. — I9Y2M. Ville Monterchi, situated in a hollow, from which a steeper ascent leads to (2OY2 M.) Citerna. — 24V2 M. An- ghiarij a small town picturesquely situated on a hill, commands an extensive view of the upper valley of the Tiber, here about 7 M. wide.
The train traverses the highly cultivated plain, crosses the Tihery and reaches (28^2 M.) Borgo S. Sepolcro (Alb. Venezia), a little town at the foot of the Monte Maggiore (4430 ft.). The churches and the Palazzo del Comune contain several pictures by Piero della Francesca (b. 1423 ; teacher of Luca Signorelli ; comp. p. 39) and Raff actio dal Colle (16th cent. ; a pupil of Raphael), both of whom were born here. In 8. Antonio Ablate, a fine Crucifixion by Sig- norelli, originally a church-banner.
From Borgo S. Sepolcro a road crosses the Central Apennines to Urbania (31 M.), formerly Castel Durante^ the probable birthplace of Bra- mante, and Urbino (p. 88). — The Source of the Tibery near the village of /ve JBalte, about 16 M. to the N., may be visited from Borgo S. Sepolcro.
The railway proceeds to the 8.E. along the left bank of the river. 31 M. 8, Oiustino; 38 V2 M. 8elci Lama, a little to the right of the village of that name.
38 M. Citti di CasteUo (Locanda la Cannoniera), with 7000 inhab. (commune 24,000), occupying the site of Tifemum Tiberi- num, which was destroyed by Totila. In tbe 15tb cent, it belonged to the Vitelli family, and afterwards to the Church. The town, built in the form of a rectangle, and still surrounded by the walls erected in 1518, contains many interesting small buildings of the '»rly-Benaissance period, but few medlaaxal monuments.
io Fdssato. GUBBIO. 3. Route. 57
Of the numerous churelies 8. Domenico alone has preserved a Gothic character. All that remains of the old Gathedkal of S. Flo&idO) founded in 1012, is the campanile and the N. portal ; the present huilding, an admirable specimen of the Renaissance style, was begun in 1480 and completed in 1540. Bramante has been frequently named as the builder, but EUa di Bartolommeo Lorn- bardo is mentioned in the records as the architect.
Among the secular buildings, the Palazzo Comunale, built in the 14th cent, by a certain Angelus of Orvieto, in the style of the Florentine palaces, retains most closely its original form. The Yitelli, the lords and masters of the town, like most of the mag- nates of the Renaissance period, were passionately addicted to build- ing. The oldest of the four palaces of the 15th and 16th cent, bearing their name is the Palazzo di Alessandro Vitelli; the hand- somest is the Palazzo Vitelli a 8. Oiacomo , and the largest the Palazzo Vitelli a Porta 8, Egidio, The small summer-house (Pa- lazzino) of the latter deserves special notice.
The PiNACoTEOA, newly opened, now contains the more impor- tant paintings and works of art formerly in the churches.
Raphael , it is well known , painted his first independent works for cburches in CiiXk di Oastello, but they have since disappeared, or (like the Sposalizio now in the Brera at Milan) have been carried elsewhere. The only work of his now here is a church-banner, with (No. 32) the Trinity and (No. 16) the Creatilon, painted on linen. An Adoration of the Shepherds by Luea SignoHiU^ a Coronation of the Virgin of Sigpiorelli's school (Ko. 8), and several terracottas by Lnea delta Bobbia and his school, are also noteworthy.
The church of 8, Ceeilia contains a Madonna by Luca Signorelli,
and the Palazzo Mancini a *Nativity by the same master, as well as
several other valuable pictures.
Beyond Citik di Gastello the train follows the right bank of the Tiber. 43 M. 8. Secondo , at the mouth of a lateral valley. On a height to the right, 13/^ M. from this station and as far from (4572 M.) Trestina^ the next, lies Canoscio, a frequented pilgrim-resort. Be- yond (50 M.) Montone Monte Castelli we cross the Tiber and reach (53 M.) Umbertide (Alb. Guardabassi), a small town on the left bank of the Tiber, the valley of which is here somewhat narrow. In the church of S. Oroce is a Descent from the Cross by Luca Signo- relli. Diligence to Perugia, see p. 47.
Beyond (55 M.) Monte Corona the railway quits the Tiber and ascends to the N. through the narrow valley of the Aasino^ crossing the stream six times. — 57 M. 8erra Partucci; 59^2 M. Campo Reggiano. At (64 M.) Pietralunga we reach the fertile tableland of Gubbio. To the left rise the Monte Calvo (2965 ft.) and the Monte d'Anaciano.
70 M. Oubbio (^Albergo del Oiardino , formerly the Leon d'Oro ; Rosetta or Colomhaj both in the Piazza Vittorio Emanuele wv^ well spoken of), with 5000inhab., lies at theioo^ wv^ qtv^^ ^^^««k of Monte Calvo, at the entrance to a gorge iia.wYfe^\i^ «\.e»e^ Ocv^^.
58 Route 8. GtTBBlO* From Arezio
The town presents quite a mediseval appearance , and the proximity of the Apennines also gives it a different character from most other Italian towns. Conspicuous among the houses is the huge Palazzo
dei Oonsoli, and above them towers the church of S. Ubaldo.
Gabhio is the ancient Igumum or Bugvbium^ mentioned by Cicero and Ceesar. It was destroyed by the Goths, was besieged in 1155 by the Emp. Frederick I., then became an independent state, afterwards belonged to the duchy of Urhino, and with it finally accrued to the States of the Church.
Gubbio was the native place of Oderiti^ a famous miniature painter (d. about 1300), who is called by Dante in his Purgatorio (xi,80) ^rOnor d'Agobbio^; but no authentic work by his hand now exists. In the 14th and 15th cent, a branch of the Umbrian school flourished here, and among its masters, whose renown extended even beyond their native place, were Ouido JWmerucci (1280-1345?) and several members of the NelU family, particularly OUaviano Nelli (d. 1444). — Gubbio occupies a still more important page in the history of Abtistio Handicrafts. Like Urhino, Pesaro, and Faenza, it was noted for the manufacture of Mcjolica^ or earthen- ware vases and tiles which were covered with a white coating of colour before being baked. One of the most distinguished majolica painters was *Maettro Oiorgio' of Gubbio , who is said to have invented, or rather re- discovered and perfected, . the metallic, ruby-coloured glazing for which the Italian majolicas are remarkable.
At the bottom of the spacious Piazza Yittorio Emanuele is the church of 8. Francesco. We ascend hence by old-fashioned streets to the Piazza della Signobia, on the slope of the hill, supported by massive vaults, where the most conspicuous building is the —
*Palazzo DEI CoNSOLi, a huge pinnacled edifice with a tower, erected in 1332-46 by Oiovanello Maffei of Gubbio, surnamed OattapoTie, and at present disused. The ground-floor contains a slab with an inscription of the Augustan period. The Loggia affords a beautiful view, embracing the ruins of the Roman theatre in the plain (p. 59), and on the other side, the old facade of the Palazzo Ducale (fee 1/2 ^r-)'
The Palazzo Pretorio, now 'Residenza Municipale', contains several collections recently united here (fee Y2-I ^r.).
On the first floor are the so-called Sugubian Tablets^ which were dis- covered in 1440 near the ancient theatre. They are of bronze, and bear inscriptions, four in Umbrian, and three in Latin characters, which long baffled the investigation of the learned. They contain in the Umbrian language, an old Italian dialect akin to Latin, liturgical regulations and formulee of nearly uniform import, dating from different periods. The older, in the Umbrian character, are read from right to left. The later, in Latin letters, date from about the 2nd cent. B.C.
The upper saloon (handsome door) contains a number of pictures, including several fine works, chiefly of the Umbrian school; admirable ^Wood-carving of the 15th and 16th cent.; cabinets, chairs, and a num- ber of ancient and modem "^Majolicas.
The third side of the piazza is occupied by the modern Palazzo Ranghiasci-Brancaleone. — Conte Fabiani-Benij Piazza S. Martino, possesses several good pictures.
Ascending the Via dei Duchi to the left, and then following the Via di S. Ubaldo, we reach the *Palazzo dei Duchi, an old Go- thic edifice, which was remodelled by Luciano Lauranna, the archi- tect of the palace of Urbino. The colonnaded court is almost an
to Foshato. GUBBIO. S. Route, 59
exact reprodtiction of that of Urbino. The interior Is qaite a ruin and accessible only with difficulty.
Opposite the entrance to the court of the Pal. dei Duchi rises the Cathbdrax of SS. Mabiano e Jacopo Martibe , a structure of the 13th cent., destitute of aisles and so built against the slope of the hill that its back is embedded in the ground. The facade is adorned with sculptures of the Evangelists (13th cent.).
Among the pietares in the interior (first altar on the left) is a Ma- donna with SS. Ubaldo and Sebastian, by Sin&taldo IH of Gubbio. By the 2nd altar a ^Coronation of Mary Magdalene by TimoUo delta Vite. The sacristy contains a Flemish vestment, presented by Pope Marcellus II.
The church of S. Mabia Nuova, situated near the E. end of the Via delle Fonti, running above and parallel with the Corso , at the comer of the Via Nelli, contains an admirably-preserved Madonna by Ottaviano NeUi^ 1403 (apply to the sacristan), a Madonna in fresco by Bernardino di Nanni , frescoes by Quido on the entrance- wall, and a St. Anthony by Guido^ on the wall to the left of the door.
The Via Paoli leads from the end of the Oorso Garibaldi to the fine Gothic church of 8, Giovanni (13th cent.). — At the other end of the Oorso is the church of 8, PietrOy with a 12th cent, facade (decayed). — 8, DomenicOy 8, Agostino (frescoes in the choir ascribed to Ottaviano Nelli), and 5. Maria delta Piaggiola (outside the Porta Vittoria ; over the high-altar , *Madonna by Gentile da Fabriano) also contain pictures of the same period.
The ancient town extended farther into the plain than the mod- ern. Among the ruins still existing is a Theatre, discovered in 1863, apparently of the republican era. It is not entirely excavated, but part of the external row of arches is preserved , and the stage, facing the town, is distinctly traceable. (We quit the Piazza Vitto- rio Emanuele by the Porta Trasimeno, turn to the right, and lastly pass through a modern gateway on the left, towards a farm.)
73 M. Padule. Beyond (78 Y2 M.) Branca we cross the Chiascio and traverse the valley of that stream to —
84 M. Fossato, see p. 109.
9. From Florence to Borne vid (Arezzo) Terontola
and Chiusi.
195 M. Railway. This is the shortest route from Florence to Rome. Express in 772-78/4 hrs. (fares 39 fr. 5, 27 fr. 30 c); ordinary train in 123/4 hrs. (fares 35 fr. 50, 24 fr. 80, 16 fr.)j no change of carriages.
From JF'^<nc« to Terontola, 76 M., see pp. 37-46. The main line to Rome diverges to the right (S.) from the branch-line to Pe- rugia, Assisi , and Foligno, and at first skirts the W. hank of the Trasimene Lake (comp, p. 45).
82 M. Castiglione del Lago, lying to the left on a promoivt^T^ extending into the lake, possesses an old paiaxxo ol ^^\>wOe\^'^*^ Cornia, built by Alessi.
60 Route 9. CHIUSI. From Florence
86 Y2 ^* Paniealej a small place with animportant frescoes in its clmrclies by Perugino and Ms school. The line takes a W. direction and joins the line from Siena in the valley of the ChiatM (R. 4).
93^2 ^* ChillBi. — The Bailwat Station CR**tawranf) is about l>/2 H. from the town, on the hill to the right. *Po8to^ (seat in a carriage) to the town 1 fr., two *po8ti' i>|2 fir.
Aqdila d^Obo, well spoken of; Gobona, Via Porsenna 1, nnpretend- ing and moderate; Etburia, at the station.
Travellers who wish to inspect the Etbuscan Antiquitibs should en- quire for the custodian , who sells tickets for the museum (1/2 fr.) where he is generally to he found, and accompanies visitors to the tombs (2 fr. ; or, for the whole day, 8-4 fr.). The road to the tomhs is very muddy in wet weather. — Travellers are cautioned against making purchases of Etruscan antiquities at Ohiusi, as 'antiquities'* from Etruscan tomhs are largely manufactured here.
Chiiisi (5000 inhab.), the ancient Clusium, one of the twelve Etrnscan capitals, frequently mentioned in the war& against Rome, and as the headquarters of Porsenna, was fearfully devastated by malaria in the middle ages ; but under the grand-dukes of the House of Lorraine the Yal di Ghiana was gradually drained, and the town recovered from these disasters. The walls are mediaeval; a few re- lics of those of the Etruscan period are traceable near the cathedral,* outside the Porta deUe Torri, A walk thence round the town to the Porta Romana, also called Porta di 8. PietrOj affords pleasing views of the S. portion of the Ghiana Valley, Cittii della Pieve, the mountains of Getona, to the N. the lakes of Ghiusi and Montepul- ciano, and the latter town itself. Under the town extends a laby- rinth of subterranean passages, the precise object of which Is un- known (inaccessible) ; but they probably belonged to an elaborate system of drainage, as the ancient Etruscans excelled in works of this kind, and were even in advance of many modern nations.
The interesting Mused Etrusco, founded a few years ago, con- tains a valuable collection of objects found in the Etruscan tombs around Ghiusi, such as vases (including several curious polychrome urns), dishes, bronzes, mirrors, sarcophagi, and especially cinerary urns, chiefly of terracotta, with a few of alabaster and travertine.
The Cathedral of 8. Mustiola consists almost entirely of frag- ments of ancient buildings; the eighteen columns of unequal thickness in the interior, and the tomb of S. Mustiola are derived from a similar source. The sacristy contains a mass-book illumin- ated with admirable miniatures of the 15th cent., chiefly by ar- tists of the Sienese school. The walls of the arcades in the cathedral square bear numerous Etrnscan and Roman inscriptions.
The great attraction of Ghiusi are the Etruscan Tombs (tickets of admission and guide, see above), situated in isolated hills at some distance from the town. The most important are the following: to the N.E. the Deposito del Granducaj 3 M. ; near it, the *Depo8ito della Scimia, with mural paintings representing gladiatorial com- bats. The Deposito del Poggio Oajelli^ which is supposed, but without authority, to he the Mausoleum of Porsenna metvUowed by Pliny and
to Rome, CITTA DELLA PIEVE. 9. Route, 61
Yano, is 3 M. distant and mucli dilapidated. To the N.W., the Deposito delU Monache, 2 M.; then, to the S.E., the Deposito del ColUj with mural paintings, 1 M. from the town.
Near 8. Caterina^ on the way to the station, are small cata- combs of the early-Christian period, and near them a Roman tomh.
About 31/2 M. to the S.W. of Ghiusi lies the little town of Sarteano (about 1970 ft), above which rises an ancient castle. The YUla Bargagli contains a collection of sarcophagi, vases, small bronzes, and other anti- quities found in the neighbourhood, to which admission is courteously granted.
A diligence runs from the Chiusi station in 1 hr. to the (6 M.) loftily situated town of Oittli della Pieve (1010 ft.), with 6000 inhab., the birth- place of FHetro Vannucei (1446-1524), sumamed Perugino after Perugia, which was the chief scene of his labours (comp. p. 48). The town possesses sev" eral of his pictures, but they are works of his later period, hastily painted and chiefly done by his pupils, as the master apparently deemed his native place not capable of appreciating works of a more elaborate kind. — The oratory dei Disciplinatiy or 8. Maria dei Bianehiy contains an Adoration of the Magi, one of the largest pictures by Perugino; two letters of the artist from Perugia (1504) are shown with regard to the price of this fresco, reducing it from 200 to 75 ducats. — In the Cathedral (interior modernised) is the Baptism of Christ (first chapel to the left), and in the choir a Madonna with SS. Peter, Paul, Gervasius, and Prota- sius, 1513. The picture of St. Antony with St. Paulus Eremita and St. Marcellus, now (since 1860) in S. AgosHno^ belonged originally to the church of S. Antonio. All these pictures are by Perugino. — Outside the Orvieto gate is the church of 8. Maria dei 8ervi^ containing remains of a Cruci- fixion by Perugino, dating from 1517.
The road leading from Citt& della Pieve in an £. direction to Perugia (31 M.) was formerly much frequented.
About 71/2 M. to the S.W. of Chiusi (carriage in IV4 hr.), and at the same distance to the W. from GittJi della Pieve, lies the small town of Cetona, commanded by a mediaeval castle. The Palazzo TerroH contains a small collection of antiquities found in the neighbourhood (visitors gen- erally admitted on presenting their cards), such as handsome poly- chrome and richly gUded urns; an 'Elephant's tusk with archaic reliefs from the Odyssey, etc. — Picturesque grounds at the back of the palace.
The Railway descends the Chiana valley. IO472 M. Ficulle; the village, 2^2 M. distant, lies on a hill to the right. Ill M. Allerona, Near Orvieto the Chiana falls into the Paglia, a turbul- ent tributary of the Tiber, which causes great damage in rainy seasons. The rock here is tertiary sandstone, while at Orvieto the volcanic district begins , of which the central point is the lake of Bolsena (p. 65).
118 V2 M. Stat. -Orvieeo (440 ft.), at the base of the hill oc- cupied by the town, to which a cable-tramway {Funicolare-^ 5miu. : 30 c.), 520 yds. in length , ascends at a gradient of 27 : 100, pass- ing through a tunnel under the Fortezza.
Orvieto. — Gband HStbl dells Belle Abti (Palazzo Bisenzi), Corso Cavour, well spoken of-, R. from 3, D. 5, d^j. 3, B. I72. L. & A. IVs, omn. IV4 fr. — Alb. d'Italla, near the Piazza del Popolo, fair; Aquila Bianca, Via Garibaldi, behind the Palazzo Comunale , unpretending , B. 2 fr. — *'Locanda Valentiniy Via 8. Andrea 17, unpretending. — Caffi BenedeUi^ Piazza Vittorio Emanuele.
The Wine of Orvieto is esteemed both here and. a^ 'BLotci^.
PhotograpM of SignoTeJii'0 frescoes sold by ArmonV, u^vt ^<& ^«.Vda>^^^«
62 Boute9.
OUVIETO.
Rom Florence
Ort>JtloC1165fC.; SOOOinlub,; whole pulsh 16,000), a smaU town and episcopal leaidence , on an iealated tufa rook, the VTbt~ bentum ofPiocopius, -was oalled Vrbs 7et4M in tbe 8tb cent., and tbenee derives Its modem name In the middle agee it was a great stronghold of the Gnelphs and often aftorded refuge to the popes.
From the h entrance to the town wheie the terminus of the cable tiamvay is situated near the old castle mentioned bolow, runs the Corso the principal strt tofOrMcto TworaedisBvaltowors risi. 111 thia Gtreiit opposite the llrst of these is the Via del Duomo, which leads us straight to the Piazza S. Maria with the far-famed —
**GatlLedral(;Pl. i), amagniflceut example of the Italian Gothic style, and one of the most interesting buildings in Italy, founded in uonsequenceofthe 'Miracle orBolseiia'(<u)mp. p. 66). The first stone wassolemuly laid by Pope Nicholas IV. on 13th Nov. I'JSO, and the cdillcc begun under the supervision and according to the plans of Lorento Mtiitani of Sfena. The wort progressed so rapidly that in 1309 Bishop Guldo di Faincse was able to read the first mass in tho church. It consists of a nave and aisles, with transept and rectangular choir. It is 114'/^ yds. long and 36 yds. wide, and liko the cathedrals of Florence and Siena is constructed of alternate courses of black and white marble. This cathedral, like those In other towns, once eonstituted a great arena for the display of artistic skill. The guardians o( the building were unwearied in providitig Ji>r iti (>jvjameutat!on , and like the curators at modem a
to EofM. ORVIBTO. 9. Route. 63
who are zealous in their endeavouis to secure works by the best artists, they did all in their power to obtain the services of the first masters of the day for the embelUshment of their church.
The **Fa9Adb (1310-30) , with its three gables, 44 yds. wide and 160 ft. high , is gorgeously enriched with sculptures and mo- saics, and is probably the largest and most gorgeous 'polychrome'
monument in existence.
The excellent ''Bab-Belibfb on the lower parts of the pillars, which in many respects are characteristic of the transitional style preceding the Renaissance, represent scenes from the Old and New Testament : ist pillar to the left, from the Creation down to Tubal Gain; 2nd, Abraham, ge- nealogy of the Virgin \ 3rd, History of Christ and Mary; 4th, Last Judgment with Paradise and Hell \ above are the bronze emblems of the Evangelists, by Lor. Maitani. Above the principal portal, a Hadonna under a canopy, in marble, by Andrea Pisano. On the margin of the large square panel, in the centre of which is a rose-window, are small marble statues of prophets, and above, of the Apostles, executed by Sienese sculptors.
Above the doors and in the three pointed gables are ^Mosaics on a golden ground, of various periods (14-19th cent.): Annunciation, Nup- tials of the Virgin, Baptism of Christ, Coronation of the Hadonna; the latter, the principal picture, is the highest.
The 'Interior is at present undergoing restoration, and, except to the Cappella Nuova (see below) , admission is only granted by leave of the superintending engineer (Pal. de^ Papi, to the S. of the Cathedral; p. 6i). It is constructed , like that of the Siena cathedral, of alternate layers of dark and light stone (black basalt and greyish - yellow limestone from the vicinity). On each side four columns and two pillars separate the nave, which is 131 ft. in height, from the lower aisles. Above the round- arched arcades is a gallery adorned with rich carving. The windows are pointed, and the upper parts filled with stained glass. The visible frame- work of the roof was formerly richly ornamented.
At the sides of the principal entrance , to the right, St. Sebastian by Scalza^ to the left , St. Bocco. In the Left Aisle , Hadonna and St. Ca- tharine, a fresco by Oentile da Fabriano. Before this stands a murble "^Font, the lower part by Lttca di Oiovanni (1390), the upper by Bmno di Maiteo (1407). — In the Nave, to the right, a fine marble holy water basin in the Renaissance style ; in front of the columns, statues of the Apostles, by MoscOy Sealza, Toti^ Qidv. da Bologna^ and other masters. — In the Choir, frescoes from the life of the Virgin by Ugolino d'llario and Pietro di Puccio. By the high-altar the Annunziata and Archangel, by Mocchi^ one on each side. The beautifully inlaid stalls in the choir are by artists of Siena, of the 14-15th cent.; on each side is an altar with reliefs in marble : on the left, Visitation of Hary, executed by Moschino when 15 years of age, from designs hy Sammicheliy to the right. Adoration of the Hagi, by Mosca.
Right Transept. The ^'Cappella IT^uova, containing a miraculous image of the Virgin (Afadonna di JS. Brizio)^ may be entered fronl the back at any time by passing round the cathedral to the left. This chapel occupies an important page in the annals of Italian art. Don Francesco di Baronc, the superintendent of the cathedral-mosaics, having heard that the ^famous painter and monk* I^a Angelica da Fiesole was not engaged during the summer in Rome (p. 299), invited him to Orvieto, and secured his services for the decoration of the chapel. In 1447 Fra Angelico accordingly worked here, but for three months only, during which time he executed two panels of the vaulting above the altar, representing Christ in the glory as Judge, and saints and prophets to the right. Nothing more was done till 1499, when the work was continued and completed by Luca Signorelli. These '"^Hural Paintings are the chief attraction here. The first fresco to l\v^ \<&\N> <^t the entrance shows the overthrow of Antichxiat, w^o \* T«^T^&«oX«ai^ '"^ the foreground, preaching ; the two devout ft^uiea, m \Xx^ ^Q>Yft«t Vi "^^
64 Route 9. ORVIETO. From Florence
left, are said to be portraits of Signorelli and Fra Angelico. The wall on the side hy which we enter has been skilfully covered with represen- tations of (left) the Last Judgment, and (right) the Fall of the Condemned. — Kext in order are the Resurrection of the Dead and the Punishment of the Condemned} then, on the wall of the altar, (right) Descent into Hell, and (left) Ascent into Heaven, and lastly, adjoining the first picture, Paradise. — Below these pictures runs a series of scenes from Dante''8 Divine Comedy, and mythological subjects. On the ceiling: Apostles, ^signa judi- cium indicantia\ patriarchs and doctors, virgins and martyrs. — These paintings are the most important work produced daring the ISth century. In the mastery of form, in the boldness of motion and of foreshortening, and in the acquaintance with the nude, Signorelli is by no means unworthy of comparison with Michael Angelo, who, according to Yasari, borrowed several motives from these works for his Last Judgment in the Siztine Chapel. — Signorelli also completed the decoration of the vaulting, and painted the "^Entombment in the niche behind the Pieta of Sealza (1572). Opposite, in iheLe/l Transepty is the Cappslla dbl Co&posale, where, behind the principal altar , is a canopy of marble mosaic, containing a silver reliquary, in which is preserved the blood-stained chalice-cloth (corporale) connected with the Miracle of Bolsena (p. 66). The reliquary, executed by Ugolino di 7ieri of Siena in 1338, and resembling in form the facade of the cathedral, is about 41/2 ft. broad, 2 ft. high, and 440 lbs. in weight. The Passion and the ^Miracle" are represented on it in brilliant enamel} it is exhibited to the public on Corpus Christi and on Easter Day , but at other times it is shown only by permission of the Sindaco. Modernised frescoes of the ^Miracle of Bolsena** by Vgolino. Over the altar on the left, a Madonna by Lippo Memmi,
Opposite the cathedral are Conte Faina's pilvate collection of
Etrascan antiquities, and, to the right , the '"Ofbra. dbl Duomo
(PI. 2) , containing the Museo Municipale, Tickets are obtained
at Armoni's photograph -shop (p. 61), at the corner of the Piazza
S. Maria and the Via del Duomo.
Ground Floor. Room /. Weapons, bronzes, pottery, etc., from the Etruscan Necropolis (p. 65). Plan of the excavations. (The formation of an Etruscair Museum in the Paiazzo del Capitano^ in the Piazza del Popolo, is contemplated.) — Room II. Architectural ornaments in terracotta, from a Roman temple, the remains of which were discovered in a new street near the Giardino Pubblico. Reconstruction of an Etruscan tomb.
The First Floor contains mediseval works of art belonging to the Opera del Duomo. Designs on parchment for the facade of the cathedral, and for a pulpit, which was never completed 5 a beautifully carved and inlaid reading-desk; a precious •Reliquary by Ugolino di Vieri and Viva da Siena ; vestments ; two statues representing the Annunciation, by Fried- rich of Freiburg {i^ih. cent.); two specimen frescoes by Signorelli, represent- ing himself and a certain Niccol6 Franceschi; a •Madonna, a statue by Oiov. Pisano^ partly coloured, etc.
Adjoining the cathedral on the right , behind, are the Palazzo Vescovile (12-13th cent.), and more in front the Palazzo del Papi, or Palazzo 8oliano, founded by Pope Boniface VIII. in 1294, with a large meeting-hall. — In the street behind the latter is the Pa- lazzo Maraciano (*degli Ufflzi govemativi'), by Ant. da SangaUo,
The Via del Duomo leads to the N.W. from the cathedral to (8 min.) the Piazza delMercato, with the Pal, del Popolo or del Ca- pitano^ the rear of which is interesting (12-1 3th cent.). — 8, (?Jo- venale(Ph 6), at the N.W. angle of the town, is an 11th cent, church, with early-Gothic choir, altar of 1170, and fragments of old fteseoes {i3i2, 1399>
to Rome. ORVIETO. 9. RouU. 65
The Coiso leads to the Piazza Magglore, now VlttorioEmanuelo, with the Palcttzo del Comune (PI. 4), dating from the 12th cent. , the still unfinished facade of which was renewed hy Scdxa in 1585. — Adjacent is the chnrch of 8. Andrea (PI. 3), with a twelve-sided tower of the 11th cent and a restoied fagade. In the interior are paintings of the 14th and 15th cent., and a late-Gothic pulpit, the ornamentation on the back of which dates from the 9th century.
In the S. transept of 8. Domenieo (PI. 6) is the monument of Cardinal de Braye, by Amolfo di Cambio (l282); the crypt was built by Sammicheli,
The FortresSy constructed by Cardinal Albornoz in 1364, and sit- uated at the N.E. entrance of the town (p. 62), has been converted into a garden with an amphitheatre for public performances. Fine view of the valley of the Tiber and the Umbrian mountains. — The custodian of the garden keeps the key of the famous adjacent well, II Pozzo di 8, PatriziOi which was begun by Sangallo in 1527, and completed by Mosca in 1540. It is partly hewn in the tufa rock, partly built of masonry, and is 203 ft. deep, and 43 ft. wide. Two separate spiral staircases wind round the shaft ; the traveller may descend by one, and ascend by the other (fee Y2-I ^r.).
On the N.W. slope of the hill on which the town stands, below the ancient town-wall, an extensive ^Etruscan Necropolis has re- cently been discovered (most conveniently visited on the way back to the station, about halfway, a digression of less than 200 paces ; comp. Plan, p. 63). The tombs, which are arranged in groups and rows, date chiefly from the 6th cent. B. C, and some of them were found intact. Their facades, as elsewhere, are constructed of three large stones, two of which, placed nearly upright, are roofed by the third. Adjoining the entrance is inscribed the name of the deceas- ed in the ancient Etruscan character. The inner chamber is square in form, and covered with the primitive kind of vaulting in which the stones are laid horizontally, each overlapping the one below it. The tombs contained many painted vases, of Greek, and particu- larly of Corinthian and Attic workmanship, and articles of native manufacture, the most Important being black terracotta vases with patterns impressed on them (now in the Opera del Duomo, p. 64). — Since 1863 a number of similar tombs have been discovered 2^2 M. to the S.W. of Orvieto , near a suppressed Capuchin mon- astery (comp. Plan). Two of these contain paintings. The route to them is rough. The custodian must be enquired fbr in the town. — About 11/2 M. beyond the Porta Romana is La Badia^ the ruined abbey-church of San Severe, dating from the 11th century.
On the lake of Bolsena, 12 M. to the W. of Orvieto, is the little town of Bolsena (Hotel in the Piazza), with 3000 inhab., situated below the site of the Roman VoUinii^ the birthplace of Sejanus^ t\v& favourite of Tiberius. It was one of the twelve capitals Cil\>aft^\x\\&<s»xv League, and after various vicissitudes was at \eugl\i tQivc^et^ wv^
Bakdekbr, Italy 11. 10th EditioD. ^
66 RouU 9. LAKE OF BOLSENA. From Florence
destroyed by the Romans. The spoil is said to have included 2000 statuesw Its wealth has been proved by the discovery, in the vicinity^ of nnmerons vases, trinkets, and statues. The present town contains inscriptions, columns, and sculptures of the Roman municipium which replaced the Etruscan city. The ancient site is reached in a few minutes by an antique causeway of basalt. Among the ruins is an amphitheatre, worthy of special attention, now converted into a vegetable-garden. Beautiful views of the lake.
The church of 8, Cristina was founded in the llfh cent, and embellished with its fine Renaissance fa^de by Cardinal Giov. Medici, afterwards Pope Leo X., in 1503. Above the doors are two
terracotta reliefs by Andrea della Robhia,
Interior. To the right of the choir ia a bust of S. Lucia, of the school of the Rohbia, beneath a wooden crocifix of the 14th centary. A portal in the left aisle dates from the lith cent.; the relief represents the Five Wise Virgins and the Adoration of the Ma^. Beneath the church, in the space hefore the entrance to the CataeonUa, stands a terra- cotta altar, of the school of the Robbia'^ to the right, above the stone with which St. Christina was drowned, is the Altar del Miracolo (see be- low), beneath a canopy of the 8th century. Adjacent is the Tomb of fht Saint, below a modern canopy. The church also contains a small Museum, with inscriptions and glass vessels from the catacombs, Lombard anti- quities , and a terracotta *Statue of St. Christina, dating from the be- ginning of the 16th century.
The ^Miraele of BoUena\ the subject of a celebrated picture by Raphael in the Vatican, occurred in 1263. A Bohemian priest, who was somewhat sceptical as to the doctrine of transubstantiation , was convinced of its truth by the miraculous appearance of drops of blood on the host which he ha^i just consecrated. In coomiemoration of this. Pope Urban IV. in- stituted the festival of Corpus Domini in 1264 and ordered the erection of the superb cathedral of Orvieto (p. 62).
The Museum Comunale^ in the Piazza, contains a Roman sarco- phagus, with the triumph of Bacchus.
The Lake of Boltena, the ancient Laeus VuUinientis, 995 ft. above the sea-level, a circular sheet of water, 28 M. in circumference, is the vast crater of an extinct volcano, which formed the central point of a wide sphere of volcanic agency, extending as far as Orvieto. The lake abounds in fish (its eels are mentioned by Dante, Purg. xxrv, 24) \ but the bankSj especially on the W. side, are bleak and deserted, owing to the malaria confined in the basin of the lake, which is not easily dispelled by the wind. The monotony of the surface is relieved by the two pic- turesque islands of Bisentina and the rocky Martana. On the latter Amalasuntha, Queen of the Goths, the only daughter of Theodoric the Great, was imprisoned in 534, and afterwards strangled whilst bathing, by order of her cousin Theodatus, whom she had elevated to the rank of co-regent. The church in the island of Bisentina was erected by the Farnese family and embellished by the Carracci. It contains the reUca of St. Christina, a native of Bolsena.
From Bolsena the road ascends towards the S. on the bank of the lake, through woods, to (7 M.; Monte/iaseone (p. 69).
The Railway fbom Obtieto to Obtb and Romb now traverses
the wooded valley of the Tiber, the broad, stony bed of which bears
traces of numerous inundations. To the left lies Bcuchi, I251/3 M.
Caatiglione Teverinoi the river is crossed. 135 M. AUigliano(jTin.tidon
for YiterbOf p, 69); I38y2 M. BassatM Teverino, on a hill to the right.
to Rome. ORTE. 9. Route. 67
The small Lake of Bassano^ formerly Lacus Vadimonis, now mncli di- minished in extent, is famons in ancient history as the scene of the great victories of the Romans over the Etruscans, B.O. 309 and 283. Pliny the Younger (Ep. viii. 20) has described the lake with its 'floating i8lands\ — About 3 M. farther to the W. is Bomarzo , picturesquely situated on a precipitous rock, near the ancient PoUmartiuin , where extensive exca- vations have been made.
The train passes through several tunnels , and afterwards skirts the right bank of the Tiber, till it approaches Orte, which becomes visible on the height to the left. It then traverses a longer tunnel and reaches the station of Orte , where the railway from Foligno (Perugia and Ancona; R. 11) unites with the main line.
144 M. Orte (*Rail, RestaurantJ^ loftily situated about 2 M. to the N., the ancient Horta^ presents no object of interest beyond its situation. — The train descends the valley of the Tiber on the right bank, affording pleasant glimpses of both banks. The lofty and indent- ed ridge of Mount Soracte (p. 68) becomes visible, at first to the left, then to the right. To the left, on the other side of the river, lie 5. Vito and Otticoli, the latter a small place 6 M. distant from Orte, near the site of the ancient Otriculum , where numerous antiqui- ties, including the celebrated Bust of Jupiter in the Vatican (p. 306), have been excavated. — 149^2 ^' OaUese, Farther on, high above the left bank, is the small town of Magliano,
152 M. BorghettOf with a ruined castle on the height to the right. The Tiber is crossed by the handsome Ponte Felice, construct- ed by Augustus, and restored in 1589 by SixtusV., over which most of the traffic between Rome and the N.E. provinces formerly passed.
About 6 M. to the S.W. of Borghetto (carriages at the station) lies Civit^ Castellana (A2&. Natalucci, good table), picturesquely situ- ated 600 ft. above the sea, near the site of Faleiii, the town of the Falisci, which was captnred by Camillus in B.C. 396. A lofty bridge, erected in 1712, and recently restored after having been damaged by an earthquake, carries the road into the town across a ravine, 120 ft. in depth. The Cathedral of 8. Maria, rebuilt in the 16th cent., retains a handsome portico erected in 1210 by Jacobus Ro- mania and his son CosmtM ; the bust in mosaic of Christ over the door to the right is by Jacobus. The choir-screens also date from the 13th century. A flight of steps leads from the high-altar to a chapel on the left with two tablets of rich Cosmato work. Some of the columns in the crypt are ancient. — The Citadel, erected by Alexander VI. in 1600 from a design by Sa/ngallo, was enlarged by Julius II. and Leo X. The deep ravines by which the town is enclosed testify to vast volcanic convulsions. They contain a few fragments of ancient walls and numerous Etruscan tombs hewn in
the rock, especially near the citadel.
Interesting excursion to the ruins of Falerii (pronounced Fdlleri), 3 H. distant. Kear the citadel thePontedel Terreno is crossed to the left, where tombs honeyccmib the rocks on all sides , this being the more dvx«K.\ t^araXi^ \i^ Yo*- leriwn Novum or Colonia Junonia, founded by Vbke'B.OTEASi& «2l&QM\.*>)£^<k ^^wa.\^^ in the plain, 8 K. to the If. of CivitJi CastellMia. mtxuM^Ti «iTv^'»«^^'«»^^^*^*
68 RouU9. SORAGTE.
are here seen side by side. The towB was ncarij in the form of a triansle, V/t X. in eirenmftfeace; the well-preserred walls are protected hj strong square towers and penetrated by gates , one of which on the W. (P&rtm di Oiove) is still in good condition. Another gate towards the 8. E., the Porta d4i BoMj is also worthy of a visit ; near it are the theatre (of Roman constroction), the piscina, and what is regarded as the fonun, at the back of the theatre. — At the PorU dl Giore, within the walls, is the •Abbmiia di 8. Marim, ot the 12th century. In the nare, antique columns ; in 1S29 the roof fell in, but the damage has been repaired. The adjoining building contains inscriptions, statues , etc. , the result of excavations made here. An am- phitheatre hais also been recently discovered.
Civit4 Castellana is the best starting-point for the Soracte; there and back about 7 hrs. A good road (one-horse carriage 6-8 fr. ; about 2 hrs.) leads to S. Oresle, formerly called & Rest(i)o and in the 10th cent. S.SdisUo, a village al.K>ut Vt hr. from the summit.
*8<ttacte, mentioned by Horace (Carm. i. 9: Vide$ ul alia sM aire candidum Scracte) and Virgil (iEn. xi, 785: Summe demm samcti cutios So- ractis Apollo), is a limestone-ridge, descending precipitously on both sides, extending S-4 X. from N.W. to S. B., and cidminating in several peaks of diflferent heights. On the central and highest summit (2260 ft.) stands the church of S. Bilvestro. On the slope which gradually descends towards the 8. E. is situated the village of 8. OresU. Leaving the miserable village to the right, the path ascends gradually to the left, and in i '« hr. reaches the monastery of 8. 8ilv€»iro (2120 fl.), founded in 746 by Carlo- man, son of Charles Xartel and brother of Pepin. The srunmit, with the church and a small disused monastery, may now be reached in a few minutes. In ancient times a celebrated Temple of Apollo occupied this site. The view, uninterrupted in every direction,- embraces several snow- clad peaks of the Central Apennines, the Volscian and Alban Mts., the sea (to the W.), and the Ciminian Forest (to the K.). — We may descend from 8. Oreste to 8lin^Hamo (see below) in about 2i/i hrs. (mule 6 fr.)
The Borghetto and Civiti Castellana road next leads to (T^ys M.) Kepi (p. 74). Halfway a track diverges on the right to Caprarola (p. 73).
Beyond Borghetto, to the right, Civitk Castellana (p. 67) be- comes visible for a short time. The train crosses to the left bank of the Tiber. I6O72M. 5fifmV^jano, and 165 M. Poggio MirUto, both sit- uated in the mountainous district of the Sabina, where olive-trees abound. 172 M. Passo di Corrcse. The name is a corraption of CureSj the ancient Sabine town, where Numa Pompilius was bom, the ruins of which are in the vicinity.
The line foUows the left bank of the Tiber to (180 M.) Monie Rotondo. The village, to the left, 2 M. higher (fine view of the Sabine Mts.), has an old castle of the Orsini, now belonging to the Piombino family. It was stormed by Garibaldi on 26th Oct., 1867. About 1 M, to the S.E. is Mentana (p. 343), where he was defeated on 3rd Nov. by the Papal and French troops, and forced to retreat.
From Monte Rotondo to Rome, a journey of 3/^ hr., the line follows the direction of the ancient ViaSalara. At(186i 2M.) Ckistel Oiuhilto (p. 341) we catch our first glimpse of the dome of St. Peter^s at Rome, which vanishes again as we approach the Anio (p. 341). To the left are the Sabine and Alban mountains j then Rome again, with the dome of St. Peter, becomes visible to the right. A wide circuit round the dty is described , and near the Porta Maggiore S. 180) the 80-eaUed temple of Minerva Medica (p. 180) is passed.
195 M. Borne, see p. 111.
69 10. From Attigliano to Viterbo.
The Etruscan Towns in the neighbourhood of Viterbo.
Fbom Attigliano to Vitkbbo, 25 M., railway iji IV4-IV2 luf. (fares 4 fr, 55, 3 fr. 20, 2 fr. 5 c).
Attigliano y see p. 66. — The train crosses the Tiber, passes (3^/2 M.) Sipiniano and (IO72 M.) Qrotte 8. Stefano, and reaches —
16^2 ^* Montefiascone. The station, at which omnibnses and carriages meet the trains, lies on the Viterbo road, nearly 3M. from the high-lying town. Shortly before we reach the latter, we pass *S. FlavianOj a church of 1030, restored by Urban IV. in 1262, in the Gothic and circular styles combined. The subterranean chapel contains the tomb of the Canon Johannes Fugger of Augsburg, with the inscription —
Est^ Esty Est, Propter nimium est^ Johannes de Fuc*^ D. meusy mortuus est.
It is recorded of this ecclesiastic, that, when travelling, he directed his valet to precede him and to inscribe the word 'Esf on the doors of the hostelries where the best wine was to be had. On the door of the inn at Montefiascone ('bottle mountain") the 'Est^ was written three times , and the good canon relished the wine here so highly that he never got any farther. The best muscatel of the district is still known as £st Est (1 fr. per 'fiaschetto^).
The little town (2010 ft. ; Alhergo Garibaldi, new) , with 7500 inhab. , commands a magnificent view : N. the lake of Bolsena as far as the chain of M. Amiata, E. the Umbrian Apennines, S. as far as the Ciminian Forest, W. as far as the sea. The extensive plain of ancient Etruria with its numerous villages may be sur- veyed from this point ; and it has therefore been reasonably con- jectured that the celebrated Fanum Voltumnaey the most sacred shrine of the Etruscans, once stood here. The uncompleted Cathe- dral of 8. Margareta, with an octagonal dome, was one of the earliest works of 8ammieheli,
To (71/2 M.) Bolstma, see pp. 66, 65. The direct road to Orvieto does not touch Bolsena, but remains on the height to the E. A branch to the right leads to (3 M.) Bagnorea (the ancient Balneum Regis), picturesquely situated on a hill surrounded by ravines, and interesting to geologists.
The railway to Viterbo runs to the S. through a bleak and un- attractive plain. Midway between Montefiascone and Viterbo, ^/^M. to the E. of the high-road, near the Casale del Fontanile, are the ruins of Ferento, the Etruscan Ferentinum, birthplace of the Emperor Otho. In the 11th cent, it was destroyed by the inhabi- tants of Viterbo on account of its heretical tendencies, for the Feren- tines represented the Saviour on the cross with open eyes , instead of closed, as was thought more orthodox. Such at least is the account of the chroniclers. Among the extensive mediaeval , Roman , and Etruscan remains, & Theatre of peculiar and primitive construction, with later additions , deserves notice. To the W. of the high-road lies part of the ancient Via Cassia,
25 M. Viterbo. — Station to the K. of the town, outside the ?Q^V^v Piorentina.
Hotels. Albbroo Qranoori, at the PorVa'FiotwvWTkS^^'^. ^TWSft>\>W^^>
70 Route 10, VITERBO. From Attigliano
also restaurant and caf^; Anqblo (tolerable, B. IVt tr.)y Tbb Be, botb in the Piazza; adjacent, Albbbgo & Tbattobia Sohbnabdi; Albbboo Piccolo PABiGif near tibe station. — Behentirdf* is the best cafe.
Pott Offioe, Piazza del Plebiscite. — Photoobaphs at Leonardo JMmVsy S. Giovanni in Zoccoli 7, and PoloztVty Yicolo della Ficunaccia.
Viterbo, an episcopal residence with 16,000 inhab. (commune 19,000), surrounded by ancient Lombard walls and towers, is sit- uated in a plain on the N. side of the Ciminian Forest, 1210 ft. above the sea-level. It was the central point of the extensive grant called the 'patrimony of St. Peter', made by the Countess Matilda of Tuscia (d. 1115} to the papal see, and is frequently mentioned in history as a residence of the popes , and as the scene of the papal elections in the 13th century. Ylterbo, called by old Italian authors the 'city of handsome fountains and beautiful women', still presents an abundance of fine architectural details and picturesque points.
The centre of the town is occupied by the Piazza del Plebiscito, in which rises the ♦Palazzo Pubblico, with a beautiful portico of the 15th century. The court contains an elegant fountain and six large Etruscan sarcophagus-lids with figures and inscriptions. To the right is the entrance to the Museo Municipale.
This contains Etruscan and Roman antiquities: also the 'Decree of Desiderius, king of the Lombards'*, and the Tabula Gibellaria, forgeries of the notorious Annius of Viterbo, a Dominican monk who died at Rome in 1502 \ mediaeval sculptures , including a *Sphinz from S. Maria in Ghrado (1286) \ portrait-bust in terracotta (1510) •, an Aquamanile of the 12th cent. ; and a few paintings (*Pieta from the church of S. Francesco, painted by Seb. del Piombo under the influence of Michael Angelo; an ancient but ruined replica of the Scourging of Christ , by the same ; and a Madonna, by Lorenzo da Viterbo),
Opposite the Palazzo Pubblico , to the left , is the small church of 8. AngelOy on the facade of which is a Roman sarcophagus, with the Hunt of Meleager; above is a 16th cent, inscription in honour of the beautiful Galiana (1138), on whose account , like Helen of old, a war was once kindled between Rome and Viterbo, in which the latter was victorious.
Opposite, at the corner of the Via deir Independenza, are a lion and a palm-tree, corresponding to a similar group at the other cor- ner of the Piazza, whence the Via 8, Lorenzo leads to the cathedral. Before reaching the latter we cross a square, with a mediaeval foun- tain, and a large bridge.
In the piazza in front of the cathedral is the spot where in July, 1155, Pope Hadrian IV. (Nicholas Breakspeare, an Englishman) compelled the Emp. Frederick I., as his vassal, to hold his stirrup. Among the mediasval buildings to the left is the dilapidated Episcopal Palace of the 13th cent., in which, by order of Charles of Ai^ou, the Conclave elected Gregory X. pope in 1271, John XXI. in 1276, and Martin IV. in 1281.
The Cathbdsal of S. Lob^nzo, a handsome basilica of the 12th cent., was restored in the 16th century.
Intbbiob. The fantastic capitals of the columns should be noticed. At the end of the right aisle is the new tomb of Pope John XXI. ; the
to ViUrbo, VITEEBO. 10. Route, 71
ancient tomb of 1277 is opposite, in the left aisle, behind the door. In the sacristy is a fresco, Christ with four saints, ascribed to Loreiuo da Viterbo (1472). — At the high-altar of this church, in 1279, Count Ouido de Mont- fort, the partisan of Charles of Ajgou, assassinated Henry, son of Count Richard of Cornwall, King of the Germans and brother of Henry III., in order thereby to avenge tiie death of his father, who had fallen at the battle of Evesham in 1265 when fighting against Henry III. Dante men- tions this deed and places the assassin in the seventh region of hell (Inf. XII, 120). Other versions of the story mention the church of S. Silvestro (now del Gesh) as the scene of the crime.
Passing through the archway to the right of the Palazzo Pub- blico (p. 70), we reach In a few yards the elegant portal of the chnrch of the Madonna delta Salute (13th cent.). — Some of the oldest houses in the town are to be found in the Yicolo del Pelle- grino, between the Piazza del Plebiscito and the gate leading to Vetralla.
In the market-place rises the Fontana Grande, begun in 1206. The Via Vittorio Emanuele and the Yia Margherita lead hence to the Porta Fiorentina, in the direction of the railway-station. At the end of the former we ascend to the right to the church of 8. Rosa, which contains the blackened mummy of that saint , who was born here in the 13th century. She urged the people to rise against the Emp. Frederick II., and was expelled by the Ghibellines. Her festival is Sept. 3id. — The Vicolo della Ficunaccia and the fol- lowing street lead to the little Romanesque church of 8. Giovanni in Zoccoli (11th cent.) and thence through the Porta S. Matteo to —
8. Maria delta Vefith, in which the chapel to the right is adorned with •Frescoes by LoTenno da Viterho (1469), representing the Marriage of the Virgin, the Annunciation, the Nativity, the Ascen- sion, saints, and prophets, with numerous portraits. The tiled floor in front of the altar dates from the l5th century. Fine monastery- court. The foundations of a palace built by Frederick II. have been excavated between S. Maria della Yerit^ and the station.
Near the Porta Fiorentina, in the Piazza della Rocca, stands a fountain of 1566, ascribed to Vignola, adjacent to which is the Gothic church of 8, Francesco. In the right transept of the latter are the tombs of Pope Clement lY. (d. 1268), to the right, and Hadrian Y. (d. 1276), to the left; to the left of the high-altar is a cardinaVs tomb of 1636, and in the left transept another of 1445.
Outside the Porta florentina lies the Giardino Pubblico, with its gay flower-beds , and busts of Yictor Emmanuel , Cavour, and Garibaldi.
BxcuBsioNS. About IV4 M. to the N.E. of Viterbo, towards Orte (one- horse cab Vs^'Oi i> the handsome pilgrimage-church of S, Maria della Quercia, the facade of which is said to have been designed by Bramante, One of the two courts of the adjoining Dominican monastery has a Renaissance loggia supported on GK)thic foundations; both courts have interesting fountains. — About IV4 M. farther on is tlie small town of Bagnaia^ with the charming * Villa Lante^ built in the 1&-I6th cent., the summer-c«av^«;cs&<% of the ducal fi&mily of that name (visitors admittA^v ca.Tt« \a NXi<«^ ^^a^st^x^ and Bagnaia and back, with stay at both plaees, ^tt.^.
72 Route 10. CASTEL D'ASSO. Excursions
About 3 M. to the W. of Viterbo is Bviicame^ a warm sulpburons spring, mentioned by Dante (Inf. xiv, 79) and still used for batbs. The attractive road thither (8/4 hr. ; tarn to the right behind the Palaszo Pub- blico) commands a fine view of Viterbo.
Several expeditions interesting both to antiquarians and to lovers of the picturesque may be made from Yiterbo to the surrounding ruins of ancient Etbuscah Cities. The volcanic nature of the dis- trict, indicated by the profound ravines and fissures of the surface, and the dreary desolation which prevails, combined with the proxi- mity of graves of 2000 years' antiquity, impart an impressive sadness to the scene. — The inns are generally very unpretending.
AVettura-Oorriera, which takes passengers, leaves Viterbo daily for Toscanella, I272 M. to the W., on the road to Cometo (p. 4), and a diligence also plies thither thrice a week in 3 hrs.
Toscanella (625 ft. ; MancineUi)^ the ancient Toscania^ is a small and mediaBval-looking town of 4000 inhab., vnth walls and towers. Outside the Yiterbo gate is a picturesque ravine, vnth several Etruscan tombs. Amidst the ruins of the ancient Arx, on the height to the right, is the Romanesque church of *8, Pietro^ dating from the 9th cent., and restored in 1039, though part of the florid facade is later. In the interior are a tabernacle of 1093, choir-screens from the original church, and (to the right of the choir) fres- coes of the 11th century. The crypt is ancient. The custodian lives adjacent, in the dilapidated bishop's palace. — The somewhat later church of *S. Maria, in the valley, is essentially an edifice of the close of the 11th cent., but the picturesque facade dates from the following century. The pulpit has been put together out of ancient and modern fragments. Custodian at the Palazzo Comu- nale. Both churches are now disused. — The small Garden of the Countess Campanari^ in the lower part of the town, containing several sarcophagi with lifesize portraits of the deceased on the lids and an imitation of an Etruscan tomb, is interesting. Signor Carlo Campanariy late husband of the proprietrix, and his father conducted many of those extensive excavations which have filled
the museums of Europe with Etruscan vases, goblets, mirrors, etc. Castel d'Asso, popularly known as Castellaccio^ 6 M. to the W. of Viterbo, may be visited on horseback or on foot (guide necessary; lights should not be forgotten by those who intend to explore the tombs). Pass- ing the Bulicame (see above), the road traverses a moor and leads to the valley, which contains a succession of Etruscan Tombs^ hewn in the rock. The fronts of these are architecturally designed , and bear some resemblance to the rock-tombs of Egypt '^ numerous inscriptions. On the opposite hill are the picturesque ruins of a mediaeval castle and the scanty remains of an ancient village, probably the Ccuiellum Asia of Cicero.
About 9 M. to the S.W. of Yiterbo, with which it is connected by diligence, lies Yetralla, near the Roman Forum CassiL At the entrance to the little town, near the Osteria (bargaining advisable), is 8. Francesco, a basilica of the 12th cent., with a tomb of the 14th. From Yetralla a visit may be paid (with guide) to the •JVe-
from Viterho. SUTRT. 10. Route. 73
eropolis of Norehia. We follow the road to Corneto for about 2^/4 M. , and then a rough track over a bleak moor for 3 M. more. The valley of graves here is similar to that of Castel d'Asso, hut more imposing. Two of the tombs are Greek in style. On the other side of the valley a town named Orele stood in the 9th cent., of which only the ruins of the castle and church now remain. — > Bieda^ the ancient BlerOj now a poor village, 41/2 M. to the S. of Vetralla, possesses similar rock-tombs and two ancient bridges. The scenery is striking.
The higli-road from Viterho forks at Vetralla : the W. branch proceeds yH Monte Romano to Corneto (diligence on fixed days ; see p. 4), the S.E. to (11 M.) Sutri (see below).
The high-road from Viterbo to Rome (47 M.) Is now rarely traversed by tourists. It gradually ascends the wooded height of Mona Ciminius, once considered the impregnable bulwark of central Etruria, until the Consul Q. Fabius, B.C. 308, successfully tra- versed it and signally defeated the Etruscans. The culminating point of the pass (2850 ft. above the sea), on which lies an old post- station, commands an admirable view. To the right, below, lies the small, round Lago di Vico, the Lacua Ciminius (1700 ft.), an ex- tinct crater surrounded by woods.
About 9 M. from Viterbo a road diverges to the left from the road to Rome , and leads in ^2 b^* through wood to the little hill- town of Caprarola (about 6000 inhab.). The lofty *Palazzo Famese here, built about 1547-49 by Vignola for Cardinal Alexander Far- nese, nephew of Paul UI., is one of the most magnificent chateaux
of the Renaissance.
The chateau is the property of the ex-king Francis of Kaples , whose steward, Dr, K, OAban, has carefully maintained the building and filled the rooms with worka of art. The ground-plan is pentagonal, with a central rotundas the round central court, with its arcades, is adjoined by five wings of equal sise. The chief facade looks towards the town (N.E.). The saloons and other ai>artments are adorned with frescoes of scenes from the history of the Famese family, allegories, etc., hj Federigo, Oiovanni, and Taddeo Zuecaro and Antonio Tempesta. The fine view ranges across the hilJy country with the ancient Etruscan cities of Nepi, Sutri, and Falerii, to the Soracte } in the distance rise the dome of St. Peter's and the Vols- cian hills, to the E. the Apennines, and to the S.E. the Abruzzi. The beautiful gardens are embellished with fountains and statues, and with the charming Palaxtina^ also designed by Vignola. — The fruit-trees cultivated by Dr. Ohlsen ei^joy a wide reputation.
Farther on, on the road to Rome, about 12^2 M. from Viterbo, is RoncigUonie, a beautifully situated little town, commanded by a ruined castle.
About 272 M. to the S. of Ronciglione, on the road from Ve- tralla (p. 72), picturesquely situated on the crest of an isolated volcanic hill, is Sutri, the ancient Etruscan Sutrium, frequently mentioned in history as the ally of Rome in the wars against the Etruscans, from whom it was wrested by Camillus in B.C. 389 (Clauatra Etruriae). In 383 it became a Roman colony. T^ya d^^^ ra>^ne contains numerous Etruscan tom\)%, aiv^, qw ^^ '^. %W^^.
74 BouUlO. NBPI.
fiagments of the ancient walls. Three of the Ave gates are ancient, two towards the S. , and the Porta Furia on the N. side (said to be so named because once entered by M. Furins Camillas], now bnilt up. Outside the Porta Romana, at the foot of an eminence near the Yilla Savorelli', is situated an admirably preserved * Amphitheatre, hewn in the rock, dating from Augustus, erroneously regarded by some as Etruscan (axes 55 and 44 yds. respectively). The rocks above contain numerous tomb-chambers, one of which has been converted into a 'Church, where, according to various local tra- ditions, the early Christians used to celebrate divine service. A legend attaching to the Orotta (T Orlando , near the town, describes
it as the birthplace of the celebrated paladin of Charlemagne.
A bridle-path leads in 2 hrs. from Sutri to the Lake of Braeciano and Trevignano (p. 891).
The road from Yetralla intersects the road to Rome , 5Y2 M. to the E. of Sutri and I2Y2M. to the S.E. ofRoncigllone, and reaches, 3 M. farther to the E., the little town of —
Nepi, the Etruscan Nepete 01 Nepet, afterwards ColoniaNepensia,
now an episcopal seat and surrounded by mediaeval walls and towers.
The elegant Renaissance FaUuao Municipale, in the market-place,
contains a few Roman sculptures and inscriptions. The Cattedrale
dates from the llth cent., but its crypt is older. The picturesque
ruined Caatello, to the E. of the town, occupies the site of an
ancient castle rebuilt by Pope Alexander VI. , and restored by
Paul III. Lucretia Borgia resided here in 1600 after the death of
her first husband. Below the castle, near the Porta Romana , are
some squared blocks of tufa belonging to Etruscan Walls,
A road, beginning beside the imposing aqueduct which crosses the Rio Falisco at the entrance to the town, leads to the right to (V4 M.) Oastel S. Elia. The ancient church of ^S, Elia, built about 1000. containing nu- merous f^scoes of the llth cent., an old pulpit, and crypts, is now preserved as a 'monumento nazionale^ (key at the sindaco's). The view from the Campo Santo is strikingly beautiful.
From Nepi a high-road runs to (71/2 M.) Oivitk-Castellana (p. 67).
11. From Perugia to Foligno and Orte (Home).
77 M. Railway in 3«/4-4V4 lirs. (fares 14 fr. 6, 9 fr. 76, 6 fr. 90 c. ; ex- press 14 fr. 95, 10 fr. 55 c); — The most interesting points are Assist^ Spolelo, and Temi. It is sometimes advisable to exchange the railw:ay for the road; in this way the Tomb of the Yolumnii may be visited by driv- ing from Perugia to Aflsisi, and the temple of Clitumnus between Fo- ligno and Spoleto (pp. 80, 81). — Fboh Pbruoia to Bomb. 128 M., in 53/4-7V4 hrs.
Perugia, see p. 46. The train descends, passing through several tunnels. To the left we obtain a glimpse of the tomb of the Volumnii (p. 55). 7 M. Ponte S, Giovanni. The train crosses the Tiber, the ancient frontier between Etruria and Umbria, and the Chiaseio. 13 M. Bastia.
15 M. Assist. The town lies on a hill to the left (omn. 72^0*
ASSISI. 11. Boute, 75
Before ascending to Assist the traveller should visit the magnr^- cent church of *S. Mabia degli Angbli, about ^4 M. to the W. of the station, on the site of the original oratory of St. Francis. It was begun in 1569 by Vignola, after whose death in 1673 it was con- tinued by Qaleazzo AUm and completed by Qiulio DantL The nave and choir were re-erected after the earthquake of 1832 , but
the dome had escaped injury.
The Intbriob contains, below the dome, the Oratory of the saint (called Porliunculd)^ the cradle of the Franciscan order, on the facade of which is the ^*Miracle of Boses\ a vision of St. Francis, a fresco by Fr, Over- beck (1829); built in on the other side, to the left, is part of an altar of the 9th century. — In the Cappella di S. Giuseppe in the left transept is an altar with terracotta reliefs by Andrea delta Robbia (Coronation of the Virgin, St. Francis receiving the stigmata, St. Jerome). — To the B. of the sacristy is a little garden in which the sainVs thornless roses bloom. Adjacent are the Cappella delle Roee^ containing frescoes from the life of the saint by Tiberio d'Asiiti (1518), and the hut of St. Francis, over which an oratory was erected by Bonaventnra and adorned with frescoes by Lo 8pagna.
A beautiful path leads from S. Maria degli Angeli to Assisi in 3/4 hr. The services of the guides who importune travellers at S. Maria degli Angeli and at Assisi are quite superfluous.
AbsIbI. — Hotels. *Albebgo del Subasio (PI. a ; C, 3), with a fine view, adjoining the monastery of S. Francesco, B., L., & A. 2yZ) B. 1, luncheon 2V2? D. SVaf'.; *Leone (PI. bj D, 8), near the Piazza; Minebva, near the Porta S. Pietro (PI. C, 3), unpretending.
Photographs from Giotto's frescoes sold by P. Lunghiy in the Piazza near S. Francesco, and by O. OarloforH^ Via Portica 8.
Assist (1050 ft.), a small town and episcopal see (pop. 3200), the
ancient Umbrian Assisium^ where in B.C. 46 the elegiac poet Pro-
pertiuSj and in 1698 the opera-writer Pietro Metastasio (properly
Trapassi, d. at Vienna in 1782) were born, stands in a singularly
picturesque situation.
It is indebted for its reputation to St. Francis, one of the most remarkable characters of the middle ages, who was bom here in 1182. He was the son of the merchant Pietro di Bemardone, and spent his youth in frivolity. At length, whilst engaged in a campaign against Perugia, he was taken prisoner and attacked by a dangerous illness. Sobered by adversity, he soon afterwards (1208) founded the monastic order oi Francis- canSy which speedilv found adherents in all the countries of Europe, and was sanctioned in 1210 by Innocent III., and in 1223 by Honorius III. Pov- erty and self-abnegation formed the essential characteristics of the order, which under different designations (Seraphic Brethren, Minorites, Observan- tes, and Capuchins, who arose in 1626) was soon widely dif^ed. St. Francis is said to have been favoured with visions, the most important of which was that of 1224, when Christ impressed on him the marks of his wounds (stigmata). From the ^apparition of the crucified seraph' the saint is also known as Pater Seraphicus. St. Francis died on 4th Oct., 1226, and in 1228 was canonised by Gregory IX. He wrote several works. Dante (Paradiso 11, 50) says of him that he rose like a sun and illumined everything with his rays. In the 18th cent, the Franciscan Order possessed 9000 convents with 150,000 monks.
Having reached the town, we proceed to the left to the conspicu- ous old *MoNASTBBY OF THB Fbanoiscans ou the brow of the hill, which was finished soon after 1228 upon massive 8u.b&tT\L<!^l\a^<sii. It was suppressed in 1866, but a few moTika\ivi^\i^^Ti ^^^^^A
76 Route 11, ASSISI. From Perugia
remain here till their death. Part of the bnilding has been con- yerted by government into a school for the sons of teachers. Visi- tors are admitted by the iron gate to the left of the entrance to the lower church. An ofAcial acts as guide. Besides several frescoes of the 16th and 17th cent, in the refectories, the ♦Ohoir-Stalls by Domenicoda S. Severino, brought from the upper church, dating from 1500, and adorned with admirable carving and inlaid figures of saints, are particularly worthy of attention. From the external passage a magnificent ♦View of the luxuriant valley is enjoyed.
The two *Chueches, erected one above the other, are objects of great interest. The Crypto with the tomb of the saint, was added in 1818, when his remains were re-discovered.
The •LowEB Chxjbch, still used for divine service, is always acces- sible ; entrance by a' side- door on the terrace (best light in the fore- noon). It was begun in 1228, according to Vasari, by Jacopo Tedesco ; but after 1232 Filippo da Campello appears as the architect in charge. Originally the church consisted of a nave of four bays with groined vaulting supported by wide circular arches, a W. transept, and a semicircular apse. About 1300 the Gothic chapels and the E. transept were added, while the S. portal dates from about the same period , though the vestibule in front of It , with its rich Renaissance decoration, was not erected till the 16th century.
To tlie right of the entrance is a tomb of the 14th cent., with an am of porphyry, beside which is the magnificent *Tomb of the Queen of Cyprus*' , of the close of the I3th cent., the recumbent figure on which probahly represents Jean de BHenne^ king of Jerusalem and Byzantine emperor (d. 1237). — The adjoining Gappella di S. Antonio Abbate contains the tombs of a count of Spoleto and his son (14th cent.). — Opposite the entrance is the Oappella del Cbocefisso , with some unimportant fres- coes ; by the pillar to the left, consecration as cardinal of Egidius Albornoz (d. 1367), founder of the chapel , who is buried here. Fine stained-glass windows of the 14th century.
The Nave was painted by predecessors of Cimabue. The hexagonal Gappella di S. Mabtino, the first on the left, is adorned with frescoes of scenes from the life of the saint, by Simone Martino of Siena. — Above the pulpit: Goronation of the Virgin, by Giottino. — To the right of the nave are (1) the Gappella di S. Stefano, with frescoes from the life of the saint, by Dono dei Doni (1560) j (2) Gappella di S. Antonio da Padova, the frescoes in which have been repainted; and (3) the Gappella di S. Maddalena, adorned with frescoes, representing scenes from the life of the saint and of Maria iEgyptiaca, by a Pupil of Oiotio , who did not scruple to paint copies here of his master's pictures at Padua.
The Bight Tbansept contains on its right wall 'Scenes from the life of Jesus, by OiottOy assisted by his pupils. Adjacent, '^Madonna with angels and St. Francip, by CHmabue. — On the left wall the series of fres- coes from the life of Jesus is continued : Flight into Egypt , Massacre of the Innocents, Jesus in the Temple; St. Francis, and Death as Gonqueror. — On the N. transverse - wall : Miracles of St. Francis and the Annun- ciation, by Qiotto; Saints and Madonna, by Simone MarHno. — At the end of the S. transept is the Gappella del Sacbahento, with frescoes from the life of St. Nicholas, by a Pupil of Oiotto , and the tomb of Cardinal Gian Gaetano Orsini (d. 1339), who is represented in the stained-glass windows.
The High Altab occupies the spot where the remains of St. Fran- cis once reposed. Above it are four triangular spaces on the groined vaulting, containing the famous *Fbbsgob8 of Giotto, illustrative of the vowa of the Franciscan order : poverty , chastity , and obcd-
ioFbligno. ASSISI. 11. Route. 77
ience; the fourth painting is an apotheosis of St. Francis. The Brst pic- ture represents the nuptials of St. Francis with Poverty in rags ; Hope, next to whom is Love, has handed the ring to the bride. In the next picture Chastity appears in a tower, while in the foreground a monk is being baptised by angels. Parity and Bravery are bestowing on him a banner and shield, while on the right angels, with penances as their weapons, are combatting the demons of lust. Obedience, enthroned between Prudence and Humility, is further symbolised by the laying of a yoke on a monk. Each scene, moreover, is replete with allegorical allusions (chiefly from Dante), most of which will be readily understood by those who are versed in the fanciful combinations of the period.
The Left Tkamsbpt contains Scenes from the Passion, on the right wall, and in front, on the left wall, a *Madonna between 88. Francis and John, by Pieiro Lorenzetti. — In the Cappella di S. Giovanki, to the left, is a Madonna with saints, by Lo Spagna (15l6).
In the Sacristy, over the door of the second apartment, is a portrait of St. Francis, dating from the close of the 13th century.
The Crtpt (p. 76) is approached by a double st&ircase, and is lighted with candles when visited by strangers. — ^ Behind the tomb stand colossal statues of Popes Pius VII. and IX.
The *Uppee Chuech (completed in 1253), the frescoes of which are undergoing restoration , is entered either by the prin- cipal portal, or (by applying to the sacristan) from the lower church. The church is in the form of a Latin cross, -with fine Gothic windows. The E. side possesses a Gothic portal. The pulpit in the nave dates from the 14th century.
The W. end of the church is adorned with much-damaged frescoes by Cimabue (or according to some, by Oiunta Pisano). In the 8. Tbamsept, as we enter from the lower church, are a Crucifixion, Scenes from the Apocalypse, angels, and saints; in the Ghois, Assumption and Death of the Virgin, and a bishop's throne of 1260; in the 17. Tbansept, a Cruci- fixion, and History , of St. Peter. In the vaulting of the choir and nave are Evangelists and Church Fathers. — Navb. In the upper section of the S. wall are sixteen scenes from Old Testament history, from the Creation of the world to the Becognition of Joseph by his brethren; on the K. side , sixteen scenes from the Kew Testament, from the Annun- ciation to the Descent of the Holy Ghost, by Pupils of Oimdbite, show- ing gradual improvement in execution. The lower section contains twenty-eight scenes from the life of St. Francis, probably by Oiotto and his contemporaries: 1. (at the right transept) St. Francis receives honour while a youth; 2. He clothes the poor; 3. His vision of a palace and weapons; 4. Warned by the crucifix in S. Damiano; 6. Restores his apparel to his father, and is enveloped in a bishop''s cloak; 6. Appears to Pope Innocent III., supporting the Lateran; 7. Receives licence to preach; 8. Appears to his brethren in a fiery chariot ; 9. Vision of his appointed seat in heaven; 10. Expels evil spirits from Arezzo; 11. Offers the ordeal of fire to the Sultan ; 12. Hovers in the air while praying ; 13. The infant Christ awakes in the sainfs arms, as the latter is constructing a manger for the Christmas festival; 14. Miraculous production of a spring of water; 15. Sermon to the birds; 16. Predicts the death of a nobleman ; 17. Preaches before Honorius III. ; 18. Appears at the Council of Aries ; 19. Receives the stigmata; 20. His death; 21. Appears to a dying mans 22. A doubter convinced by the stigmata; 23. Parting from St. Clara; 2i. Canonisation; 25. Appears to Pope Gregory IX.; 26. Cures a wounded man in Spain ; 27. Confesses a dead woman ; 28. Frees a re- pentant heretic.
Quitting the upper church and emerging on the space in front
of it, we may descend the steps to the right and follow the sU^^t
ascending thence to the Via Principe di l^apoW, ^\L\cfe.\^^^^ ^^^ ^Si
the Civile Nofiooomo (a, hospital on the ligYit, li^o, VV'^n ^^ e^w^^
78 Route 11, ASSISI. FVom Perugia
of yrhich is adorned with frescoes by Mezzastria (p. 80) and Matteo da OucUdo (1468) , representing the miracles of SS. Anthony and James the Great. Farther on, to the right of the fountain , is an arcade of the 13th cent. , formerly the Monte Frumentario.
In the Piazza Yittoiiio Emanttblb rises the heantiful portico of a Temple op Minbbva (Pi. 9 ; D, 3), with six columns of traver- tine, converted into a 'Ohnrch of 8. Maria delta Minerva. Ancient inscriptions immnred in the vestibule. Adjacent to the church is the entrance to the ancient Forum , which corresponded to the pre- sent Piazza, but lay considerably lower. In the forum a Basement for a statue, with a long inscription (fee V2 ^f-)-
The Chiesa Nuova (Pi. D , 3) , a small but tasteful edifice of 1615, reached by descending to the right, near the S.E. angle of the Piazza, occupies the site of the house in which St. Francis was born.
The Piazza S. Rupino, in the upper town, is embellished with a Statue of 8t. Francis, by Giov. Dupr^, erected in 1882.
The Cathbdbal op S. Rupino fPl. E, 3), named after the first bishop (240), was completed in 1140, and the crypt In 1228. The ancient fa^de is adorned with three fine rose- windows. The in- terior was modernised In 1572. In the nave, to the right. Is a Ma- donna with four saints by Niccolh Alunno, ♦Choir-stalls by Gio- vanni da Sanseverino (1520).
From the cathedral an unpaved road descends to the left to the Gothic church of S. Chiaka (PI. E, 4), near the gate, probably erected by Fra Filippo da CampelU) in 1257. The massive buttresses have been recently restored. Beneath the high-altar are the remains of S. Clara, who, inspired with enthusiasm for St. Francis, abandoned her parents and wealth, founded the order of Clarissines, and died as first abbess. A handsome crypt of different coloured marbles has recently been constructed about her tomb. On the arch above the high-altar, frescoes by Oiottino; those in the Cappella di S. Agnese (right transept) are attributed to Oiotto.
The Oiardino Pubblico (PI. F, 4), between the Porta Nuova and the Porta Cappuccini, was laid out In 1882 ; it contains some fine oaks and commands a good view of the town and its fertile valley. A little way beyond the Porta Cappuccini , at the E. end of the town, are the ruins of a Roman Amphitheatre (PI. F, 3).
A magnificent *Vibw of the town and environs is obtained from the Castello or Rocca Maggiore (PI. D, E, 2), above the town, reached from the piazza in about Y2 ^r* The tower should not be ascended without the assistance of a guide , who is to be obtained, with ladders and lights, at the hotel.
In a ravine of the lofty Monte Subasio (3610 ft.), at tlie back of Assisi, is situated the hermitage delle Carceri, to which St. Francis was wont to retire for devotional exercises. "Seskt the little chapel are a few apart- ments bailt in the 14th cent., and the rock-bed of the saint (on foot IVt^ with donkey 1 hr.).
to Foligno, SPELLO. //. RouU, 79
From Assisi to Spello a very beautiful driye of 6 M. (one- horse can. 4-5 fr.). By train it is reached in 13 minntes. To the right of the road as the town is approached are the mins of an amphi- theatre of the imperial period, hut they are not yisihle f^om the railway.
22 M. Spello, with 5000 inhab., picturesquely situated on a mountain-slope, is the ancient Hi9pe2{um(Co2onia Jfdia Hispelhmi). The gate by which the town is entered, with its three portrait-sta- tues, as well as the Porta Urbana, the Porta Veneris , and portions of the wall, are ancient.
The * Cathedral of 8, Maria Maggiore^ built in the 16th cent.
by Rooca da Yicenza (facade later), contains good paintings.
The b^nitier to the right of the entrance is formed of an ancient cippns. To the left the Gappella del Sacramento with *Frescoes by Pinturiechio (1501): on the left, the Annnnciation (with the name and portrait of the painter); opposite to us the Adoration; to the right, Christ in the Temple; on the ceiling, four Sibyls. — The Ghoib contains a magni- ficent canopy in the early-Benaissance style. On the left a Piet&, on the right a Madonna by Perugino , 1521. — In the Saobistt, a ^Madonna by Pinturiechio.
8, Francesco (or Andrea"), consecrated in 1228 by Gregory IX., contains in the right transept an altar-piece, Madonna and saints, by Pinturiechio (1508), with a copy of a letter by O, Baglione to the painter painted upon it.
Among other antiquities the ^House of Propertlus* is shown, although it is certain that the poet was not bom here (p. 75). In the Pal. Comuruile and on the church-wall of 8. Lorenxo are Ro- man inscriptions. The church of 8, OitolamOy outside the town, contains an interesting Betrothal of the Virgin by Pinturiechio. The upper part of the town commands an extensive view of the plain, with Foligno and Assisi. Ruins occasioned by the earth- quake of 1832 are still observed.
The train crosses the Topino and reaches —
25 M. Foligno, the junction of the Ancona line (R. 14).
Halt of 20 min.; mediocre Refreshment Room. — One-horse Carriage to the town OU M.) 40 c. — Inns. •Pobta, by the gate, R. from 2, D. 4, L. & A. 1 fr. , with restaurant and caf^ ; Trattobia Falconb, both in the main street, the Via della Fiera.
Foligno, near the ancient Fulginium, a town with 10,000 (incl. suburbs 23,000) inhab., and an episcopal residence, lies in a fertile district. In' 1281 it was destroyed by Perugia, from 1305 to 1439 it was governed by the celebrated family of the Trinci , and in 1439 annexed to the States of the Church. The earthquake of 1832 occasioned serious damage.
At the entrance to the town a marble statue was erected in 1872 to the painter Niccolb di Liheraiore, surnamed VAlunrho, the head of the school of Foligno (p. 48). Public grounds behind it.
The Corso Cavour leads straight to the Piazza Vlttorio Ema- nuele.
The first side-street on the right coiidu<^t& til% \j5i ^•^'^im^w^':*- TECA, in the old OtpUio di ATendtcitd, ^\i\^\i «i\i\;^V»Si^^«^'^^
80 Route 11, FOLIGNO. From Perugia
man sonlptares (relief with circus games] and some paintings by Umbrian masters: Pier Antonio Mezzastris of Foligno, 1. Madonna and angels, 3. Madonna with SS. John and Dominic, 4. Ornci- flxion, 5. Madonna with SS. Francis and John; in the middle, 67. Dono dei Doni , St. Catharine. — Hence we follow the Via Umberto I. , pass thioagh the gate on the right , and tarn once more to the left to the church of 8, Annunziaia (beginning of the 16th cent.), which contains a Baptism of Christ, by Perugino] in the sacristy is an *Entombment by Montagna (or Lorenzo Lotto ?),
In the Piazza Yittorio Emanuele is the side-facade of the Cattbdbale S. Fblioiano, with .a Romanesque portal (1201). The interior was modernised in the 16th and 17th centuries. To the left of the choir is an octagonal chapel, by Antonio da SangaZlo (1627); some of the columns in the crypt date from the 9th cen- tury. — Opposite the side-portal is the Palazso Orfini , with a Re- naissance facade, unfortunately much ii\jured. On the E. side of the piazza rises the Palazzo dd Oovemo , the seat of the Trinci in 139&-1439. The chapel on the upper floor (custode in the Muni- cipio, at the other end of the market-placej contains frescoes by Ottaviano NeUi (1424; history of the Virgin, Joachim, and Anna; in the vestibule, Romulus and Remus).
The Via Salara, No. 64 in which, on the right, is the handsome Palazzo Deli (1510), leads to the Piazza S. Domenico. The old church of S. Maria infra Porta$ , in this piazza , with a portico of the 8th cent., contains numerous but mostly faded frescoes of the Umbrian school. The Gothic church of 8, Domenico j opposite, is now a riding-school.
The 8euola d^Arti e Me$tieri^ in the street of that name diverging from the Via Salara , contains casts of many almost inaccessible monuments of Umbrian art, including the ^Temple of Olitumnus'. — In the Piazza S. Niccold is the church of S. NiocoLd, the second chapel to the right in which contains a large *Altar-piece (Nativity) by Niccolb Alunno (1492) ; the chapel to the right of the high-altar is adorned with a Coronation of the Virgin, by the same master.
About 4 M. to the E. of Foligno, on the slope of the hills, is situated the Abbadia di Sastovivo, with cloisters built in 1229, resembling those of S. Paolo Fuori at Rome (p. 352).
About 5 M. to the W. of Foligno is Bevagna, on the Clitumnus , the ancient Mevania of the Umbri, celebrated for its admirable pastures, with remains of an amphitheatre and other antiquities. The little churches of S. Silvestro and S. Michele^ dating from the 12th cent., have facades by Binellm (1195) and Rodul/tu (1201) respectively. The former is undergoing restoration as a 'nationsJ monument\
From Bevagna (or from Foligno direct, 6 M.) we may visit the lofty Montefalco (Alb. delV Orso, poor; Po«/o, near the gate), probably on the site of the Umbrian Urvinutn Bortente^ one of the best places for the study of Umbrian painting. The church of 8. Lbonabdo, by the Porta di Spoleto, contains a Madonna and saints by Francesco Melanzio of Montefalco (1515). In S. AoosTiNO are a Madonna, St. James, and St. John of the Umbrian Hchool (1522; left wall), and God the Father, Madonna, Apostles, and Saints ^Jfano^so ffossoli Cfrighi wall). — The church of ♦S. Fbahobsco, built in
to Orte. .TREVl. ll.RouU. 81
tlie 14th cent., with a portal of 1685, containa numerous interesting paint- ings. On the entrance-wall. Annunciation and Nativity, b v Perugino ; wall of left aisle , Madonna and saints by Tiberio d^Auisi (1610) \ Crucifixion, Miracles of St. Anthony, School of Benozzo Qozzoli; Madonna, an arch- angel, four saints, Dmbriau School (1506); last chapel in the left aisle, Crucinxlon and Christ appearing to Mary MagdaJlene. School of CHotto. The choir is adorned with ^Frescoes by Benozzo Qozzoli (1462), representing the legend of St. Francis, with portraits of popes, cardinals, and church-fathers ; below the window, portraits of Dante, Petrarch, and Giotto. The frescoes on the wall of the right aisle are still partly concealed by the whitewash; the most important are those by ^enoMo Qozzoli {iiXifJl^ Crucifixion, Christ blessing, four church-fatherSj Madonna and four saints). — The Pinacotkca, in the principal piazza, adjoining the Municipio, contains three saints by Lo Spagna (?), a Madonna by Benozzo OozzoU (?), and numerous other unimportant works. — The church of S. Foktunato, 1 M. beyond the Porta di Spoleto, also possesses several interesting paintings. In the Cappella di S. Francesco (to the left in the court), Legend of St. Francis, by Tiberio d^Assiei (1612); in the nave, seven angels by Benozzo Qozzoli; in the choir, Madonna and saints, by Franc. Jielanzio (1528); right aisle, ^Madonna adoring the Holy Child, Angel with a musical instrument, by Ben. Qozzoli (1460). — A walk round the walls of the town affords magni- ficent *'Vi£W8 of the Umbrian plain.
The Railway traverses the luxuriant, well- watered valley of the ClitumnttSy whose herds of cattle are extolled by Virgil, to —
30 M. Trevi (^Locanda, near the Porta del Lago, poor). The small town, the ancient TrebiOy lies picturesquely on the steep slope to the left. The Pinacoteca in the Municipio contains three works hy Lo Spagna (1. Ck)ronation of the Virgin, 61. St. Cecilia, 65. St. Catharine). The church of 8, EmilianOf of the 12th cent., possesses an interesting portal (St. iEmilian between two lions) and three richly-ornamented *Altaxs by Bocco da Vicenza (1521).
About V2 ^« beyond the Porta del Lago lies the church of S. Mab- TiNO (key at the Caf^ Cecchini). In the outer chapel is a ^Madonna in glory, surrounded with four saints, by Lo Spagna (1512)} above the entrance, Madonna and two angels, by Tiberio d^Aeeitif in the Interior, St. Martin by Lo Spagna (? to the left), and Madonna, St. Francis, and St. Anthony, of the School of FoUgno (to the right). — The church of S. Mabia dblle Lagbimb, >/i M. from the Porta del Cieco, on the way to the railway-station, was built in 1487 by Antonio da Firenze and poss- esses a fine portal by Oiovcatni di Qian Pietro da Venezia. added in 1511. In the 1st chapel to the left is a Resurrection, by an umbrian Painter; in the transept, to the left, ^Entombment by Lo Spagna; 2nd chapel to the right. Adoration of the Magi, by Ferugino; Ist chapel to the right. Annunciation, Umbrian School.
Tiie small village of Le Viene, on the Clltumnus, is next passed. Near it, to the left, we obtain a glimpse of a small ancient * Temple, usually regarded as that of Clitumnus mentioned by Pliny (Epist. 8, 8), but probably not earlier than the fifth cent. , as the Christian emblems, the vine and the cross, on the facade testify. The temple, now a church of S. Salvatore , lies with its back towards the road, about 21/2 M. from Trevi. Near Le Vene the abundant and clear Source of the ClitumnuSy beautifully described by Pliny, wells forth from the limestone-rock, close to the road. On the height to the left is the village of Campello. On the way to Spoleto, to the left, in the village of 8. QiacomOy is a church the c;\iQ»\t ^1 nh^^;^ V^ adorned with frescoes by Lo Spagna (CoiouatiQu ^il xX^ft Nvi^gca..
BAMVimKU. Italy II. iOth Edition. ^
82 Route 11, SPOLETO. From ferugia
Legend of St. James of Gompostella ; 1526). Beautiful road through richly cultiyated land.
4OY2 ^* SpoletO. The town is >/« ^- distant; one-horse carr. V2 fr.
^Albbboo & BiSTOKAZioNB Di FiLiPPo LuoiNi , in the upper town, near the theatre, B., L., & A. 2>/i, luncheon 2i/S) !>• 3fr. ; Posta, in the lower part of the town, near the railway-gate. — Trattoria delta Ferrovia, to the right of the gate. — *Cc^fi delta Nazione and Birreria^ Oorso Vitt. Emanuele. — Btxtfu^ Piazza S. Luca.
SpoletOj the ancient l^oletiunif the seat of a hishop as early as A.D. 50, now an archiepiscopal see, is a busy town, beautifully situ- ated, and containing some interesting objects of art. The chief occupations of its 11,000 inhab. (commune 21,600) are the gather- ing of truffles in the surrounding woods and the preparation of pre- served meats, vegetables, and fruits. Mining is also carried on.
In B. C. 242 a Roman colony was established in the ancient Umbrian town , and in 217 it rigorously repelled the attack of Hannibal, as Livy relates (22, 9). It subsequently became a Roman municipium, suffered severely during the civil wars of Sulla and Marius, and again at the hands of Totila and his Goths, after the fall of the W. Empire, though Theo- doric tbe Qreat favoured it. The Lombards founded a duchy here (as in Benevento) in 569, the first holders of which were FarocUd and Ariulf. After the fall of the Carlovingians, Ouido of Spoleto even attained the dig- nity of Emperor, as well as his son Lambert^ who was murdered in 898. In 1155 the then prosperous town was destroyed by Frederick Barbarossa; and in the beginning of the 13th cent, it was incorporated with the States of the Church. The Castle of Spoleto, known as La Rocca, originally founded in pre-Roman times, was rebuilt in 1364 by Cardinal Albornoz, and completed by Pope Nicholas V. In 1499 it was inhabited by Lucretia Borgia. It fell into the hands of the Piedmontese on 18th Sept., 1860, after a gallant defence by Major O'Reilly, an Irishman.
Entering by the town-gate and following the main street which traverses the lower part of the town, we reach (5 min.) a gateway of the Roman period, called the Porta d'AnrUbale, or Porta delta Fuga^ in allusion to the above-mentioned occurrence.
We may continue to follow the Strada Umberto, ascending the hill in a wide curve, or take one of the direct but steep side-streets. Inclining towards the left, near the top, we come to the —
*Oathedbal of S. Mabia Assunta, raised to its present dignity in 1067 and restored in the 12th century. On each side of the por- tico, added in 1491, is a stone pulpit. Above, Christ with Mary and John, a large mosaic by Solserrms (1207). The richly ornamented portsJ, of the 11th cent., bears on the left the name of Ghregorius Meliorantiw, The lower part of the tower contains many ancient fragments.
To the right of the vestibule is a Baptistery (Cappella Eroli), con- taining frescoes in the style of Oiulio Romano; the travertine font, with sculptures from the life of Christ, is of the 16th centurv.
The Intkbiob of the cathedral was restored in 1644. In the chapel immediately to the right of the entrance are some fragments of frescoes by Pintt$riechio and a Crucifixion (1187), from SS. Giovanni e Paolo. — The Choir contains "^Frescoes by Fra Filippo Lippi., completed after his death by Fra Diamante in 1470, Annunciation, Birth of Christ, and *Death of Mary; in the semicircle her Coronation and Assumption (unfortunately damaged). At the entrance to the chapel on the left of the choir, to the left, is the Tomb of Fra Fil. Lippi (d. 1469). The monument waa
to Orie. SPOLETO. 11, Route, 83
erected by Lor. de' Medici^ the epitaph is by Poliziano. Opposite is the monument of an Orsini, by Jmbr<tgio da Milano (1489). — The Winteb- Ghoib, in the left aisle, contains good carving of the 15th cent., and a Madonna by Lo Spagna.
In the Piazza del Duomo , in £ront of the cathedral , probably stood the palace of the Lombard dukes. Adjacent is the tasteful Chiesa deUa Manna d'OrOj founded in 1527. — On leaving the ca- thedral we proceed in a straight direction , slightly ascending, to the Palazzo Arroni (on the left) with a fine portal and Graffiti of mythological scenes (16th cent.) and to the Palazzo Pubblico,
containing several inscriptions and the small Pinacoteca.
On the entrance- wall, early mediaeval sculptures. — Boom II. En- trance-wall, Handsome chimney-piece of the beginning of the 16th cent. ; centre, Archaic inscription regulating the felling of timber in a sacred grove. — B. III. Entrance-wall, "^Madonna with saints, by Lo Spagna; right wall. Virtues and Putti, by Lo Bpagna, — E. IV. Bight wall. Ma- donna, by ^sn». (7ampe/k>(16CX2); Adoration of the Holy Child, by Lo Spagna (V).
On the other side of the Palazzo Pubbllco, and in some of the neighbouring houses, Roman foundations have been brought to light.
The half-sunken ^Triumphal Arch of Drusus and Germanicus stands in the narrow street which leads to the S. from the Piazza DBL Meboato, the ancient Forum. The small staircase adjoining it leads to a picturesque monastery court. — From this point we may enter the lower church of 8. AnsanOy with its damaged frescoes of the 11th cent., formerly dedicated to St. Isaac, who founded the hermitages on the Monte Luco. — Farther on traces of Roman construction have been discovered in 8, Agata^ now a prison, and its little piazza. — The small church oi88, Giovanni e Paolo j gener- ally difficult of access, has a subterranean oratory, with 11th cent, frescoes. — Outside the Porta S. Luca, to the right, are the church and conyent of 8. Paolo (13th centl, now a poorhouse ; adjacent is 8. Madonna di LoretOj founded in 1572, with a later facade.
The broad street in front of the Porta S. Luca leads to the left to the church of 8, Pietro, the cathedral until 1067, restored after its destruction in 1329. The reliefs on the facade are of different dates : the representations from the bestiaries (the wolf preaching ; the fox feigning death) at the central portal are the oldest, and may date from the 11th or 12th cent. ; those above (deaths of the righteous and of the sinner) are later. — At the top of Monte Luco is the small church of 8. OiulianOf where St. Isaac, a Syrian monk, founded a monastery about 500.
A road issuing from the Porta S. Gregorio on the other side of the town and skirting the river to the right, then turning to the left to the new Campo Santo, with its conspicuous arcades, brings us to the church of *8. Agostino del Crocifisso^ formerly 8. Salvatore. This church was erected in the 5th or 6th cent, on the site of a Roman temple, and was destroyed at an early date. The fine ancient Roman doors have been preserved, but the ivy wreaths aud <!.qvv%q\.^<^ with which they are adorned and also the fhtee ixia;g[i\^<j,^\i\.^\w\w«%
SABouUII. TERNI. From Perugia
which pierce the facade are the work of the Ohristian architects. In the interior the nave was separated by twenty Doric columns from the aisles, which were bnilt up on the conversion of the church into a monastery. Six antique columns with a Doric entablature are still preserved in the choir ; and the octagonal dome rests upon eight gigantic columns, with curious imposts. — In the neighbourhood is the small 13th cent, church of 8. Pontiano.
The Conte Fraruiesco Tonics valuable Collection of Petrefactions, in the Palazzo Toni, Piazza S. Luca, is of great interest to geologists (visitors readily admitted).
Travellers should not omit to extend their walk beyond the ca- thedral and the Palazzo Pubblico as follows. Continuing to ascend, after a few minutes we cross the Piazza Brignone in a diagonal direction, where a memorial slab commemorates the capture of the fortress in 1860. Passing the fountain, we leave the upper part of the Piazza by a street to the right, which passes immediately below the lower entrance of the fortress of La Rocca, now a prison. A little farther on, near a gate which here forms the entrance to the town, we perceive, to the left, polygonal foundations, being remains of the ancient castle-wall. Outside the wall is a profound ravine, spanned by the imposing aqueduct *Ponie delle Torri^ built of brick, which is used as a viaduct, uniting the town with Monte Luco. It rests on ten arches, and is 290 ft. in height, and 231 yds. in length. Its construction is attributed to Theodelapius, third duke of Spoleto (604). The ground-plan is apparently Roman, while the pointed arches indicate a restoration in the 14th century. A window midway affords a view. To the left on the height is perceived the monastery of S. Giuliano ; below is S. Pietro (see p. 83). Beyond the bridge we turn to the left, generally following the direction of the aqueduct. After 10-15 min. a more unbroken *Prospect is ob- tained, embracing the fortress and town, and the spacious valley.
The ascent of Konte Luco, U/t hr., is somewhat fatiguing. Refresh- ments at the Franciscan convent near the top (adequate remuneration expected). The hermitages are now used as summer-dwellings. The ^Fra Guardiano" conducts visitors to the best points of view. To the N. and E. lies the valley of the Clitumnus with Trevi, Foligno, Spello, and Assisi; then Perugia and the Central Apennines near Citt& di Castello and Gubbio. In the other directions the view is intercepted by the mountains in the vicinity. Towards the E. these are overtopped by the rocky peak of the Sibilla, snow-clad until late in the summer. — Returning to the right we pass the former Capuchin monastery of S. Maria delle Oraziey an ancient resort of pilgrims.
The Railway now ascends for 8/4 hr. to its culminating point on Monte Somma (2230 ft.). — Passing through a long tunnel , it reaches (51 M.) Oiuneano,
58^2 M. Tend. — The town is about V4M. from the station. The hotel- omnibuses meet the trains; a seat in a carriage (*un posto") to the piazza 30^ c, box 20 c.
Hotels. ^EuBOPA & Inqhiltebba, in the piazza, with restaurant, R. from 2, A V2, B. iV^, dej. 2V2, D. incl. wine 5 fr. ; Italia ; Alb. Noovo with trattori • — Ca/^ Elvezia^ near the Europa.
to Orte. TERM. ILBouU. 85
Carsiags to the Waterfalls (^/i, back y^hr.): 1 person 5. 2 per8. 7, 3 pers. 9fr., etc. (bargaining advisable); or at the hotels 7, 10, and 15 fr. respectively, besides which a fee of I-IV2 fr* is expected. — Guide (quite nnnecessary) 3 fr. — The traveller shonld be abundantly provided with copper coins. At the different points of view contributions are levied by the custodians (3-4 soldi); flowers and fossils from the Yelino are offered for sale, also for 3-4 soldi; besides which the patience is sorely tried by the importunities of a host of beggars and guides.
Temij situated in the fertile valley of the Nera, with 15,900 Inhab. (incl. villages) and several manufactories , is the ancient IrUeramna, where, it is believed, the historian Tacitus and the emperors Tacitus and Florianus were born. Remains of an amphi- theatre (erroneously styled a * Temple of the Sun'') in the grounds of the episcopal palace, Roman inscriptions in the Palazzo PubblicOf palaces of theUmbrian nobility, etc., are objects of interest. Pleasant walk on the ramparts, whence the beautiful Nera Valley is surveyed: to the left Collescipoli, to the right Cesi, opposite the spectator Narni.
The Waterfalls of Tbbni may be reached on foot in 1^2 ^^- ; the whole excursion, Including stay, requires about 4 hrs. (by car- riage 3 hrs.). Pedestrians may return by railway. Carriages and fees, see above.
The Railway to Rieti (see Baedeker's Southern Italy) gradually ascends to the S. , across the plain of the Nera, to (6^/2 M.) Stroncone, the station for a village of the same name on the hill. Thence the line ascends rapidly in curves, threading six tunnels. As the train emerges from the last two, we catch fine glimpses of the upper val- ley of the Nera. — 10 M. Marmore (50 min. from Teml, in the re- verse direction 40 min.; fares 1 fr. 85, Ifr. 30, 85 c.), about V2M. from the waterfalls. The railway now ascends the valley of the Ve- lino. — 11 M. Piediluco (55 min. from Terni; fares 2 fr. 5, 1 fr. 45, 95 c), on the W. bank of the lake, opposite the village of that name (p. 86). A boat for the transit (I/2 ^^'] V2"l ^^0 ^s not always to be had without delay. A road (2 M.) Is being made.
To reach the Wate&fallb from the station of Marmore (^Rail. Re- staurant) we turn first to the right, and 80 paces beyond the pointsman's hut No. 214, cross the railway. Paying no attention to the ^Custodi delle Cascate' here lying in wait, we keep to the left, passing some cottages. We then pass through the gate on the right (when closed, fee of 2-3 soldi), and still keep on to the left till we reach (6 min.) the upper fall (p. 86).
Two carriage- roads lead from Terni to the waterfalli. The New Road (4V2 M.) , following the right bank of the Nera , and flanked with poplars, leaves the town near the Porta Spoletina, and crosses the plain in a straight direction. On the right rises a government manufactory of weapons ; on the left an armour-plate factory. We now approach the stream, the valley of which contracts. On each side tower lofty rocks, to which the luxuriant vegetation of the slopes forms a beautiful contrast. — The Old Road is reached from the piazza at Terni by passing the Albergo Europa and descend- ing the Strada Garibaldi. We at first follow the Rieti 8.ivd. ko^^^ road, which crosses the Nera just outside t\ve gOiXA^ ttv^«t«vTv%%w.^w>& and olive-plantatioiifl ,• after 2 M. (neat a amali c\La^ft\ wvVsv^^^^'^'*'^
86 RouUll. TERNI.
broad road to the left descends into the yalley of the Nera, while the
high-road ascends gradually to the right. The former descends in
windings past the Tillage of Papigno, picturesquely situated on an
isolated rock, (^^4 M.) crosses the Nera, and on the right bank, near
the villa of Count Castelli-Graziani, reaches the new road mentioned
above (1-1 V4M. to the faUs).
The celebrated falls of the Velino (which here empties itself into
the Nera), called the **CaBeate delle Hftrmore, are about 650 ft.
in height, and have few rivals in Europe in beauty of situation and
volume of water. The rivulet is precipitated from the height in three
leaps of about 65, 330, and 190 ft. respectively, the water falling
perpendicularly at some places, and at others dashing furiously over
rocks. The spray of the falls is seen from a considerable distance.
The Velino is so strongly impregnated with lime that its deposit con- tinually raises its bed; and the plain of Bieti (1400 ft.) is therefore frequently exposed to the danger of inundation. In ancient times Manius Curius Dentatus endeavoured to counteract the evil by the construction of a tunnel (B. C. 271), which, though altered, is to this day in use. The rising of the bed of the river, however, rendered new measures necessary from time to time. Two other channels were afterwards excavated, the Cava Beatina or Oregoriana in 1417, and the Cava Paolina by Paul III. in 1546 ; these, however, proving unserviceable, Clement VIII. re-opened the original 'emissarium'' of Dentatus in 1598. In 1787 a new cutting was required, and another has again become necessary. The regulation of the Velino fall has long formed the subject of vehement discussions between Bieti and Terni , as the unrestrained descent of the water in rainy seasons threatens the valley of Terni with inundation.
Fine views of the falls are obtained from several points. Before reaching the falls, we may ascend a rough path to the left, leading in 10 min. to the flnest view of the upper and central falls. — We now return to the road, retrace our steps (80-90 paces) to the path on the left , and cross the Nera by a natural bridge, below which the water has hollowed its own channel. Where the path divides, we ascend gradually to the left. The surrounding rocks (in which there is a quarry) have been formed by the incrustations of the Ve- lino. The channel on the right (Cava Paolina) is full in winter only. In 12-15 min. we come to a point, where the division of the cascade is surveyed ; the central fall, in the spray of which beautiful rainbows are occasionally formed, may be approached more nearly. A fartlrer steep ascent of 15-20 min. leads to a small pavilion of stone on a projecting rock, affording a beautiful view of the principal fall and the valley of the Nera. We next ascend a flight of steps (4 min.) , and soon reach another point of view on the left, in the garden of the first cottage (20 c). — Following the same path for a few minutes more, we turn to the right and come to a small house; passing through its garden (10-15 c), and between several houses, we reach in 10 min. the road to Rieti and Aquila (see above), and, after crossing the railway, a good osteria (No. 153). The station of Marmore (p. 85) is seen to the left.
If time permit, the excursion may be extended to the beautiful
NARNI. //. Route. 87
*Lake of PiedilueOj 1^2 M. farther on. Following the road, which skirts the indentations of the lake, we arrive at the village of Pie- diluco, with its ruined castle, in Y2 ^' (tolerable inn). On the opposite (S.W.) bank lies the railway-station mentioned at p. 85.
The Railway intersects the rich valley of the Nera. To the right on the hill lies Cesi, 5 M. to the N.W. of Terni , to the right of the S. Gemine and Todi road (p. 55), with remains of ancient polygonal walls and interesting subterranean grottoes. To the left, CoUescipoli.
66 Y2 ^> Nami (^Angelo, tolerable), the ancient Umbrian Namia (originally Nequinum), birthplace of the Emperor Nerva, Pope John Xni. (965-72), and Erasmus of Narni, sumamed Gattamelata, the well-known 'condottiere' of the 15th century. It is picturesquely situated, ^4^. from the station, on a lofty rock (11 90 ft.) on the Nar, now Nera , at the point where the river forces its way through a narrow ravine to the Tiber. The old castle is now a prison. — The Cathedral, erected in the 13th cent., with a vestibule of 1497, and dedicated to St. Juvenalis, the first bishop (369), is architecturally interesting. — The Toton HaU contains the Coronation of Mary by Ohirlandajo (formerly in the monastery of the Zoccolanti , the
strictest branch of the Franciscans), spoiled by retouching.
From Narni via Perugia by Todi, see pp. 56, 55.
From Narni a road leads to the N.W. to the (6 M.) venerable and finely situated Umbrian mountain-town of Amelia, Lat. Ameria (inn outside the gate), mentioned by Cicero In his oration Pro Roscio Amerino, with admirably preserved 'Cyclopean Walls and other antiquities (1390 ft.).
The train turns towards the narrowing valley of the Nera, and passes close to the *Bridge of Augwtus (on the left), which spanned the river immediately below Narni in three huge arches , and be- longed to the Via Flaminia (p. 101), leading to Bevagna (p. 80). The arch next to the left bank, 60 ft. in height, alone is preserved, while of the two others the buttresses only remain.
The train continues to follow the valley of the Nera , with its beautiful plantations of evergreen oaks. Beyond (71 M.) Nera Man- toro we pass through two tunnels, and then (near the influx of the Nera) cross the Tiber, which in 1860-70 formed the boundary be- tween the Elingdom of Italy and the Papal States. — Near —
77 M. Orte (*Rail, Restaurant) we reach the main line fromChiusi to Rome (see p. 67).
12. From Bologna to Eimini, Falconara (Borne),
and Ancona.
127 M. Railway in 5-7Va hrs. (fares 23 fr. 10, 16 fr. 15, 10 fr. 40 c. ; express 25 fr. 40, 17 fr. 80 c.) — Beautifal views of the sea between Rimini and Cattolica, and beyond Pesaro. A seat on the left should therefore be secured. — From Bologna to Bomb, 300 M., express in 1^|%\iy^. V:;«Sa.'^Ns«- ence in 13 hrs.). This train diverges to thie o.Yf . «.\. FaVcotwwra.^ >Cskfe\»»N. station before Ancona.
88 Route 12, FAENZA. From Bologna
The towns on the coast of the Adriatic are far inferior in attraction to those in the W. part of the peninsula (Tuscany and Umbria); but without a visit to them the traveller'*s acquaintance with Italy would be but imperfect. The views of the Adriatic to the E., and of the Apennines to the W. are often charming, and the situation of some of the towns, especially Ancona, is strikingly beautiful. Rimini^ an ancient Roman colony and frontier fortress, possesses several fine monuments of antiquity, and its church of S. Francesco is an admirable Renaissance work. Roman triumphal arches are also preserved at Ancona and Fano ; and Loreto boasts of valuable sculptures in the Renaissance style (p. 106). Urbino, too, the birthplace of Raphael, lies within a short distance of this route. Many of the towns now have galleries of pictures collected from the suppressed monasteries, but of second-rate importance. The provinces of Pe*aro-Ur- hino, Aneonoy MaetrcUa^ and Aseoli are called the Ma&chjBS (Le Jfarehe). In Roman times the 8. part as far as Ancona was caUed Picemtm, while the K. part belonged to UnAria (comp. p. 92).
From Bologna vii (22 M.) Imola to (26 M.) Castd Bolognese, junction for the branch-line to Ravenna, see Baedeker^s Northern Italy. The line follows the ancient Via jEmiliaj which ran from Placentia to Ariminnm.
We cross the river Senio, the ancient Sinnus,
31 M. Eaenza (*Alb. Firenzej Corona, near the Piazza Maggiore ; Tre Mori), a pleasant town with 14,500 inhab. (commune 36,100), on the Amone (ancient Anemo'), the Faventia of the Boii, was the scene of Sulla's Tlctory OTer Garbo. In the middle ages It witnessed numerous feuds, and in 1509 it was annexed by Julius II. to the States of the Church. The town was famous in the 15th cent, for its pottery, the manufacture of which has lately been revived (^faience'), and contains considerable silk and weaving factories. Faenza was the birthplace of Torricelli, the inventor of the barometer in 1643, to whose memory a monument has been erected in front of the church of S. Francesco, to the left as we enter the town.
The main street leads direct to the Piazza Maggiore, which is surrounded by arcades. In this square, to the left, is the Cathedbal OP S. CosTANzo, a handsome basilica of the 15th cent., named after Constantius, the first bishop of Faventia (313). It contains the tombs of GioT. Bosi (d. 1542; 1st chapel to the right) and Africano Seve- roli (d. 1522j 5th chap, on the right), both by Bariloto; a Holy Family by Innocenzo da Imola (4th chap, on the right) ; and the tomb of St. Savinus, by Benedetto da Majano, 1472 (chap, on left of high-altar). In the Piazza Maggiore are also the Palazzo Municipale and the Torre dell* Orologio ; the fountain in the centre, embellished with bronzes, dates from 1621.
The street at the end of the piazza, adjoining the post-office, leads to the right to the gymnasium, on the first floor of which Is the municipal Pinacoteoa.
At the end of the Vkstibulk : Colossal group of Mary with the two
SS. John, by Alfonso Lombardi. — Room I. To the right: Pace da Faenza,
Madonna with saints (14th cent.); *Lionardo ^fca/eftt. Madonna with angela
and saints (1484); Crucifixion, St. Dominic and St. Peter; Oiambattista
''Ttueci, Madonna with saints (1506); Bagnaeavallo, Betrothal of St. Ca-
arine; Pahnezxano^ Madonna with saints (1495); Palmezeamo, Bearing
tie Cross (1535); Dosso Dossi, Two heads. — Room II. Oiacomo Bertueei
to Ancona. FORLT. 12. Route. 89
the Taunger, Hadonna with saints (1566), I>escent from the Gross; Cctignola^ Baptism of Christ; Michele Manxoni^ Martyrdom of 8t. Eatropius; Tiepolo^ Judith: Ferraii Fenzoniy Bethesda; Massimo d'Azeglio, Landscape; Ouido Jieni, Madonna, with SS. Francis and Christina; Van Dyek^ Two royal portraits. — In the Shall Rooms: Two fine *cassoni% formerly belonging to the Manfredi, and a wax-mask of the Dominican Paganelli. — In the Book to the bight of thb Entbanok : Marble *Bust of John the Baptist, and wooden statue of St. Jerome, both by Danatelh; terracotta bust of the 16th cent., and a Hadonna of the school of the Robbia.
In the Via Torricelli, at the end of the piazza, to the left, lie the old Palazzo Manfredi and , opposite , the church of S. Michele, with tasteful brick ornamentation.
The street beside the clock-tower crosses the bridge to the Borgo. The second church in it, to the right, La Maggione, contains a fine fresco by Oirolomo Pennacchi da Udine (1533), representing the Madonna and saints (in a recess in the choir).
Beyond Faenza the train intersects the plain in a straight direc- tion. It crosses the Amone, then the Montone, which, united with with the Roneo (Bedetis), falls into the Adriatic near Ravenna.
40 M. rorU (^AU), Masini, tolerable; 8. Marco, small, good cuisine; Vapore, unpretending but well spoken of), the ancient Forum Livii , founded by M. Livius Salinator after the defeat of Hasdrubal, is a well-built provincial capital with 16,000 inhab. (including suburbs 41,000).
Forli, where in 410 the marriage of Athaulf, king of the Visigoths, with Galla PlaeidiOy sister of the Emp. Honorius was solemnised, was long an independent state in which the Guelphs retained their ascendancy down to 131o. The Ordelafji then usurped the supreme power, which they retained till 1480, when they were succeeded by Qirdamo Riario, a favour- ite of Sixtus IV. This prince was assassinated in 1488, and his widow- Caterina SfortOy was afterwards banished by Cetare Borgia, At length, in 1504, Pope JuUm II. annexed the city to the States of the Church. — ForU was the birthplace of the poet Corneliut Oallus (d. B.C. 27), of the historian Havio Biondo (15th cent.; p. 128), and of the talented painter Melozto da Forli (end of 15th cent.) , who was closely allied to Piero della Fran- ccsca, was recognised by his contemporaries as a master of perspective, and was afterwards engaged at Rome.
The Piazza VitU Emanuele, the principal square (comp. Plan, p. 90) is enclosed by handsome palaces. Here, too, is the church of —
S. MsBcu&iiLLE (so named after the first bishop of ForU). In the 3rd chapel to the right, PaVmezzano, Crucifixion, with saints and the donor; 6th chap, to the right, PaVmezzano, Madonna with saints ; 4th chap, to the left, the decoration in which is by Oiov, Veneziano (1636), the Conception by Palmezzano / in the choir, carved stalls hj Alessandro de' Bigni (1536); in the sacristy, Tura, Visitation. — Opposite the church is the restored Munictpio, with a tasteless tower of the 18th century.
Proceeding southwards from the piazza, we reach the Cathedkal OF S. Croce. In the left transept is the Chapel of the Madonna del Fuoco, the dome of which was adorned In 1686-1706 with frescoes of the Assumption by Carlo Cignani of Bologna, TYift ^^\w\fcT ^&^svxt.- ied in the chapel. At the end of the S, aisle, to We \ei\, \a ^^X.^*^^-
90 Route 12. CESENA. From Bologna
astian by Rondinelli. A reliquary of the 14th cent., and the sculp- tures of the principal door (i5th cent.) also deserve notice.
SS, Biagio e Qirolamo contains in the double chapel (1st & 2nd) on the right *Frescoes by Melozzo and Palmezzano ; History of St. James and (in the dome) prophets and angels. To the left is the tomb of Barbara Manfredi (15th cent.). In the 3rd chapel on the right is an Immaculate Conception, by Ouido Reni. In the 4th chapel: * Palmezzano f Madonna and saints, with Girolamo Riario and Gath- arina Sforza and their sons (1486). The frescoes in the dome are also by Palmezzano.]
The Pinacoteea and other municipal art- collections are preserved in the Ginnabio Oomunale, in the Piazza di S. Pellegrino. The school of Forli is represented in the Pinacoteea by Melozzo and Pal- mezzano, and also by Agreati, Menzocchi, Morolini, and Cignani, The names of the artists are attached to each painting.
In the Ooubt: Monament to the anatomist Morgagni (d. lT7i), unveiled in 1875. On the Staiboasb: Sarcophagus of the 14th cent.; Sarcophagus of St. Marcolinus, by Antonio Rosellini (1458). Fine door-frame and lunette, Madonna with angels (formerly in the cathedral), by Simone di Oiov. Ohini.
Pinacoteea. Passing through a corridor with engravings we enter Booh I. To the left: 5. MarcUlo Ventuti^ Resurrection (restored); 20. Tapestry from the design of a Lower Rhenish master (ascribed to Perugino) ; 35. Tapest^ from the design of a South German master (ascribed to Wohl- gemuth)'^ 34. Cigoli^ St. Francis: Fra Angelico^ 43. Christmas night, 45> Christ on the Mount of Olives ; 44. Simone Memmi, Two saints ; 54. Bastano, Adoration of the Shepherds. In the middle : Hebe, by Canova. — Lasos Room. To the right: T7. Cagnaeci, St. Valerians 86. Ouereino^ Annun- ciation; 90. Rondinelli t Madonna; *92. Franda, Adoration of the Child; 93. Agostino Carracei, St. Francis; 96. Palmezzano^ Portrait^ 103. Cignani, Portrait of himself; *Melozzo, 'Pestapepe'', an apprentice with pestle and mortar (a fresco, formerly used as a shop sign); 113. Morolini^ Annun- ciation; 115. Palmezzano^ (Crucifixion (1492); 117. Cotignola, God the Father with saints (1513); ^126. Melozzo, S. Antonio Abbate, John the Baptist, and St, Sebastian; 127. Melozzo^ God the Father; 128. Palmezzano, An- nunciation; *147. Palmezzano, Institution of the Eucharist (1501); 148. Palmezzano, Portrait of himself in his 80th year (1536); 151. Rondinelli, Portrait said to be of CpRsar Borgia ; 163. Cagnaed, 8. Mercuriale. — In the Small Rooms: Medals (among which is the portrait of Catharine Sforza), fayence, Pre-Boman and Roman antiquities, marble bust of Pino Orde- laffi (15th cent.).
The church of 8, Pellegrino, opposite the Ginnasio, to the right, contains a fine tomb of the 15th century.
The Citadel, constructed in 1361 by Cardinal Albornoz, and en- larged by the Ordelaffl and Riarii, is now used as a prison.
A diligence-route leads from Forll through the Apennines via Rocca S. Casciano and S. Benedetto to Florence.
The Railway to Rimini crosses the Ronco and passes (45 M.) ForlimpopoU, the ancient Forum Popilii ; to the right, on the hill, Bertinoro, with its productive vineyards. It then passes Polenta and crosses the Savio (the ancient Sapis).
52 M» Cesena (Leon d'Oro, R. 21/2 ^r. ; Cappello), with about 10,000 inhab. (incl. villages 38,300), is surrounded by beautiful meadows and hills, and boasts of several interesting palaces.
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toAncona, RIMINI. 1^, Route. 91
Caesena is one of the most ancient episcopal sees in Italy, where St. Philemon is said to have held the office as early as the year 92. During the middle ages it was at first an independent state, then became subject to the Ghibelline family of Montefeltro, and shortly afterwards to the Halatestas, who where partisans of the Guelphs. This rapid change of rtders is alluded to by Dante, Inf. xxvii, 52.
Cosi com* ella He* tra il piano e il monte^
Tra tirannia si vive e stato franco. On ist Feb., 1377, the town was cruelly sacked by Cardinal Robert of Genevaj and subsequently by Gesare Boi^a after which it was incor- porated with the States of the Church.
In the Piazza is the handsome Palazzo Puhhlico, with a statue of Pius VI., who was bom at Cesena in 1717, as well as his successor Pius VII. in 1742. — The Cathedral contains two marhle altars of the 15th and 16th centuries. — The Library j built in 1452 by Matteo Nuzio for Domenico Malatesta Novello, contains 4000 MSS., many of them written for the founder, and afterwards used by the learned Aldus Manutius in preparing his famous editions of the classics. — The Pinacoteca contains a good Presentation in the Temple by Franc. Francia, — In the Oiardino Bufalini is a statue erected in 1883 to the physician Maurizio Bufalini of Cesena.
On an eminence , ^^4 M. distant, stands the handsome church of *8. Maria del Monte, a work of Bramante. Productive sulphur- mines in the vicinity, towards the S.
The train crosses the stream Pisciatello, the upper part of which, called Vrgone, is identical with the Rubicon of the ancients, the boundary between Italy proper and the province of Gallia Gisalplna, and memorable for its passage by Gssar at the beginning of the civil war between him and Pompey, B.C. 49.
The most recent investigations tend to show that the Bubicon has entirely quitted its ancient course. It appears originally to have fallen into the Fiutnicino, farther S., while at the present day its upper part (Urgonc) unites with the Pisciatello. Most of the towns and villap;es of this district have in turn laid claim to the distinction of possessing the Rubicon within their territory. Nor did they rest satisfied with a mere literary feud in order to gain the object of their ambition. An action in- volving this question was instituted at Rome , and in 1756 the *Rota' de- cided in favour of the claim of the Uao (see below), beyond the small town of Savignano. On the road between Cesena and Savignano stands a column bearing a decree of the Roman senate, which threatens to punish those who should without authority trespass beyond the Rubicon. Montes- quieu regarded this as genuine, but it is an obvious imposition and not the only one connected with the interminable dispute regarding the Rubicon.
56 M. Oambettola; 6O1/2 M. Savignano. The train crosses the Uso. 63 M. S, Arcangelo, where Pope Clement XIV. (Ganganelli) was bom in 1705 (d. 1771). The Marecchia is next crossed.
69 M. Kimini. —- "^Aquila d^Obo, in the Corso, R. & A. 21/3, luncheon 2>/4, omn. from station '/^ f'* i Albeboo 19'uovo, also with omnibus at the station; Italia, at the Pescheria, fair. — Trattoria d*Europa^ Piazza Cavourt Caff^ delta Speranza^ Piazza Giulio Cesare. — Railway Restaurant^ good wine of the country.
Carriage from the station to the Piazza, with one horse 1 fr., with two horses 1 fr. 20 c. — Tramway to the bathing-place on \.\i% \^«Mi\L.
Rimini, beautifully situated on the \dt\a.WG %X >iXi'fe TJiwiSot ^1 ^^
92 Route 12. RIMINI. From Bologna
Ansa and Marecchia^ with 11,000 inbab. (incl. villages over 37,000), and extensive flsheries and silk manufactories, has of late come into notice as a 8ea->bathing place. Handsome public rooms with a oaf^ and restaurant, and numerous lodging-houses have been erected on the pleasant promenade on the beach.
Rimini y the ancient Ariminum^ a town of the XTmbrians, became a Roman colony in B.C. 269, and formed the frontier- fortress of Italy in the direction of Oaol, and the termination of the Via Flaminia from Bome, constructed in 220. The town was extended and embellished by Julius Ceesar and Augustus. During the Exarchate, it was the northernmost of the Pentapolis MariHma^ or 'Five Maritime Cities'*, which were ruled over by one governor. The other four were PetarOy Fano^ Sinigaglia, and Ancona. In 260 Ariminum became an episcopal see, and in 350 a council against Arianism was held here. The town afterwards belonged to the Lombards.
In the course of the 13th cent, the Malatesta made themselves masters of the city. In 1285 Oiovanni it Scianeato (Hhe lame'), sumamed also LancilottOy put to death his wife, Franeesca Polenta of Ravenna, and his brother, jPaolo it Bello (an event from which Dante derived the episode of 'Franeesca da Bimini^ in the 5th canto of the Inferno, and Leigh Hunt the materials for his *Story of Rimini"). During the following century this family ruled the greater part of the Romagna , and also , for a time , the mark of Ancona. Under Lewis the Bavarian they became vicegerents of the emperor, but Cardinal Albornoz afterwards succeeded in reducing them under the power of the pope. The Malatesta family, divided into the Pesaro and Rimini branches, distinguished themselves as condottieri, but also as patrons of learning. The most famous scion was Siffismondo-, son of Pandulfo (1417-68), who united the gifts of a great military leader with the most violent passions. He attracted painters and scholars to his court, in order to secure immortalily for himself and his mistress (after- wards his wife), the clever Isotta. — In 1528 the people revolted against the Malatesta and placed themselves under the authority of the pope.
A broad road leads from the Station (PI. D, 4) to the gate, within which it is called the Via Principe Umberto. After 4 min. we follow the Via al Tempio Malatestiano to the left.
•S. Feanobsco (^Duomo, Tempio dei Malatesta; PI. 3; 0, 5), originally a Gothic edifice of the 13th cent, was magnificently re- modelled in the early- Renaissance style in 1447-55 by Sigismondo Malatesta from designs by Leo Battista Alberti and under the super- intendence of Matteo da Pasti. The windows of the original building are retained. Of the facade unfortunately the lower part only has been completed, while the dome intended by Alberti to surmount the choir is wanting. The choir itself dates from 1709. On the cornice are the initials and arms (the elephant and rose) of Sigis- mondo and Isotta.
The vaults on the S. side contain the sarcophagi of the poets and scholars whom Sigismondo entertained at his court. In the first four are the remains of Basinio^ the Parmese poetj Oiusto de" Conti; Qemiithiui Plethon (d. 1451), a Greek philosopher whose corpse Sigismondo brought hither from his campaigns in Greece; and Roberto Volturio (d. 1489), the learned engineer. In the others repose several physicians and a bishop of the 16th century.
The Intbbiob was said by Pope Pius U. to resemble a heathen temple rather than a Christian church. To the right of the entrance is the Ton^ of Sigismondo (d. 146S). Most of the plastic ornamentation of the chapels was executed by AgoHino di Dueeio of Florence; a few works are by JPiero Bernardo Cit^fagni. — Ist Chapbl on the right : above the altar, S/. Sigiamand of Bargandyf patron-saint of the founder; by the pillars.
toAncona. RIMINI. 12, Route, 93
allegorical figores of the virtues. — 2nd Ghapbi. or the Bblicb ('Santaario*, shown by the sacristan), containing a (restored) ^Fresco by Piero della Francesca CFetri de Burgo opus liSV): Sigismund Malatesta kneeling before his patron St. Sigismund, with La Bocca, built by him, on the right. In the Gappbli^ di S. Michbue, the 3rd to the right, is the Tomb of Jtotta (d. 1470), erected in 1460, with the motto 'tempus loquendi, tempus tacendi". The archangel on the altar, by Oiuffagni^ is a portrait of Isotta. By the pillars, angels playing on musical instruments. — 4th Chapbl on the right: by the pillars, the planets and other fantastic representations from a poem by Sigismondo in honour of his mistress. — 4th Chapel on the left : by the pillars, allegorical figures of the sciences. — 3rd Chapel on the left: Ohildren^s games, probably by Bimone Ferrucci^ a pupil of Donatello. — The 2nd Chapel on the left is closed. — The 1st Chapbl on the left, restored in 1868, is named the Cappella dell' Acqua from an ancient statue of the Madonna, represented as sending rain. On the left is a sarcophagus for the reception of the ancestors of the founder, with two reliefs , representing the House of Malatesta in the Temple of Minerva and the Triumph of Sigismondo. By the pillars, above the elephants, two portrait-medallions of Sigismondo.
From the small piazza In front of the church, the Via Patara leads S. to the Piazza Giulio Gbsabb (PI. C, 5), the ancient forum. A stone Pedestal here, erected by Sigismondo and restored in 1660, commemorates Gaesaf s passage of the Rubicon. Near it is a chapel, on the spot where St. Anthony once preached, and another on the canal is said to mark the spot where the saint preached to the fishes because the people refused to hear him. — The Cobso d'Augusto, which intersects this piazza, leads to the S. to the Porta Romana, and to the N. to the Piazza Gavour and the bridge of Aagustus.
The *PoRTA RoMAKA or Arco d^Augusto (PL D, 6) Is a triumphal arch of travertine, of simple design, erected to Augustus in B.G. 27 out of gratitude for the restoration of the Via Flamlnla , as the inscription records (which, however, has been inaccurately restored ; the letters to the right outside the gate also belong to it). Above are medallion figures, on the outside those of Jupiter and Minerva, on the Inside those of Neptune and Venus.
Near the town-wall, beyond S. Marino, are the scanty remains of an Amphitheatre (reached by the Via dell' Anfiteatro, the second side-street of the Gorso from the Porta Romana), which, however, scarcely merit a visit.
The Palazzo del Gomunb (PI. 9; B, 5), in the Piazza Gavour, contains a small picture-gallery, comprising : Domenico del Qhirlan- dajo (school-piece), SS. Vincenzo Ferrerio, Sebastian, andRochus; Oiovanni Bellini j Pietli (early work); Perino del Vago, Madonna; Tintoretto^ S. Domenico. — In front of it rises a bronze Statue of Pope Paul V, (inscription on the pedestal obliterated). Beyond the Teatro Vittorio Emanuele(Ph 10), erected in 1857, is the ancient Palace of the MalatesUij now a prison, and in a very dilapidated con- dition. Their arms are still to be seen over the entrance. The town- wall, to the right of the palace, commands a fine view of the mountains.
The Library (PI. 8 ; 0, 5), in the Via Gamb&lwu^^Xft ^t^^. ^\^<5i Piazza Gavour, founded in 1617 by the JxiiVat Qtwi^^\wv%^^ ws»\»!cn^
94 BouU 12. PESARO. From Bologna
23,000 vols, and seveial MSS. The small Museo Archeologico here contains the *Tomb of a woman, a herma of Pan and other antique sculptures, and tombstones of the 10-1 1th centuries.
At the end of the Corso the Marecchia (the ancient Ariminus) is crossed by the flve-arched ♦Pontb d'Auqusto (PI. A, B, 4), one of the finest ancient structures of the kind. It leads to the Borgo S. Giuliano, where the Via Emilia united with the Via Flaminia, which led to Rome. Here, too, is situated the church of —
8. Giuliano (PI. 6 ; A, 3, 4), containing the Martyrdom of St. Julian, an altar-piece by Paolo Veronese, and an old picture by Lattantio delta Marca (1357), the Life of the saint.
In the CMtello di S. Leo^ 18 M. to the W. of Bimini, the notorious im- postor Cagliotiro (Giuseppe Balsamo) died in confinement in 1794. From S. Leo a bridle-path, much frequented by fishermen, leads via Camaldoli and Vall<mbrosa to Florence.
About 12 M. from Kimini is situated the ancient republic of San Ka- rino, the smallest in the world (32 sq. H. in area, with 8000 inhab.), said to have been founded in an inaccessible wilderness by St. Marinus at the time of the persecutions of the Christians under Diocletian. This diminu- tive state braved all the storms of mediaeval warfare, and even the ambition of the popes. It retained its ancient constitution till 1847, when its senate was converted into a chamber of deputies. The precipitous rock in a bleak district on which the town (Albei^o Bigi) is situated is reached by one road only from Bimini. The village of Borgo at the base is the residence of the wealthier inhabitants. The celebrated epigraphist and numismatist Bartolommeo Borghesi, born at Savignano in 1781, was from 1821 until his death in 1860, a resident at S. Marino, where he arranged and described his admirable collections, and received visits from foreign savants.
Fbok Bimini to Bavbnna, 31 M., narrow-gauge railway along the coast in IV2 hr. (fares 5 fr. 70, 4 fr., 2 fr. 60 c).
Beyond Rimini the line skirts the coast, crosses the streams Marano and Conca (the Crustumius Rapax of Lucan), and reaches (75 M.) Riccione. 81 M. Cattolica, so called from having been the residence of the Roman Catholic bishops during the Council of Rimini in 359. A chain of hills descends here to the sea; the train ascends for some distance, and then passes through them by means of a long tunnel. It crosses the Tavollo and passes the Villa Vit- toria, situated on the left, on the road to Rimini. We then cross the Foglia, the ancient Isaurus or Piaaurus,
90^2 M. PeslbrO. — ♦Albbrqo Zongo, near the Piazza, with restaur- ant; starting-point of the diligence to Urbino (see p. 96). — Cajff^i della Piazza, in the piazza, next door to the Urbino diligence-office (4 fr.); del Commercio, in the Corso. — Carriage from the station to the town, one- horse 80 c, two-horse 1 fr. ; one-horse carr. to Urbino about 12 fr.
Pesaroj with 11,000 inhab. (with suburbs 21,000), the ancient Pisaurum, is the capital of the united provinces of Pesaro and Ur- bino, and formerly belonged to the Pentapolis Maritima (p. 92).
Pesaro, first inhabited by the Siculi, then by the Umbrians and Etrus- cans, and a Boman colony as early as B.C. 184, was destroyed by Vitiges the Gtoth , and rebuilt by Belisarius. In the 13th cent, it passed to the Malatesta family, in 1445 to the Sforza, and in 1512 to the Rovere, dukes of Urbino, under whom , chiefly through the influence of Luerezia d*Este, consort of Francesco Maria II., it became a centre of art and literature, and WBA visited by Bej-nardo and Torqnaio Tasso. The former of these
to Aneona. PESARO. 72. Route. 95
authors completed his *'Amadis^ here. In 1631 the town was annexed to the Papal States. — The figs of Fesaro are excellent.
The Via Branca, to the left in whlcli is the Teatro Rossini, leads to the Piazza, just on this side of which a side-street diverges on the left to the Alh. Zongo , while on the right is the handsome portal of the former church of 8. Domenico (1395).
In the Piazza, which is adorned with a large fountain, rises the imposing Prefettura , the ancient ducal palace, built by the Sforza in 1455., and completed by the Rovere. The architects were prob- ably Oirolamo Oenga and his son Bartolommeo, The banquet-hall, 132 ft. long and 48 ft. wide, still contains a painted wooden ceiling dating from the latter half of the 16th century. In 1474 this hall was the scene of the marriage of Gonstanzo Sforza and Camilla d'Aragon.
Opposite is situated the more modern Palazzo del Pagi, Between the palaces , to the right, is a facade erected in 1848, with marble statues of the composer Oioachimo Rossini (b. 1789 ; d. at Paris 1868), the 'Swan of Pesaro', and the author Count Qiulio Perticari (1779-1822), by P. Lorandini. — At the other angle of the piazza is the Palazzo del Municipio^ the yestibule and entrance of which face the Piazza Mamiani. It temporarily (until completion of the Ateneo, see below) contains an admirable Majolica Collection (550 pieces; many from Pesaxo, Urbino, Gastel Durante, and Ghibbio, by Maestro Giorgio'), two pictures by Zoppo (a Piet^ and a head of John the Baptist), and a marble bust of Napoleon by Canova,
To the N. of the Piazza, in the Via Mazza (formerly Posta Yecchia), is the Palazzo Almerici, with the Atbneo Pbsabesb.
In the Vestibulb are votive stones of the matrons of Pisanrum, among the most ancient Latin monuments extant. In the court and on the staircase are Roman and Christian inscriptions and sculptures: high up two reliefs with representations of ships, dating from about 1000 B. C. — Here is the entrance to the Museum and to the Bibliotbca Olivieri. The latter contains 36,000 volumes and 1400 MSS., amongst which are letters of Tasso and others. — In the Mubbuk are ancient clay images and lamps ; ivory carvings (early Christian reliefs of the Expulsion from Paradise and the Stoning of Stephen, and a slab from the throne of Maxi- minian in Bavenna); early Italian bronaes and coins (aes grave from Ve- tulonia); an image of Mithras in vitreous paste.
In the Palazzo Machirelli (first turning to the left- from the Albergo Zongo) is the Liceo Comunale, in which is a sitting figure of Rossini by Marochetti, erected in 1864 by two admirers, Baron Salamanca of Madrid and G. Delahaute of Paris.
In the Yia Bossini, in which stands the small house where Rossini was born, is the old Cathedral (closed at present). Olose by, in the hall of the Veaeovado, is an early-Ohristian Nymphsum.
The present cathedral , 8. Francesco , in the Via Roma , has a Gothic portal. It contains a Madonna enthroned, with four saints, by Oiovamni BeUini (1495). — *S. Oiovanni Bottuta.^ Nsv X^w^^Nsw Passeri, was begun by Oiovanni Genga \iv VtiVb, ^\\^ ^\ix^^^ ^'"^
96 Route 12. URBINO. From Bologna
Bcurtolommeo in 1543. — S» Agoatino, in the Coiso, has a Gothic portal of 1413.
On the N. side of the town stands the Bocchetta (now a powder- magazine), built by Giovanni Sforza. — Opposite the spacious Lunatic Asylum (Manicomio or Ospizio degli Incurabili) are the small Orti Oiuli^ where a bastion of the town-wall commands a fine view of the Foglia (once crossed by a Roman bridge) and of
Monte S. Bartolo.
About V/% M. from Fesaro rises Monte 3. Bartolo^ where the Boman dramatist L. Attius is said to have been Interred. On the top lies the ^Villa Imperiale, belonging to tiie Principe Albania at whose town-house entrance- tickets may be obtained. Alessandro Sforza built a country-house on this site, the foundation-stone of which was laid by the Emperor Frederick III., on his journey to Italy in 1469. The upper rooms were adorned by the Bovere with stucco-work, majolica-plaques, and frescoes. In the 1st Boom is the triumphal procession of Duke Francesco Maria of Urbino, accompanied by Alfonso of Ferrara, by Oenga. The *3nd Boom was de- corated as an arbour, with figures of Daphne and landscapes, by the brothers Dossi; on the ceiling is the duke with his army. In the Srd Boom are the Coronation of Charles V., and allegories after designs by Angela Bronzino, The frescoes in the following rooms represent the duke being appointed commander-in-chief by Cardinal Alidosi, Pope Leo X., and the doge of Venice. The last room, which has a fine stacco ceiling, is embellished by paintings by Rafftullino del Colle, representing the duke being crowned with a garland, Calumny (after Apples), and the Christian virtues. — Eleonora Gonzaga caused Oirolamo Oenga to erect a new palace about 1590, near the old house, with an inscription on the facade to the effect that it was built for her husband Francesco Maria 'a bellis redeunti animi ejus causa\ It was unfortunately never completed, but even in its present dilapidated condition, it retains much beauty; fine view from the terrace. — In the neighbourhood is the church of the Oirolamitani ; one of the finest ^Views in the environs is obtained from an eminence behind the monastery.
The Munieipio of the little coast-town of G-radara, 7 M. to the N.W. of Pesaro, contains a Madonna and saints by CHovanni Santi (1484); in the Rocca is a terracotta altar by Andrea della RcbMa.
An Excu&sioN to Ubbino is best made from Pesaro. Diligence twice daily (fare 4 fr.), ascending in 5, and descending in 4 hrs. The road leads through the valley of the Foglia^ which falls into the sea at Pesaro, and then ascends, passing several unimportant vil- lages. At the inn ^del Oappone', halfway, the horses are changed. Beyond Moline the road ascends in windings. Above , to the right, Is the ducal palace, with three loggie flanked by round towers. The diligence stops in the main street , flanked on the left by arcades, ia which the inn and caf^ are situated.
Tivhm.0 (^Alhergo deW Italia) ^ the ancient Vrvinum Metaurense, celebrated as the birthplace of the greatest painter of all ages, Baphael Santi (b. 28th March, 1483; d. at Rome, 6th April, 1520), lies on an abrupt hill, surrounded by barren mountains. The town, with narrow, crooked streets and 16,900 inhab. (^incl. villages), has a university with as many professors as students, and merits a visit for the sake of its monuments and historical associations. The fUuatJon is picturesque .
toAncona. URBINO. 12. Route. 97
In ihe 13th cent, the town came into the possession of the Montefellro family, and under Fbdbbigo Montbfeltso (1444-82) and his son Ouidobaldo (1482-1606) attained to such prosperity as entirely to eclipse the neigh- bouring courts of the Halatesta at Rimini and the Sforza at Pesaro. Federigo Hontefeltro, who distinguished himself as a condottiere in the feuds of the 15th cent. , married his daughter in 1474 to Giovanni della Rovere, a nephew of Sixtus IV., and was in consequence created Duke of Urbino. His court was regarded as a model among the princely courts of that period. It was visited for shorter or longer periods by numerous scholars and ar- tists, amongst whom the prince was pre-eminent for learning. His son, Guidobaldo , in spite of ill health and other misfortunes , zealously fol- lowed his example, with the able assistance of his beautiful and ta- lented wife Elizdbeta Oonzaga. A famous description of the court of Ur- bino under Guidobaldo, depicting it as the most refined social school of the day, is given by Count Baldassar Castiglione in his 'Gortigiano**, the ideal of a courtier. In 1497 Guidobaldo was expelled by Cesare Borgia^ the son of Alexander VI., after whose death, however, he returned to Urbino in 1503. He died in 1508 and bequeathed his dominions to his nephew Fran- cesco Maria della Rovere^ the favourite of Pope Julius II. In 1626 tiie duchy was incorporated with the States of the Church, when Urban VIII. per- suaded the last and childless Duke Francesco Maria II. to abdicate.
Amongst the most distinguished' Abtists employed at the court of Ur- bino, during the zenith of its splendour under Federigo and Guidobaldo, were Paolo Uccelli , Piero della Francesca^ and Melozzo da Forli. Even for- eign painters , like Justus van Ghent , a picture by whom is still preserved in the gallery (see p. 98), were attracted to the court. The peculiar bond of union which existed here between the interests of science and art is chiefly exhibited in the library pictures or ideal portraits of scholars painted by Melozzo da Forli and others, but which have been removed from Urbino together with the library. Timotbo Viti, or della Vitb, of Ferrara (1467-1528), the best pupil of Francesco Francia, spent the greater part of his life in Urbino ; he was the first painter who exercised an influence on Raphael, but at a later period he himself became subject to that great master's magic spell. — The master, however, in whom we are now spe- cially interested, is Giovanni Santi of Urbino (? 1460-94), the father of Raphael, whose frescoes at Gagli (p. 101) and Fano (p. 100) show considerable power and a keen sense of the graceful. As Giovanni died when Ra- phael was in his 11th year, his son can hardly have had the benefit of his instruction. After his father's death, Raphael remained in Urbino till 1500, but under what tuition is tLnknown. Another native of Urbino was Fed- erigo Babocoio (1528-1612), some of whose works are able, while others display the customary affectation of the post-Raphaelite period.
In the centre of the town is the Pian del Meboato , or market- place, where the Oorso Duoale, in which the inn is situated, ends. — The Via Pucinotti ascends hence to the right in a few minutes to a somewhat dull piazza, with the cathedral and ducal palace.
The Cathedral contains some interesting pictures.
To the right of the entrance, St. Peter, a replica of the statue in St. Peter's at Rome. In the 2nd chapel to the right : St. Sebastian by Federigo Baroceio; to the left of the high-altar, the Lord's Supper, also by Fed. Barocoio. In the sacristy: SS. Martin and Thomas k Becket, with a por- trait of Duke Guidobaldo, the master-piece of Timoteo Viti (1504) ; Ador- ation of the Magi, by the same; and a Scourging of Christ by Piero della FranceseOy elaborately executed in the miniature style. — The Crypt (entered from the right corner of the small piazza between the cathedral and the palace) possesses a Piet^ by Oiov. da Bologna.
The **DuoAL Palace, erected by Luciano Laurana of Dalmatia in 1468 by order of Federigo Montefeltro, and completed by Baccio Pintellij is now used as a *Residenza GoYCtw^lv?^ .» "mjA. ^'5>\^- tains the archives. The requiiemciit ot aXiew^iJa. , ^wi.^^^ ^NS^
Basdekem. Italy II. 10th Edition. 1
98 Route 12, URBINO. From Bologna
the unevenness of the gronnd, has given rise to the irregnlarity of the building, but at the same time has enhanced its picturesqueness. The palace has always been much admired, and was regarded by the contemporaries of the founder as an embodiment of their ideal of a princely residence. According to modern standards, however, its dimensions are not grand, and even the court by Baccio, the entrance to which is opposite the cathedral, is pleasing rather than Imposing. In the latter, to the right, are medisBval tombstones and a relief (Piet^) of the 14th century. The staircase to the upper rooms is on the left, with a statue of Duke Federigo, by Oirol. Campagna (1606). The ornamentation of the doors, windows, and chimney- pieces here and in the apartments is by Ambrogio da Milano, etc. The corridors and rooms contain a collection of inscriptions from Rome and the TJmbrian municipia, early- Christian and medisBval sculptures, and a small Picture OaUery,
The Gollection of InscriptionB wi^ made by the epigraphist Fdbretti. — Of the Sculptures the chief are 72 reliefs with representatious of engines of war (after Francesco di Qiorgio\ by Awibrogio da Milano (1464), wMch formerly decorated the outside of the palace. Farther on in Book I. are four chimney-pieces and a marble 'Lavatojo*. Boom n. Fr. Zueehero, Pieta ; two crucifixes of the 13th cent. ; St. Clara (14th cent.). Book III. Tapestry worked in Urbino by masters from Flanders; to the right, Pal- merini, Madonna ; stucco-reliefs by Brandano. Farther on is the Sala degli Angeli, with five beautiful doors and dancing angels, and a room with a portrait in relief of Ariosto. In the Chapel is a plaster-cast of RaphaeFs skull. The studio of Duke Federigo should be visited for the sake of the intarsias, which formerly also covered the upper part of the walls, and the fine ceiling. From the balcony a beautiful view is obtained. — The celebrated library collected by Federigo has been removed to Bome.
Picture Gallery. To the right: 38. Baroccio^ Madonna, with saints; 25. Firt, St. Sebastian ; 23. Paolo Uceello , Legend of the desecrated Host. Fine chimney-piece. — 22. Oiuliano da Rimini^ Madonna, with saints ; ^2. Oiovanni Santi^ Madonna with SB. John the Baptist, Sebastian, Jerome, and Francis, and the Buffi family; Pieti; 18. Piero della Francesco, Archi- tectural piece; *1. Justus van Oent, Holy Communion, with numerous portraits, including Duke Federigo and Caterino Zeno, the Persian ambas- sador (to the right of the table; 1474); 60. Tim. Viti, 8. Apollonia; 53. Sassoferrato, Madonna; 52. Fra Camevale, Madonna; Titian, Last Supper (damaged), and the Besurrectlon (late works).
Opposite the palace rises an Obelisk, facing which is the church of S. Domenico , with a pleasing portal and a terracotta relief of the Madonna, with SS. Dominic and Peter Martyr, by Luca della Robbia (1449). — The street contracts ; to the right is the Univer- sity, with armorial bearings over the door. Farther on is the Istituto di Belle Arti, which contains sculptures and some fine majolicas.
In the market-place (p. 97) is the loggia of 8, Francesco, a church of the 14th cent., with a handsome campanile. The portal of the chapel to the right of the high-altar is by Bartol. Centogattl (15th cent.).
The Contrada Raffaclo leads hence to the Fortezza. No. 278 on the left is the house in which Raphael was born. It was purchased in i 873 at the suggestion of Count Gherardi , aided by a donation
toAncona. URBINO. 12. Route. 99
from Mr. Morris Moore, and now belongs to the *R. Accademia
Raffaello'.
The rooms are adorned with engravings from BaphaeVs pictures. In one of the rooms is a fresco of the Madonna (removed from the conrt; entirely repainted), by Oiovanni Santif possibly representing Magia Giarla, Baphaers mother (fee i/s ^'0*
From the beginning of the Oontrada Raffaello the Via Bramante leads to the church of 8, Spirito , containing a *Piet^ and *De8cent of the Holy Ghost by Luea Signorelli , originally a church-banner, of 1495.
Returning to the market-place, and descending the Via Bal- bona, we follow the Via della Posta Yecchia, the first side-street to the right, and then the Yia S. Giovanni, the first street to the left, which leads straight to«the Oratorio della Confratemitd, di 8. OiO' vanni. The walls of the interior are covered with scenes from the history of the Virgin and John the Baptist , by Lorenzo da 8. 8eve' rino and his brother, of the school of Giotto (1416). — The neigh- bouring church of 8. Giuseppe contains a Nativity by Fed, Brandano.
In the Theatre J once famous for its decorations by Oirolamo Oenga, the first Italian comedy was performed. This was the *Ca- landra' of Cardinal Bibbiena (1470-1514), the friend of Pope LeoX. and patron of Raphael.
The hill of the old Fortezsa (ascend the Oontrada Raffaello , at the top take the Via del Maceri to the left, and knock at No. 1461 ; fee 25-50 c.) commands an interesting *Survey of the barren chain of the Apennines. A powder-magazine now stands at the top.
About 1 M. to the E. of Urbino, to the left of the Pesaro road, are situated the conspicuous old monastery and church of 8. Ber- nardino, with the new cemetery of Urbino. This spot commands a fine view of the town. The church contains the tombs of the Dukes
Federigo and Guidobaldo, with their busts.
Fbom Urbino to Fobsombbone (p. 101) iiV^ M. ; no regular commnni- cation (carriage 10 fr.). The *Oorriere del Furlo' passes through Fossonl- brone at 11 a.m. Carriage from Urbino to Gubbio 40 fr.
The Railway pboh Pesaao to Ancona skirts the coast, oc- casionally approaching close to the sea , of which a pleasant view is afforded.
98 M. Fano (*Albergo del Moro) , the Fanum Fortunae of anti- quity, is indebted for its origin to a temple of Fortune, a fact com- memorated by a modern statue of fortune on the public fountain. It afterwards prospered, and is now a pleasant little town (20,000 inhab., incl. suburbs), surrounded by ancient walls and a deep moat. The once celebrated harbour is now unimportant. Pope Clement VIII. (Aldobrandini) was bom at Fano in 1536. The first printing-press with Arabic type was set up here in 1514 at the cost of Pope Ju- lius n. As a sea-bathing place Fano is less expensive than Rimini.
In the centre of the town is the Piazza, in. ^\Aj^ ^ 'C^^'^^ medlaval PaUuMo deUa Bagioru) is tbe Theatre , l<Q>T£a«iVi ^^^ ^"^
1*
100 Route 1^. PANO. From Bologna
the most famous in Italy, re'bailt by Torelli, a native architect, and decorated by Bibbiena (d. 1774). One of the rooms contains (tempo- rarily) a David with the head of Goliath, by Domenichino (formerly in the CoUegio Nolfl) , which unfortunately was much injured by thieves in 1871 . — The old Palazzo del Municipio is seen through the arches to the right of the market-place.
The S. side of the Piazza, which is enlivened by a fountain of flowing water, is skirted by the Corso. Following the latter to the right , we reach the Via dell' Arco d'Augusto , the second cross- street to the left. In a small piazza here rises the Gathebbal of S. FoBTUNATO, the four recumbent lions in front of which formerly supported the pUlars of the portico. The portal dates from the 13th century. •
In the Intbbiob the chapel of S. Qirolamo (the 2nd to the left) contains a monument of the Bainaldacci family ; nearly opposite (4th to the right) is a chapel adorned with sixteen frescoes by Domenichino^ once admirable, now disngnred by restoration. — In the chapel of the sacristy, a Madonna with saints , by L. Carraeei. — In the court of the Veseovado, behind the cathedral, are some sculptures of the 13th century.
Farther on we come to the *Aboh of Auoustus, which spans the street , a structure of simple design , to which a second story was added in the 4th cent. , when it was re-dedicated to Constan- tino. It once had three openings , as is shown by a view of it on the adjacent church of S. Michele, adjoining the handsome Renais- sance portal. — On the side of the arch next the town is the Spedale degli Esposti^ a pleasing edifice with loggie.
Returning to the piazza, we follow the Via Boccaccio opposite the fountain, and then take the Via Bonaccorsi, inclining to the left, to the church of S. Mabia Nuova, with portico.
Iktbbiob. Ist chapel on the left: Oiov. Santi^ Visitation; 2nd chapel: Perugino, Annunciation, 1498. 3rd chapel on thfe right: *PeruginOy Ma- donna and saints, 1497; admirable predelle, recalling RaphaeFs style.
8. Croce , the hospital-church , contains a *Madonna with four saints, by Oiovanni Santi. — 8. PatemianOj dedicated to the first bishop of Fano, a handsome structure, possesses a Betrothal of the Virgin, by Ouercino. — 8. Pietro is an imposing and richly-decorated church, with frescoes by Viviani; in the chapel of the Gabrielli (1st on the left) an Annunciation by Ouido Rent — In 8. Agostino is a painting of S. Angelo Custode, by Ouercino, — In the vestibule ol 8. Francesco (closed) are the monuments of Pandolfo III. Malatesta (d. 1427; to the right), perhaps by L. B, Alberti, 1460, and his wife Paola Bianca (d. 1398; left).
Interesting excursion to the Monte Oiove^ by a good road (4 M.)- At the top is a monastery, where visitors are lodged. Splendid view of the Adriatic.
Fbom Fano to Fossato via Fossokbbone and the Fublo Pass, corriere daily: to Fossombrone 2V2, to Cagli 6V2, to Schieggia 10, and to Fossato 121/3 hrs., including halts for meals. The road is identical with the ancient Via Flaminia^ constructed in B.C. 220 by the Censor C. Flaminius (who f^ at the Battle of the Trasimenc Lake, see p. 46), in order to secure pos- sessioD of the district of the Po which had been recently wrested from Uie
to Ancona, FOSSOMBRONE. 12. Route. 101
Gkfcols. The road quits Fano by the Arch of Aagostas and the Porta Maggiore , and skirts the K. bank of the Metaurus , the fertile valley of which is well cultivated. Abont ^1"^. from Fossombrone, near the church of 8. Martino cU Piano ^ was .onne situated the Soman colony of Forum Semproniiy of which but scaniv yem^ins now exist. After its destruction by the Goths and Lombards, the ipod'em Fossombrone sprang up.
15V2 M. FoBSombrone (Tre Re; Piiyone)^ long in possession of the Malatesta family, accrued to the Otp^tqs of the Church under Sixtus IV. It is now a busy little town with 9009* io^ab. and silk-factories , prettily situated in the valley, which contracts h'e^t>i, land commanded by a castle. — From Fossombrone to Urbino. see p. 9^ . '
The Via Flaminia about 2 M. from Fossombrone crosses the Jfetaunts^ which descends from the yalley near S. Angelo . in' yado from the N., and follows the left bank of the Candigliano^ which a^ JAiU ,point empties itself into the Metaurus. The valley soon contracts ; to Ab^' right rises the hill of Pietralaia, occasionally named Monte d^Asdrubdlt,'. .Uere, according to the popular tradition, was fought the memorable baiitle of the Metaurus in which, B.C. 2()72Hasdrubal, whilst marching to the' aid of Ms brother Hannibal with 60,000 men , was signally defeated and slain by'' the consuls Livius Salinator and Claudius Kero. This was the gre^ii evot which decided the 2nd Punic War in favour of Borne. ' '^
The valley now becomes still more confined and is bouu^td by pre- cipitous slopes. At the narrowest part , where the rocky wallV a|)proach so near each other as to leave space for the river only, is the celetirated *Furlo FasB (Furlo from fortUus = passage , the ancient petra inte'^eisd}., a tunnel 17 ft. wide, 14 ft. high, and about 32 yds. in length. The founiYer of the work was the Emp. Vespasian (in A. D. 7G), as the inscription preserved at the N. entrance records (Imp. Caesar. Augustus. Vespasianus.- ■ pant. max. trib. pot. VII. imp. XYII. p(ater) dCatrice) cos. VIII. censor, faciund. curavit). — A little beyond it is the small church Badia del Furlo. At the confluence of the Candigliano and Burano^ 8 M. from Fossombrone, lies the village of Acqualagna. The road crosses the Candigliano and then follows the left bank of the Burano. At the foot of the hill on which Cagli is situated, an antique bridge, built of huge masses of rock, crosses a tributary brook.
31 M. Gagli {Italia, in the Piazza, charges according to bargain) occu- pies the site of the ancient borough of Gales, or Calle. S. Domenico contains one of the chief works of Oiovemni Santi, BaphaeFs father, a Madonna with saints , al fresco. The angel on the right of the Madonna is said to be a portrait of the young Raphael. Also a Pieta with St. Jerome and Bonaventura, by the same master. S. Francesco and S. Angelo Minore also possess several pictures. — Travellers beyond Cagli are generally conveyed In smaller carriages. About 6 M. beyond Cagli is Oantiano, with 3000 inhab. ; the church della Collegiata contains a Holy Family by Peru- gino. — The road ascends rapidly, and reaches the height of the pass, 2400 ft. above the sea. A little before arriving at Schieggia the road crosses a ravine by the curious Fonte a Botte, constructed in 1805.
431 jg M. Bchieggia, an insignificant place, lies at the junction of the roads to Fossato and Foligno, and to (6 M.) Gubbio (the latter leading over the pass of Monte Calvo: carriage 5-6 fr.). On Monte Petrara, in the vicinity, amid oak-plantations, stand the ruins of the celebrated temple of Jupiter Apenninus, whose worship was peculiar to the Umbrians. Several bronzes and inscriptions have been discovered in the environs.
The main road continues to descend the green valley of the Chiascio^ and leads via Oottacciaro and Sigillo (stalactite caves) to —
55 M. FossatOf a station on the Ancona and Bome line, p. 109.
Beyond Fano the train crosses the river Metaurus (see above), celebrated as the scene of Hasdmbars defeat (B.C. 2073; then the CesanOy near (105 M.) stat. Marotta,
112 M. Sinigaglia or SenigaUia (•Al6eTgo Roma.^ wikw^ "C^^ V«x- bour ; Trattoria del Oiardino, near the MumcV^Vo^, >iX^fe ^wc^^^"^ ^«a<v
102 Route 13. ANCONA. Hotels.
Qallica^ with 22,500 Inhab. (inclnding villages) , chiefly occupied in fishing. The town was destroyed by Pompey during the Civil War between Marins and Sulla. It was an episcopal see as early as the 4th cent., but was afterward? Jfre^ivently devastated by fire and sword, so that it now present^ ^qutte a modern appearance. Pope Pius IX. (Conte Mastai-FenaetfiJ/was born here on 13th May, 1792 fd. 1878). A fair, institutel^aiv the 13th cent., is held here from oOth July to 8th Aug. ajmnSkljy ; it was once the most frequented in Italy, but has long jsinco lost its importance. In summer Sinl- gaglia is a favourite ^a-bathing place. — The monastery-church of S* Maria delle Ordzl^l^M. distant) contains in the choir a picture by Perugino (r-e'louched) , and over the 3rd altar on the right a small Madonna'by^'ero delta Francesca.
1191/2 M. Montemareiano. Pleasant view of the promontory of Ancona,.^ rising from the sea. The train crosses the Esino. At (122 }!.') a^ii. Falconara passengers for the line to Rome change carriages I(see R. 14). The town lies on the hill to the right.
i^)A. AnconOf see R. 13.
''\ 13. Ancona and its Environs. Osimo. Loreto.
Hotels. *ViTTOEiA (PI. b ; C, D, 3) , in the Corso Vittorio Emanuele, well fitted up, B. 2V2) !>• 5 fr. \ Alb. Rbalb della Pace (PI. a; C, 3), with good restaurant, R. 3V2, D. 4, omn. Ifr. ; *Milano (PI. c; C, 4), Corso di Porta Pia, commercial, with restaurant and garden. Hotel-omnibuses at the station. — Gafe. Stoppani d: Leva, in the Corso. — Trattoria. Leon d'Oro, in the Corso.
Post Office (PI. 20; 8-8 o'clock), Piazza Roma. ■— Telegraph Office, Via del Porto.
Cabs. One-horse cab from station to town, incl. luggage, 1, at night IVz fr. ; two-horse IV2 or 2 fr. — For 1 hr. 172-2 fr.; each V2 *ir« more, QOSQ c. — Beyond the town, 2 fr. 50 or 3 fr. 60 c. for 1 hr. ; each 1/2 hr. more, 1 fr. 15 or 1 fr. 70 c.
Tramway from the station through the Via Nazionale to the Piazza del Teatro and the Piazza Cavour.
Steamboats of the Peninsular and Oriental Company on Frid. mornings to Brindisi and Alexandria; on Sun. to Venice. Societdt Riunite Florio- RuhattinOj on Mon. mornings to Zara in Dalmatia, in 9 hrs. ; on Mon. afternoons to Tremiti, Viesti, Bari, Brindisi, the Pira?us, and Constanti- nople; on Tues. nights to Venice, in 12 hrs. Austrian Lloyd, to Zara and Fiume every alternate Sat.; to Trieste every alternate Sunday.
Sea Baths, near the railway -station. Warm Baths, Piazza Stamura (I'l. E, 4).
British Vice-Consul, Sig. Albert P. Tomaesini (also American Consular Agent).
Ancona, the capital of a province, with 28,000 inhab. (incl. suburbs 47,700), of whom upwards of 6000 are Jews, and possessing an excellent harbour, is beautifully situated between the promon- tories of Monte Astagno (PI. 0, 6) and Monte Guasco (PI. 0, 1). Since 1860 the government has improved the harbour and endeav- oured to foster the trade of Ancona, but business has declined
somewliat of late years. Silk and oil are largely manufactured here.
Ancona wbb founded by Doric Greeks from Syracuse, and thence named
ffira A/icon (i.e. *eJbow\ from the form of the promontory). It was
^3
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:3r==>
Cathedral, ANOONA. 13. Route. 103
afterwards a Roman colony, and the harbour was enlarged by Trajan. In the middle ages it repeatedly recovered from the ravages of the Goths and others, and in 1532 was made over by Gonzaga to Pope Clement VII., who built a fort and garrisoned it. Ancona is also frequently mentioned as a fortress in modem history. Thus in 1796 it was surrendered to the French, in 1799 to the Austrians, in 1805 to the French again ^ and in 1815 it was ceded to the pope, to whom it belonged till 1860. In 1832-38 the citadel was garrisoned by the French, to keep in check the Austrians, who held Bologna and the surrounding provinces. In 1849 the town revolted, but on 18th June was re-captured by the Austrians. On 20th Sept., 1860, after the Battle of Castelfidardo (p. 106), it was finally occupied by the Italians.
The Habboub, an oval basin of about 990 by 880 yds. in dia- meter, is considered one of the best in Italy. A handsome quay, called the Banchine, bas recently been completed. The N. pier is of ancient Roman origin. At the beginning of it rises the well- preserved marble ^Trinmplial Arch (PI. 2; B, 1), erected A.D. 112 by the Roman senate in honour of Trajan on the completion of the new quays, as the inscription records. The holes to which its ori- ginal bronze enrichments were attached are still observed. The new pier constructed by Pope Clement XII. , a continuation of the old, also boasts of a Triumphal Arch (PI. 1 ; B, 1), designed by Van- vitellij but far inferior to the other. Its facade is towards the sea and has no inscription. At the S. angle of the harbour is the old Lazzaretto, built in 1732, now a bonded warehouse (^Magazzmi Oenerali, PI. B, 5). The harbour is defended by several forts.
The *Cathedral of S. Giriaco (PL 6 j 0, 1), dedicated to the first bishop of Aucona, stands on the Monte Ouasco (PI. C, 1), one of the above-named promontories , which shelters the harbour from the N.E., and an excellent point of view. The church occupies the site of a temple of Venus mentioned by Catullus and Juvenal, and contains ten beautiful columns which once belonged to the ancient temple. Like St. Mark's at Venice, it is in a mixed Lombard and Oriental style of architecture , and in the form of a Greek cross, each of the arms being flanked with aisles. The octagonal dome over the centre of the cross is one of the oldest in Italy. The facade (13th cent.), ascribed to Margaritone d^ArezzOj has a beautiful (Go- thic portico, the foremost columns of which rest on red lions.
In the Left Aisle, in front, is a handsome tomb of 1530. In the RiQUT Tbansept the semi-Byzantine capitals have been preserved; the railing of the steps to the choir dates from the 12th century. In the Crtpt, to the right, sculptures of the 13th cent.; relief of Christ between an ox and a lion, by Philippus; beneath. Head of Christ and St. George; tomb of the Franciscan B. Gabriel Ferretti (1466) ; in the corner, three statuettes (12th cent.); reliefs, probably from the ancient choir of the left transept; '^Sarcophagus of Titus Fl(avius) Oorgonius^ Preetor of Ancona, with scenes from the life of Christ (the Nativity, Adoration, Baptism, Entry into Jeru- salem, Christ before Pilate, Christ as Judge, Christ and the apostles with Gorgonius and his wife at the Saviour's feet; 4th cent.); farther on, Roman head; statue of St. Primianus; relief of Christ (IQth cent.); sarcophagus of St. Marcellinus. — The Cbtpt of the Left (modernised) Tbamsept contains the tombs of SS. Cyriacus, Marcellinus, and Liborius, in the rococo style.
Pope Pius II. Piccolomini, while vain\"v ^iiv^ftv^QwiVsv^Xft w%«xc^^^
104 BouUia. ANOONA.
a crusade against the Turks, died in tlie Episcopal Palace^ adjoining the cathedral, in 1464. — Within a house at the foot of the hill are scanty remains of a Roman Amphiiheatre,
The Palazzo Comunale (PI. 15; C, 2) has been frequently re- built; in the 13th cent, by Margaritone cfArezzo, in the 15th by Francesco di OiorgiOy and finally in the 17th century. The statues of Adam and Eve on the facade and the lower part of the rear date from the 13th cent, building. On the staircase in the interior is a statue of the law-giver Marco de' Rossi (14th cent.). — Close, by in the Via del Porto, is the church of S, Maria deUa Misericordia, with an elegant early-Renaissance portal.
The Strada delle Scuole descends from the Palazzo Comunale to the left, to the church of 8. Francesco (PI. 9 ; D, 3 ; now a bar- rack), resting on a massive substructure, with a rich Gk)thic portal by Qiorgio da Sebenico (1455). — The street next leads (r.) to the Prefetturaj the fine court of which is flanked by Gothic arcades, and has a fine Renaissance archway. We proceed through the court to the high-lying Piazza del Plebiscito (PI. D, 3), adorned with a statue of Clement XII. (Corsini, 1730-40), by Cornachini, —Farther up is the church of 8, Domenico (PI. 7), which contains a Madonna and saints by Titian (in the 4th Chapel on the right), beautiful and imposing in its composition, though now much injured.
Adjoining the church on the right is the Museum (Civicd Pina-
coteca Podesti e Museo Archeologico delle Marche).
Vbstibule. Keystones from the doorways of houses and other reliefs of the 13th cent. ; also large groups , Cain and Abel from the old Palazzo Comunale, etc. — Boom I. Roman antiquities and coins. — Booh II. Antique bronzes and vases; medals.
Upper Floor. Boom I. Paintings and drawings by Francesco Podesti.
— Boom II. *1. Carlo Crivellif Small Madonna ; 8. Titiany Crucifixion (dam* a^ed); 9. Pellegrino Tibaldi^ Baptism of Christ: 11. Querdno, Cleopatra; 13. Lorenzo Lotio^ Assumption of the Virgin; 27. Ciccarelli, Belief of the Madonna ; 30. Ouercino^ St. Pelagia ; *37. Lorenzo Loito, Madonna and saints.
The street descending to the right from the Prefettura leads to the Loggia dei Mercanti (Exchange, PI. 14 ; C, 3), an early-Gothic edifice with a facade of 1459. In the interior are paintings by Pel- legrino Tibaldi and stucco-work by Varlh, — Adjoining is the pretty Palazzo Benincasa (15th cent.). — Farther on to the right we reach the church of 8, Maria della Piazza (PI. 11 ; C, 3), with a rich ♦Fa- gade of the beginning of the 13th cent. ; the sculptures byFilippus.
— We return through the Via della Loggia to the Piazza del Teatro (PI. C, 3), the centre of business, beyond which is 8. Agostino, with a late-Gothic portal showing a Renaissance tendency.
From the Piazza del Teatro the well -paved Cobso Yittorio Emanuele (PI. C, D, E, 4; tramway) ascends towards the E., through the new quarters of the town. At the end is the spacious Piazza Cavour, with a colossal statue of the minister in the centre (Fl. 21 ; E, 4).
OSIMO. 13. BouU, 105
EXCUBSIONS FBOM AnOONA.
The Province of Ancona, the ancient JRtcenum, is a remarkably fertile difltrict, abounding in beautiful scenery. The Apennines send forth a series of parallel spurs towards the sea, forming a number of short, but pictur- esque valleys. The towns and villages are invariably situated conspicuously on the heights. To the W. the view is bounded by the Central Apen- nines, which here attain their greatest elevation in several continuous ranges, from the Montagna della Sibilla to the Oran Sasso d^Italia (9815 ft.), and are covered with snow till July. Towards the E. glitters the broad Adriatic, on which numerous sails are visible in clear weather.
Oil the coast, 9 M. to the S. of Ancona, rises the "'Honte Conero (1760 ft.), with an old Camaldulensian monastery, com- manding a superb panorama. The pedestrian follows a tolerable road over the coast-hills nearly as far as (TM.) Sirolo (2000inhab.), whence a path to the left ascends in 3/4 hr. to the top. A carriage (see p. 102) may be taken as far as the foot of the hill.
The Ancona-Foogia Railway (to Loreto, 15 M. , in 36-55 min. ; fares 2 fr. 70, 1 fr. 90, 1 fr. 20 c, express 2 fr. 95, 2 fr. 5 c; to Porto Civitanova, 27 M., in 1 hr. 5 min. to i^/^ hr.) penetrates the heights enclosing Ancona by means of a tunnel. To the left, Monte Conero. 4 M. Varano,
10 M. Osimo (^Albergo della Corona , in the market-place ; om- nibus from the station to the town, 3 M., 75 c), the ancient Auximunij colonised by the Romans B.C. 157, and mentioned by Csesar, is now a country-town with 5000 inhab. , and lies on a hill in a commanding position. The greater part of the *Town Wall, dating from the 2nd cent. B.C. , still exists. A walk round it affords a beautiful view. The Palazzo Pubblico in the large Piazza contains inscriptions and statues in Roman dress, found on the site of the ancient forum in the 15th cent., but barbarously mutilated on the occasion of the capture of the town by the Milanese in the 16th century. The Cathedral contains a fine bronze font of the 16th century.
Proceeding hence by railway, we perceive, to the right , Castel- fidardo, where on 18th Sept. 1860, the papal troops under Lamo- riciSre were totally defeated by the Italians under Cialdini.
15 M. Loreto (^CampaneUaj or Posta, in the principal street; omnibus to the town 60 c), situated on a hill at some dis- tance from the line, and affording admirable *Views of the sea, the Apennines , and the province of Ancona, is a celebrated resort of pilgrims (nearly half a million annually). It consists of little more than a single long street , full of booths for the sale of rosa- ries, medals, images, etc. , and is much infested by beggars.
According to the legend, the house of the Virgin at Kazareth became an object of profound veneration after the year 336, when the aged Empress Helena, mother of Constantine, made a pilgrimage thither, and caused a basilica to be erected over it. Owing to the incursions of the Saracens the basilica fell to decay , and after the loss of PtoU.\si.^V% NX\.<ik Casa Santa was miraculously transplanted by lYi^ ^mi^ qI %nL%€i^ S^ "^^^^S^ to the coast of Dalmstia (the precise spol \)«vii% Aa^Xw^wa. ^voxftfe "w^^
106 Route 13. LORETO. Environs
Tersato), where it remained undisturbed during three years. For some un- known reason, however, it was again removed by angels during the night, and deposited near Recanati, on the ground of a certain widow Laureta (whence the name Loreto). A church was erected over it, and houses soon sprang up for the accommodation of the believers who flocked to the spot. In 1586 Pope Siztus V. accorded to Loreto the privileges of a town.
Among the numerous pilgrims who have visited this spot may be mentioned Tasso, who thus alludes to it: —
^£eco fra le tempesie, e i fieri venti
Di qutito grande e spaeioso mare.
0 santa Stella^ il tuo splendor mha seorto^
Ch'' illustra e scalda pur Vumane menii'.
The *Ghiesa uella Casa Santa has heen repeatedly restored since 1464. The handsome facade was erected under Sixtus Y., a colossal statue of whom adorns the entrance flight of steps. Over the principal door is a life-size statue of the Madonna and Child, by Qirolamo Lombardo , his sons , and his pupils ; there are also three superb bronze-doors, executed under Pope Paul V., 1605-21. The campanile , designed by Vanvitelli , is a very lofty structure in a richly-decorated style, surmounted by an octagonal pyramid. The pincipal bell, presented by Pope Leo X. in 1516, weighs 11 tons.
In the Imtekiob, to the left of the entrance, is a beautiful ''Font, cast in bronze by Tiburzio Verzelli and Qiambaitista Vitale ^ and adorned with basreliefs and figures of Faith, Hope, Charity, and Fortitude. On the al- tars and in the chapels of the nave are ^Mosaics representing St. Francis of Assisi, hj Domenichino^ and the Archangel Michael, by Quido Rent; also a number of valuable pictures, frescoes, and sculptures.
In the centre of the church rises the 'Gasa Santa^ (or 'Holy House^), a simple brick-building, 18Vs ft. in height, 28 ft. in length, and 12V2 ft. in width, surrounded by a lofty *Marble Screen designed by Bramante, and executed by Andrea Sansovino^ Qirolamo Lombardo^ Giovanni da Bo- logna^ Bandinelli, Tribolo, Ouglielmo della Porta, etc., with bronze doors by Qirolamo Lombardo. This handsome work was begun under Leo X., con- tinued under Clement YII., and completed under Paul III. It is adorned with statues of prophets and sibyls, and with reliefs, among which are: —
W. Side. Annunciation , by Sansovino, termed by Vasari, *una opera divina'i smaller representations by Sangallo , Qir. Lombardo, and Ougl. della Porta.
S. Side. Nativity, by Sansovino; David and Goliath, Sibyls, Ado- ration of the Magi, by other masters.
E. Side. Arrival of the Santa Casa at Loreto, by Niceolb Tribolo; above it> Death of the Virgin, by Domenico Aimo of Bologna.
N. Side. Nativity of the Virgin, begun by Sansovino, continued by Baccio 'Bandinelli and Rafaele da Montelupo. Basreliefs: Nuptials of the Virgin, by the same masters.
In a niche of the interior is a small black image of the Virgin and Child, in cedar, attributed to St. Luke. It is richly adorned with jewels, the lustre of which is enhanced by silver lamps always kept burning. In 1798 it was carried off to Paris by the French.
In the N. Tbansept is the entrance to the * Treasury (open to the public on Sun. till 11.30 a.m.^ at other times fee 1 fr.), which contains valuable votive offerings and curiosities, the gifts of monarchs and persons of rank. Several of the treasures disappeared at the time of the Peace of Tolentino (1797). The ceiling-painting is by Pomarancio, who also painted the now damaged frescoes in the dome.
In the Piazza in front of the church are situated the Jesuits' College and the —
*Palazzo Apostolico, begun in 1510 from designs by Bra-
ofAncona. LORETO. 13. RouU. 107
mante. It contains a small picture-gallery (Titian, Christ and the woman taken in adultery ; Vouetj Last Supper; Schidone, St. Clara; Quetcino, Descent from the Cross; Ann. Carracci, Nativity, etc.) ; a hall with Tapestries after RaphaeVs Cartoons (Paul at Lystra, Healing the Lame, 'Feed my Sheep*, Ely mas the Sorcerer, Holy Family, Miraculous Draught of Fishes, St. Paurs Speech); and a ^Collection of Majolicas, chiefly from the well-known manufactory in Urbino (1 fr.).
The next station beyond Loreto is —
Xl^l^M.. Secaziatiy loftily situated at some distance from the line, and commanding charming views. It was a fortified and impor- tant place in the middle ages. A charter of municipal privileges ac- corded to it by Emp. Frederick II. in 1229 is shown at the Palazzo Comunale. The Cathedral of 8. Flaviano , with a Gothic porch, contains the monument of Gregory XU., of 1417. Several of the palaces deserve notice, especially that of the Leopardi, containing the collections of the scholar and poet Qiacomo Leopardi (d. 1837).
Excursion from Recanati to Macerata (see below), passing the ruins of Jlelvia Ricina (remains of an amphitheatre, bridge, etc., on the Potenzd). Omnibus from Macerata to stat. Givitanova.
The train crosses the Potenza. 23 M. Potenza Picena, named after a Roman colony, the ruins of which have disappeared. On the hill, 472 M. distant, lies Moniesanto,
27 M. Porto Civitanova, at the mouth of the Chientif the town of Civitanova lies 1 M. inland. — Thence to Pescara, Foggia, etc. ,
see Baedeker's Southern Italy.
Fkom Pobto CnriTAKOTA TO Fabmano, 69V2 M., railway in about 4 hrs. ' The line at first ascends the fertile valley of the CMenti. The principal stations are as under.
171/2 M. IKacerata CPac«; Posta), a flourishing town with 20,300 inhab., capital of the province of Macerata, pictaresquely situated on the heights between the valleys of the Chienti and Potensa, possesses a university , an agricultural academy, etc. In the Cathedral a Madonna with St. Francis and St. Julian, ascribed to Perugino. In S. Oiovatmi an Assumption of the Virgin, hj Lanfraneo. The Palazzo MunicipaU and the Pal. Compagnoni contain inscriptions and antiquities from Helvia Ricina (see above), after the destruction of which the modem towns of Becanati and Macerata sprang up. Macerata also has a modem triumphal arch, called the Porta Pt'a. The Biblioteca Comunale contains a small Pinaeoteca, the chief treasures of which are a Mr. donna and SS. Julian and Anthony of Padua by OenUle da Fabriano (Xos. 85, 22), a Madonna by Carlo Crivelli (1470; Xo. 36), and a Madonna with saints by AUgretto da Fabriano (1368*, Xo. 39). Outside the gate, >/« ^* fi'om the town, is the church of the Madonna delle Vergine, ascribed to Bratnante.
22 M. Urbisaglia. the Roman Urbs Salvia, with extensive ruins, am- phitheatre, walls, baths, etc.
28Vs M. Tolentino {Corona^ tolerable), the ancient Tolentinum Pteenum, prettily situated on the CJiienti^ with 12,000 inhab., was once strongly ffjrtlfied. The Palazzo Munieipale in the Piazza contains a few Eoman antiquities, the most imporl^ant of which is a female portrait-statue of the time of the Flavian emperors. The Baeilica di 8. Niceclb possesses a court of the 13th cent, and a Gothic *Porial, presented to his native town by )?iccol6 tfauruzzi, the celebrated condottiere (1436). A chapel in the interior is adorned with frescoes from the life ot SI. '&\RViQ\%aO^"l Ijwwvt^ and Jacopo da Ban SeveHno, uud anothet conWVaa Vs<r«i -^^Jks^Xsisi?* ^VCsa
108 Route 14, JESI. From Ancona
Venetian school (the Fire at St. Mark's at Venice, and the Plague in Sicily). The church of 8. Franeeseo, dating from the 13th cent., contains a fresco of the Crucifixion executed in 1360 (chapel to the right of the high-altar) and another of 1475, representing the Madonna and S. Amicone healing the infirm (chapel to the left). The church of 8. CaUrvo, on the E. side of the town, possesses an early-Christian sarcophagus, embellished with reliefs (Adoration of the Magi, Christ as the Qtood Shepherd) and containing the remains of St. Catervus, who is highly revered in the Marches. The frescoes of the Crucifixion and the Evangelists date from the 15th century. The Pah Gentiloni contains the proceeds of the ex- cavations carried on by Count Silveri Gentiloni since 1880 in the Picene necropolis surrounding the town (adm. by visiting-card). The tombs, dating frOm c. 525-350 B.C., yield numerous weapons and amber ornaments. The learned Francis Philelphus. one of the first students and disseminators of classical literature, was bom at Tolentino in 1388. — The picturesque environs command fine views of the mountains.
The railway now quits the Chienti and enters the valley of the Po- tenza. — 35 M. San Severino delle Karohe, 6 M. to the N.W. of Tolentino and about aa far S. of Castel-Raimondo (see below), in the valley of the Potenza, arose from the ruins of the ancient Septempeda. In the church del Castello, frescoes by Diotisalvi d'Angeluzxo, and an altar-piece by Nieeolb da Foligno (1468) \ in Uie sacristy of the Duomo Nuovo a Madonna by Pinturicehio, 8. Lorenzo stands on the site of an ancient temple. Inscriptions and anti- quities in the town-hall, and at the residence of the Conte Servanzi-CoUio.
From (42 M.) Cattel-Raimondo a road leads to the S. to (6 M.) Oamerino, the ancient Oamerinum Umbrorumy once the capital of the Umbrian Camertes, who during the Samnite wars allied themselves with Rome against the Etruscans. It is the seat of a bishopric (founded in 252). The cathedral of 8. Sovino occupies the site of a temple of Jupiter^ in front of it is a bronze Statue of Pope Sixtus V., of 1587. The painter Carlo Maratta was bom here in 1625 (d. at Borne in 1713).
47 M. KateUcai a town with 4(XX) inhab., possessing pictures by Pal- mezzano and Eusebio di S. Giorgio in the church of S. Francesco , and a small picture-gallery in the Pal. Piersanti. — 54 M. Albaeina. — 59i|2 M. Fabrianoy see p. 109.
14. From Ancona to Foligno (Orte, Home),
80 M. Railway in 4-5V2 hrs. (fares 14 fr. 60, 10 fr. 25, 6 fr. 60 c. ; ex- press 16 fr. 5, 11 fr. 26 c). To Rome (183 M.) in 81/2-12 hrs. (fares 33 fr. 35, 23 fr. 30, 15 fr. 5 c. -, express, 36 fr. 70, 25 fr. 65 c).
The train runs on the rails of the Bologna line, which with the old road skirts the coast (to the right a retrospect of the town and harbour), as far as (51/2 M-) Falconara (p. 102).
Here the train diverges to the S.W. into the valley of the Esino (Lat. JEais)^ which ii soon crosses at (IO1/2 M.) Chiaravcdle, a small town with a Cistercian monastery.
171/2 M. Jesi (*Alb. ^ Trattoria della Speranza; Corona), with 20,000 inhab. (incl. villages), now one of the most prosperous man- ufacturing towns of the province , was the ancient jEsis , where the Emp. Frederick II., the illustrious son of Henry VI. and Con- stantia of Sicily, and grandson of Frederick Barbarossa, was born on 26th Dec. 1194. The picturesque town-walls, dating from the middle ages, are in good preserration. The Cathedral is dedicated ^ the martyr St. Septimius, the first bishop of Jesi (308). The 7/as^0 PuhhlicOf now the Prefettura, boars the town-arms within
to Foliyno. NOCERA. 14. Route. 109
an elaborate Renaissance border. Jesi was also the birthplace of the composer G. Spontini (1778-1851).
The valley contracts, and the train crosses the river twice. 26 M. Castel Planio. Beyond (301/2 M.) SerraS. QuiricOj neai Monte Rosso, the valley narrows to a wild ravine, endangered by falling rocks. Long tunnel through the Monte Rosso. 39^2 M. Albacinaj junction for Porto Civltanova (p. 107).
44^2 M. Fabriano (Leon d'Oro; Campana)^ a prosperous town with 18,000 inhab. (incl. suburbs), noted since the 14th cent, for its paper-manufactories, lies near the sites of the ancient Tuficum and Attidium. The Town Hall contains ancient inscriptions and a small collection of pictures. The Campanile opposite bears a bombastic in- scription about the unity of Italy. The churches of S. Niccolb, 8. Benedetto, 8. Agostino, and 8. Lucia, and the private houses Casa Morichi and Fomari, contain pictures of the Fabriano school, of which Oentile da Fabriano (? 1370-1450; p. 48) was the head.
— Railway to Porto Civltanova, see p. 107.
From Fabriano a moantain-road (9 M.) leads via the picturesque La Qenga to the lofty Sassoferrato, situated in a fertile valley, consisting of the upper and lower town, with 2000 inhab., and possessing interesting churches and pictures. Oiarnbattista Salvi, surnamed Scusoferrato , was bom here in 1606 \ he was especially noted for his Madonnas, and died at Rome in 1685. S. Pieiro contains a Madonna by him. In the vicinity are the ruins of the ancient Sentinum, where, B. C. 296, the great decisive battle took place between the Romans and the allied Samnites, Gauls, Umbrians, and Etruscans, in which the consul Deeius heroically sacrificed himself. The Roman supremacy over the whole of Italy was thus established.
Beyond Fabriano the train skirts the brook Qiano , and pene- trates the central Apennine chain by a tunnel IY4 M. long.
At (541/2 M.) Fossato (junction of the line from Arezzo to Fos- sato, pp. 5d-59) we enter the plain of the Chiascio. To the left on the hill, Palazzolo; to the right, Pellegrino; to the left, Palazzo and 8. Facondvno.
58 M. OualdoTadinO) a small town with 7000 inhab., lies about 2 M. from the railway (cab 40 c.) , near the insignificant ruins of the ancient Tadinum. In 552 Narses defeated and slew the Ostro- gothic king Totila here, and owing to this victory, soon gained possession of Rome. In the Palazzo Comunale is a small picture- gallery with a Pietk by Niccold Alunno (1471) and works by native artists ; in the corridor are an ancient sarcophagus and a few in- scriptions. The church of 8. Francesco contains an altar-piece by Niccol5 Alunno (1471). The Cathedral has a fine rose- window; in the sacristy, pictures by Niccold Alunno.
The train gradually descends to (68 M.) Kocera, an episcopal town, on the site of the ancient Nuceria, a city of the Umbri (3 M. from the station; omn.). The Cathedral and the church of the Ma- demina contain a few tolerable paintings. Some admirable frescoes of 1434 were discovered in 1877 on the organ-8Wft«^ ^1 ^."Ptoxv.- cesco, and others of less Importance (c. ibOO"^ m ^Xxfc tlv?^ ^w^ Ovvws.,
110 BouUU. VALTOPINA.
The Orfanotrofeo (Veseovado Antieo) contains portraits of the bis- hops of Nocera from the Ist cent, of our era(?), painted in 1659. Near the town are mineral springs, known since 1510.
The train now enters the narrow Vol Topinaj crosses the brook several times, passes through a tunnel, and descends by Ponte Cen- tesimo to —
80 M. Foligno ; thence to Rome, see pp. 79-87 and 66-68.
SECOND SECTION.
B 0 H E.
Arrival. At the railway-stfttion (Plan I, 25) ntimerotis hotel-omnibuses are in waiting, for the nse of which a charge of l-li/z &• is made in the bill. Open one-fwrse Cab for 1-2 pers. , 1 fr. ; at night 1 fr. 20 c. ^ Closed one-horse Cab 1-2 pers. 1 fr. 20 c, at night 1 fr. 30 c. ; each additional pers. 20 c, at night 40 c. ; Two-7ior»e Carriage, for 1-4 pers., 2 fr., at night 21/2 fr. ; each addit. pers. 20 c, at night 40 c. ; small articles of luggage free, each small box 20 c, trunk 60 c. Porter (facchino) 25-60 c. — Police OfpicA iQuestura): Via SS. Apostoli 17 (PI. II, 16). — Railway enquiry and ticket offices in the town, Via della Propaganda 8 and Corso 218 \ also Tko*. Cook & 8on^ Piazza di Spagna 2.
Embassies and Gonsuates. There are two classes of diplomatic agents at Rome, those accredited to the Italian government, and those accredited to the Papal court. The offices of two of the former class alone need here bo mentioned : Enolish Ehbasst, Marquis of Dufferin^ Via Venti Settem- bre, near Porta Pia; AMBRiCAisr Lkoatiov, Hon. Albert O. Porter,^ Via Na- zionale 13 (office-hours 10-1). — English Consulate: A, Roesler Franz, ^«g., consul, Piazza 8. Claudio 96. Ambkican Consulate: Hon, A«gnsins 0. Bourn, consul-general. Via Kazionale 13 (office-hours 10-2).
Hotels (comp. pp. vi, xz). The best and most expensive are in the Strangers' Quarter, between the Porta del Popolo and the Piazza di Spagna, and also between the latter and the railway-station (some of them incon- veniently situated). Several are closed during summer.
*HdTEL QuiBiNALB (PI. I, 25, h) , Via Nazionale , a large hotel in the Swiss style, with lift, R. & L. 4-6, B. IV2, lunch 3, D. 5-6, A. 1, omn. 1, 'pension"' 12 fr. and upwards ; •H6tel db Londrbs (PI. I, 1 1, c), Piazza di Spagna 13, with lift, D. exd. wine 6fr.; *Bri8tol (PI. I, 22, a?), Piazza Barberini, with lift; ^Russia (PI. I, 18, 6), Via del Babuino 9, near the
After these rank the *HdTEL Continental, Via Cavour 5, near the station, with lift ; Hotel os la Villb (PI. I, 18, 0), Via del Babuino 196 : HdTEL de Paris (PI. I, 23, «), Via S. Nicola di Tolentino, with lift; nNoeiL- TERRA (PI. I, 17, /), Via Bocca di Leone 14, B. IV2, D. 5 fr. ; •HdTEL Rotal, Via Venti Settembre, opposite the Finance Ministry (p. 16Q, new, with lift -, Hotel Marini, via del Tritone 17, with lift. At all these, 'pension' for a prolonged stay, 10-12 fr. per day, and upwards.
Somewhat less expensive : Minbrva (PI. II, 16, m). Piazza della Mi- nerva 69, in the interior of the city, well spoken of, with lift, R. 8, B. IVi^ D. with wine 5 fr. ; *HdTEL Hasslbr (PI. I, 17, it). Via Bocca di Leone 68, 'pension'' from II72 fr., without lunch from 9 rr. (Feb. 1st -June 1st, 12 and 9V2 fr.), frequented almost exclusively by Germans , with restau- rant ; Eden Hotbl (same proprietor). Via Ludovisi 49, with lift; Alle- MAONE (PI. I, 17, i), Via Condotti 18, well spoken of; Molaro (PI. 1, 19^ te\^ Via Gregoriana 56, R. ftrom 4, A. 1, L. »/4i B. I'/v Vv«i«^^^^•^ ^•'-^ HdTEL-PxKsioiT DU MIDI, Via delle Finanze*, AsQwj-kiwxvoMBko^ NX*.'^"*^ tina 128; Vittoria (PJ. I, 19, /), Via Due HaccWV ^\ \*KQ^^K.'^\^N'^a.^*•-
112 Ptdim, Information. HOME. Restaurants.
zionale 15S-156, not far from the Piazza Venezia, with lift, B. 8V2, L. 'A, A. '/i fr. ; MiLANO, Via Colonna 22 and Piazza di Monte Citorio (PI. 1, 16), frequented by the Italian deputies, with a restaurant; Alibert (PI. 1,17, g), Vicolo d'Alibert, quiet, B. 2V2, A. yitt.iOESARi (PI. I, 16, »), Via di Pietra; Italia (PI. I, 22, aa)y Via Quattro Pontane 12, with lift; Posta, Via della Vite 29 (PI. I, 16, 19), B. from 2 fr. ; H6tkl et Pension Cen- trals (PI. I, 16, ad), Piazza della Boea 9; Gavodb, Via S. Ghiara 6 (PI. n, 13, 16), B. from 2, •pension' from 7 fr.; Orients (PI. I, 19, a 6), Via del Tritone 80, B. from 2, *pengion' from 7>/2 fr. ; Hotel dd Sdd ^1. I, 19, »), Via Capo le Case 56; HStbl dd Capitols, Cotso 286-291, comer of the Piazza Venezia, 'pension'' 8 fr., well spoken of, with a cafe-restau- rant; Colonna, Piazza Colonna; Sbnato, Via delle Coppelle 16, with re- staurant ; Albebqo S. Chiara, Via S. Chiaro 18, B. 21/2 fr. — 'Pension'' at all these hotels, except the smiJler ones last mentioned, with or without luncheon. The price of the room is generally raised for those who do not take full 'pension^ except in the last-named houses, where the visitor can arrange to he perfectly free. It is advisable to come at once to a distinct understanding as to the price of the room, including light and attendance.
Fenaiona. Tsllbnbagh, Via Due Macelli 66, near the Piazza di Spagna. with lifL pens. 7-9 fr. ; Avanzi, Via Capo le Case 75 ; Mrs. Mat, Via Lu-, dovisi lo; Lebmann, Via Cavour 71, 7-10 fr. according to the room; Miss Smith, Piazza di Spagna 93; Pbnsion Franpaisb (Mme. Lavigne), Via del Tritone 36, with lift; Bbllbvub di Pincio, Via di Porta Pinciana 18, Eng- lish hostess, 8-10 fr. ; Mrs. Chapman, Via S. Kicola da Tolentino 76, Ameri- can ; Pension ITnione, Piazza Monte Citorio 121 ; Mad. Michel, Via Sistina 72; Erueobr, Via Xazionale 181, frequented by Americans, from 8 fr. per day; Pboobi, Via Quirinale 46. in the Palazzo Bospigliosi, with back en- trance towards the Via ITazionale (7 fr.); Bblvbdebb, Via Porta Pinciana 18 (8 fr.).
Private Apartments. The best are situated in the quarter bounded by the Corso on one side, and by the Via del Babuino, the Piazza di Spagna, and the Via Due Macelli on the other, and also in the Via Capo le Case, Via Sistina, Via G-regoriana, Piazza Barberini, and other streets on the Pincio. The most expensive, and often the least sunny, are in the Corso, Piazza di Spagna, and Via del Babuino. A northern aspect should be studiously avoided, and a stipulation made for stove, carpet, and attendance (stufa, tappeti, servizio). Bent of two well-furnished rooms in a good locality 150- 250 fr., one room 40-80 fr. per month; for a suite of 3-5 rooms 300-500 fr. and even more. Artists generally reside in the Via Sistina, Via Quattro Fon- tane, and that neighbourhood. In the Forum of Trajan and the adjoining streets the visitor may obtain sunny apartments, conveniently situated with regard to the ancient part of the town. Booms may be procured in almost every street in the strangers' quarter, where notices and placards are frequently observed ; but, as they are seldom removed when the rooms are let, the traveller must be prepared for a number of fruitless enquiries. Those who engage apartments in the Corso should come to an under- standing with regard to the windows for the Carnival. — House-agents: Karl PoehaUky (German), Corso 131; Toti^ Piazza di Spagna 53; Mnlton A Co., Via Frattina 104. — Firewood is kept stored in many houses (basket about 272 fr.); it may be bought cheaper (20 fr. per *passo% delivered free), at EoUVSy Via Mente Brianzo 33; OentiIVs, Gampo Marzio 24; and other large wood-stores.
Borne does not yet possess a complete Directory; but much informa- tion is afforded by the Ouida Commereidle della Cittdi di Roma^ published by Tito Monad (10 fr.). An unknown address may be ascertained at the Uffieio di Anagrafe on the Capitol, under the arches of Vignola, above the stairs leading to the Monte Gaprino (p. 208).
Bestaurants (those of more moderate pretensions are called Trattorie: comp. p. xxii). Handsomely fitted up and expensive (D. hprix fixe 6 fr. and upwards) : — Nazearri. Piazza di Spagna 81 ; Spillmann A Cb., Corso 164 ; Renaud, Via Frattina 97; Ct^fS di Roma (p. 118); Doney A Nipoli^ Via delle Coavertite 19. — The following are somewhat less pretentious: MiUmo (see above), Monte Citorio Id; Coloimay Piazza Colonna, in the arcade to the
Trattorie. ROME. Prelim, Information. 113
rights Ca/6 di Ven^siay Gorso 288, near the 'Pia,zzdkYenezia\ Birreria Morteo db Oo. (see below; lunch from 3, D. from 4fr.).
Second class, with good French and Italian cuisine : Ra$Ueri^ Via Mario de^ Fiori26; ^Corradettiy Via della Groce 81, frequented by visitors of all nationalities; Panelli, Via della Groce 69; Oran Cairo^ Via del Tritone 182; Senate (see p. 112), Via delle Gopelle 16; Al Fagiano^ Piazza Golonna, at the corner of the Via Golonna , often crowded (branch at Via Sistina 3) ; Le Venete (Venetian cuisine), Via Gampo Marzio 69, with garden.
The Tbattobib are recommended to those who have some acquain- tance with the language and customs of the country : — Cervigni^ Via Kazio- nale 246; PUtro Micca^ Via S. Andrea delle Fratte 35 and Via Mercede 27 (Piedmontese cookery) ; Bosetia, Via Giustiniani 22 and Via Bosetto 1, nearly opposite the front of the Pantheon. — The cuisine and wine at the follow- ing are perhaps as good as at those just enumerated, but the rooms are not so dean: QabbUme^ Via del Lavatore 40, by the Fontana Trevi; Tor- retta. Piazza Borghese; IreUt. Europea, Piazza Busticucci 21 & 26, oppo- site St. Peter's; Tratt, degli Artistij Via della Vite 68 (German cooking and beer; also a few beds); Tr« Re^ Via della Bipresa dei Barberi 16, first floor, near the Piazza Venezia; Bucei^ Pescheria delle Gopelle 54-57 (fish and ^zuppa alia marinara**). — Meals supplied to private houses by nearly all the Trattorie and by BriccMy Via Gapo le Gase 71 ; Giorgio^ Via Bocca di Leone 5. — Mention may also be made of the Bostiocbbis, where freshly cooked meat and poultry may be bought by the pound for dinner or supper: CioTMpa, Via Venti Settembre 22; F^otti^ Via Venezia 10; ifet, Tomacelli 168, and others.
Osterie (wine-houses, comp. p. xxiv). The ordinary wines of the en- virons of Bome (Vino dei Ctutelli Kamani) are generally served in clear bot- tles containing one, a half, or a fifth litre (mezzo litro 30-50c.), and the bet- ter qualities in smaller bottles (flaschetti). — The following have a good name for their wine at present: Jaeobini, with buffet, Via di Pietra G6 and Via Quattro Fontane 114 (wine of Oenzano); Ostini^ Via delle Gonver- tite 11 (Genzano); Pahmbeila (Montefiascone , p. 69), Via della Palom- bella 2; Santovettif Via del Quirinale 21 (Frascati); Salvatoriy Via Uffici del Vicftrio 22; the OsUria, Via Belsiana 86 (Marino wine); Bottiglieria Romtma^ Via Umiltli 74. There are also favourite Osterie on the Monte Testaedo (p. 251) and b^ the Fonte Molle (p. 336).
The best ToscAir wink Hodsbs are (kuelli. Via deir Impresa 25, with a branch at Via del Tritone 172 B; OampagnoU^ Via della Missione 5, be- hind the Chamber of Bepresentatives ; Fiasehetteria Toscana^ Piazza S. Lo- renzo in Lucina 30) Siceioli A Co, (wine only), Palazzo Sciarra, Via Muratte. The Tuscan wine is generally served in large bottles (fiaschi) covered with basket-work, and payment is made according to the quantity consumed (about 60 c. per mezzo litro). Luncheons may also be obtained at these houses.
Foreign wines are sold at the restaurants (p. 112), and by Presenzini^ Via della Groce 78; Bumel A Ouichard Atni^ Via Frattina 116. Also by the LiQUOBiSTi : *Aragno^ Gorso 237, Piazza Sciarra, and Piazza Monte Citorio 118-120; Giacosa^ Via deUa Maddalena 17-19; Vine. Attiliy Via del Tritone 88 (open till 2 a.m.); Morteo (see above). — Mineral waters may be obtained from Caffarel^ Gorso 20, and Mansoni, Via Pietra 90.
Beer (birra). Birreria Morteo A Co. , Palazzo Buspoli (p. 148), in the Gorso, at the comer of the Piazza in Lucina, with a pleasant garden (Vienna beer 35 c. ; good cuisine, see p. 112) ; branch-establishment , Via Nazionale 46-48 ; *iSrav. Albrecht^ Via di S. Giuseppe a Gapo le Gase 24 (Munich beer) ; Birreria fioH, Via PoU 90-96; Maraaetto, Via del Gesii 69 ; Ckmbrinus-Balle, Gorso 393, near the Piazza Golonna (Munich beer). — Boman beer is brew- ed and sold by Germans: Via di 8. Giuseppe a Gapo le Gase 7; also at the caf^, etc.
Oafes. *Roma, Gorso 426-432, somewhat expensive ; *Ifa»ionalef Gorso 872, adjoining the Palazzo Ghigi, and also at the comer of the Gorso (179) and Via delle Gonvertite (ezceUent co£fee at these two); VenesiOy Gorso 289; CblMMMi, Oa/4 degli Specchi^ Piazza Golonna ; 8. Ohiara^ Via S. GhlaxQ.^ adjoining the Piaaz* Minerva; Capretari. Piazza C«bVt«\M\\ QoaUWwivo^^v^ Kazionale 129; (k^k TurcOf Flassa di Spagnt^ ^ C9\«o\^^x^\ Qreco^^v^
Bamdmkmb. Italy U. 10th Edition. "^
1 14 Prelim. Information. ROME. Climate.
Condotii 86, and Artisti^ Via Due Macelli 91^ also restanrant, both, fre* quented by artists ; Castettino^ Via Nazionale 134. — Ices in all tbe caf^s \ particularly good at tiie '^SorbeUeHa ilTopoIefaita, Via deir Impresa 22, to the N. of the Piazza Golonna, 50 c. per portion, 90 c. per half-portion.
Oonfeotionera. Ronzi db Singer , in the Piazza Golonna, comer of the Gorso (No. 349)} Pesoli, Via del Tritone 68; Batnazzotti, Via Frattina 76, Gorso 282, and Via Kazionale 195; Nazzarri, Piazza di Spagna (comp. p. 112). — English and Visnkbbe Bakbbs: Colalucd^ Via della Groce91; Lais, Via della Groce 49; Perego, Via Kazionale 1^ VeUan^ Via del Ba- buino 100 and Via Gondotti 79a; Donati (biscuits). Via Principe Umberto 145. — Vaoohbbib (dairies; fresh milk, cream, butter, and eggs daily): Via Venti Settembre 141, with branch-establishment at Via Sistina ICfe; Via Muratte 14 ; Via del Tritone 14. — Orocbbs : Ccuoni, Piazza di Spagna 32 ; Ccutrati, Piazza Trevi89; Parenti, Piazza di Spagna 46; Mansili, Via Due Macelli 90; Achino^ Honte Gitorio 116. — Psesebybd Meats, etc.: Alber- tin*, Via Kazionale 65 and Via Grociferi 28; DagninOy Via del Tritone 54- 56; Ouerrini.Vidk Frattina 109; Valazza^ Via Muratte 11. — Fbdit Shops: Oangalaniiy Piazza S. Lorenzo in Lucina 19; Posidoro, Via del Tritone 179; Melano, Via della Groce 9.
Tobacco (comp. p. xxiv) at the Regia dei Tabaechi, comer of the Gorso and Piazza Sciarra ; foreign cigars 25 c. and upwards.
Gratuities. As exorbitant demands are often made, the following aver- ages are given. In the galleries for 1 pers. 10 soldi , for 2-3 pers. 15s., for 4 pers. 1 fr. ; regular frequenters 5 soldi. To attendants who open doors of houses, churches, gardens, etc., 5s.; for other services (guidance, explan- ations, light, etc.), V2-I fr. — It is also usual to give a trifle (l-2s.) to the waiters at the cafes.
Batha (1V2-2 fr.; fee 25 c.) at the hotels; also Vicolo d'Alibert 1, Via Belsiana 64, Via del Babuino 96, Via Bipetta 116 ; Via della Vite 29, opposite the post-offlce; Via Voltumo 37 (recommended in summer, from May on- wards). — Hydropathic Establishments: Piazza Pia (PI. 1, 10) ; Via Grociferi 44.
Haibdbebbbbs : Oiardinieri, Gorso 423; Lancia , Via S. Giacomo 12; Pasquali, Via Gondotti 11; all with ladies^ rooms. — Perfumers, Gorso 390, 342, 343; Rimmel, Gorso 524; Brugia, Gorso 344.
LiEUx d' Aisancb (10 c.) : Vicolo dello Sdrucciolo, near the Piazza Go- lonna; Via dei Pianellari, adjoining the church of S. Agostino (p. 189); Via Belsiana; Via del Mancino, adjoining the Piazza Venezia (15c.); Vicolo del Governo Vecchio ; Vicolo Tata Giovanni ; Vicolo Tribuna Tor de' Spec- chi ; Via Alessandrina ; Passeggiata di Bipetta ; in the colonnade of the Piazza of St. Peter, on the side next the Porta Angelica ; outside the Porta del Popolo, to the left.
Climate (comp. Introd.). The mean temperature at Bome is 60° Fahr.; the greatest heat in summer being about lOO*' in the shade, and the greatest cold about 21°. Snow falls rarely, and does not lie long. The average temperature in January is 45°, in July 75°. The pleasantest season is from the beginning of October to the end of May. In summer when the fever-laden aria cattiva prevails, all the inhabitants who can a£ford it make a point of leaving the city. The prevalent winds are the Tra- montana, or north wind, which generally brings clear and bracing wea- ther , and the Sciroceo^ or south wind , which is relaxing and rainy. As the temperature usually falls rapidly after sunset, and colds are very easily caught, the traveller should not dress too lightly. Invalids should of course consult their medical advisers before choosing rooms, but even persons in robust health will do well to remember the Boman proverb : ''Dove non va it sole, va il medico'.
Physicians. English: Charles, Via S. Kicola da Tolentino 72; Drum- mond. Piazza di Spagna 3; Oason, Via S. Sebastianello 8; ^a/dtfftfn. Piazza Trinitli de' Monti 16; Young, Piazza di S]pa£na20; iS[ptfrtray, Via Gondotti 48; Thompson (American), Via Due Macelli 60. — German: Erhardt (phy- sician to the German Embassy), Mario de' Fiori 16; Erhardt Jtm., Piazza di Spagna 26; Fleisehl, Gurso 151 (3-4); Krani^eld, Piazza di Spagna 44; y^e/: Ifolesehott, Via Volturno 68; Neuhaw, Via di Porta Pinciana 56 ;
Libraries ROME. Prelim. Information. 115
Weber, Via Sistina 86; Ooitburg, Piazza di Spagna 9 (atEissingen in sum- mer); Bull (Danish), Piazza di Spagna 20 ; Wittmer. Via delle Quattro Fon- tane 17; Bosdny (physician to the Austriim Embassy), Gorso 300; Seld (homoeopath), Gorso 456. — Italian : Oalassi. Piazziei Capretari 70 ; Manassei, Via de' Lucchesi 9; JITardim, Pal. Doria, Via Plebiscito 112; Occhini, Pa- lazzo Moroni, Via S. ITicola da Tolentino; Libertdi (homoeopath). Via 8. Ghiara 49. — Sdbgeons: CecearelU, Via Lecco8a54; Durante^ Via S. Ba- silio 50. — Oculists : Dantone, Piazza Monte Gitorio 121 (hours for con- sultation 11-1); Businelliy Piazza S. Lorenzo in Lucina 17 (consultations 2-4). — AuBisT : De Rossi^ Piazza di Spagna 71. — Dentists : Chamberlain f American) , Piazza di Spagna 51 ; Curtis (American). Piazza di Spagna 93, 1st floor; Oalassiy Piazza di Spagna 68 ; Van Marter (American), Via Nazio- nale87; Martin, Gorso 389; Stehlin, Via delle Garozze 3, 1st floor.
Ohemists: Sinimherghi , Evans, ds Co., Via Gondotti 64-66, patronised by the English and American embassies; Roberts & Co,, Piazza di S. Lo- renzo in Lucina 36; Baker de Co. (proprietor Q. P. Passarge), Piazza di Spagna 42, patronised by the German embassy; Borioni, Via del Babuino 98; Oameri, Via del Gambero 39; Marignani, Gorso 435; other Italian chemists in every part of the town. — Susoioal Instbdmbnts and Ban- dages : Itnmelen, Via Frattina 134. — Sick Nubses may be obtained at Via Palermo 35 (10 fr. per day; Boman Gatholic) or on application to Miss Martin, Via Palestro 62 (5-7 fr.).
Bankers. English: Maebean & Co., Piazza di S. Silvestro 81; Maquay, Ilooker, A Co., Piazza di Spagna 20 ; i^. Montague-Handley, Piazza di Spagna 79; Eddy, Piazza S. Silvestro 62; Plowden & Co., Piazza S. Glaudio 166. — ' Italian : Cerasi, Via del Babuino 51 ; Spada, Via Gondotti 20. — German : Nast-Kolb & Schumacher, Via della Mercede 9; Sehmitt dt Co., Via della Vite 7; P«cci, No€rren!berg, de Co., Palazzo Ghigi, Piazza Golonna; Roee- ler-Franz, Piazza S. Glaudio 96; Fueter, Tognola, de Co., Via del Tritone 46; Wagni^re, Piazza CJapranica 78. — Money Changers in the Gorso, Via Gon- dotti, etc. (comp. Introd.).
Booksellers. Piale, Piazza di Spagna 1 ; Loescher de Co., Palazzo Simo- netti, Gorso 307, entered from Via del Gollegio Romano; Spithoever, Piazza di Spagna 84; Libreria Ceniraie, Pal. Bernini, Gorso 146 1 English, German, and French books at all these. Fratelli Bocea, Gorso 217; Fratelli Treves, Gorso 383; Paravia, Piazza SS. Apostoli 56-65. — Religious works and mu- sic. Via di Propaganda Fide 6. — Maps at Bosst's, Gorso 401, and at Loe- tcher's (see above). — Old Books at Rossi**, Via Bocca di Leone 25 , and Boeca''s, Via del Giardino 110; also at Lce8cher''s and Spithoever's. — BooKBiNDKBS. OlingleT, Via della Mercede 86; Olivieri, Piazza di Spagna 87 and Via del Babuino 49 ; SantinelU, Via Pid di Marmo.
Libraries. The principal libraries are the following:
1. Bibliotbca Apostolioa Vatioana, see p. 319. Permessi issued di- rectly by the Gardinal-Secretary of State to the prefects of the library, see p. 124. Readers admitted from Oct. 1st to Easter 9-1, from Easter to 29th June 8-12 o''clock; the library is closed on Sun., Thurs., and holidays.
2. Pdblio Libbaibibs, open on the days mentioned below from 9 to 3, with the exception of the Biblioteca Angelica, which is open from 9 to 2. Admittance without permessi according to the conditions sot forth in the placard in the Bibl. Vittorio Emanuele. Books are lent out by the Bibl. Vit- torio Emanuele only, on the security of the embassy or consulate (farther particulars in the Umzio del Prestiti, on the ground-floor of the library). Biblioteca Alessandrina in the Sapienza (p. 197), entrance Via deir IJniver- sita, Ist Nov.-30th June also open 7-10 p.m. — Biblioteca Angelica (p. 189), Sun. and Thurs.; closed in Oct. — Biblioteca Casanatensis (p. 196), daily, except Sundays. — Biblioteca Centrale Vittorio Emanuele (p. 156), from Nov. to May also 7-10 p.m. , closed for a short time at midsummer (besides the large public reading-room there is a 'Sala Riservata'* with an excellent re- ference-library, for the use of which a permesso is necessary).
3. Pbivatb Libbabibs : Biblioteca Barberina (p. 171), open to the public on Thurs. 9-2; closed In Oct. — BibHoteca 8. Cecilia y Vi^ e^^ Qct^^\ ns^., daily 9-3 (music). — Biblioteea Chigiana (p. 15^^, adrnVmowX^l ^<i.xtsv'5.%^v».,^i^
116 Prelim. Information, ROME. Studios.
tainable through the traveller''s consul, 10-12; closed in summer. — Bihlio- teca Corsiniana (p. S25), open to the public daily, except Sun. and Wed., Nov. to March 1-4 , Apr. to July 2-5. — Biblioteca Sarti (p. 238) , in the Academy of St. Luke, daily except Sat. and Sun., in summer 8-2, in winter 9-3. — Biblioteca Vallieellana (p. 200), open on Tues., Thurs., and Sat., 10-3. — Biblioteca Lanci$iana{^.*Zt^\ medical works), in the Hospital of 8. Spirito, daily, 9.30-2.30.
Lending Libraries. English books at PiaWs and at Loeseher^s (see p. 115; one book weekly 1, monthly 3 fr.). — Beading Booms. Fiale^ Piazza di Spagna 1 (English and American newspapers).
Newspapers, very numerous, 5-10 c. per number. The most popular with visitors are : Italic (in French , containing a list of the sights of the day); FanfuUa (similar to the Paris Figaro); Biforma^ Capitan Fracassa, and Popolo Romano^ three government organs ; DiritlOj Tribuna^ opposition journals ; Capitate^ MettaggerOj and Don Chichoite^ radical ; Osservatore Ro- mano^ Journal de Rome^ Civilidi Caioliea, and Voce delta Veriti^ all clerical. Rugantino is a comic paper in the local dialect. — The Italian Times and Roman Herald (20 c.) are English papers published at Rome.
Guides to the Antiquities* Mr. R. 8. Forbes.^ publisher of the ^Bulletin Commentarium Berum Urbanarum* (fortnightly), Via del Babuino 93, and Signor Olinto L. Spadoni^ editor of the 'Roman Herald% Piazza di Spagna 3, give peripatetic lectures on the site of ancient ruins and organise excur- sions to the environs.
Teachers of Italian (2-3 fr. per lesson) : enquire ^t the booksellers\
Kusic Sellers. Succetsori Landiberg^ Via Condotti 85, 1st floor (pianos and music for sale or hire) ; Bossola , Ciorso 140; Venturini de Co. , Corso 387; Ricordi^ Corso 392; Bartolo, Via Condotti 70. — Strings: Berti, Via Tor Argentina 19; Rujini^ Piazza SS. Apostoli 49. — Teachers of music and singing may be heard of at the booksellers'* or at the music-shops. As well-known composers and teachers of the piano may be mentioned: Af. RavukildCj a Dane, Bipetta 39 ; Alb. Cavanna, Via dei Greci 10.
Studios. Sgdlptobb : Amici, Passeggiata di Bipetta 20; L, Ansiglioni, Via Venti Settembre 116 ; R. Cauer^ Via Brunetti 16 ; Chiaradio^ Via Margutta 5 ; Dausch^ Via S. Giacomo 18; Ezechiel^ Piazza delle Terme 118; Feuentein^ Via Palestra 19; Oalletti^ Via Gesii e Maria 21; Gerhard^ Passeggiata di Bipetta 33; Prof. Ouglielmi^ Via Babuino 155; Haseelriis (Dane), Via Mar- gutta 61; /»««, Via Margutta 33; Jos. Kopf^ Via Margutta 59; Macdonaid^ Via S. Nicola da Tolentino 22 ; Monteverde , Piazza deir Indipendenza ; F. Schulze^ Palazzo Barberini; Simmons, Via S. Nicola da Tolentino 73; Soinmer, Monte Caprino 24a ; Spies, Piazza 8. Pietro in Vincoli 40a ; Stori/ (American), Via S. Martino a Macao 7; Volkmann, Piazza Dante 5.
Paintebs : Aemi, Via Margutta 48 ; Alvarez, Via 8. Martino 9 ; Brandt, Via di Bipetta 39; Brioschi, Palazzo Venezia; (hleman (American), Via Margutta 33; Corrodi (water-colours), Via del Tritone 62; H. Corrodi, Via degli Incurabili 8; Effenherger, Vicolo S. Nicolo da Tolentino 13; Ferrari, Via Margutta 33; Olennie, Piazza Margana 17; Oristoold (EngWah), Via del Basilio-^^; Hibert, director of the French Academy (p. 149); Kniipfer , Pa- lazzo Venezia; Koelman, Via deirOlmato 46 (miniatures) ; Kronberg (Swede), Via Margutta 33; Lindeniann - Frommel (landscape), Via del Babuino 39; L&tpenthal, Via Margutta 33; Mario de Maria, Pal. Lanza Vecchio, outside the Porta Pia ; Martens, Via Flaminia 44 ; Navone , Passeggiata di Bipetta 35; Nerly (landscapes and sea-pieces). Piazza S. Bernardo 109 ; Podesty,^^- lazzo Doria, Circo Agonale 13; /VodtZ/a (Spaniard), Via Sistina75; Schlds- ser. Via Venti Settembre 4; Schwarzer, Piazza S. Salvatore in Lauro 13; Sciuti^ Piazza Mattel 10 ; L. Seilz, Piazza Cappuccini 6 ; Shade, Via Sistina 123; Siemiradski (Pole), Via Gaeta 7; Btrutt. Via della Croce 81; Tilton, Via S. Basilio 20; Vannutelli, Via Margutta Ola; Vedder (American), Via S. Basilio 20; Villegas, Pal. Villegas, Viale Parioli; Weckesser, Piazza "arberini 43; Zielke, Via de' Maroniti 4.
International Association of Artists , Via Margutta 63. President : icovacci (painter). — British Acaueht, Via S. Nicolo da Tolentino 22 A.
Shops. HOME. Prelim, Information. 117
— Bbitish and American AsCHiEOLOOiCAL Society, Via delle Groce 76, witb a good library. — Vekein Deutsgher Kunstlee, Palazzo Serlapi, Via del Seminario 13.
Works of Art i both ancient and modem , are liable to government inspection on exportation. — Goods Agents: C. Stein., Via di Mercede 42', CHordani & FerronL Piazza Colonna 370a; Roessler, Franz, ds Co..^ Via Gondotti 6: 7V>m6<»t, via del Gambero 6. — Packer (*Incas8at ore') : Ferroni., Bipetta 2285 Vineenzo Oiorginiy Via Mororiti 31.
Shops. Antiquities: Augutto CasUUanij Piazza di Trevi 86 (see below); Martinetti^ Via Bonella 74 ; Bernard, Via Sistina 21 \ Innoeenti, Piazza Trinita de' Monti 13 A; iToet, Fontanella Borghese 29.
Art, Works of. Soeieth Artistica, Via del Babuino 136; D'^Airi, Via Gondotti 7; Pisani, Piazza di Spagna 23 (these chiefly for pictures) ; An- dreoni^ Piazza del Popolo 17 (marble and alabaster sculptures). See also Gameos, Gasts, Gopies of Bronzes, Engravings, etc.
Artists' Materials. CorteselU, Via Sistina 150 ; Juliana^ Via Babuino 147; Zecea, Via Margntta 53 a.
Articles de Votage: Barfoot (English saddlery), Via del Babuino 150 D and 152; Chiara, Via Giustiniani 17; De' Angeli, Via Sistina 28; Old Eng- land, Via Xazionale 115.
Gameos: SauKni, Via del Babuino 96; Angelici, Via Sistina 19; Pia- nella. Via de' Maroniti 4, fourth floor; D" Estrada, Via Sistina 26; Rosi, Piazza di Spagna 86, second floor.
Gasts: Marsili, Via Frattina 16; Leopoldo.Malpierif Gorso 54; Pado- vein, Via Due Macelli 85 ; LueigntnUf Via Sistina 111.
Clothing. For Gentlemen: Ottcutalla, Gorso 335 (large shop); Savo- nelli & Co., Gorso 300; Fr<itelli Boeetmi, Gorso, adjoining the Piazza Go- lonna; Old England, Via Xazionale 115. See Tailors. — Ladies' Dress and MiLLiNERT: F^ettelU Ponteeorvo, (Torso 172; Afassoni, Ciorso 307; Compagnie Lyonnaise, Gorso 473; OatariiMt Tua, Gorso 526; Madame Boudrot, Via Gondotti 81; Mawo-Oiuhergia, Gorso 60; Antonia Lupa, Gorso 28; Ville de Lyon, Via dei Prefetti 48-52; Cottanza Federieo, Via S. Nicola da Tolen- tino 26 (for moderate requirements). — See Haberdashery.
GoPiES OP Ancient Bronzes and Marbles : Boschetti, Via Gondotti 74 ; Rdhrich, Via Due Macelli 62; JTelU, Via del Babuino 139; Rainaldi, Via del Babuino 51 A (I^rge stock, fixed prices).
Drapers: Todros, Gorso 418; Sehostal^ Gorso 158; Outset, Gorso 244; Gaasuaia, Via Golonna 20.
Dressmakers : Caterina Tua, Gorso 526 ; Antonia Lupa, Gorso 28 ; Jfcts- soni, Gorso 307; Costanza Federieo, Via S. Nicola da Tolentino 26, I. (for moderate requirements).
Engravings at the Regia Calcografia., formerly the Stamperia Gamerale (moderate prices), Via della Stamperia 6 (PI. 1, 19, 7).
Fdrnitcrb (carved). Barberito, Via Sistina 130; JToci, Via Fontanella Borghese 29-84. — Intarsia: ZueeareUi, Via del Babuino 34.
Gloves, Gollarb, and Neck-ties: Chanal, Ck)rso 143; also at Gorso 227; Piazza S. T^renzo in Lucina 39; Via della Vite 10; Via Frattina 15; Via di Pietra 77.
Goldsmiths : *Castellani , Piazza di Trevi 86 , who also possesses an interesting collection of ancient golden ornaments, and executes imitations from Greek, Etruscan, and Byzantine models; Marchesini, comer of the Gorso and Via Gondotti; Bonij Piazza S. Garlo, in the Gorso; Ansorge, Fasoli, Pierret, Piazza di Spagna 72, 96, & 20; Freschi, Via Gondotti 56; Calvi, Via Sistina 15 (silver ornaments after ancient patterns).
Haberdabhert : Meuini, Gorso 309; Carsana, Gorso 136; Borgia, Via dei Prefetti 19. See also Glothing, Dressmakers, Roman Shawls.
Hattxxs: Be$si, Via Nazionale 187; Miller, Via Gondotti 16; Vigano, Via Monte Gatini 4; Monti (straw-hat warehouse), Piazza Firenze 29.
JbwbllbrTi see Goldsmiths, Roman Pearls.
Lamps, ete. : Faueillon, Via di Propaganda 23.
Markjc-CJutters: Ortonrfrf, Via Sistina 75 Cv Fal)W,N\a.^\»XVwi.V^\ T^- mattei. Via BiBtina 81,
118 Prelim, Information. ROME. Theatres.
HiLLiNBBS, see Haberdashers, Dressmakers, etc.
Mosaics: De Feliei^ Piazza di Spagna 99; Roccheggiani^ ViaOondotti 14. Mosaics and cameos, at moderate prices, in the Stabilimento, Piazza Bor- ghese 106.
Opticians: ffirsehj Corso 402; Priottiy Gorso 419; Stucipi, Gorso 157.
Photoobaphs : LoeteJierCp. 115) ; ^ithoever (p. 115; Braun'*s photographs, Anderson'*s views of Borne); Libreria Centrale (p. 115; Brogi^s photo- graphs): MoUns, Via Gondotti 28 (views of the Parker Collection, for archaeologists) ; Casali^ Via Sistina 119: Hefner, Via Frattina 133 (Semelli's photographs); Alinari & Cooi^ Gorso 90; Afoseioni, Via Gondotti 10 a; Oli' vieri, Piazza di Spagna 87 ana Via Bahuino 49 ; Piale^ Piazza di Spagna 1.
Photographs for artistic purposes (reproduction of sketches, pictures, etc.) : Vasari, Via Poli 25. — Portraits : Alessandri, Gorso 12 ; Le lAeure, Vicolo del Mortaro 19; Montdbone^ Piazza di Spagna 9; Sehemboehe, Via di Mercede 54; Fotografia Ifaeionale, Via Gregoriana 20; Suscipi. Via Gondotti 48; Delia Valle, Via della Groce 67.
BouAN Peabls : Bey, Via del Bahuino 122 ; Bartolini, Via Frattina 97 ; Laechini, Piazza di Spagna 69.
BouAN Shawls: Agostini, Gampo Marzo 8; Bianehi, Piazza della Mi- nerva 69 (also other Boman silk wares); Amadori, Gorso 316; Steffowi^ Pi- azza di Spagna 68.
Shobmakbbs: Berardi, Via Fontanella di Borghese 36; Oiangrandi, Via Frattina 79; Jesi, Gorso 129; Rubini, Gorso 223; Renner, Via delle Qnattro Fontane 7; Patetta, Via Due Macelli 30; Fratelli MUnster, Gorso 162. Boots and shoes are generally dear in Bome.
Small Wabbs, etc.: Merico Cagiati, Corso 167-169; Janetti, Via Gon- dotti 18 ; A. Cagiati, Corso 250 ; Fimi A Bianehelli, Gorso 377 ; Old England, Via Kazionale 115; Fit. Haa* & Figli, Via Gondotti 46, at the comer of the Corso.
Stationsbs: Cahone, Corso, entrance in the Via Lata; Rieci, Gorso 214, Piazza Golonna; Brenta, Pal. Odescalchi, Gorso.
Tailobs: Schraider, Piazza di Spagna 5; Mattina. Gorso 107, first floor; Mons, Via Due Macelli 48; O, Sigre, Piazza di Trevi88; Foa is CHtastalla, Gorso 105.
TJhbbellas, Sdn-shadbs, and Fans: Oilardini, Corso 409; Motta, Gorso 334; Ouattari, Gorso 411.
Upholstebebs : Levera, Via Gorso 895; Peyron <k Co., Gorso Vittorio Emanuele 53; Fil. Haas A Figlx, Via Gondotti 46.
Watch makebs : Kobell, Via del Gambero 19; Kolbauer^ Via Due Ma- celli 106; Oondret, Gorso 144; Hausmann, Via Bocca di Leone 84; Kohl- mann. Via Gondotti 69; Conti, Piazza di Spagna 58.
Weapons (permesso necessary, see p. xvii) : Spadini, Piazza Borghese 89.
Italian Alpine Olub, Boman Section, Via Collegio Bomano 26. (Mem- bers of foreign Alpine Clubs are readily afforded information about moun- tain-ascents in the Apennines.)
Theatres. Since the demolition of the Teatro Apollo , the first place is taken by the Tbatbo Abqentina or Teatro Comunale (PI. II, 13, 16), Via di Tor Argentina, near S. Andrea della Valle. — Then follow the Teatbo GosTANZi (PI. I, 25), Via Firenze, and Teatbo Valle (PI. II, 13, 15), near the Sapienza, for dramas. — Besides these there are the smaller theatres : Teatbo Metastasio (PI. I, 13, 15\ Via di Pallacorda, near the Via della Scrofa, for vaudevilles with 'Pulcinella* (performances about 6 and 9; for gentlemen only); Teatbo Manzoni, Via Urbana 153; Teatbo Quibino (PI. II, 16, 19), Via delle Vergini, for small operettas and ballet.
The companies usually change three times a year, one performing in autumn and winter till Christmas, another till Lent, and a third after Lent. Boxes are generally let permanently, and visits paid and received there. Ladies frequent the boxes only, gentlemen the pit (platea). Particulars about admission, etc., are published in the hand-bills. Gomp. p. xxiv.
Marionette Theatre: Teatbo Goldoni, Via de* Soldati. — Co/is Chan' *imis, numerous.
Church Festivals. ROME. Prelim, Information. 119
Gabs, OmnibuBes, and Tramways, see Appendix.
Oaxriage Hiren. Belli^ Via Margutta 27; PiseiteUij Vicolo degli Avignon- esi 7. Charges vary according to the season, bat the average may be placed at 90 fr. a day. The best carriages are obtained at the larger hotels, where, however, the charge is sometimes as high as 50 fr. a day. Gratnity to the coachman extra. — Saddle Horses. Cat'rolt, Via Margutta 38; Jarret^ Piazza del Popolo 3 : Franeesangelif Via Principe Umberto 133 ; Piereiti, Via Firenze 43. Charge 10 fr. for half-a-day; ostler's fee 1 fr.
Porters (Fattorini PubbUci). The best are those of the Impresa Ro- mana, Vicolo Sciarra 60, with the name on their caps and a brass number on their coats. Porter with letter or luggage under 33lbs., 26-75 c. accord- ing to the distance. There are also three other companies.
Post Office (comp. Introd., p. xxv). Piazza di S. Silvestro in Capite, a large new edifice, open from 8 a.m. to 9.30 p.m. C^l. I, 16; also entered from the Via della Vite). Paste Restante letters (^ferma in posta'') are de- livered at several windows for the different initials under the arcades in the court, on the right. Under the arcades, on the left, is a writing- room (letter 10 c). Branch O/fices : at the railway-station (open till 10.30 p.m.), Piazza Barberini 10 (open till 10 p.m.), Via del Babuino 106, Borgo Nuovo 136, Corao Vittorio Emanuele 61, Via Alessandrina 100 (open 8-8).
— Parcel Post at the general post-office and at Monte Citorio 132 (9-6).
Telegraph Office, open day and night, in the General Post Office building. Piazza di S. Silvestro in Capite. Branch Offices: Piazza Aracceli 3, Via Venti Settembre 118, Borgo Nuovo 86 (in summer 7< 9, in winter 8-9); also at the Bailway Station (open night and day).
English Ghturches. AU Saints, Via Babuino, Piazza di Spagna, designed by Street (superseding the old Anglican Church near the Porto del Po-
golo); services at 8. 80 a.m., 11 a.m., and 3 p.m., in summer 9 a.m. and p.m. ; chaplain, Oanon Watson Watse, M. A.j, Via della Croce 81. — Tri- nity Church, Piazza S. Silvestro, opposite the Post Office (p. 153) ; services at 11 a.m. and 8 p.m. : chaplain (1889-90), Rev. A. C. Thiselton. — Ameri' can Episcopal Church of 8t. Paul, a handsome brick edifice by Street, Via Nazionale; services at 8.90 a.m., 11 a.m., and 4 p.m.; rector. Rev. Dr. Ne- vin, Via Kazionale 16. — Scottish Presbyterian CJturch, Via Venti Settembre 7, near the Quattro Fontane; services at 11 a.m. and 3.30 p.m.; minister, Rev. Dr. Qrtxy, Via Venti Settembre 7, 2nd floor. — WesUyan Methodist Church, Via della Scrofa 63; services on Sun. 11 a.m. and 7.30 p.m., on Thurs. 7.30 p.m.; minister, Rev, Henry Piggott, Via delle Copelle 28. — American Baptist Church, Via Teatro Valle.
Italian Protestant Ohurohes. Waldensian Church, Via Xazionale 107.
— Free Italian Church (Signor Gavazzi), Via Panico 43, opposite the church of 8. Angelo. — Military Churchy Via delle Copelle 28; service every evening at Ave Maria (1 hr. after sunset); chaplain, Rev. Cav. Capellini, Pozzo delle Gomacehie 14. — Episcopal Methodist Church, Piazza Poli. — Baptist Chapel, Piazza San Lorenzo in Lucina. — Baptist Church, YI&Vt- bana 154.
Anglo-American Olnb, Via Condotti 21. — English Olub, Via della Croce TO.
Church Festivals. Since the annexation of Rome to the kingdom of Italy on 20th Sept., 1870, the great ecclesiastical festivals have lost most of their splendour. The public ceremonies at which the Pope formerly officiated in person, such as those of the Holy Week, the benedictions, and the public processions including that of the Fdte de Dieu, have been discontinued. The Pope still officiates on high festivals in the Sistino Chapel, but visitors are not admitted without an introduction from very high quarters. (Gentlemen are required to wear uniform or evening dress. Ladies must be dressed in black, with black veils or caps.)
The following enumeration of the various festivals, as they were celebrated pbiob to 20th Sbpt. 1870, will still be found useful in many respects. Details are contained in the Diario Romano.^ pu.bU&\L<&^ %:oxcn3l;^s^c<i > The best work on the ceremonies of the Holy "We^"^ «av^ N2ei«cc %VgG&.^^A<- tion is the Manuals delle cerimonie che hanwi luogo neWa «e\.U'nvQb-n.a %o.tv.\.o. ^
1 20 Prelim. Information. ROME. Church Festivals.
neir otiava di pasqua al Vatieano (1 fr. ; also a French edition), obtainable at the bookshops mentioned at p. 115.
TTie Pope nsed to officiate in person three times annually, on Christmas Day, Easter Day, and the Festival of St. Peter and St. Paul (29th June) \ and four times annually he imparted his benediction, on Holy Thursday and Easter Day from the balcony of St. Pcter^s, on Ascension Day from the Lateran, and on 15th Aug., the anniversary of the ^Assumption of the Virgin^ from S. Maria Maggiore. The most imposing ceremonies were those of the Holy Week^ frora Palm Sunday to Easter Day, the most important of which took place in the Sistine Chapel , accompanied by the music {''lamentations'^ etc.) of Palestrina and other old masters, on which occasions the papal band (cappella papale) performed.
The following are the principal festivals: — January 1. Cappella Papale in the Sistine, 10 a. m.
— 5. Cappella Papale in the Sistine, 3 p.m.
— 6. Epiphany. Cappella Papale in the Sistine, 10 a.m.; at 4p. m.
procession in Aracoeli.
— 17. S. Antonio Abbate (PI. II, 25, near S. Maria Maggiore) , bene-
diction of domestic animals.
— 18. Anniversary of foundation of the chair of St. Peter , Cap. Pa-
pale in St. Peter*s, 10 a. m.
— 21. S. Agnese Fuorl (p- 3^-
February 1. Illumination of the lower church of S. Clemente (p. 200).
— 2. Candlemas. Cap. Papale in St. Peter's, 9 a. m.
— 7. Cappella Papale in the Sistine, in memory of Pius IX.
— 20. Cappella Papale in the Sistine, to celebrate the anniversary
of Leo XIII.'s election. On Ash Wednesday and every Sunday during Lent, Cappella Papale in the Sistine at 10 a. m. The Lent sermons in Gesii (PI. II, 16), S. Maria sopra Minerva (PI. II, 16), and other churches are celebrated. March. 8. Cappella Papale in the Sistine, to celebrate Leo XlII.'s instal- lation.
— 7. St. Thomas Aquinas, in S. Maria sopra Minerva (PI. II, 16).
— 9. S. Francesca Bomana (in the Forum).
— 16. Festival in the chapel of the Palazzo Massimi (PI. II, 17) in
commemoration of a resuscitation by S. Filippo Keri (p. 199).
— 25. Annunciation. Cap. Papale in S. Maria sopra Minerva (PI. II, 16).
Holt Week.
Palm Sunday. Cappella Papale in St. Peter's. Consecration of palms ; then mass. At 2 p.m. confession in the Lateran (PI. II, 30).
Wednesday. Cappella Papale in the Sistine, 3 p. m. Tenebree, Miserere.
Holy Thursday. Cappella Papale in the Sistine, 10 a. m. Towards noon the benediction *Urbi' from the loggia of St. Peter's. Then washing of feet in St. Peter's , immediately after a dinner to twelve pilgrims in the loggia of St. Peter's. Cappella Papale in the Sistine, 3 p. m. Tenebree and Miserere.
Good Friday. Cappella Papale in the Sistine , 9 a. m. (music by Pales- trina). At 3 p. m. Tenebrse and Miserere. Procession of Car- dinals in St. Peter's.
Saturday. Cappella Papale in the Sistine, 9 a.m. (Missa di Papa Mar- cello, by Palestrina). Baptism of converts in the Lateran.
Easter Day. High Mass in St. Peter's, formerlv celebrated by the Pope. The elevation of the host (about 11 a. m.) was accompanied by the blast of trumpets from the dome. The Pope was then carried in procession from the church, and about noon imparted the great benediction 'Urbi et Orbi' from the loggia of St. Peter's. After sunset, illumination of the dome of St. Peter's.
Easter Monday. Cappella Papale in the Sistine, 9 a. m.
Easter Tuesday. Cappella Papale in the Sistine, 9 a.m.
Saturday in Albis. Cappella Papale in the Sistine, 9 a. m.
Apri) 25. Procession of the clergy from S. Marco (PI. II, 16) to St. Peter's at 7. 30 a. m.
Popular Festivals. KOME. Prelim. Information. 121
Hay 26. S. Filippo "Sen. Gappella Papale in the Chiesa Nuova, 10 a. m. Ascension. Gappella Papale in the Lateran. Benediction from the loggia. Whitsunday. Gappella Papale in the Sistine , 10 a. m. Trinity. Gappella Papale in the Sistine, 10 a. m.
Corpus Domini (Fdte de Dieu). Procession of the Pope and clergy round the piazza of St. Peter's, 8 a. m. John the Baptist. Gappella Papale in the Lateran, 10 a. m. Eve of SS. Peter and Paul. Gappella Papale, St. Peter*s, 6 p.m. SS. Peter and Paul. — - Forenoon, Gappella Papale, St. Peter's,
celebration formerly by the Pope. S. Bonaventura, in S. S. Apostoli. S. Ignazio, in Gesii.
St. Peter in Vinculis, in S. Pietro in Vincoli (PI. H, 23). S. Maria della Neve, in S. Maria Maggiore (PI. II, 25). Assumption of the Vii^n. Gappella Papale in S. Maria Mag- giore (PI. II, 25), 9 a. m. ; great benediction from the loggia. Nativity of the Virgin. Gappella Papale in S. Maria del Popoln
(PL I, 18), 10 a. m. Elevation of the Gross, in S. Marcello (PI- II) 16). S. Marco, in the church of that saint (PI. II, 16). S. Luca, in the church of that saint (PI. II, 20). All Saints' Day , Gappella Papale in the Sistine , 10 a. m. and
3 p. m. All Souls' Day. Gappella Papale in the Sistine, 10 a. m. Requiem for former Popes. Gappella Papale in the Sistine,
10 a. m. S. Garlo Borromeo. Gappella Papale in S. Garlo, 10 a. m. Requiem for deceased cardinals in the Sistine. On the four Sundays of Advent, Gappella Papale in the Sistine, 10 a.m. (On the first Sunday of Advent Procession of the Mass to the Gappella Paolina.) Nov. 22. St. Gecilia. Gappella Papale in S. Gecilia in Trastevere (p. 331). Illumination of the Catacombs of Gallistus (p. 361).
— 23. Illumination of the lower church of S. Glemente (p. 260).
Dec. 8. Gonception. Gappella Papale in the Sistine, 3 p. m. Proces- sion from Aracoeli (PI. II, 20).
— 24. Ghristmas Eve. Gappella Papale in the Sistine , 8 p. m. To
wards midnight, solemnities in Aracoeli, about 5 a.m. in S. Maria Maggiore (PI. II, 25). Dec. 25. Ghristmas Day. Gappella Papale in St. Peter's, 9 a.m., cele- bration formerly by the Pope ; elevation of the host announced by trumpets in the dome.
— 26. St. Stephen's Day. Gappella Papale in the Sistine, 10 a. m.
— 27. St. John the Evangelist. Gappella Papale in the Sistine, 10 a. m.
— 31. Gappella Papale in the Sistine; after which, about 4 p. m.,
grand Te Deum in Gesh (PI. II, 16).
|
June |
24. 28. 29. |
|
July Aug. |
14. 31. 1. |
|
— |
5. 15. |
|
Sept. |
8. |
|
Oct. Nov. |
14. 7. 18. 1. |
|
__ |
2. 3. |
|
— |
4. 5. |
Popular Festivals (which have lost much of their former interest) : — Epiphany (6th Jan. ), celebrated in the evening in the Piazza Navona, since 1873 (formerly near S. Eustachio) ; array of booths and prodigious din of toy-trumpets.
The Gakntval, which has of late regained a little of its former splen- dour, lasts from the second Saturday before Ash Wednesday to Shrove Tuesday, and consists in a daily procession in the CorsOy accompanied by the throwing of bouquets and comfits (except on Sundays and Fridays, when a ^gala corso' generally takes place), and concluding with a horse-race. The last evening is the Moccoli (taper) evening, the tapers being lifted immediately after sunset. A window in the Gorso is the best point of view. The liveliest scene is between the Piazza Golonna and S. C«.tV). '^viX^^t^.^^ there are in great request (as high as 600 fr.") •, sm^Ae \k\«k.<ifeft vc«i \fe\. aw ^N»»&» fitted up for the occasion.
122 Prelim, InformaUon. ROME. Collections, Villas, etc.
The OoTOBBB Festival, in the vintage-season, once famons, is celebrated with singing, dancing, and carousals at the osterie ontside the gates.
The Festa dbllo Statuto, or Festival of the Constitution, introduced since the annexation of Borne , is on the first Sunday in June. Military parade in the forenoon in the Piazza deir Indipendenza or the Gampo Militare (p. 169). In the evening fireworks ('Girandola' ) in the Piazza del Popolo and elsewhere. — On the anniversary of the Foundation op Bomb (21st April), it has of late been usual to illuminate the Colosseum and the Forum with Bengal fire.
The opening of Parliament is also inaugurated with festivities.
Street Scenes. The top of the Scala di Spagna (PI. I, 20) and the Via Sistina are the favourite haunts of artists* models, chiefly Neapolitans, whose costumes are a well-known subject of photographs and pictures.
The favourite haunto of the country-people are in front of the Pantheon . (PI. II, 16 \ especially on Sundays) , the Piazza Montanara (PI. II, 17), and the market-place of the Campo di Fiori (p. 204).
The Garrison of Bome consists of 4 regiments of Infantry (wearing the 'giubba', or dark blue coat common to the whole army, grey trousers, white leather belts , and caps) ; 2 regiments of Oranatieri (or Grenadiers ; infantry uniform, with a burning grenade on the cap to distinguish them) \ 1 regiment of Bersaglieri or riflemen (dark blue uniform with crimson facings, la^e plumed caps worn on one side , forming an 61ite corps like the Austrian Kaiserjager) ; 1 regiment of Cavalry (dark blue uniform, light grey trousers, and helmets ; the Lanzieri wear fur caps and trousers faced with black); 1 brigade of Field Artillery and 1 brigade of Fortress Ar- tillery (dark blue uniform with yellow facings) \ and 1 brigade of Engineers (dark blue uniform with crimson facings). To these we may add the Cktra- Mnt'ert, or gensdarmes Q>. xvi).
Collections, Villas, etc.
Changes in the arrangements take place so frequently that the follow- ing data cannot long remain accurate. Even the lists of sights contained in some of the daily newspapers are not always trustworthy (best in 'L'ltalie'' and in the Anglo-American ^Boman Herald"). Intending visitors should therefore make additional enquiry at the hotels, booksellers, etc. The Villas Borghese and Doria Pamphilj are best visited by carriage. — Galleries and palaces within angular brackets in the following list are tem- porarily closed.
The ''PermessC necessary for visitors to the Vatican and several other collections may either be obtained personally in the ways described below or through the consuls (p. Ill) or bankers. — FeeSy see p. 114.
Accademia di8. Luca (p. 238), pictures: dally, 9-3; closed in July and August.
Albani, Villa (p. 838), antiquities and pictures : Tuesdays, except in wet weather, from 12 noon ; admittance by permesso, obtain- able at the office in the Palazzo Torlonla , Piazza Venezla 135, to the left on the ground-floor, on presenting a visiting-card.
Barberini, Palazzo (p. 170), picture-gallery and antiquities : daily, 10. 30-5 (Thurs. 2-5) ; library , Thurs. 9-2 (closed from the middle of Sept. to the end of Oct.).
*Borghese, Palazzo (p. 184), pictures: Mon., Wed., andFrid., 9-3 j admittance by permesso, obtainable at the Palace 10-12 a. m.
* Borghese, Villa (j^. 334), garden: Tues., Thurs., Sat., and Sun., after 1 p.m., cabs also admitted; the casino, with the antiqui- ties, Sat. 1-3, admittance by permesso obtainable at the Palazzo Borghese.
Collections y Villas, etc, ROME. Prelim, Information, 123
*CapitoUne Museum Q^. 216): daily, 10-3, 60 c. ; on Sun., New Year's Day, Epiphany, Festival of the Constitution (p. 122), Ascension Day, Corpus Chrlsti Day, Festival of SS. Peter and Paul, Aug. 15th, Sept. 8th, and Dec. 8th, 10-1, free; closed on Easter Day, Sept. 20th, Nov. 1st, and Christmas. Castello 8. Angelo (p. 274) : daily at 9, 11, 1, or 3 o'clock by per- messo, available for six persons, obtainable at the Comando di Divisione Territoriale di Roma, Via de' Burr5 (a street connect- ing the Piazza di Pietra and Piazza S. Ignazio; PI. I, II, 16), No. 147, second floor.
* Catacombs of 8t. Callistus (p. 361) : daily, see p. 356.
* ColonnOy Palazzo (p. 163), picture-gallery: Tues,, Thurs,, & Sat.,
11-3. ^Colosseum (p. 234) : open at all hours ; the galleries closed after
11 p. m. (comp. p. 236). * Conservatori y Palace of Q. 215), new collection, bronzes and
pictures : times of adjoiission same as for the Capltoline Museum
(see above). Corsinij Palazzo (p. 324), picture-gallery: Mon., Thurs., and Sat.,
9-3, except on holidays. *Doria, Palazzo (p. 158), picture-gallery: Tues. and Frid. 10-2;
or Wed. or Sat., if one of the usual days is a holiday. Doria, Villas see below ( ViUa Pamphilj), *Famesina, ViUa (p. 323) : on the 1st and the 15th of each month ;
closed in midsummer.
* Forum Romanum (p. 222): daily, tUl dusk, gratis; closed in
midsummer, 12-3. * Kircheriano, Museo (jp. 156): daily, except public holidays, 9-3 (1 fr.), Sun. free.
* Lateran , CoUeetiona of tJie (p. 268) : daily , 9-3 ; in spring 10-4,
in summer 9-1. [Ludovisij ancient sculptures from the former Villa (p. 172) : closed
at present] Maltese Villa and 8, Maria Aventina (p. 253): Wed. and Sat., 9
to dusk. Mallei y Villa (p. 269): Thurs., after 2. 30 p.m. ; visitors write
their names in a book. Medici, FiWa (p. 149), collection of casts : Wed. and Sat., 8-12,
and afternoons till dusk. Museo Artistico Industriale (p. 151), daily, 9-3, except Wed. Museo ddle Terme (p. 168), same as the Capltoline Museum.
* Palatine Exectwxtions (p. 242): daily, 9 till dusk; adm. 1 fr. ; on
Sun. and holidays gratis; closed in summer 12-3.
*PamphUj, ViUa Doria (p. 355): Mon. and Frid., 1 till dusk, some- times only from 4 ; two-horse carriages and one-horse carriages without numbers also admitted.
*8t. Peter's, Dome o/(p. 285) j daily 8-ii, "\>7 ^ensvei^^^i.
124 Prdim. Information. ROME. Students^ PermessL
QmHnalej Palazzo del (p. 173}, the residence of the King, daily, but part of it only is shown.
*Rospiglio8ij Casino (p. 175), pictnies: Wed. and Sat., 9-3.
*Thermae of Caraealla (p. 255): daily, 9 till dusk (1 fr.); Sun. after 10, gratis; closed from 12 to 3 in midsummer. Thermae of Titua (p. 237) : admission as to the preceding.
[Torlonia, Afuaeo(p. 325), formerly by written application to the Pa- lazzo Torlonia (p. 162), but closed at present.]
* Vatican Collections and Library (p. 287) accessible on the days mentioned below (but always closed on Sat., Sun., and holi- days), 10-3, gratis, by permessi, to be obtained through a con- sul, or by direct application at the Segretaria of the Maggior-
domo (9-1 o'clock) in the Oortile di S. Damaso (p. 286). Intending viaitors apply to the Swiss guard (no gratnity) at the Portone di Bronso, opposite the chief entrance to the Vatican (p. 286), and are conducted to the office, where they write their names in the permesso. The hotel-keepers also procure permessi for their guests, for which they sometimes charge 1 fr. each. On leaving the Vatican the visitor who in tends to return should at once procure another permesso in the way above mentioned, or ask the custodian to give him back the old one 0/s f'O*
Besides the permessi for artists and scientific men mentioned below, there are ordinary permessi available for 6 persons. For RaphcteVs Stame and Loffffie^ the Picture Odtterp, and the Sistine Chapel , 9-3 o''clock on the first five week-days, festivals excepted. — For the Muieum of Statuary^ the Etruscan Museum, and the Egyptian Museum, Mondays, Tuesdays, Wednesdays, and Fridays, 9-3.
The Vatican Library is open on the same days as the Museum of Statuary (Mon.j Tues., Wed., Frld., 8-12), no permesso being required; comp. p. 819.
Those who desire to study, draw, or copy in Roman museums or pri- vate collections must procure a Permesso through their consul. For the Papal Museums permission is granted by Monsignor Maeehi (maggiordomo of the pope) at his office (see above), the written application having been left there a day or two previously. (Separate permessi required for the mu- seums of the Vatican and Lateran, the Vatican picture-gallery, and Raphael's Loggia.) In the case of Private Galleries^ application must be made to the proprietor in Italian or French, stating also which picture it is intended to copy, and the size and description of the copy. In some collections copies of the original size must not be made. As to this and similar regulations, information should be previously obtained from the custodian. The follow- ing form of application to the Monsgr. Maggiordomo, may be also addressed to a principe or marchese, the ^Revma'' being in this case omitted.
Eccellenza Revman
Jl soitoseriito, che si trattiene a Roma con lo scopo di proseguire in questa capitate i suoi siudj artistiei (storici, etc.), si prende la liber th di rivolgersi con questa a Vra Eccellenza Revma pregando La perehk voglia accordargli il grazioso permesso di far degli studj (dei disegni, delle notizie, etc.) nel Museo (nella Galleria) Vaticano. ^
Sperando di essere favorito da Vra Eccellenza Revma e pregando La di gradire antieipatamente i piii sinceri suoi ringraziamentiy ha Vonwe di pro-
testarsi col piii profondo rispeito ^ rr^^^u^^,^ »-«5{^
at vra nccelienza Ktvma
Roma Zi . . . . ^ Ummo Obbmo Servitore
A Sua Eccellenza Revma N. N.
Monsignor Macchi
Maggiordomo di Sua Santith.
Diary. ROME. Prelim. Information. 125
Diary.
(To be compared tnth the preceding Alphabetical List).
Daily: Gapitoliue Museum (p. 216) and Palace of the Gonser- ▼atori (p. 215), 9-3, adm. 50 c.; Sun., 10-1, gratis. — Collections in the Lateran fp. 268), 10-3, in summer 9-1. — Museo Klrche- riano (p. 156), 9-3, adm. 1 fr.; Sun. gratis. — Forum Romanum (p. 222). Excavations on the Palatine (p. 242); adm. Ifr. ; Sun. gratis). Theims of Caracalla (p. 255) ; adm. 1 fr. ; Sun. gratis ; all three after 10 a.m., closed In summer from 12 to 3. — Dome of St. Peter's (p. 285) 8-11. — Catacombs of St. Callistus (p. 361), etc.
Daily, -except Sundays and Holidays: Academy of S. Luca (p. 238) 9-3; closed in July and August. — Galleria Barberini (p. 170) 12-5.
Sundays: Villa Borghese (p. 334), after 1 p.m.
Mondays: Vatican Collections (Raphael's Stanze and Loggie, Picture Gallery, Sistine Chapel, and Museum of Statuary) 9-3 (Library 8-12). — Galleria Borghese (p. 184) 9-3. — Galleria Corsini (p. 324) 9-3. — Villa PamphHj (p. 355).
Tuesdays : Vatican Collections (Raphael's Stanze and Loggie, Picture Gallery, Sistine Chapel, and Museum of Statuary) 9-3 (Library 8-12). — Galleria Doria (p. 158)10-2. — Galleria Colonna (p. 163) 11-3. — Villa Borghese (p. 334), in the afternoon.
Wednesdays : Vatican Collections (Raphael's Stanze and Loggie, Picture Gallery, Sistine Chapel, and Museum of Statuary) 9-3 (Library 8-121 — Casino Rospigliosi (p. 175) 9-3. — Galleria Borghese (p. 184) 9-3. — S. Maria Aventina (p. 253), from 9 a.m.
Thursdays : Vatican Collections (Raphael's Stanze and Loggie, Picture Gallery, Sistine Chapel, Egyptian and Etruscan Museums) 9-3. — Galleria Corsini (p. 324) 9-3. — Barberini Library (p. 171) 9-2. — Galleria Colonna (p. 163) 11-3. — Villa Borghese (p. 334) in the afternoon. — Villa Mattel (p. 259) after 2. 30 p.m.
Fridays ; Vatican Collections (Raphael's Stanze and Loggie, Pic- ture Gallery, Sistine Chapel, and Museum of Statuary) 9-3 (Library, 8-12). — GaUeria Borghese (p. 184) 9-3. — Galleria Doria (p. 158) 10-2. —Villa Doria-Pamphilj (p. 355).
Saturdays : Casino Rospigliosi (p. 175) 9-3. — Galleria Corsini (p. 324) 9-3. — Galleria Colonna (p. 163) 11-3. — Villa Borghese (p. 334) and the Casino, in the afternoon. — S. Maria Aventina (p. 253) 9 till dusk.
Duration of Visit.
To become thoroughly acquainted with the matchless attractions of Rome, the traveller should spend a whole winter in the ^Eternal City', and even to obtain a hasty glimpse at them he mii«»t \cv'^V^ 'Sis. stay of 10-14 days at least.
126 Ptdim, Information. ROME. Fortnight's Visit.
Snmmary of Chief Attractions.
Ghubchss : St. Peter*8 (p. 277), S. Giovanni in Laterano (p. 265), S. Haria Maggiore (p. 176), S. Lorenzo fuori le Mora (p. 343), S. Paolo fuori le Mura (p. 352), Sistine Chapel (p. 287). S. Agostino (p. 189), S. Clemente (p. 260), S. Croce in Gerusalemme (p. 181), S. Maria degli Angeli (p. 167), S. Maria in Aracceli (p. 209). S. Maria sopra Minerva (p. 195), S. Maria della Pace (p. 191), S. Maria del i'opolo (p. 147), S. Maria in Trastevere (p. 380), S. OnoMo (p. 322), S. Pietro in Vincoli (p. 182), S. Prassede (p. 178).
Palaobs : Palazzo della Cancelleria (p. 199) , Famese (p. 205), Giraud
(p. 276), di Venezia (p. 162).
Ruins: Forum (n. 222), Colosseum (p. 234), Imperial Palaces (p. 244), Cloaca Maxima (p. 248), Thermee of Titus and Caracalla (pp. 237, 255), Pantheon (p. 193), Theatre of Marcellus (p. 203), Forum of Trajan (p. 240), Temple of Keptune (p. 155), Pyramid of Cestius (p. 252). — Catacombs of St. Callistus (p. 361).
Collections of Statues in the Vatican (p. 308), Capitol (p. 216), La- teran (p. 268), Villa Albani (p. 338), Borghese (p. 334), Ludovisi (p. 172).
PiOTUBSs : Raphael's Loggie and Stanze (p. 2S^), galleries of the Vatican (p. 301), Palazzi Borghese (p. 185), Barberini (p. 171), Golonna (p. 163), and Doria (p. 158).
Pbombnaoes : Monte Pincio (p. 148), where a military hand plays daily 2 hours before sunset (in summer in the Piazza Colonna), attracting a fashionable crowd both of Romans and foreigners. — The Villa Borghese^ the most popular of the Roman villas (p. 334) ; the Villa Doria-PampMlJ (p. 355); and the ViaAppia (pp. 254, 348). — The new Passegffiata Mar- gherita (p. 330) and Parco RegiiM Margherita (p. 336).
Points of View on the left bank: The Pincio (PI. 1,18; p. 148), Basilica of Constantino (PI. II, 20; p. 232), Palatine (PI. U, 21; p. 241); on the right bank : *S. Pietro in Montorio (PL II, 12 ; p. 328), and the adjoining "^Passeggiata Margherita (p. 330 ; at least 1/2 ^^- before sunset).
A Fortnight's Visit.
The traveller who desires to see most of the above sights within a fortnight must economise time by drawing up a careful programme for each day before starting, or by following the plan suggested be- low. It is advisable to devote the early part of the forenoon to visit- ing the churches , which , with the exception of the largest , are closed from 12 to 4. With regard to meals, it is hardly necessary to say that the heavy 'dejeuner ^ la fourchette' in the middle of the day should be eschewed, as it encroaches on the most valuable part of the day, and that the usual English hours for a substantial break- fast, slight luncheon, and late dinner should be observed. One of the first things to be done is to secure 'permessi' (comp. pp. 122, 124).
1st Day. The first part of this had better be devoted to what may be called an '^ Orientation DiHve''.
Engage a cab for 2-3 hrs. (tariff, see Appendix) and drive down the Corso as far as the Piazza di Venezia, then to the Foro Trajano and through the Via Alessandrina and Via Bonella to the Forum Romanum, past the Colosseum, through the Via di S. Giovanni in Laterano to the Piazza in front of tlie church, then through the Via Merulana, passing S. Maria Maggiore, through the Via Ag. Depretis (Quattro Fontane) and the Via Nazionale to the Piazza Venezia, then through the Corso Vittorio Emanuele to the Via Tor Argentina, through the last street to the Ponte Garibaldi, crossing it to Trastevere, passing S. Maria in Trastevere, and through the Lungara to the Piazza di S. Pietro; then through the Bor^o Nuovo, across the Piazza Pia, past the Castle of S. Angelo, over tie Ponte S. Angelo, tind through the Via Banco di 8, Spirito, Ihe Corso
Bibliography. ROBOI. Prelim. Information. 127
Vittorio Emanuele, and the Via Aracoeli to the Piazza in Arac<Bli at the foot of the Capitol, where the cab may be dismisaed. Ascend to the Piazza del Campidofflio (p. 210), visit the Capitoline Mtueum (p. 216) and the Forum Romanum (p. 222), and lastly spend the evening on the Findo (p. 148).
2nd Day (Hon. or Wed.). Oalleria Borghese (p. 185 ^ Hon., Wed., Frid., 9-3)) Pantheon (p. 193); 8. Maria sopra Minerva (p. 190); Can- celleria (p. 199); Pal. Famese (p. 205); Ponte 8Uto (p. 327); 8. Maria in Trastevere (p. 330); 8. Pietro in Montorio (p. 328); then, if time permit, a walk in the new Passeggiaia Margherita (p. 330), which may also be in- cluded in the programmes given below for the 3rd and 8th days.
3rd Day (Mon., Tues., Wed., or Frid.). 8t. Peter's (p. 277) and the Dome (p. 285; 8-10); 8Utine Chapel (p. 287; 9-3); Antiquities (p. 304; 9-3); 8. OnofHo (p. 322).
4th Day (Mon., Thurs., or Sat.). RapltaeVs 8tanze and Loggie* Vatican Picture Gallery (p. 293; Mon. to Frid. 9-3); Galleria Coisini (p. 3C4; 9-3); Palatine (p. 241).
5th Day (any week-day). Museo Kircheriano (p. 156) ; Forum of Tra- jan (p. 240); Fora of Augustus (p. 239) and Nerva (Golonnacce, p. 239); 8. Pietro in Vincoli (p. 182); Thermae of Titus (p. 237); Colosseum (p. 234); Arch of Constantine (p. 236) ; walk over the Caelius (p. 258), if time permit.
6th Day (Tues.). 8. Maria del Popolo (p. 147) ; Gesit (p. 197) ; Galle- ria Doria (p. 158; lQ-2); Galleria Colonna (p. 163; 11-3); Quirinal (p. 174); 8. Maria degU Angeli (Thermae of Diocletian^ p. 167) ; 8. Agnese fuori le Mura (p. 342), if time left.
7th Day (any day). 8. Clemente (p. 260); Lateran, Moseum (9-3), Church and Baptistery (p. 267); 8. Maria Maggiore (p. 176); 8. Prassede (p. 178) ; 8. Lorenzo fuori (p. 343).
8th Day (any day). From the Forum Romanum to the Janus Quadri- frons (p. 248); Cloaca Maxima (p. 248); Ponte Rotto (p. 250); 8o-oalled Temple of Fortuna Virilis (p. 249) and that of Hercules Victor (p. 249); 8. MaHa in Cosmedin ^. 249); by tramway to 8. Paolo f%u>ri (p. 3o2) and back to the Porta S. Paolo ; Pyramid of Ceitius (p. 252); Monte Testacdo (251); over the Aventine (8. 8abina^ p. 252).
9th Day (any day). 8. Agostino (p. 189); 8. Maria delP Anima (p. 191) ; 8. Maria delta Pace (p. 191); second visit to Sistine Chapel and to Raphael's 8tame and Loggie or to the Picture Gallery (9-3). Excursion to Ponte Molle (pp. 334-336).
10th Day (any day). 8. Maria in Aracoeli (p. 209); collections in the Palace of the Conservatori (p. 211 ; 10>3) ; Thermae of CaracaUa (p. 255) ; Via Appiay within and without the city (pp. 254, 348). and the Cataconibs of Callistus (p. 361). Back by the tombs on the Via Latina (p. 346).
IItu & 12th Days. Another day or two should be devoted to revisit- ing the collections of antiquities in the Vatican and the Capitol and the Borghese Gallery; a visit may also be paid to the Villa Famesinaf open only on the 1st and the 15th of each month.
13th & 14th Days. Lastly, a day should certainly be devoted to the Alban Mts. (p. 363), and another to Tivoli (p. 377). These excursions should not be postponed till the end of the visitor's stay at Borne. They may be made on a Sunday, which is not a good day for sight-seeing.
Bibliography.
The literataie on the history and topography of Rome, especially of ancient Rome, Is so extensive, that it is impossible to do more than indicate a few of the most useful works on the subject. At the revival of learning after the dark ages numerous scholars, such as Poggio (1440), Flavio Siondo, and iMcio FaunOj devoted them- selves with enthusiasm to exploration in this field. The most im- portant of the mediffival -works on Rome is NardinVs Roma. Antica (1666), edited by Nibby in 1818.
128 Prelim, Information, ROME. Bibliography,
Among modem works we may mention the following: —
1. Italian. Nuova Deserisione di Roma Antica e Modema 1820, by C. Fea.
Indic(»tion6 Topografica di Roma Antiea (3rd ed., 1841) and other works
by Canina. Roma neir Anno 1838, by N%bby (3 vols, j 1843).
2. FsBNOH. Rome^ Description et Souvenir^ by Francis Wep. a handsome
illustrated work, with 358 wood-cuts (3rd ed., Paris, 1875). Rome au Siicle d'Auguete, by Dezobry (1844). Promenades ArcMologiques, by Boissier (Paris, 1881). Rome et ses Monuments, by Debleser (1882; useful information about
church services and other ecclesiastical matters). Les Antiquit^s de la Ville de Rome au X/Fe, XF^, et XV I^ sihcles, by
E. Milntz (Paris; 1886).
3. Gbbhan. OesehicMe und Besehrexbung der Stadt Rom, by Sachse (1824).
Beschreibung Rome, by Niebuhr. Plainer. Bun*en, Ulriehs. and others, a learned and extensive work forming the basis for iJl subsequent ex- ploration (6 vols., 183042). An abridgment of this work, in 1 vol., was issued by PlcUner and Ulriehs in 1845.
Handbueh der R&mischen AUertMmer, by W. A. Becker, a useful sup- plement to the foregoing (numerous references to classical authors).
Topographie der Stadt Rom im Alterthum, by H. Jordan, with an ac- count of the present state of the excavations (3 vols.; 1871-85).
Topographie der Stadt Rom, by 0. Richter, an excellent and learned survey, though somewhat crowded owing to its conciseness (1889).
Die Ruinen Roms^ by Reber (3rd ed., Leipsic, 1879).
Darstellungen aus der Sittengesehiehte Roms in der Zeit von August bis zum Ausgang der Antonine, by L, Friedlaender , a valuable contri- bution to the social history of the imperial era (5th ed., 1881-82).
OesehicMe der Stadt Rom im MUtelalter, by Ferdinand Oregorovius , a history of Rome in the middle ages, closing in 1535 (1858-72).
OesehicMe der Stadt Rom, by A. von Reumont, a history of Rome from its foundation to 1846 (3 vols. ; Berlin, 1867-70).
4. English. Walks in Rome, by Augustus J, G. Hare (12th ed., 1887). an
admirable cicerone for the ordinary visitor to Rome (may be bor- rowed at Piale's library).
Rome, Ancient and Modem , by the Rev. Dr. Donovan (4 vols. ; 1842), based on the works of Professor Nibby.
Transformation or The Marble Faun, by Nathaniel Hawthorne, contains much incidental matter of interest for the visitor to Rome. — See also Georges Sand's *'Daniella\ Hans Andersen's *■ Improvisators'' , and Miss Roberts^ '■Mademoiselle Mori".
Archaeology of Rome, by /. H. Parker^ profusely illustrated.
Architectural History of Rome, by /. H. Parker (1881).
Romae Antiquae Notitia, or the Antiquities of Rome, by Basil Rennet (1731).
Rome under Pius IX., by ,8f. W. Fullom (1864).
Rome Illustrated, translated from the French of Francis Wey (see above ; new ed., 1887).
Architectural Annuities of Rome, by Taylor d: Gresy (new ed., 1874).
Rome emd the Gampagna, by Bum (London, 1870), the best English work of the kind.
Historic and Monumental Rome, by G. J. Hemans (1874).
Gallus, by W. A. Becker (English translation by Metcalfe).
Manual of Roman Antiquities, by Prof. Ramsay.
Topography of Rome and its Vicinity, by Sir William OeU (1846).
The Roman Gaiacombs, by the Rev. J. Spencer Northcote (new ed., 1859).
The Gity of Rome, by Dyer (1883).
Ancient Rome in 1885, by Prof. J. H. Middleton (Edinburgh, 18S5).
Ancient Rome in the Light of Recent Discoveries, by R. A. Landani (illus.; London, 1888).
The reader need scarcely be reminded of the histories of Oilbon, Nie- buhr, A/ommsen, Merivale, Ai-nold, Duruy, and Ihne.
Origin. ROME. History. 129
History of the City of Rome.
Difflcult as it undoubtedly is to trace the career of the Eternal City throughout upwards of two thousand years , and to mark and appreciate the manifold vicissitudes which it has undergone, the traveller will naturally desire to form some acquaintance with the history of the ancient centre of Western civilisation, the city of the Republic and Empire, on the ruins of which the seat of a vast ecclesiastical jurisdiction was afterwards founded, and now the capital of an important and steadily progressing modern state. Wherever we tread , our thoughts are involuntarily diverted from the enjoyment of the present to the contemplation of the past ; and the most careless of pleasure-seekers will find it difflcult to with- stand the peculiar influence of the place. The following sketch is merely designed to put the traveller in the way of making farther researches for himself, and deals exclusively with those leading and general facts with which he ought to be acquainted before proceed- ing to explore the city in detail.
As the more remote history of Italy is involved in much ob- scurity, so also the origin of the city of Rome is to a great extent a matter of mere conjecture. It was not till a comparatively late period that the well-known legend of Romulus and Remus was framed, and the year B. C. 753 fixed as the date of the foundation. In all probability, however , Rome may lay claim to far greater an- tiquity. We are led to this conclusion , not only by a number of ancient traditions , but also by the recent discovery in Latium of relics of the flint-period , an epoch far removed from any written records. The Palatine w&b regarded by the ancients as the nucleus of the city, around which new quarters grouped themselves by slow degrees ; and it was here that Romulus is said to have founded his city, the Roma Quadrata, of which Tacitus (Ann. 12, 24) states the supposed extent. Modern excavations have brought to light portions of the wall , gateways , and streets which belonged to the most an- cient settlement (see pp. 241, 242). After the town of Romulus had sprung up on the Palatine, a second, inhabited bySabines, was built on the Quirinal , and the two were subsequently united into one community. Whilst each retained its peculiar temples and sanctu- aries, the Forum , situated between them , and commanded by the castle and the temple of Jupiter on the Capitol , formed the com- mon focus and place of assembly of the entire state, and the Forum and Capitol maintained this importance down to the latest period of ancient Rome. The rapid growth of the city is mainly to be attri- buted to its situation, the most central in the peninsula, alike adapted fox a great commercial town , and for the capital of a vast empire. The advantages of its position were thoroughly appreciated by the ancients themselves, and are thus enumerated by Livy (5, 64): 'flumen opportunum, quo ex medlterraneis locia ft^-^jft.^ devehantur, quo maritimi commeatus acc\p\Wi.\.\Jtt , tsv^\^ '^S&ykwssv
Baedmjusr. Italy U. 10th Edition. ^
130 History. ROlfE. The Kings,
ad oommoditates nee exposltnm nimia propinquitate ad pericala olassinm externamm , regionnm Italias medium , ad incrementum urbis natam unice locnm'. The Tiber was nayigable for sea-going ships as far as Rome, whilst its tributaries, such as the Anio, Nera, Chiana, and Topino, contained sufficient water for the river vessels which maintained a busy traffic between Rome and the interior of the peninsula. The state of these rivers has, however, in the course of ages undergone a complete revolution, chiefly owing to the grad- ual levelling of the forests on the mountains , and at the present day the lower part only of the Tiber, below Orte, is navigable.
Whilst the origin of the capital of the world is traditionally re- ferred to Romulus, its extension is attributed with something more of certainty to ServiusTullius. Around the twin settlements on the Palatine and Quirinal, extensive suburbs on the Esquiline and Caelius , as well as on the lower ground between the hOls, had sprung up ; for not only were numerous strangers induced to settle permanently at Rome on account of its commercial advantages, but the inhabitants of conquered Latin towns were frequently trans- planted thither. Out of these heterogeneous elements a new civic community was organised towards the close of the period of the kings , and its constitution commemorated by the erection of the Servian WaU. This structure Included an external wall round the whole of the town, and also the fortifications of the Capitol and other heights within it. The outer wall led from the N. slope of the Cap- itol across what was later the Forum of Trajan , skirted the Qui- rinal , and turned to the S.E. at the gardens of Sallust (p. 173). For more than 3/^ M. at this part of the circuit, where the artificial defences are not aided by nature , the wall was replaced by a ram- part about 80 ft. in breadth , with a moat 100 ft. wide in front of it. Considerable remains of this rampart are extant near the rail- way-station. The wall recommenced on the E. side of the Esquiline, skirted the S. slope of the CaBlius, enclosed the two summits of the Aventine , and ended at the Tiber (below St. Sabina's , p. 252). While care was taken thus to protect the city externally, the kings were not less solicitous to embellish the interior with handsome buildings. To this period belong the Temple of Jupiter Capitolinus (p. 208), the Circus in the valley between the Palatine and the Aventine (p. 250), the Career Mamertirtus (p. 237), and above all the Cloaca Maxima (p. 248), destined to drain the swampy site of the Forum, and still admired for its massive construction. This energetic and brilliant development of the city under the kings of the Tarquinian family in the 6th cent. B.C. came to a close with the expulsion of the last king Tarquinius Superbus (509).
During the first century of the Republic the united efforts of
the citizens were directed to the task of establishing themselves
more securely in the enjoyment of their new acquisitions ; and in
tuB they succeeded, although not without serious difficulty. It
TheRepuhlie, ROME. History. 131
was a hard and bitter period of probation that the nation had to undergo in the first period of its new liberty, and it was not till the decline of the Etruscan power that Rome began to breathe freely again. After protracted struggles she succeeded in conquering and destroying her formidable rival Veii (396) , a victory by which the Roman supremacy was established over the south of Etruria as far as the Oiminian Forest. Shortly afterwards (390) the city, with the exception of the Capitol, was taken and entirely destroyed by the Oauls. Although this catastrophe occasioned only a transient loss of the prestige of Rome, it produced a marked efTect on the external features of the city. The work of re-erection was undertaken with great precipitation ; the new streets were narrow and crooked, the houses poor and unattractive , and down to the time of Augustus, Rome was far firom being a handsome city. Her steadily increasing power, however, could not fail in some degree to influence her ar- chitecture. During the contests for the supremacy over Italy , the first aqueduct and the first high-road were constructed at Rome by Appius Claudius in 312 (^Aqua and Via Appia , p. 348) ; in 272 a second aqueduct (Anio Vetus) was erected. Down to the period of the Punic wars Rome had not extended beyond the walls of Servlus Tulllus ; but , after the overthrow of Carthage had constituted her mistress of the world, the city rapidly increased. The wall was al- most everywhere demolished to make room for new buildings , so that even in the time of Augustus it was no longer an easy matter to determine its former position , and new quarters now sprang up on all sides. During the last century B.C., after the Graco- Asiatic wars of the previous century had brought the Romans into contact with the civilisation of the East, the city began to assume an aspect more worthy of its proud dignity as capital of the civilised world. The streets, hitherto unpaved, were now converted into the massive lava-causeways which are still visible on many of the ancient roads (e. g. Via Appia), The highest ambition of the opulent nobles was to perpetuate their names by the erection of imposing public buildings. Thus in 184 M. Porcitts Cato erected the first court of judicature (Basilica Poreia) in the Forum , and others followed his example. Speculation in houses was extensively carried on , and it was by this means that the Triumvir Crassus, among others , amassed Ids fortune ; for rents were high , and the houses of a slight and Inexpensive construction. These insulaCy or blocks of houses erected for hire , contrasted strikingly with the domuSy or palaces of the wealthy , which were fitted up with the utmost magnificence and luxury. Thus the tribune Olodius, the well-known opponent of Cicero , paid 14,800,600 sesterces p. e. about 130,5251.) for his house. The ordinary building material consisted of sun-dried bricks (lateres), while the volcanic stone (tufa and peperlno) of the neighbourhood wa* Tia^^ I'cst \Xv^ Ts^sstfe ambltlouB ed&ces. Among the compaiativeV^ t«^ c^\a.TA. VqJ^^^»^
132 History. ROME. The Emperors.
of the Republican period are the Tabularium of B. C, 78 (p. 221), the Ionic Temple at the Ponte Rotto (p. 249), and the tombs of the Scipios (p. 257), Bihulus (p. 163) , and Caecilia Metella (p. 349).
The transformation of the republic into a Melitaby Despotism involved the introduction of a new architectural period also. Usurp- ers are generally wont to direct their energies to the construction of new buildings , with a view to obscure the lustre of the older edifices , and to obliterate the associations connected with them. Caesar himself had formed the most extensive plans of this nature, but their execution was reserved for his more fortunate nephew. Of all the ruins of ancient Rome those of the buildings of Augustus occupy by far the highest rank , both in number and importance. The points especially worthy of note are the Campus Martins with the Pantheon (p. 193) and the Thermae of Agrippa (p. 195), the Theatre of Marcellus (p. 203), the Portico of Octavia (p. 203) and the Mausoleum of Augustus (p. 184), the Basilica Julia (p. 226), and the Forum of Augustus with the Temple of Mars (p. 239). No fewer than 82 temples were restored by Augustus ('templorum omnium conditorem ac restitutorem' as he is termed by Livy), who might well boast of having found Rome of brick and left it of marble. The wonderful fire-baked bricks , the time-resist- ing qualities of which excite our admiration in the Roman build- ings of the next 500 years , now came into use , supplemented by the beautiful travertine from the vicinity of Tivoli, while the walls were lined with marble from Carrara , Pares and other Greek islands, Numidia ('giallo antico'), Laconia ('rosso antico*), and Euboea ('clpollino'). The administration and police-system of the city were also re-organised by Augustus , who divided Rome into 14 quarters (regiones) , adapted to its increased extent (p. 134). A corps of watchmen (vigiles) , who also served as firemen , was appointed to guard the city by night. These and other wise in stitutions , as well as the magnificence attained by the city under Augustus, are depicted in glowing terms by his contemporaries. His successors followed his example in the erection of public edi- fices, each striving to surpass his predecessors. In this respect Nero (54-68) displayed the most unbridled ambition. The con- flagration of the year 64 , which reduced the greater part of Rome to ashes, having been ignited, it is said, at the emperor's in- stigation, afforded him an opportunity of rebuilding the whole city in a modern style and according to a regular plan. For his own use he erected the * Oolden House' , a sumptuous palace with gardens, lakes, and pleasure-grounds of every description, covering an enor- raous area, extending from the Palatine across the valley of the Co- losseum, and far up the Esquiline (p. 234). These and other works were destroyed by his successors, and well merited their fate ; the frag- ments which still bear the name of Nero at Rome are insignificant.
The Flayjah Dynasty, which followed the Julian, has on the
The Emperors. ROME. History. 133
other hand perpetuated its memory hy a number of most imposing works, above all the Colosseum (p. 234), which has ever been re- garded as the symbol of the power and greatness of Rome, the Thermce of Titus on the Esquiline (p. 237 J, the Flavian Palace on the Palatine (p. 244) , and the Triumphal Arch (p. 233) erected after the destruction of Jerusalem. Under Trajanj architecture received a new impetus , and indeed attained the highest development of which the art was capable at Rome. To this the Forum of Trajan (p, 240), with the column, and the reliefs afterwards employed to decorate Oonstantine's arch, bear eloquent testimony. Under Trajan the culminating point both of art and of political greatness was attained. Thenceforward the greatness of the empire began gradually, but steadily, to decline. Although under the next emperor Hadrian this tendency was apparently arrested, yet the monuments of his reign , such as the Temple of Venus and Roma (p. 233), and his Mausoleum (p. 275), exhibit traces of degeneracy. The same remark applies also to the time of the Antoninbs, These monarchs were remarkable for their excellent qualities as sovereigns, and their peaceful sway has frequently been regarded as the period during which mankind in general enjoyed the greatest prosperity. There is even a tradition that 'the good old times' will return when the equestrian statue of the worthy Marcus Aurelius, the gilding of which has almost entirely disappeared, shall resume its costly cover- ing. This, however, was but the lull preceding a storm. The great plague under the latter emperor was the first of a series of fearful calamities which devastated the "empire. Throughout an entire cen- tury civil wars , inpursions of barbarians , famine, and pestilence succeeded each o4^r without intermission. Although Rome was less affected by these horrors than the provinces , it is computed that the population of the city, which at the beginning of the 2nd cent, was about IY2 million, had dwindled to one-half by the time of Diocletian. A constant decline in architectural taste is traceable; but , as building always formed an important feature in the policy of the emperors, the number and extent of the ruins of this period are considerable. To this epoch belong the Column of Marcus Aurelius (p. 154), the Arch of Sept. Severus (p. 228), the magnificent Baths of CaracaUa (p. 255), and the huge Thermae ofDiocUtian (p. 167). After the Punic War the walls of the city had been suffered to fall to decay, and during nearly five centuries Rome was destitute of fortification. Under the emperor Awrelian^ however, danger became so imminent that it was deemed necessary again to protect the city by a wall against the attacks of the barbarians. This structure is to a great extent identical with that which is still standing. The latest important ruins of antiquity bear the name of Const AN TiNB the Great, viz. the Basilica (p. 232), Baths (pp. 165, 174), and Triumphal Arch (p. 236). The t^Q iftYovei^^^^^ however, erected by his rival Maxentiua. Coti^V-wv^Vti^ '^^''^^^^'^'^^^
134 mstory. ROME. Rise of Christianiiy,
little partiality foiBome and ancient traditions, and the transference of the seat of empire to Byzantium (in 330) marks a decided turn- ing-point in the history of the city, as well as in that of the whole empire. Rome indeed was still great on account of its glorious past and its magnificent monuments , but in many respects it had sunk to the level of a mere provincial town. No new works were thence- forth undertaken, and the old gradually fell to decay.
The city was still divided, in accordance with the Augustan Ststbm, into fourteen regions, in ennmerating which we shall name the principal rains belonging to each : — 1. Porta Capena , Via Appia , within the city (p. 254); 2. Caelimontitim , Geelius (p. 268); 3. Jsis et Serapis, Golossemu (p. 334), Baths of Titns (p. 2371 •, 4. Templum Paeis^ Venus et Roma (p. 233), Basilica of Gonstantine (p. 232), Temple of Faustina (p. 231) ; 5. Exquiliae^ Temple of Minerva Medica (p. 180) ; 6. Alta Semita^ Baths of Gonstantine (p. 174) and Diocletian (p. 167) : 7. Via Lata, between the modern Gorso, the Quirinal, and Pincio (p. 148); 8. Forum Romanum. the republican and imperial Fora (pp. 222, 237) and the Gapitoi (p. 208); 9. Circus Fla- minius , Theatres of Marcellus (p. 203) and Pompey (p. 205) , portico of Octavia (p. 203), Pantheon (p. 193), column of Marcus Aurelius (p. 1541, and the Temple uf Keptune (p. 155); 10. Palatium^ Palatine (p. 244); 11. Circus Maximus , temple in the Forum Boarium (p. 250) ; 12. Piscina Publico, Baths of Garacalla (p. 255); 13. Aventinus, Pyramid of Gestius (p. 252) ; 14. Transtiberimy Trastevere and the Borgo. According to the statistics of this period, Rome possessed 37 gates, from which 28 high- roads diverged, and 19 aqueducts ; and although four only of these last are now in use, there is probably no city in the world which can boast of such an excellent supply of water as Rome. The banks of the Tiber were connected by 8 bridges. There were 423 streets, 1790 palaces, and 46,602 dwelling-houses. Among the public structures are mentioned 11 Thermee, 856 baths, 1352 fountains in the streets, 36 triumphal arches, 10 basilicas, etc. When the grandeur and magnificence suggested by these numbers is considered, it may occasion surprise that comparatively so few relics now remain; but it must be borne in mind that the work of destruction progressed steadily during nearly a thousand years, and was not arrested till the era of the Renaissance, but for which even the monuments still extant would ere now have been consigned to oblivion.
The Catacombs J the earliest burial-places of the Christians, illustrate the gradual progress of this interesting community, in spite of every persecution , from the 1st century downwards. At the beginning of the year 313 Gonstantine issued his celebrated decree from Milan, according to Christianity equal rights with all other religions. This was the decisive step which led to the union of the church with the state. In 325 the first OBCumenical council was held at Nicffia , and in 337 the emperor caused himself to be baptised when on his death-bed. Tradition attributes the earliest ecclesiastical division of Rome into seven diaconates to St. Clement, the fourth bishop , and St. Peter is said to have founded the first place of worship in the house of the senator Pudens, now the church of S, Pudenziana (p. 175). To Callistus I. (217-22) is ascribed the foundation of the church of 8. Maria in Trastevere (p. 330), and to Urban, his successor, that of S. Cecilia (p. 331). About the beginning of the fourth century S, Alessio and iS. Priaca on the Aventine are supposed to have been founded. Of these chuTobes, howeveij and also of the edifices erected by Constantinb,
Early Middle Ages, I^OliE. flistory. 135
no tinstwortliy record has been handed down to us. To that monarch tradition attributes the foundation of the following churches — the Lateran, St. Peier^a , S. Paolo Fuori, 8, Croce in OertMolemme, 8. Agnese Fuori, 8. Lorenzo Fuori, and 88. Pietro e MarceUino at Torre Pignattara (p. 345), — but probably errone- ously , with the exception of the first , which was styled 'omnium urbis et orbis ecclesiarum mater et caput'. It is, however, note- worthy that the oldest and most important churches were generally outside the gates, or at least in their immediate vicinity ; and this is accounted for by the fact that the Roman arist(M;racy at first clung tenaciously to the old traditions, and for a long period the city pre- served its heathen character. The state at length overcame this antagonism. In 382 the altar of Victoria was removed from the senate-hall, and in 408 the ancient religion was at length deprived by a law of Honorius of all its temporal possessions , and thus in- directly of its spiritual authority also. The destruction of the an- cient temples, or their transformation into Christian places of wor- ship now began, and the churches rapidly increased in number. At this early period Rome possessed 28 parish churches (tituli) , be- sides numerous chapels, and among them arose the five Patbiabchal Chubches, presided over by the pope, and forming a community to which the whole body of believers throughout the world was con- sidered to belong. These five were 8. Giovanni in Laterano, 8, PietrOj 8. Paolo^ 8. Lorenzo^ and the church of 8. Maria Maggiore founded by Liberius. Besides these , 8. Croce in QerusoLemme and 8. 8ebastian0f erected over the catacombs of the Via Appia, enjoyed special veneration. These formed the 'Seven Churches of Rome' to which pilgrims flocked from every part of western Christendom. The number of monasteries now steadUy Increased, and at the same time the inroads of poverty made rapid strides.
In the 4th Centuby the cultivation of the Roman Campagna began to be seriously neglected, and in an official document of the year 395 it-is stated that upwards of 500 square miles of arable land had been abandoned and converted into morass. The malaria at the same time extended its baneful sway from the coast into the in- terior of the country. The storms of the barbarian irruptions greatly aggravated the misery. Although the Vandals and Goths are often erroneously held responsible for the destruction of all the great monuments of antiquity , which , on the contrary, Tfieodoric the Great did his utmost to protect , Rome doubtless suffered terribly from having been the scene of their battles and pillagings. In 410 the city was plundered by Alaric, and in 445 by the Vandals , and in 537 It sustained its first siege from the Goths under Vitiges. They laid waste the Campagna and cut off all the supplies of water brought to the city by the aqueducts , but the skill of Belisarius, and the strength of the walls , particularly thoa^ ol \.V^ ^^i^^'Cvs^ ^"^ S. Angelo, effectually repelled their aitacika on ttv^ <iNfeJ • \w^^«xsJa.
136 History. ROME. The Papacy,
538 they were at length compelled to abandon their designs, after having beleaguered the city for upwards of a year. In December 546, Totila, the king of the Goths, entered Rome, and is said to have found not more than 500 persons within the walls of the devastated city. Belisarlus then repaired the walls, which had been partially destroyed, and in 547 he sustained a second siege. In 549 the city again fell into the hands of Totila , but in 552 it was re- captured by Narses and once more united with the Byzantine empire. About this period the city was reduced by war, pestilence, and poverty to a depth of misery which was never again paralleled, ex- cept during the absence of the papal court at Avignon. No thorough restoration was possible, for the Byzantine emperors cared nothing for Rome, and in the Lombards arose new enemies to their dynasty in Italy. In 663 Consiana II. visited Rome , an interval of 306 years having elapsed since it had been entered by a Byzantine em- peror, and availed himself of the opportunity to carry off the last remains of the bronze with which the ancient monuments were de- corated. In 755 the Lombards under their duke Aistulf besieged Rome for two mouths and ruthlessly devastated the Campagna, which during the preceding interval of peace had begun to wear a more smiling aspect. A lamentation of that period begins thus : —
'Kobilibus quondam fueras constructa patronis, Subdita none servis, heu male Boma mis;
Deseruere tni tanto te tempore reges, Gessit et ad Ghrsecos nomen honosque taus\
and terminates with the words : —
'Nam nisi te Petri meritum Paulique foveret, Tempore jam longo Roma misella fores\
It was in fact the tradition , indelibly attaching to Rome, of the great struggles and victories of Christianity which preserved the city from total destruction. The transformation of heathen into Christian Rome was accompanied by the gradual development of the Papacy as the supreme ecclesiastical power in the "West. Leo the Oreat (440-461) and Gregory the Great (590-604) may be regarded as the chief originators of this scheme of aggrandisement. These prelates and their successors were indefatigable in their efforts to realise their project, and under their auspices, notwithstanding the poverty and misery into which Rome had sunk , new churches and monasteries were constantly springing up among the ruins of the monuments of antiquity , and the last feeble spark of artistic taste which still survived was devoted to the decoration of these build- ings. The objects at which they chiefly aimed were independence of Byzantium, the subjection of the Eastern church to the court of Rome, and the conversion of the heathen Germans, the accomplish- ment of which would materially pave the way for their ulterior am- bitious schemes. In 727 the Lombard king Luitprand presented Sutn, which had been captured by him, to the pope, this being the ^rst instance of & town being presented to the church, and this gift
The MiddU Ages, ROME. History. 137
constituted a basis for the subsequent formation of the States of the Church. In 755, on the invitation of the pope, the Fiankish king Pepin proceeded to Italy and practically put an end to the Byzan- tine supremacy. It is not known whether that monarch absolutely made oyer the Exarchate of Ravenna and the other towns to the re- presentative of St. Peter , or whether he granted them to him as a flef ; but it is certain that the temporal power of the popes and their supremacy over Rome dates from the grants made by Pepin to the church. On Christmas Day , in the year 800 , Charlemagne was crowned by Leo III.j and from that period dates the career of the 'Holy Roman Empire' and the Mbdlbval History of Rome and the Roman Catholic Church.
A characteristic of this period is to be found in the numerous, many-storied towers of red brick which contrast so strongly with the monuments of ancient Rome. This style of architecture was developed in the Carlovingian epoch, although most of these towers now extant were not erected before the 12th or 13th century. In still greater numbers sprang up towers of a defensive character, a few only of which, such as the so-called Torre di Nerone (p. 169), are still preserved. The forest of towers , belonging to numerous different owners , which reared themselves over the ruins of the mistress of the world, affords at the same time a clue to the character of the whole epoch; for, in spite of the nominal sway exercised over the greater part of Europe by the pope and the em- peror, continual feuds raged both at Rome and elsewhere between the temporal and spiritual powers , and between the nobility and the populace. The great monuments of antiquity were now doomed to utter destruction, and their fate is thus described by the historian
Gregovorius (iii, 565) : —
^Charlemagne had already set the example of carrying off ancient columns and seolptures to adorn his cathedral at Aix-la-Chapelle, and the popes, who regarded the greatest monuments of Rome as the property ot the state, possessed neither taste, nor time, nor ability to take measures for their preservation. The plundering of ancient buildings became the order of the day. The priests were indefatigable in transferring antique columns and marbles to their churches \ the nobles, and eve'n the abbots, took possession of magnificent ancient edifices which they disfigured by the addition of modem towers ; and the citizens established their work- shops, rope-walks, and smithies in the towers and circuses of imperial Rome. The fisherman selling his fish near the bridges over the Tiber, the butcher displaying his meat at the theatre of Marcellus, and the baker exposing his bread for sale, deposited their wares on the magnificent slabs of marble which had once been used as seats by the senators in the theatre or circus and perhaps by Ceesur, Mark Antony, Augustus, and other masters oif the world. The elaborately sculptured sarcophagi of Roman heroes were scattered in every direction and converted into cisterns, washing-vats, and troughs for swine ^ and the table of the tailor and the shoemaker was perhaps formed of the cippus of some illustrious Roman, or of a slab of alabaster once used by some noble Roman matron for the display of her jewellery. For several centuries Rome may be said to have resembled avast lime-kiln, into which the costliest m.«.T^\»&^«t<i^ recklessly cast for the purpose of burning Um^'^ ;v.TidL \\ca^^\ftLX^i^e^^ws^^^\ incessantly pillage,bum, dismantle, and utterly AcalTO-s WifeVt \gi«Awv& ^^ '^^"^ *
138 E^tory. KOM£. Modem Times,
Leo IV, encircled the 'Leonine Gitt' with a wall , and erected other useful structures , which indicate a renewed period of pros- perity; but the ravages of the Saracens in the city and its en- Tirons soon prevented farther progress. When at length these bar- barians were finally subdued by John X, the city was repeatedly besieged and captured by German armies during the contest for the imperial supremacy ; and subsequently, in consequence of incessant civic feuds , the whole city was converted into a number of distinct fortified quarters, with castellated houses, in the construction of which numerous monuments of antiquity were ruthlessly destroyed for the sake of the building materials they afforded. Every tem- porary re-establishment of peace was invariably followed by new scenes of devastation, as when the senator BrancaLeone dismantled no fewer than 150 of the strongholds of the warlike nobles.
The constantly increasing civic and national dissensions at length compelled Clement V, in 1309 to transfer the seat of the pontifical government to Avignon, where it remained till 1377, whilst Rome was successively governed by Guelphs and Ghibellines, Neapolitans and Germans , Orsinf s and Golonna's, and for a brief period (1347) Cola di Rienzi even succeeded in restoring the an- cient republican form of government. This was an epoch of the ut- most misery, when poverty, war, and disease had reduced the popu- lation to less than 20,000 souls.
A happier era was inaugurated by the return of Gregory XI, to the city (1377). After the termination of the papal schism (1378-1417), the new development of the city progressed rapidly, aided by the vast sums of money which flowed into the papal coffers, and by the revival of taste for art and science promoted by Nicholas F., Ju- lius II. y Leo X.J etc. In 1527 the city was devastated by the troops of Charles of Bourbon ; but it gradually recovered from the blow, its population again increased, and many churches and palaces were restored by the popes, their cardinals, and favourites, especially dur- ing the pontificate of Sixtus V. (1585-90), to whom modern Rome is chiefly indebted for its characteristic features. Comp. p. Ivii.
In 1798 a republic was established for a short period at Rome, and from 1809 to 1814 the city was under the supremacy of France. A republican form of government was again declared in 1849, in consequence of the events of 1848, but Pius IX. was restored by the French in 1850. The city was then garrisoned by 15,000 French troops, who were withdrawn in 1866, in accordance with the con- vention of 1864; but they were recalled after the Garibaldian hostilities of 1867, and were quartered in the environs until the breaking out of the Franco-Prussian war of 1870. On 20th Sept. of that year the Italian troops marched into the city, after a bombard- ment of five hours. The States of the Church are now incorporated with the kingdom of Italy, of which Rome is once more the capital. The population of the city in 1870 was about 215,000.
Chronolog. Table of ROME. Emperors and Popes. 139
CHRONOLOGICAL TABLB.
|
B.C. |
Bom. Emp |
Popes ». |
A.D. |
Bom. Emp. |
Popes. |
|
U |
Julins Ceesar |
238 |
Gordian IH. |
||
|
murdered. |
244 |
Philip the |
|||
|
28 |
Ceesar Octa- |
Arabian. |
|||
|
vianufl Au- |
249 |
Decius. |
|||
|
A.D. |
gnstufl. ^ |
251 |
Gall us and |
||
|
14 |
Tiberius. - |
Volusianus. |
Cornelius, |
||
|
37 |
CaUgulA. ^ |
262 |
251-268. |
||
|
41 |
Claudius. ^' |
258 |
iBmilianus. |
Luciusl., 252-263. |
|
|
54 |
Nero. |
Valerianus. |
Stephen I., 253-267. |
||
|
67 |
Martyrdom of |
257 |
|||
|
St. Peter. |
Sixtus II., |
||||
|
68 |
Oalba. |
Linus, 67-79. |
260 |
Gallienus. |
267-258. |
|
69 |
Otho. |
^ |
Dionysius, |
||
|
Vitellius. |
268 |
Claudius II. ^ |
259-269. |
||
|
69 |
Vespasian. '^ |
270 |
Aurelian. ^ |
Felix I., 269-274. |
|
|
79 |
Titus. |
Anacletus, 79-91. |
275 |
Tacitus. |
|
|
81 |
Domitian. -' |
Clement, 91-100. |
276 |
Florianus. |
Eutychianus. |
|
96 |
Nerva. |
Probus, |
|||
|
98 |
Trajan. ^ |
282 |
Carus. |
||
|
100 |
Euaristus. |
283 |
Carinus and |
||
|
109 |
Alexander I. |
Numerianus. |
|||
|
117 |
Hadrian. «/ |
283 |
|||
|
119 |
Sixtus I. |
284 296 |
Diocletian. ^ |
Cajus. |
|
|
128 |
Telesphorus. |
||||
|
138 |
AntoninusPius |
306 |
Constantius |
Marcellinus. |
|
|
139 |
^ |
Hyginus. |
Chlorus and |
||
|
142 |
Pius I. |
Maximianus' |
|||
|
157 |
Anicetus. |
Galerius. |
|||
|
161 |
Marcus Au* j relius. |
306 |
Cohstantine / the Great |
||
|
168 |
Soter. |
(sole Emp. |
|||
|
177 |
y |
Bleutberus. |
324-337). |
||
|
180 |
Commodus. "^ |
307 |
Maximin II. |
||
|
190 |
VictorL, 190-202. |
Severus. |
|||
|
193 |
Pertinax. Didius Ju- |
Licinus. Maxentius. |
|||
|
lianus. |
306 |
Marcellus |
|||
|
193 |
Septimius / |
309 |
Eusebius. |
||
|
Severus. |
311 |
Melchiades. |
|||
|
202 |
Zephyrinus, 202-218. |
314 336 |
Sylvester I. Marcus. |
||
|
212 |
Caracalla ^ (Geta d. 212.) |
337 |
Constantine II. Constantius. |
Julius I. |
|
|
217 |
Macrinus. |
Constans. |
|||
|
218 |
Heliogabalus. |
Callistus I., |
352 |
Liberius. |
|
|
222 |
Alexander |
218-222. |
356 |
Felix II. |
|
|
Severus. |
Urbanus I., |
360 |
Julian. y |
||
|
223 |
223-230. |
363 |
Jovian. |
||
|
230 |
Pontianus, |
' <M Q> |
|||
|
235 |
Maximinus. / |
230-236. |
364 |
Valenti- ®.g^ |
|
|
236 |
Anterus, 235-236. |
nian I. § g and >.gw |
|||
|
238 |
GordianLi&IL |
Fabianus, |
|||
|
Pupienus and |
236-260. |
Valens. 15 ^ |
|||
|
Balbinus. |
,p!a |
(a) The dates of the popes d0¥m to Gonstauilue ftx« \nkS^««\»&:a^ \iv«\s^^ been handed down by vague traditien only.
140 Chronolog, Table of ROME. Emperors and Popes.
|
A.D. |
Rom. Emp. |
Popes. |
A.D. |
Rom. Emp. |
Popes. |
|
366 |
Damasus I. |
615 |
Deusdeditus. |
||
|
367 |
Gratian. |
619 |
Boniface V. |
||
|
375 |
Valentinian II. |
625 |
Honorius I. |
||
|
379 |
Theodosiiis(sole Emp. 392-395) |
640 |
Severinus. John IV. |
||
|
383 |
Arcadius. |
642 |
Theodoras I. |
||
|
384 |
/ |
Siricius. |
649 |
St. Martin I. |
|
|
395 |
Honoriusft. *' |
655 |
St. Eugene I. |
||
|
398 |
Anastasius I. |
657 |
St. Vitalianus. |
||
|
402 |
Innocent I. |
672 |
Adeodatiis. |
||
|
417 |
Zosimus. |
676 |
Donus I. |
||
|
418 |
Boniface I. |
678 |
St. Agathus. |
||
|
422 |
Coelestinus I. |
682 |
St. Leo II. |
||
|
425 |
Valentinian III |
1 |
684 |
St. Benedict II. |
|
|
432 |
Sixtus III. |
685 |
John V. |
||
|
440 |
Leo I., the Great. |
686 |
Gonon. |
||
|
455 |
Petronias |
687 |
St. Sergiua I. |
||
|
Mazimas |
701 |
John VI. |
|||
|
455- |
Avltus. |
705 |
John VU. |
||
|
475 |
Majorianus. Lib. Severus. |
706 |
Sisinnius. Constantine I. |
||
|
Anthemius. |
715 |
St. Gregory II. |
|||
|
Olybrius. |
Hilarius 461-468. |
731 |
St. Gregory III. |
||
|
Glyceriufl. |
Simplicius 46&483. |
741 |
St. Zacharias. |
||
|
Julius Nepos. |
752 |
Stephen II. |
|||
|
475 |
Romulus Auy gustulus. ^ |
Stephen IH. |
|||
|
757 |
St. Paul I. |
||||
|
476 |
End of the W. |
767 |
Constantine II. |
||
|
RomanEmpire |
768 |
Philip. |
|||
|
483 |
Felix m. |
Stephen IV. |
|||
|
492 |
Gelasius I. |
772 |
Hadrian I. |
||
|
496 |
Anastasius II. |
795 |
St. Leo III. |
||
|
498 |
Symmachus. |
Rom. Emp. of |
|||
|
514 |
Hormisdas. |
Oerm. origin c |
|||
|
523 |
John I. |
800 |
Charlemagne. |
||
|
526 |
Felix IV. |
814 |
Louis thePious |
||
|
530 |
Boniface II. b |
816 |
Stephen V. |
||
|
532 |
John II. |
817 |
St. Paschal is I. |
||
|
535 |
St. Agapetus I. |
824 |
Eugene II. |
||
|
536 |
St. Silverius. |
827 |
Valentinus. |
||
|
538 |
Vigilius. |
Gregory IV. |
|||
|
555 |
Pelagius I. |
843 |
Lothaire. |
||
|
560 |
John III. |
844 |
Sergius II. |
||
|
574 |
Benedict I. |
847 |
St. Leo IV. |
||
|
578 |
Pelagius II. |
855 |
Louis II. |
Benedict III. |
|
|
590 |
St. Gregory I. the |
858 |
St. Nicholas I. |
||
|
Great. |
867 |
Hadrian II. |
|||
|
604 |
Sabinianus. |
872 |
John VIII. |
||
|
607 |
Boniface III. |
875 |
Charles the |
||
|
608 |
S. Boniface IV. |
Bald. |
(a) From 395, the year of the death of Theodosius, the division of the Empire became permanent j in the above table the Emperors of the W. Roman Empire only are enumerated.
(b) Thus far all the popes have been canonised.
(0) The names of a few English sovereigns, especially those who appear most prominently in papal history, have been added to this column to facWtate realisation of contemporary history.
Chronolog. Table of
Emperor* and Popu. 141
|
A.D. |
Kom. Emjj. |
P.pes. |
A.I., |
Rum- EDip- |
P.IPM. |
|
881 |
108' |
HUdobriud.j |
|||
|
883 |
ll»riiin« I. |
||||
|
881 |
109( |
Pasclialia 11. |
|||
|
sea |
jltplien VI.' |
HeDiy V. |
|||
|
8B7 |
Arault. ^ |
1111 |
|||
|
891 |
|||||
|
896 |
iia |
Hoa'ri^b li. |
|||
|
HreiLlotK^B |
5lophm VII. |
Lotbilre of |
|||
|
6B7 |
lud ,871-901-1 |
BUDBy. |
|||
|
1130 |
|||||
|
see |
Jolin IX. |
||||
|
900 |
Louliliw |
BenediQl IV. |
1138 |
"oTh^IiIIi'' |
|
|
903 |
|||||
|
Iliflatophoriu. |
1113 |
CcElBBlioe II. |
|||
|
901 |
Sersiu9 UT. |
111 |
|||
|
Lendoalus. |
Its. |
||||
|
WJ |
John X. |
||||
|
Henry 1. . |
IIH |
||||
|
aat |
Leo VI. |
lllcnrj II- «( |
Hidrian IV. |
||
|
m |
SMphen VI 11. |
116! |
Kne]»d,.U51 -118U.I |
Aleiflnder III. |
|
|
jQbD XI. |
Lucius III. |
||||
|
931 |
ua |
Urhan III. |
|||
|
Slepben'lX. |
Gregorj VIII. |
||||
|
111: |
M»iiin< II. |
US |
Clement lll- |
||
|
OIB |
Agapetm 11. |
Henry VI. |
|||
|
9&G |
John Xll. |
119 |
LcEledlnB lU. |
||
|
963 !W.! |
I.«o VIII. Benedict V. |
I'UillpofSwa blasDd |
|||
|
John X11I. |
OlbD IV. |
||||
|
mi |
Ben«dla VI. |
||||
|
911 |
do^LloB, llfl! |
||||
|
saa |
Fohn XIV. |
||||
|
986 |
John XV. |
lail |
CJobB Lock |
KonoriDS III, |
|
|
BOB |
GtBgory V. |
1227 |
l«.a, 1199- |
Gregmy IS. |
|
|
999 |
SyWceler 11. |
lai |
121S.] |
||
|
1(102 |
Hcnrs !!, " |
J2i: |
Innooaat IV. |
||
|
1003 |
John SVII. |
law |
Conrid IV. |
||
|
lafr |
IntetreenuD^. |
||||
|
1009 |
icretna IV. ' |
Urban IV, |
|||
|
1013 |
1^ |
||||
|
1021 |
CnnriMl U. . |
Gr™0™ X.' |
|||
|
1033 |
Benadlcl IX. |
127! |
ICudnlph of |
||
|
1039 |
llApthurg. |
||||
|
IMS |
1278 |
muocedt V. |
|||
|
(Bd«.»rd 1. 0 |
|||||
|
IU19 |
D&IdUUE. 11. |
GnelBDd,1372 |
JuLo XX. ' |
||
|
-130T.] |
|||||
|
t065 |
Vl=lm''ll.' ■ |
127 |
KktiolMlII. |
||
|
(Icntj IV. ' |
MurUn IV. |
||||
|
1057 |
Stephen X. |
i2a |
|||
|
Benedict X. |
|||||
|
1069 |
,W„„..J |
NletolM 11. |
1291 |
Adcdpli of |
|
|
inei |
Conqueror, |
1291 |
XaoovteKa'sVii, |
||
|
Grotrory VIL |
1296 |
142 Chronolog. Table of ROME. Emperors and Popes.
A.D.
Bom. Emp.
Popes.
A.D.
Bom. Emp.
Popes.
1298 1903 1905 1306
1914
1916 1334 1342 1346
1352 1362 1370 1378 1389 1400
1404 1406 1409 1410 1417
1431 1438 1440 1447 1455 1458
1464 1471
1484
1492
1493 1503
1503
1513
1519 1522
1523
Albert I.
1534^
Henry Vn. of Luxembourg.
Louis of Ba- varia and Frederick of Austria.
[Edward in. of England, 1327 -1377.1
Charles IV. of| Luxembourg.
Wenzel.*
Bupert of the Palatinate.
Sigi«mund. [Henry V. of
England, 1413
-1422.] Albert H. Frederick III.
[Henry VI. of England, 1422 -1461.]
Benedict XI. Clement V.
John XXn. Benedict XTT. Clement VL
[Henry VII. of England, 1485 -1509.1
Maximilian I. [Henry VIII. of
£ngland,1509
-1547.]
Charles V.
/{Maryr I. of j
Innocent VI. Urban V. Gregory XI. Urban VI. Boniface IX.
Innocent VII. Gregory XII. Alexander V. John XXm. Martin V.
Eugene IV.
Nicholas V. Calixtus m. Pius II. (^neas
Sylvius, Siena). Paul II. Sixtus IV.
(Francis della
Rovere of
Savona). Innocent VIII.
(Joann. B. Gibo
of Genoa). Alexander VI.
(Boder. Boigia).
Pius in. (Fran- cis Piccolomini of Siena).
Julius II. (Julian della Rovere).
Leo X. (John de' Medici).
Hadrian VI.
(of Utrecht). Clement Vn.
(Julius Medici). Paul III. (Alex-
ander Famese).(i
1560 1555
1566 1559
1664 1565
1572
1576 1586
1590
1590 1591
1592
1605
1612 1619 1621
1623
1637 1644
1655
1658 1667
England, 1553 -1558.1
Ferdinand I. [Elizabeth of
England, 1558
-16&.] Maximilian II.
Rudolph II.
[James I. of England, 1603 -1625.1
Matthias. Ferdinand n. [Charles I. of
England, 1625
-1649.]
Ferdinand III.
[Common- wealth and Protectorate, 1649^1660.]
Leopold I. [Charles II. of
England, 1660
-1686.1
Julius ni. (Joan.
Maria de Monte). Marcellus n. Paul IV. (Gian
Pietro Garaffii
of Naples). Pius IV. (Joan.
Angelus Medici
of Milan).
St. Pius V.
(Ghislieri of
Piedmont). Gregory Xm.
(Ugo Buon-
compagni of
Bologna).
Sixtus V. (Felix
Peretti). Urban Vn.
(Giambattista
Castagna of
Rom^. Gregory XIV.
CNic. Sfondrati
of Milan). Innocent IX.
(Giannantonio
Facchinetti of
Bologna). Clement VIII.
(Hippolyt. Aldo-
brandini of
Florence). Leo XI. (Alexan- der Medici). Paul V. (Camillo
Borghese).
Gregory XV.
(Alexander Lu-
dovisi). UrbanVin. (Maf-
feo Barberhii).
Innocent X. (Giambattista Pamfili).
Alexander VU. (Fabio Chigi of Siena).
Clement IX. (Giul. Rospig- liosi).
MARTINUS V. t+l? x^^-^ 1431
COLONNA
PlUSn. PlUSffl. r~>^ 1503
PICCOLOMINI
ALEXANDER VI. 1*92 y^~r\ 1503
BORGIA
PAULUS ffl. ISS* y^^T^^ 154©
PARNlBSE
PIUS lY. 1559 y<;=:^ 1565
MEDICI
URBANUS^ltASTAGNA) HSOQ ^
KSffiGQBmSIiaMNOCBNXIX
EUGENIUS W. 1431 / V 1447
CONDOLMIERI
PAULUS n. M€4' /'"Trx 1471
NICOLAUS V 1447 y^ X 1455
CALIXTUS Ij 1+55 y<y>^ 1
PARENTUCELLl
SIXTUS IV. HTl y<T"X 1484
BARBO
JULIUS n. 1503 xTTSv 1513
DELLAROVERE
LEO X. LEOXl. 1605
BORGIA
INNOCENTIUS 1484
CIBO
DELLAROVERE
JULIUS BL 1550 /TT^ 1555
EADBIANITSVI.CLBMf
O
MEDICI
MARCELLUS n. 1555
P Q
! (UTRECHT) MED
I PAULUS IV.
' 1555 .^^i^ik. 1
DEL MONTE
CERVINO
piusy
GREGORIUS Xm.
1566
1572 I 1572
1585
CARRAFA
SIXTUS Y. 1585 y< V 1
GBISLIERI
CLEMENS Vm. 1592 /" \ 1605
BUONCOMPAGNO
PAULUS V. 1605 X"^>^ 1621
ALDOBRANDINI
PERETTI
GHEGORIUS 1621 .e'^C^X 1
BORGl^l^^^
\ \^^\^<:3^^^s
Oo^nc^- WwhV.nwv^^^v.'^
v'^
URBANUSYm. 1623 y X 164*
INNOCE NTIUS X.
lOH-
BABBERINI
1655
PAMPILI
ALBXANDER TD.
1655
1607
CHIGI
CLEMENS DL.
1667
166
ROSPIGLIOSI
CLEMENS X. 1670 /^ \ 1676
INNOCE NTIUS XI. 1676 y^:^^v 1689
ALSXANDBR TO. 1689 xC^V 1691
ALTIERI
ODESCALCHI
INNOCENTTUS 21 1691 •' \ 1704
OTTOBONI
PIGNATELLI
CLEMENS XI. nOO x^'"~X 1721
INNOCE NTIUS Xm. BBNEDICTUS XBI. 1721 /'^^ 172f 1724- y^TTX 1730
ALBANI
BENEDICTUS XIV. 1740 j^'W^. 1758
CONTI
CLEMENS Xn. 1758 ><T\ 1769
CLEMENS Xn.
1730 x-^Kx n*
ORSINI
CLEMENS XIV. 1769 /-^^v 177+
CORSINI
PIUS VI. 1775 ><rr:Sv 179
LAMBERTINI
PIUS vn.
1800 /n^\ 1823
REZZONICO
CANCAN ELLI
LEO xn.
PIUS vm.
1823
CHIARAMONTI PIUS IX.
1846
/
1878
1829
1829
1830
BRASCHI
GREGORIUS XVL 1831 x^T^ l8+(
DELLA GENOA
LEO xm.
1878
■^■
CASTIGLIONE
CAPELLARI
MASTA I-FKHETTI / PEC CI
C««bjr»:^. K.'naVNtkvMiD^r t Dcben. L«
Situation.
ROME.
Topography. 143
|
A.D. |
Bom. Emp. |
Popes. |
1 A.D. I 1 |
Bom. Emp. |
Popes. |
|
1670 |
Clement X. |
1765 |
Joseph II. |
||
|
(EmilioAlUeri). |
1769 |
Clement XIV. |
|||
|
1676 |
Innocent XI. (Benedetto Odescalchi). |
(Giov. Ant. Gan- ganelli of Bi- mini). |
|||
|
1689 |
Alexander XIII. |
1775 |
Pius VI. (Giov. |
||
|
[WiUiam in. |
(Pietro Otto- |
Ang. Braschi). |
|||
|
and Mary II. |
buoni). |
1790 |
Leopold II. |
||
|
of England, I688-I7S.I |
1792 |
Francis II. |
|||
|
1800 |
Pius VII. (Gre- |
||||
|
1691 |
Innocent XII. |
gorio Bamaba |
|||
|
(Ant. Pigna- |
• |
Chiaramonti of |
|||
|
telli). |
[George IV. of |
Cesena). |
|||
|
1700 |
Clement XI. |
1823 |
England, 182U |
Leo XII. (Annib. |
|
|
(Giov. Franc. |
-1830.] |
della Genga of |
|||
|
1705 |
Joseph I. |
Albani). |
Spoleto). |
||
|
1711 |
Charles VI. |
1829 |
Pius vin. |
||
|
1721 |
Innocent XIII. (Mich. Ang. de |
(Franc. Xav. Castiglione of |
|||
|
[George II. of |
Conti). |
Cingoli). |
|||
|
1724 |
England, 1727 |
Benedict XUI. |
1831 |
Gregory XVI. |
|
|
-1760.] |
(Vine. Maria Orsini). |
(MauroCapellari of Belluno). |
|||
|
1730 |
Clement XII. |
1846 |
Pius TX. (Gio- |
||
|
(Lorenzo Cor- |
vanni Maria |
||||
|
sini). |
Mastai-Feretti |
||||
|
1740 |
Benedict XIV. |
of SiuigagUa). |
|||
|
(Prosp. Lam- |
1878 |
Leo Xin. |
|||
|
bertini). |
(Gioachino |
||||
|
1742 |
Charles VII. of Bavaria. |
Pecci of Carpi- neto,b,2.March |
|||
|
1746 |
Francis I. |
1810, Cardinal |
|||
|
1758 |
[George III. of |
Clement Xin. |
1863. Pope 20. Feb. 1878). |
||
|
England, 1760 |
(Carlo Bezzo- |
||||
|
-1820.] |
nico of Venice). |
Romef the capital of the iLingdom of Italy, with 345,036 inhab. (3l8tDec., 1885; less than Naples), is situated (41^53' 54"N. lat., 12® 29" E. long., meridian of Greenwich) in an undulating volcanic plain, which extends from Capo Linaro, S. of Civitk Vecchia, to the Promontorio Circeo, a distance of about 85 M., and between the Apen- nines and the sea, a width of 25M. The city is built on both banks of the Tiber, the largest river in the Italian peninsula, which intersects the city from N. to S. in three wide curves. The banks of the Tiber are connected by Eight Bbidoes: the Ripetta Bridge , the highest; the new Ponte Umherto; the Ponte 8. Angela^ near the castle of that name ; the Ponie LeoninOj a suspension bridge, cross- ing from the Lnngara; the Portte Siatc, the new Por^te Oaribaldi; a seventh traversing the island between the second and third bends of the river, called Ponte 8. Bartolommeo (the ancient Pon% Ce.^\.\M.i^ from Trastevere to the island, and thence to t\ife\^i\.\iw^^^ "^wX*.
144 Topography. ROME. View.
de QuatUro Capi (Pons Fabrieius) ; finally, below the island, a new bridge near the old Ponte Rotto. Other bridges are projected. The water of the Tiber, is turbid (the ^flavua Tiberis^ of Horace). The average width of the river is about 65 yds. and its depth 20 ft., but it sometimes rises as much as 30-35 ft. , as was the case during the great inundation of 1871. The construction of an artificial channel for the river has been undertaken. The navigation of the river, by means of which the commerce of imperial Rome was carried on in both directions, with transmarine nations as well as with the Italian provinces, is now comparatively insignificant.
The prospect from one of the hills of Rome — and no city is richer in ever-varying and delightful views — is bounded towards the E. by the unbroken chain of the Apennines, which rise at a distance of 10 to 20 M. In the extreme N. towers the indented ridge of Soracte (2260 ft.), occupying an isolated position in the plain, and separated by the Tiber from the principal range of the Apennines. Farther E., and still more distant, is the Leonessa group (7255 ft.), which approaches the Central Apennines. Con- siderably nearer lies the range of the Sabine Mts. The summit at the angle which they form by their abutment on the Campagna is M. Gennaro (4160 ft.), perhaps the Lucretilis of Horace ; the village at the base is Monticelli (1295 ft.). Farther off, on the slope of the hill, lies Tivoli, recognisable by its villas and olive-gardens. More towards the S., on the last visible spur of the Sabine Mts. (2515 ft.), is situated Palestrina, the Praeneste of antiquity. A depression 4 M. in width only, separates the Apennines from the volcanic Al- ban Mts., above which a few peaks of the distant Volscian Mts. appear. On the E. spur of the Alban Mts. lies the village of Co- lonna (1180 ft.). The following villages are Rocca Priora (2350 ft.) and Monte Porzio (1530 ft.); then the town of Frascati (2220 ft.), below the ancient Tusculum. The highest peak of the Alban Mts. is M. Cavo (3130 ft.), once surmounted by a temple of the Alban Ju- piter, now by a Passionist monastery. On its slope lies the village of Rocca di Papa (2645 ft.), loftily and picturesquely situated, be- low which, towards the plain, is the town of Marino (1320 ft.). The village , with the castle farther to the W. on the hill, is Castel Gandolfo ; the mountain then gradually sinks to the level of the plain. Towards the W. the sea is visible from a few of the highest points only. On the N. the eye rests on the Janiculus (280 ft.), a volcanic chain of hills approaching close to the river, beyond which the horizon is bounded by mountains also of volcanic formation : towards the sea, to the left, the mountains of Tolfa (2040 ft.), then the heights around the lake of Bracciano with the peak of Rocca Romana (2020 ft.), the Ciminian Forest (now generally called the mountains of Viterbo, 3465 ft.); the nearest point to the right is the crater of Baccano, with the wooded hill of M. Musino (1320 ft.). The plain enclosed by this spacious amphitheatre of mountains, and
Seven HUU. ROME. Topography. 145
intersected by the Tiber and the Anio, which descends from Tivoli and falls into the former IV2 ^* &boye Rome, contains a sprinkling of farms and tillages, but is far more replete with witnesses of its former greatness and present desolation in the innumerable and ex- tensive ruins which cover it in every direction.
The city proper lies on the Left Bank of the Tiber, partly in the ancient Campus MartitUy a plain adjoining the river, and partly on the surrounding hills. Modern Rome is principally confined to the plain, while the Heights on which the ancient city stood were for centuries almost uninhabited, and have only recently again begun to be occupied by houses. These are the far-famed Seven Uills of Rome. The least extensive, but historically most important, is the Capitoline (1 65 ft.), which rises near the Tiber and the island. It con- sists of a narrow ridge extending from S.W. to N.E., culminating in two summits, separated by a depression. Contiguous to the Capitoline, in a N.E. direction, and separated from it by a depression, extends the long Qulrinal (170 ft.). On the N. a valley, in which the Piazza Barberini is situated, separates the Quirinal from the Pincio (165 ft.), which, as its ancient name ^collis hortorum* indicates, was occupied by gardens , and not regarded as part of the city. To the E. of the Quirinal, but considerably less extensive, rises the Viminal (175 ft). Both of these may be le^urded as spurs of the third and more impor- tant height, the Eaquiline (245 ft.), which, forming the common basis of these two, extends from the Pincio on the N. to the CsbUus. Its present distinguishing feature is the conspicuous church of S. Maria Maggiore ; while S. Pietro in Vincoli and the ruins of the Thermae of Titus mark the ancient quarters which stood on the hill where it approaches the Viminal, Palatine, and Cslius. To the S. E. of the Capitoline, in the form of an irregular quadrangle, rises the isolated Palatine (165 ft.), with the ruins of the palaces of the emperors, and on the low ground between these hills lies the ancient Forum. Farther S., close to the river, separated from the Palatine by the de- pression (70 ft.) in which the Circus Maximus lay, is the Aventine (150 ft.). Lastly, to theE. of the latter, is the long Caelius (165 ft.); in the low ground between the Cffilius, Palatine, and Esquiline is situated the Colosseum; and farther E., by the city-wall, between the Cselius and Esquiline, is -the Lateran.
On the Right Bank of the Tiber lies the more modern and smaller part of the city, divided into two halves : on the N. the Borgo around the Vatican and 8t. Peter^Sj encircled with a wall by Leo IV. in 852 and erected into a separate town; and to the S., on the river and the slopes of the Janiculum, Traatevere, which from ancient times has formed a tete-de-pont of Rome against Etruria, and was a densely peopled suburb in the reign of Augustus. These two portions are connected by the long Via delta Lungara, constructed by Sixtus Y.
The wall enclosing this area, which was ink^V^it^^ ^tvx^^ ^Ocs& imperial epoch by lVa-2 million souls, has a \fti\%^ ^^ ^a>aN. N^^^-
Baxdkkeb. ItAly U. iOth Edition. V^
146 /. Strangers' Quarter, ROME. Porta del Popolo,
on the left bank and is pierced by 13 gates. It is constructed of brick, and on the ontside about 55 ft. high. The greater part of it dates from 271 to 276. It was begun by the Emp. Aurelian, com- pleted by Probus , and restored by Honorius, Theodoric, Belisarius, and several popes. The wall on the right bank dates mainly from the time of Pope Urban VIII. (comp. the Plan of * Ancient Rome*, p. 207). The Italian government has recently begun to fortify Rome by a series of detached forts forming a circle of about 30 M. in circumference round the city.
The following description of Rome is arranged in accordance with a division of the city into five districts , the extent of which is marked on the clue-map at the end of the Handbook.
J. Strangers^ Quarter and Cor so, the chief centre of business.
//. The Eastern Quarters^ including the Quirinal, Viminal, and Esquiline Hills, anciently covered with houses, afterwards long given over to fields and vineyards, but now again becoming of importance in consequence of the municipal improvements inaugurated in 1870.
///. Rome on the Tiber (left bank), the closely packed and tor- tuous city of the middle ages, the abode of the poorer classes, recently much altered and broken up by the construction of new streets.
IV. Ancient Rome f to theS., containing the chief monuments of antiquity.
F. The Right Bank of the Tiber, including the Vatican, St. Pe- ter's, and Trastevere.
/. Strangers^ Quarter and Corso,
The N. entrance to Rome is formed by the Porta del Popolo (PI. I, 18), not far from the Tiber, through which, before the con- struction of the railroad, most visitors approached the Eternal City. It lies at the beginning of the main highway which connects Rome with Tuscany, Umbria, and N. and E. Italy generally. The gate was constructed in 1561 by Vignola, and the side towards the town by Bernini in 1655, on the occasion of the entry of Queen Christina of Sweden. In 1878 it was enlarged by the addition of two side-portals. The gate is named after the adjoining church of S. Maria del Popolo. — Outside the gate, on the right, is the Villa Borghese, see p. 334.
Within the gate lies the handsome *Fia2za del Popolo (PI. I, 18), adorned with an Obelisk between four water-spouting lionesses, which was brought by order of Augustus from Heliopolis after the defeat of Antony, placed in the Circus Maximus , and , according to the inscription, dedicated to the Sun. It was removed to its pres- ent position by order of Sixtus V. in 1589. The shaft is 78 ft. in height, and the whole monument with the pedestal and cross 118 ft. — Towards the W. the Piazza is bounded by an arched wall with
8. Mnria del Papolo. BOMB. I. Strangen' Quarter. 147
fIguieB of PTeptane and Tiitons, opposite which is s similar stiactora adonied nith Boms hstiTBeD tlio Tiber and ihe Anio. On eacb sida o( Iha littei is an approach to tha Pincjo (p. 148).
Three etreets diverge from the piaiza on the S. : to the right the ViadiBipetla (p. 1B4), parallel with the river; in the centre the Cono (p. 162^^ and to the left the ViadtlBabuino, leading to the PlaKzi di Spagna fp. i60J, — Between the two latter atreets stands the church of S. Maria in Montt Santo, adjacent to which, on the ri^ht, is that of S. Maria dt' Miracoli, both dating from the latter half of the ITth cent., with domes and veatibnles, designed by Binaldl, and completed by Bernllii and Fontatia.
*B. Maria del Fopslo {71, I. 18^, said to have been foandod by Paschalis II, in 1099 on the site of the tombs of the Domitii, the baiial-place of Nero, which was haunted by evil apiilts, waa en- tirely re-ereoted by Baccla Pinlelli (? or Meo dtl Caprina) under SiituB IV. in 1477, I'he iateriot was afterwards decorated hy Ber- nini io the rococo style. It consists of nave, aisles, tiaaeept , and octagona! dome, and contains handsome moniunents of the 15th cent, (^oomp. p. lis.) and other works of art, (The eauristan shows tha choir and ohapelsi fee '/j fr.]
BioBi AiBLi. The lit Chapel, nirmetlj' della B/ieere, now FahiK, wag
Fimettei, UfB ofSt. Jerome. On the t'efl, tha tomb of Cardinal della Bi»ere^ right, that of Cardinal dECaatro; on tha pllUr to Iba left, a bust uf F. Catel, (ho p sinter (d. IffiTj hy IWucArf, — In Ibo 2nil Chapel : leauinplion of Mary, ftllar-pieteby(7.J/-|.ro(la.— 3rdCliBpel,paiiil8dbyfiii(«ri«A>(..-ab0TellieaJtar, Hadomia with four apgels) on Ihs left. Aainoip^iaD of the Virgin; In the
martyrs in gtisaillei on the right, lo ' ' "' - .. -
■e of a bishop, — la the i
|
Iween Bl. Anltiony of P-dn |
and St. Vincent! "B |
|
AlbeHoni(d. 1486,; loft, tha |
Of the Cardinal uf L |
|
E.otnTwMn.T. Onthe |
rieHl, lomhofCardlna |
|
Bear il i. a door leading into a paMage, M Ihe end |
|
|
aLn"a'^/ K™""' |
|
|
yearim, with an ancient M |
|
|
anpIWaCd.^iffilTi |
|
|
I.Kt-r JiBi,E, Isl Chapel, |
on the loft and right |
|
oflbe laih cent, i left, tumb |
DfGard.Anl.Pal_laviL: |
|
adjaeenl pillar the rocum. m |
|
|
The -and Chapel was eondr, |
Fled and Er the direct] |
|
PWfli in lonnur of ai. Mary |
of Lorelo, in the fura |
|
a lofty dome, in the stjla a |
ITeoled foT anch atmc |
|
On the vanltiug of Ihe dum |
are eight ■Mojaica by |
|
from Eaphaers carloonar - |
> A round the cenlml |
|
boll and a (oniuB lennin: d |
|
|
by an oneient deity |
|
|
VenoB, Apollo, Mara, Jnpiter, and Saturn. They |
alt.li : SI. Calharine
wpheta and sibyla of M . . . „ . ._ _ .
a diatinet slgnifleance of ill own, and 0D6 Ol ».-toi.i -m^Aifia. <au«»
148 /. Strangers' QuarUr, BOMB. Pineio,
the ma8ter''8 power in its highest manifestation\ — The altar-piece, a Nativity of the Vi^in, is by SebasHcmo del PiombOy the other pictures by SaMati. Bronze relief over the altar, Christ and the Samaritan woman, by Lorenzetto ; in the niches four statues of prophets : over the altars (left) ^ Jonah, perhaps designed by Raphael^ and (right) Habakkuk, by Bernini; at the entrance, Geft) Daniel, by Bernini^ and (right) Elijah by Lorenzetto. Left Tbansbpt : Tomb of Cardinal Bernardino Lonati (15th cent.)* In the Choib ''Ceiling-frescoes by Pinturiechio (1479) : Madonna, the Four Evangelists, and the Four Fathers of the church , Gregory , Ambrose, Je- rome, and Augustine, in excellent preservation, and long deservedly ad- mired for the skilful distribution of space. Beneath are the ^Tombs of the cardinals Girolamo Basso della Rovere and Ascanio Sforza by Andrea San- sotnno, erected by order of Julius II. (1505), Hhe perfection of sculpture com- bined with decoration\ The same pope is said to have caused the two fine stained-glass windows to be executed by Clauditu and Wiiliam of Marseilles.
The Ghurch gives a title to a cardinal. In the ac^acent Augnstlne monastery Luther resided during his visit to Rome (1510).
If we ascend the Pineio by the approaches named at p. 147 (gates closed one hour after Ave Maria) , we observe in the first circular space two granite columns (eolumnae rostratae) from the temple of Venus and Roma (p. 233), adorned with the prows of ships (mod- ern); in the niches three marble statues, and above them captive Dacians, imitations of antiques. Beyond these, a large relief. Half- way up ai^^ijtjtjique granite basin, with a fountain, and an£^ue5- trian Statue^afi^miior Emmanuel //., under a loggia.
The •Pindo (Pi. I, 18), the collis hortorumj or 'hill of gardens', of the ancients, was probably called Mons Pincius from a palace of the PincU situated here in the later period of the empire. Here were once the famous gardens of Lucullus, In which Messallna, the wife of Claudius, afterwards celebrated her orgies. A vineyard belonging to the monastery of S. Maria at the foot of the hill was converted by Valadier, during the Napoleonic regime, Into beau- tiful pleasure-grounds. This Is a fashionable drive in the evening, when the Italians frequently pay and receive visits in their carriages, presenting a gay and characteristic scene. A military band plays here several times weekly In the latter part of the afternoon (p. 126). The walks are shaded by plantations and groups of trees , and (as suggested by Mazzinl in 1849) adorned with busts of celebrated Italians. — The projecting terrace at the summit (150 ft.) com- mands a magnificent *Vib'w of modem Rome.
Beyond the Piazza del Popolo and the new quarter in the Prati del Castello, on the opposite bank of the Tiber, rises the huge pile of St. Peter's, adjoining which is the Vatican to the right, and near it the city-wall. Among the hills which bound the horizon, the point planted with cypresses to the right is Monte Mario. To the left of St. Peter's , close to the Tiber, which is not visible, is the round castle of S. Angelo, with the bronze angel which crowns it. The pines on the height to the left of the castle belong to the Villa Lante on the Janiculum, with the Passeggiata Mar- gherita. Farther to the left, on the height, the fa9ade of the Acqua Paola, adorned with a cross. Between the spectator and the river is a labyrinth of houses and churches. The following points serve as landmarks. Of the two nearest churches that with the two towers to the right is S. Giacomo Ja the CoTBO, that with the dome to the left, S. Carlo in the Corso \ between ihe two appears the flat dome of the Pantheon, beyond which a part of
Villa Medici, ROME. I. Strangm' Quarter. 149
the Oampagna is viaible. To the left of this, on the height in the distance, risea the long, undecorated side of the chnrch of S. Maria in Aracoeli, and behind it appears the tower of the senatorial palace on the Capitol. On the right side of the Capitol lies the Palazzo Gaffarelli (German embassy), in front of which the upper part of the column of M. Aurelius in the Piazza Colonna is risible. A^acent to the Capitol, on the left, is the bright-looking Villa Mills, shaded by cypresses, on the Palatine. Farther to the left a low brick-built tower on the Quirinal, the so-called Torre di Kerone. To the extreme left, and less distant, is the extensive royal palace on the Quirinal.
Tlie N. side of the Pincio is supported by lofty walls , opposite which are the grounds of the Villa Borghese. In a small round space near the middle of the hill, beside a Cafij rises an Obelisk, which Hadrian once erected in Egypt to the memory of Antinons. It was afterwards brought to Rome, and erected here in 1822. To the right of the walk leading to the S. exit is a monument by Ercole Rosa , erected in 1883 to the memory of the brothers Cairoli of Pavia, who fell in battle near Rome in 1867 and 1870. The monument to the left, in the form of a globe, commemorates Oalileo OalUeif who was confined from 1630 to 1633, at the instance of the Inquisition, in the Villa Medici (see below). — The oxit is closed by an iron gate.
Leaving the Pincio by the S. gate , we obsenra dto the left the Villa Medici. In front of it is an avenue of ever^een-oaks and a fountain, whence a celebrated view of St. Peter's, most striking towards evening or by moonlight, is obtained.
The Villa Xedici (PI. I, 18), erected in 1540 by Annibale Lippi for Cardinal Ricci da Montepulciano, came into possession of Car- dinal Alessandro de* Medici about 1600, and afterwards belonged to the grand-dukes of Tuscany. In 1801 the French academy of art, founded by Louis XIV., was transferred hither. The garden is open to the public, and is entered by the gate to the left , or by the staircase to the right in the house (25-30 c).
Among the ancient reliefs built into the walls of the tastefully deco- rated facade of the villa next to the garden is one of the ^Judgment of Pari8\ the subject of a famous engraving by Marc Antonio. The wing contains a Collbotxoh or Casts (open on Wed. & Sat., 8-12, and for three hours in the afternoon before dusk; the keeper proffers a written cata- logue, for the use of which 25-30 c. is given), comprising many from statues not preserved at Rome, e.g. from the Parthenon of Athens^ and the museum of the Louvre, which are valuable in the history of art. Adjoining the wing is a terrace, the front-wall of which is adorned with casts. Wc ascend a flight of steps (fee of a few soldi to the gardener who opens the door) and traverse the oak-grove to the right. We next ascend 60 steps to the Bblvsdekb, whence a fine view, now somewhat circumscribed, is enjoyed.
The street passing the front of the Academy ends in the Piazza DELLA TaiNiTi , where to the left rises the church of S. Trinity de' Monti. The Obelisk in front of it, a conspicuous object from many points, is an ancient imitation of that in the Piazza del Popolo, and once adorned the gardens of Sallust.
8. Trinitk de' Monti (PI. I, 20), erected b^ C\vw\^^^^Y^. ^'^ France in 1495, and plundered during t\\e¥tei\0\'5^^^^^^«^>^^'^
150 i. strangers' Quarter. ROME. Piazza di 8pagna.
restored by Mazois in 1816 by order of Louis XVIII. It is open on Sundays only, before 9 a.m., and in the evening at Vespers (1 hr. before Ave Maria) , when the nuns , for whom Mendelssohn com- posed several pieces, perform choral service with organ-accompani- ment. When the door is closed , visitors ascend a side-staircase on
the left, and ring at a door under a metal roof.
Lbft, Ist Chapel : Cast of the Descent from the Cross, by Achtermann. 2nd Chapel: altar-piece al fresco, * Descent from the Cross, by Daniels da Volterra^ his master-piece (much injured and freely restored) ; the excel- lence of the drawing and composition (still better seen in the study at the Lateran , p. 271) is attributed to the aid of Michael Angelo. 3rd Chapel : ^Madonna, altar-piece by Veit. 4th Chapel: *St. Joseph, by Langlois. 6th Chapel : Christ, the Wise and Foolish Virgins, and Return of the Prodigal, an altar-piece by Seite, — Bight, 3rd Chapel: Assumption of the Virgin, Dan. da Volterra, 5th Chapel: Presentation in the Temple, Adoration of the Magi, Adoration of the Shepherds, of the School of Raphael. 6th Chapel : Resurrection, Ascension, Descent of the Holy Qhost, School of Perugino. — In the Tbansbpt, which is supported by Gothic arches, paintings by Perino del Vaga and F, Zucearo.
The convent connected with the church has been occupied by the Dames du Sacr^ CcBur (teachers of girls) since 1827.
We quit the piazza to the left by the Via Sistinay which leads in 5 min. to the Piazza Barberini (p. 171), and in 20 min. more to S. Maria Maggiore (p. 176). To the right is the small Via Oregoriana, which after 3 min. is intersected by the Via Capo le Case.
To the right. Via Sistina No. 64, is the Caaa Zuccari^ once the house of the family of the artists of that name (marked by a memorial - tablet in 1872; paintings by Federigo Zucearo on the ground-floor). In 1816 it was occupied by the Prussian consul Bar- tholdy,who caused one of the rooms to be adorned with frescoes by German artists then at Rome, among whom were Cornelius, Over- beck, Veit, and Schadow. The frescoes, however, were removed to the National Gallery at Berlin in 1888.
The long Seala di Spagna (PI. I, 20; 'Gradinata di S. Trinity de' Monti'), which descends from S. Trinity to the Piazza di Spagna by 135 steps , was constructed by Al. Specchi and De Sanctis in 1721-25. Models for artists with their picturesque costumes frequent its vicinity. To the left of the steps as we descend is the house where John Keats died in 1821 (marked by an inscription).
The Piazza di Spagna (PI. I, 17; 82 ft.), the centre of the strangers' quarter, is enclosed by hotels and attractive shops. At the foot of the steps is La Barcaccia (barque) , a tasteless fountain by Bernini. Towards the N. the Via del Babuino , containing the new English church of All Saints, in the Gothic style, by Street (p. 119), and also several hotels, leads to the Piazza del Popolo (see p. 146). John Oibson^ the sculptor, died in 1866 at Via del Babuino 144. In the S. prolongation of the long Piazza di Spagna rises the Column of the Immacolata (PI. 1, 20, 1), erected by Pius IX. Jn honour of the 'Immaculate Conception of the Virgin' , a dogma promulgated in 1854; on the top of the cipoUine column stands the
Foixtana di Trtvi. BOUE. /. Sirangen' Qiiarter. 151
btouze BUtne of Mury ; beneath a.re Hoses , David , IsoUli , sDd Eieklel.
At the B. end of the piazza is the CnlUyia di Propaganda Fidt (PI. I, 19, IS), foDDded In 1623 by Gcejory XV., and aiteoded by lis snmessor Urban Till, (whence 'CoUegivm Vrbanum"), an establishment for the propagation of the Roman Oatholic faith, where pnpiis of many diffarenC nationalities are edncated as miasionarlea. The printing - office of the college was formerly celebrated as tbc rlchOBt in type tor foreign langnages. — On the riglit is the Palauo di Spagna, or palace of the Spanish ambassador, whence the plaxia derives Its name. Opposite lies the small Piaata MlgnaneUi (PI. I, 20), a «taUoi) of the omnibnsea to St. Peter's and the Piazza Mon- Unara (Nos. 8 & 23, pp. 1, 2 of the Appi.).
Opposite the Scala d! Spagna is the Via. oe' CoHuaiTi, with Its nnmetous shops of Jewellery, mosai-ns, antiquities, and photograplis. It terminates in the Coiso (see p. 152].
To the 8.E. from the Plana di Spagna riina the Via de' Due Waetlii, to the left of the Propaganda, and (o the right the Via di FROFAaa»PA. ThslntCer leads toS. AndiBBdaIleFratte(PI.I, 19) at the corner of the Via di Capo le Case, the next cross-street. This ohmrch was erected under Leo XI, by La Guerra; the tasteleeg dome atid campanile are by Borromini; the fajade was added In '■■"6 by Yaladia
The pictures in the Liteb two angori hj e
rlbune, by Bernini, ncre oriElnally d«aUned COr the uriu(« ui o, yiuKD.u, In (lie Qnd Cbapil ud the right Is (on liiE right Bide) the monumeDt of Hlle. Falconnet by Hits Hoimtr; oa Uie last pillar to ttae riiht, in f^unt a! the alais, tlie monnmBDl a[ the artist K. Sebadow (d. \W), by S. Wolff. In lbs 3rd Ciianel la the left, by 11
rigbt. Ilea 'Miji ciinverted prini
nf Angelica JCauOhiann (d. IBUTj ; siUacent, bf tha pilliT to the - ' ■ ■■ ■""" ""- Donfsb arcbffloloelit ZoSga and a
In the Via di Capo le Case stands the ohurrh of S. Giuieppe a Capo le Coit (PI. I, 19), adjoining which is the Mubho Annsnco- InDDSTBUtB, an unimportant collection of terracottas, majolica, glass, ivory and wood oarving, and other prodncts of the artistic in- duatriea of Italy (adm. daily except Wed., 9-3, fiO c). Descriptive labels are attached to the articles exhibited.
We follow the Via di Propaganda towards the 8., passing in front of S. Andron dalle Fratte, and turn to the right into the Via dolPoisetto, andthentotheleft iiitotheViAPou(PI.I, JB). The last, which U almost immediately intersected hy the Via dell' Angtlo Cutlode (p. 154], a now street connecting the Plana liar- beiini and the Piazia Oolouia, ciossea tlie small Piazza Poll, skiirts the Palaito Foli, and leads to the Tontani Trevi.
The ■I'antsna di Travi (PI. I, 19), which vies in maguiflcence with the Acqua Paola, ia erected against the S. aide of tW ^n^x.-un Poll, and wati completed from a (leaign b-j Nice. B0.W1. VVCSS^^ \w
152 /. Strangers' Quarter. ROME. The Corso.
1762. In the central niche is a figure of Neptune, by Pielro Bracci;
at the sides, Health (left) and Fertility (right) ; in front, a large
stone basin.
The ancient Aqua Virgo^ now Acqua Vergine^ which issues here, was conducted by M. Agrlppa from the Gampagna, chiefly by a sabterranean channel 14 M. in length, to supply his baths at the Pantheon (p. 195), in B.C. 19. It enters the city by the Pincio, not far from the Porta del Po- polo. The name originated in the tradition that a girl once pointed out the spring to thirsty soldiers. The fountain was restored by Hadrian I., Nicholas Y., and others. In 1453 the latter pope conducted hither the main stream of the aqueduct, and the fountain then exchanged its ancient name for its present name of Trevi (a corruption of ^Trivio*), which it derives from its three outlets. This aqueduct yields daily upwards of 13 million cubic feet of water, perhaps the best in Borne. The fountains in the Piazza di Spagna, the Piazza Navona, and the Piazza Famese are supplied from the same source. — On quitting Rome, the superstitious partake of the water of this fountain, and throw a coin into the basin, in the pious belief that their return is thus ensured.
The busy Via deUe MuraUe (p. 165) leads to the "W. from the Fontana Trevi to the Oorso. Opposite the fountain is SS. Vincenzo ed Anastasio (PI. I, 19, 3), erected in its present form, with a de- graded facade, from designs by M. Lunghi the Younger, at the beginning of the 17th century.
The Via di S. Vincenzo, called farther on the Via de* Lucchesi, terminates in the little Piazza Pilotta, in which, to the right, stands the Palazzo MutiPapazzurri, (PI. II, 19, 9), built by Mattia de' Rossi In 1644. (From the Via de' Lucchesi the Via della Dataria leads on the left to the Quirinal; p. 174.) To the right of the Piazza Pilotta lies the Piazza SS. Apostoli (p. 160). The Via della Pi- lotta, skirting the rear of the Palazzo Colonna (No. 17 is the en- trance to the Galleria Colonna), and passing under the two arches which unite that palace with the Giardino Colonna (p. 163), leads to the Via Nazionale (p. 169). *
The Corse.
The *Corso , which corresponds with the ancient Via Flaminia leading from the Capitol, extends from the Piazza del Popolo (p. 146), between the Via di Ripetta and Via del Babuino, to the Piazza di Venezia, and is now the principal street of Rome. It con- tains numerous shops and is enlivened, especially towards even- ing, by crowds of carriages and foot-passengers. Its length is 1650 yds., or nearly a mile.
The first part of the street as far as the Piazza S. Carlo is less frequented than the other portions. No. 518, to the right, between the first two cross-streets, is the Pal. Rondinini (PI. I, 17, 18), the court of which contains an unfinished Pieti by Michael Angdo. No. 18, the house opposite, was once inhabited by Goethe; inscription: *In questa casa immagind e scrisse cose immortali Volfango Goethe. II Comune di Roma a memoria del grande ospite pose 1872'.
On the rfghtj beyond the third cross-street, is the church of
The Corso, ROME. /. Strangers' Quarter, 153
8, Oiacomo in Augusta ^ or degli IncurdbiU (PI. I, 17, 2), with a fjft^ade by C. Maderna. It belongs to the adjoining snigical hospital, -which extends to the Yia Ripetta and accommodates 340 patients (founded 1338, enlarged 1600). Nearly opposite, on the left, is the small Augustine church of Oesii e Maria , with facade by Ri- naldi. — [In the Via de* Ponteflciy the third transverse street from this point to the right, is the Mausoleum of Augustus (p. 184). ]
The Corso next leads to the Piazza S. Cablo, in which, on the light, is 8. Carlo al Corso (PI. I, 17), the national church of the Lombards, and the resort of the fashionable world, with a tasteless fa^de. It was erected in the 17th cent, by Onorio Lunghi and
completed by Pietro da Cortona,
Ceiling-paintings in the Intebiob by Oiacinto Brandt. Over the high- altar is one of the finest works of Carlo Maratta : the Virgin recommending S. Carlo Borromeo to Christ. (The heart of S. Carlo is deposited under this altar.) Chief festival of the charch, 4th Nov.
The busy Via de^ Condotti and other streets to the left lead to the Piazza di Spagna (p. 150); the Via delta Fontanella di Borghese, prolonging the Via de' Condotti towards the W., leads to the Palazzo Borghese (p. 184) and the Ponte S. Angelo (p. 274).
Farther on in the Corso, on the right, No. 418 A, is the spacious Palazzo Ruspolij built by Ammanati in 1586, and now containing the Restaurant Morteo (p. 112).
To the left, at the corner of the Via Frattina (No. 151), is the Palazzo Bernini^ the vestibule of which contains one of the most exaggerated specimens of Bernini's style, a group representing *Time bringing the truth to light'.
In a small piazza on the right side of the Corso, opposite the Via Frattina, rises 8. Lorenzo in Lncina (PI. I, 16), a church of ancient origin, but frequently restored. The only old part is the campanile, the top of which is modem. The church and adjoining monastery have belonged to the Minorites since 1606.
The PoBTico is supported by four columns^ at the door are two half- immured mediaeval lions. — In the Interior, by tlie 2nd pillar to the right, is the tomb of Nic. Poussin (d. 1666), erected by Chateaubriand ; above the high-altar a Crucifixion by Ouido Reni.
Farther on, to the right, a little back from the street and partly concealed by other houses, is the unfinished Pal. Fiano (Fl. I, 16, 8). The passage to the court, entered from No. 4, Piazza in Luclna, contains some good reliefs of figures and ornamental designs from the Ara Pacts, set up by Augustus in B.C. 9 (other remains in the Villa Medici, the Vatican, and the Ufflzi at Florence). In front of this palace a triumphal arch of M. Aurelius stood until 1662 (see inscription opposite, No. 167, recording that Alexan- der VII. levelled and widened the Corso for the horse-races; reliefs, see p. 219).
The Via delle Convertite on the left leads to the Piazza di S: Sil- vestrOj which is embellished with a monument to the ij^oet Pielt^ Metastasio (b. at Rome 1698, d. at Vieimai il^^^ «t^\*A\w*sS&^.
154 J. Sttangera' Quarter, ROME. The Corso and its
In the N.W. comer of the piazza rises the venerable churoh of 8. Silvestro in CapUe (PI. 1, 16), erected, together with a monastery, by Paul I. (757-67) on the site of his own house. The entrance-court has been preserved, but the church has been frequently rebuilt. The *head of John the Baptist' has been preserved here since the 13th cent, (festival, 31st Dec). Part of the monastery has been converted into the handsome Post and Telegraph Office, which has entrances from the piazza and the Via della Yite. Another part of the old monastery contains the ministerial Offices of Public Works. — Opposite S. Silvestro is the English Church of the Trinity (p. 119), erected in 1874, with a handsome fagade in the early-Renaissance style. — At No. 11, Via di Mercede^ which leads to the E. from the Piazza di S. Silvestro, is a tablet recording that Sir Walter Scott lived here when at Rome in 1832.
Farther on in the Cor so, to the right, is the Pal. Vbbospi (No. 374), now Toblonia (PI. 1, 16, iO), erected by Onorio Lunghij and restored by Alessandro Specchi. A loggia on the first floor is adorned with pleasing mythological frescoes by Fr, Albani, recall- ing the famous Famesina works (p. 323). — Opposite begins the wide Via delP Angelo Custode (see p. 151), which leads past the church of S, Maria in Via (by Mart Lunghi, 1594; facade by Rain- aldi, 1600) and the N. front of the Palazza Poll (p. 151), to the Piazza Barberini (p. 171). The large establishment of the Fratelli Boceoni, at the corner, was built in 1886-87.
To the right, farther on, at the comer of the Piazza Colonna, is the extensive Pal. CMgi, begun in 1562 by Oiac. della Porta, and completed by C. Maderna. It contains a few antiques and a small collection of pictures, but is not open to the public. The 'Biblio- theca Chisiana' contains valuable MSS. (adm., see p. 124).
The handsome ^Piazza Colonna (PL I, 16) is bounded on the N. by the Pal. Chigi, and on the S. by the Pal. Ferrajuoli (PI. 20). In the Corso, to the E., is the Pal. Piomhino (PI. 22), and opposite the Corso the former post-office, with a portico of ancient Ionic columns from Veii (p. 389).
The ^Column of Marcus Aurelius, rising in the centre of the piazza named after it. Is embellished like that of Trajan with reliefs from the emperor's wars against the Marcomanni and other German tribes on the Danube.
The column consists of 28 blocks , besides the basement and capital, in all 95 ft. in height, and is approached by steps. In 1589 Sixtus V. caused it to be restored and crowned with a statue of St. Paul. At that period it was ascribed to Antoninus Pius, after whom it is still frequently named. — The Piazza Colonna is much frequented in the evening. Mili- tary music here in the height of summer (p. 126).
Adjoining the Piazza Colonna (beyond the old post-office) is
the Piazza di Monte Oitobio, on the right side of which is the
Bpaeioua Camera de* Deputati (Pl. I, 16, 2^), begun for the Lu-
Side-StreeU. ROME. I, Strangers' Quarter, 155
dovisi family by Bernini (1650), "but finished under Innocent XII. by C. Fontana for the * Curia Innocentiana', or papal tribunal. The court in the interior was roofed over in 1871, and fitted up for the use of the Italian parliament. The sittings usually take place in the afternoon. Entrance to the public seats at the back, No. 10. The door-keeper will sometimes proride visitors with better places (fee 1 fr.). — The rising of the piazza towards the N. is due to the buried ruins of what has been erroneously identified with the am- phitheatre of Statilius Taurus (B.C. 31).
The Obelisk in the centre of the piazza, like that in the Piazza del Popolo (p. 146), was brought to Rome by Augustus, and used as the indicator of a sun-dial. It stood till the 9th cent., was after* wards damaged, but was restored and erected here in 1789 under Pius VI. It was originally erected in the 7th cent. B.C. by Psam- metichus I. Height, including the globe and pedestal, 84 ft.
The Pantheon (see p. 193) may be reached hence by turning to the right at the foot of Monte Citorio (S.W.), and crossing the small Piazza Capranica (p. 195). "We turn to the left and proceed to the Piazza di Pietra, in which is the ^Dogana di Terra (PI. I, 16, 1$), formerly a custom-house, now the exchange. Imbedded in the fa- cade are eleven Corinthian columns , 41 ft. high , of a Temple of Neptune, built by Hadrian , which once possessed 15 in its length and 8 in its breadth. The three middle columns and a fragment of the wall of the cella have been lately brought to light. The pedes- tals here bore the statues, representing conquered provinces, now in the Palazzo de' Conservatori (p. 211).
The Via de* Pastini leads hence to the Pantheon (p. 193), while the Corso is regained by the Via di Pietra to the left.
Continuing to follow the Corso from the Piazza Colonna, we ob- serve, to the left, opposite the above-named Via di Pietra, the Via delle Muratte (p. 162), leading to the Fontana Trevi.
Farther on, also on the left , where the Corso expands into the Tiazza Sciarra', we reach the *Palazzo Sciarra-Colonna (No. 239 ; PI. I, 16), the handsomest palace in the whole street, erected in the 17th cent, by Flaminio Ponzio, with a portal of later date.
The PiOTUEE Oallbbt in this palace is now shown only to visitors with a recommendation from high quarters. Principal works: Raphael^ Violin-player, dated 1518; Palma Veechio, Female portrait, signed ••Tam- hend'i ^em. idtiniy 'Vanity and Modesty', half-figures ; Caravaggio^ Players; Perugino, St. Sebastian; Ouido Reni, Magdalene.
Opposite is the imposing Savings' Barik, by CipoUa (1868).
The Via del Caravita, the first side-street on the right, leads to the Piazza di S. Ionazio (PI. H, 16), in which is the Jesuit church of 8. Ignazio» designed by the Padre Qrassi, with a facade by Algardi. The building was begun by Card. Ludov\&\ ml^*l^^ after the canonisation of the saint, but not Gom^\e\«k^\K>X\.^'^.
156 /. Strangers' Quarter. ROME. Mtiseo Kireheriano,
INTBBIOB. The impression is marred by the bad taste of the decora- tions, which, however, are less obtrusive than in most Jesoit churches. The paintings on the vaulting, dome, and tribune, and the picture over the high-altar are by the Padre Pozzi^ an able master of perspective , by whom the chapel of St. Lod. Gonsaga, in the aisle to the right, was also designed. The perspective of the paintings on the ceiling and dome is correctly seen from a circular stone in the centre of the nave.
On the front of this church is a Time-Ball, regulated from the Obser- vatory (p. 157), the fall of which is the signal for the discharge of the time-gun at the Gastello S. Angelo.
On the S. the choir of the church adjoins the old Jesuit Collegio Boxnano (PI. n, 16), where the higher branches of classics, mathe- matics, philosophy, etc., were taught, and degrees conferred. The extensive building was erected at the end of the 16th cent., under Gregory XIII. and Sixtus V. , by B. Ammanati. The massive principal facade looks towards the Piazza del Collegio Romano. A number. of the rooms contain the Biblioteca Vittorio Emanuele (Director, Com- mendatore D. Onoli) consisting of the old Library of the Jesuits, augmented by the libraries of many suppressed monasteries and constant new acquisitions (in all about 500,000 vols, and several thousand MSS.). This library is especially important on account of its richness in modern works, in which most of the other Roman libraries are deficient, and for its easy accessibility and convenient arrangements (comp. p. 115). — The building also contains the Liceo Ennio Quirino Visconti and several collections, the chief of which (on the second floor, up three flights of steps) is the —
Hnseo Kircheriano, founded by the learned Athanasius Kircher, born in 1601, a Jesuit and teacher at Wiirzburg in 1618, afterwards professor of mathematics at the Coll. Romano, and celebrated for his mathematical and scientific researches (d. 1680). In 1870 the mu- seum was acquired by government, which has founded here an extensive ethnographical and pre - historical collection (adm, see
p. 123). The director is Commendatore Pigorini,
We first turn to the left, and enter the Corridob. The 8how-Ca%es in the centre contain small articles in bronze, iron, ivory, and bone, with a large collection of antique Roman and Italian bronze coins ((Us grave). The Cabinets by the walls contain terracotta figures (chiefly votive), lamps, clay vessels, and small objects in glass and ivory. 2nd Cab. to the left (No. Ill): Silver goblets found in the mineral spring at Vicarello (p. 391), among which are three in the form of milestones and inscribed with the names of the chief stations on the route from Gades (Cadiz) in Spain to Rome; a book consisting of 7 plates of lead inscribed with mystical symbols (end of the 2nd cent. A.D.). Srd Cab. to the right (No. VIII) : Large bronze tablet with a dedicatory inscription to Minerva in the Faliscan dialect; above, an iron ring with a bronze label bearing the inscription 'I have run away, catch me, and restore me to my master, who will reward you with a solidus*, generally supposed to have been intended for a slave, but more probably a dog-collar.
I. Room. In the centre is the famous '^Ficoronian Cista, named after its first owner, dating from the 3rd cent. B.C., and found near Palestrina in 1744. It is a toilet-casket of cylindrical form, adorned with admirably- engraved designs , representing the arrival of the Argonauts in Bithynia, and the victory of Polydeuces over king Amycus. The feet and the figures on the lid are of inferior workmanship ; on the latter the inscriptions : 'Nov JOB PlantioB med Romai (me Romee) fecid", and *Dindia Macolnia flleai
Kuato Kireheriano. ItOHK. /. Strangeri Qvarler. 157
iiijBid wHli sHvur. By the winditwfl are bronza figures of Baccliuji and of X Tontb Inlended fnr k pillar. The WM-Ciuu CDntaiD Egn'tisn woadoo and broDIB aluluetliM, Etruioui tdoli, emtil brans BE^rBB al (be Rcdud purfod, wflftpods, caodaliLbr* elo. - Tha —
1!. Buou, Ig llis left, al the and uf Kflum I, coatains eiU'])'-Ohriilian
nail, In. a black frama, with a caricature nf the Christiana Bcci.lclieA upon
ride, and (he words 'A!i(5oB.ivo! oifeni ftiev (Ale»m6DOi worships God), found io the Pffdaeoglam on tbe Palitlna {comp. p. 317). This probably repreienla the sarojulie wit of an Imporial paja at the eipenao of tome
rioaities firrming part af tbe orlglrt^ Rlrcher cfhllecliua.
Tbe rBmuiDing rnoms caotalD tbe Etbnographloal anil Prshlitoria Konnm. In the long Cobkidob, whicb wo neit enter, ate obJMta from the Polar Oegioni and from N. and 8. Amerlos twllb BiplBDalarr labels).
davoled to AuBtrslia. Polynesia', India, Jspan, iind Africa. — Wo now inm to Ibe right and enler the lone Cobiidob parallel to the flral-nmn- tlooed. containing tbe Frehlatoric OoUectlons. Objects of Ihe atone period
™° Amtne the°B.o.\ Uter(jslI™E objecU are th^ oinerary urns in^tbl shape of Ihaprimitiiepeaaanta' huts (from Cometo) ; tbe models of oieEalt- Ibic monnmenlB (menhirs and dulmens) front Terra d'Otrinto: a. model uf
dby nai inaaoitanbs oiTjarainiaas aroiuge in caea or nnafiie air~~ ._ on am Amsrlcsn antiaaities. Includlne soma rare Mei
tbe aborieli
with Ihs model nC tbe Nnraeo we turn to tbo risht
into the room which eonteins the *Treaiinre of Praeneite, fonnd at Palos- Irina (p. 883) in ISTT and pnrohaoea by Gnyernmenl. Noit the door Is a
Under tho wlndowa ore fragments of silver and bronze veiisel). The ebief objects are eiblMlod In the Cabinil in the cenlro: Hi. f. Brcnst Cor head) decoration, with 131 lions, hnraea, and Yarinni fanlaslie animals attached to it In rowl, the details uf which ars most slaboraiay siecntsd in granti-
enriched with the Orecian patlern In a Bimfler Btyle. Of the several ad- jacent EOlden cylinders, the flnest is Ko. 1, embelllsbed with two rows of
cylinderliea alongside of it. No. 3. Gulden Uti'uU, 36, FragnienLs uf n'sllver bowl, with repreaentiKons of fonr boats, Eeypllaa symbols and Ugnrea, and
cb>ractera (above the wine of a bimh)) 2b. Elegant silver bowl, the in- terior adorned with a cen^I Bgnrc and. two niws of gilded reliefs (n>)>a!
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ed with two rowa of |
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'^b°r^ hV&^' |
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The two-handled golden vessel (No. SU), the daggen |
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largell objects uf the treeauro of Prtrnesto : 75. Fra |
monts of a Urge cal- |
dron with grifflna' beads ai handles; 72. Iron tripod the margin of whinh is emhelliebed with three hnnr animals, in a very primitive style.
The OaasKTiTOBi, which acquired a Bmijpean re BectM (1. ISTEq, te shown in tbe farenaun to visllora
158 /. Strangers' Quarter, ROME. Doria Oallery.
In the Gorso, beyond the Piazza Sciarra, on the light, is the
Palazzo Simonetti (No. 307). Opposite is &. Harcello (PI. H, 16), in
the small piazza of that name, a church mentioned as early as 499,
re-erected by Oiaeomo Sansovino in 1519, and recently entirely
modernised. The poor facade is by Carlo Fontana,
The 4th Ghapxii on the right contains paintings by Perino del Vagaj completed after his deatii by Dan. da Volterra and Pellegrino da Modena^ and the monaxnent of the celebrated Card. Consalvi (d. 1824), minister of Pius VII., by Rinaldi. Paintings in the Tribdnb by Qiov. BattUta da Novara; those of Uie 2md Chapel to the left by Fed, Zuccaro.
On the right is the small church of -S^. Maria in Via Lata, men- tioned as early as the 7th cent. , but in its present form dating from the 17th; facade by Pietro da Cortona; from the vestibule a stair- case ascends to an oratory (built by Yignola) in which St. Paul and St. Luke are said to have taught. The Via Lata (called Via Flaminia outside the town ; p 336) was the ancient main street of the city, nearly corresponding with the present Corso. Below this church and the Palazzo Doria lie extensive ancient walls, which once belonged to the Septa Julia^ an edifice begun by Caesar and com- pleted by Agrippa, used for taking the votes of the national as- sembly, but converted into a market-place in the reign of Tiberius, when this practice had fallen into disuse.
Adjoining S. Maria in Via Lata is the ^alkszo Doria, formerly Pamphilj (PI. II, 16), an extensive pile of buildings, and one of the most magnificent palaces in Rome ; fagade towards the Corso by Val- vasori^ that towards the Coll. Romano by P. da Cortona, and another towards the Piazza di Venezia by P. Amati. The handsome court, surrounded by arcades, is entered from the Corso (No. 305). To the left is the approach to the staircase ascending to the *Galleria Doria on the 1st floor (Tues. and Frid., 10-2; during the Easter fort- night, daily; catalogues in each room; fee V2 f^.). In winter the galleries and other rooms are very cold. — The Doria Gallery re- sembles the other Roman collections in being devoted to no parti- cular school , and in possessing examples of every different style, but the founders have perhaps shown a preference for works of the 17th century. The ante-chambers are badly lighted , so that the pictures are not seen to advantage, but most of the works here are hardly above mediocrity. The visitor should, however, note the predella of a now lost altar-piece by Peselli (II. Room, 29, 39), a good specimen of early-Florentine painting, and the Madonnas of Niccolb Rondinello (II. Room), a little known master, who has hap- pily imitated the golden colouring of the old Venetians, and is one of Giov. Bellini's ablest followers.
The gems of the collection are in the three galleries. Raphael,
the prince of cinquecentists, is represented by the portraits of two
Venetian scholars , Andrea Navagero and Agostino Beazzano ; but
their authenticity has been questioned, and the touch is certainly
somewhat different from R&i^]ls.qVs usual style, although the vigorous
Derla 0<ilUnj, ROME. 7. Strmgera' Quarter. 159
tone and biesdth cif colouring m&y be ii^uODnted for by Mb habit of fresco painting. Ji>b»nnB of Anragoo Is a copy only (II. GallBry, 53), and so too ts Titlan'i Periods of Lito (I. Gall. 20). Porde- noue's Daughter of Horodias (II. Gall. 40), and Lor. Lotto's portrait ofliimflelffi!. tlaH. 34), on thB otharliand, are admirable Vene- tisn wocliB. The portrait oE Andrea Dotia by Sebaninn dtl Piambo la not Venetian in chanetei, but is interesting from tlis faculty diaplajBd by the jjiaater of imparting an air of dignity to a for- bidding aubjeot. With thia irork the visitor should campare the por- trait of Fnpe Innocents., by Vclatquet (L Onll. j no number), and the coldly aristooratie portrait of Glanettino Doria by A. Sranii'no (U. Gall. 31). The colouring of the former is strikingly rich, c-om- pletelyeclipaiiig gumbo's massivenesa of style. The Ekilful manner in whiuh the three Bbsdes of rod ate blended should be particniarly noticed.
Oarofalti (or Orfofuno, to whom the picture has recently been ascribed), thongh not a master of the highest rank, has produced BD admirable nork in his Nativity of Cliiiat (H. GbII. 61). The Isndacapo-painters of the ITth cent, are also veil represented. In the landscapes of AnnlbaleCarraciA (111. Gailery) ve observe a con- flict between biatoric and scenic imagination , and the obtrusion of the former at the eipense of harmony of effect. The pictnies by Salvalor Roia (YIT. Itoom) are not among hia best works, but Claude Lorrain') Isndscipes (lU. Gall. 5, 13, 24, 34), are jnstly admired. His 'mill', and the landscape with the temple of Apollo, may be legsided as models of ideal laadscape; the effect is produced by the akUfuI gradations of distance: the foreground is inclosed by trees on both sides, the middle distance gently softened off, and the background lonned by mountain outlines. — The Netherlajida School of the i5th and ITth cent, is scantily represented, but some of Che pictures, at Mcmiing's Descent from the Cross (^CDrnei-ritbi- net), and £;«..■«.' SBcrifloe of Isaac (.II, Gall. 26), are worthy rivals of their Italian neighbours.
I. Rook : also copying-room, to whinh the iliicst pictures in the collection are frequently broaght. Antiquitits: in the middle, a Cen- lanr in pietra dura and rosso antico (freely restored); four Sarco- phagi with (No, 1) the iinnt of Meleager, (3} history of Marsyaa, (6) Diana and Endy mi on, and (no notnber) procession of Baoehus. Two tlue circular altars; 2. Duplicate of the so-called Diana of Gabii in the Louvre ; 4. Archaic statue of the bearded Dionysus ; and a norober of stfttuflHos, some of fine quality, eubura: 21, 22, 24,25, 27, 29, 30, 34. Landscapes by Q. I'mutin and his followers; on the outran ee-wall, Perino del Viiga, Madonna; between the windows (no number), **Yelaiqutt, Pope Innocent X. To the left we enter
160 /. strangers' QuaHer, ROME. Doria QaUtry,
the Baptist at the Jordan; 23. Saaaoferrato j Mater Dolorosa ; 24. RondinellOj Madonna; 28. Pisanello^ Sposalizio; 29. Peselli, St. Sylvester before Maximinus 11. ; *34. Fra Filippo Lippi , Annnn- ciation ; 38. Piaanello, Nativity of the Virgin ; 39. Peselli, Leo IV. exorcising a dragon; *40. OttercinOy St. Agnes at the stake; *41. Rondinello, Virgin and Child. Ascribed to Holbein, 42. Portrait of a man, with a carnation and a purse, signed ^at the age of 40, 1545'; 45. Portrait of a woman, signed 'at the age of 36, 1545'. 44. Nea- politan School, Mary Magdalene ; 46. Carlo Saraeeni, Juno placing the eyes of Argus in the peacock's tail ; 47. Oiov, Bellini (ascribed by Messrs. Crowe and Cavalcaselle to Bissolo), Presentation in the Temple; 55. School of Mantegna, St. Anthony; 96. (to the right of the entrance) Marco Basaiti (aoc. to C. and C; not Perugino^ St. Sebastian. — In the centre , Jacob wrestling with the angel, a group in marble, of Bernini's school.
III. Room (closed).
IV. Room (very dark). To the right on entering: 33. Cara- vaggio, St. John; *17, 31. P. Bril, Landscapes. Over the door: 1. Paris BordonCj Mars, Venug, and Cupid. In the centre a recumbent river-god in pietra dura. On the left wall : 8. Caravaggio, Melon-seller; in two frames, antique bronzes and other objects. By the window a bronze vessel with graffiti in a peculiar style , of late origin. *19, *25. Orizonte, Landscapes; 32. Scipio Pulzone (generally called Oaetano'), Betrothal of St. Catharine.
V. Room r 13. O. Poussin , Palazzo Salviati and the Janiculus (p. 327); 21. Beccafumi, Betrothal of St. Catharine; 22. Holy Family and St. Catharine (not by Titian); 25. Ouercino, St. Joseph ; 27. Domenichino, Landscape; 31. Poussin, Landscape.
VI. Room. Over the door: 5. D. Ohirlandajo, Holy Family; 15. Maratta, Madonna ; *9. Spanish School, Portrait of a boy. To the right of the exit, 39. School of Oiov. Belliniy Marriage of St. Catharine. — The raised passage-room contains several small land- scapes by Brueghel, Orizonte, and others.
VII. Room: Salv, Rosa, 3. Landscape, 8. Belisarius; 19. Maz- zolini, Massacre of the Innocents.
VIII. Room : J, A. Borgognone and C Maratta, Capture of the town of Castro in 1649, one of the chief military exploits of Pope Innocent X.; *17. Lod, Carracci, St. Sebastian; opposite, 22. Lod, Carracci, Holy Family. In the corner a *Head of Serapis in marble.
IX. Room: Several interesting ancient portrait-heads; land- scapes by Momper, Tempesta, and Orizonte ; fruit-pieces by Weenix,
X. Room : Subjects from still-life.
"We now enter the galleries. To the left is the —
I. Gallery: 2. Oarofalo, Holy Family; 3. Ann. Carracci,
Magdalene; 8. Quinten Massy s, Two male heads; 9. Sassoferrato,
Holy Family; 11. J. Miel, Madonna; 13. Padovanino, Descent
Aam tie Cross; 14. Titian, Portrait (called Marco Polo) ; ib. A, del
l)oria Gallery, ROME. /. Strangers' Quarter. 161
Sarto(f), Holy Family; 16. Horithorstj Lot and his daughters; 20. Titian, The three Periods of Life, a copy of the original in London ; •25. CL Lorrain , Landscape with the flight to Egypt ; *26. Oaro- faZOy Visitation ; 32. Saraceni, Repose during the flight into Egypt ; 36. Brueghel , Creation of the animals ; 37. Nic, Poussin , Copy of the Aldobrandine Nuptials (p. 321); 49. P. Veronese (?), Angel; 50. O. Romano J Holy Family, after Raphael \ 51. Dosso Dossi, Christ expelling the money-changers from the temple. Opposite, at the last window : 5. School of Mantegna, Bearing of the Cross.
II. Gallbby (chiefly remarkable for its admirable portraits) : 3. Oiov, Bellini (or Rondinello"), Madonna ; *6. Fr, Francia , Ma- donna; 11. Pordenone, Portrait; 13. Mazzolini, Christ in the Temple; 14. (not Titian')^ Portrait; 15. Lor', Lotto, St. Jerome; no number, Quinten Massys, Money-changers disputing; 19. Ru- bens y Portrait; 21. C, Saraceni, Repentant Magdalene ; 22. Van JDyck (?), Portrait; 25, 32, 60, 67. Brueghel, The four elements ; 26. Jan LievenSf Sacriflce of Isaac; 30. Rembrandt, Faun; *31. Angelo Bronzino, Gianettino Doria; *34. Xor, Lotto, Portrait of a bearded man ; no number, **Sebastian del Piombo, Portrait of Andrea Doria ; beneath, bust of Doria; *40. Oiov, Ant, Pordenone, Daughter of Herodias with the head of the Baptist, a model of female vigour and dignity ; 49. Rubens, Portrait of his confessor (an early work) ; 52. Titian, Portrait ; 53. After Raphael, Johanna of Arragon, Nether- landish copy; 54. Portrait of a poet (not by Titian') ; *61. Oarofalo (Ortolano?), Nativity; 65. Old copy of Qiorgione^s Concert (in the Pitti Gallery); *69. Corrcpgrio, Allegorical representation of Virtue, unfinished dead-colouring in tempera; 78. Morone, Portrait; no number, **Raphael, Navagero andBeazzano; 77. Titian and his wife (according to 0. & 0. , by Sofonisba Anguissold), — The ad- jacent room (generally closed) contains works by unknown masters of the 16th century. At the end of the gallery is a portrait-bust of Donna Olimpia Maidalchini-Pamflli, by Algardi.
III. Gallbbt: 3, 8, 30, 35. Arh. Carracci, Landscapes with historical accessories ; 5. Claude Lorrain, Landscape with Mercury's theft of the cattle; *ri. ^ronzmo. Portrait of Macchiavelli; *13. CI. Lorrain, Mill; A. Carracci, 14. Salutation, 15. Nativity; Oerh. van der Meire, 18. Madonna, 22. Hermit; 19. A. Carracci, Pietk; *24. CI, Lorrain , Landscape with temple of Apollo ; 25. B. Schi- done, Angel healing St. Rochus; 26. Mazzola, Portrait; 27. Oior- gione(f). Portrait ; 28. P. Veronese, Portrait ; 31. Fra Bartolommeo (?), Holy Family ; 32. Dosso Dossi , Vannozza , mother of Caesar and Lucrezia Borgia (?) ; 34. CI, Lorrain, Landscape with Diana hunting.
Adjacent is a small Cobneb-Cabikbt : ^Memling, Entombment ; Basaiti, Holy Family ; Mostaert, Girl reading ; Rubens, Lady with a glove; Teniers, Rustic festival.
IV. Gallbbt : Roman sculptures of little importance.
Bakdbebb. Itsdy II. 10th Edition. W
162 J. Strangera* Quarter, ROME. 8, Marco,
Opposite the Palazzo Doria rises tlie new Palazzo Odescalehi (comp. p. 166), erected in 1887-88 in the Florentine style. Ad- jacent is the Pal. Salviati, huilt by Rinaldi and occupied from 1725 to 1800 by the French Academy of Art (p. 149).
On the S. the Corso is terminated by the Piazza di Vbnkzia (PI. II, 16, 19; 48 ft. above the sea-level), to the right in which, at the corner, rises the Pal. Bonaparte, formerly Rimtccini (PI. 11, 16; 5), erected by De Rossi, where Madame Lsetitla, mother of Napoleon I., died on 2nd Feb., 1836. The piazza is named after the imposing *Palazzo diVenestia, bnilt (1455) in the Florentine style, in which the effect is produced by massiveness (p. xlix). The buUding was formerly attributed to Oiuliano da Majano, but existing documents record that it was erected by Francesco del Borgo di 8. Sepolcro for Pope Paul II. (1455). To what extent Bernardo di Lorenzo partici- pated in the work is uncertain. The palace was presented in 1560 by Pius rv. to the Republic of Venice, with which it subsequently came into the possession of Austria, and it is still the residence of the Austrian ambassador, as before the cession of Yenetia. The large court with arcades is little more than begun ; and so also is a second and smaller court to the left of the other. Many of the stones of this building are said to have been obtained from the Colosseum. - Opposite the side-entrance of the Pal. di Yenezia is the Falasso Torlonia (PI. II, 19, i), formerly Bolognettij erected about 1650 by C. Fontana , occupying the block as far as the Piazza SS. Apostoli, and the property of the late banker Prince Torlonia, Duke of Bracciano (d. 1886). It is lavishly decorated, and contains numerous works of art, but is not shown to the public. Permessi for the Yilla Albani (comp. p. 122) are procured on the ground-floor, to the left. — The N. corner of the palace has been removed to make way for the Via Nazionale (see p. 169), which is continued towards the W. by the Corso Vittorio Emanuele (pp. 197 et seq.').
From the Piazza Yenezia we proceed straight through the narrow RipiiKSA DEI Babbbbi, SO named because the 'Barbary' horses used in the races of the Carnival were stopped here. The first cross-street to the left leads to Trajan's Forum (p. 240).
To the right the Via 8. Marco leads to the Piazza di San Mabco (PL II, 16), laid out in promenades. Here, on the right, lies —
S. Marco, incorporated with the Pal. di Yenezia. This church is
very ancient, being supposed to date from the time of Constantine.
It was re-erected in 883 by Gregory lY., and adorned in 1455 by
Oiuliano da Majano 0 Domenico di Francesco^ with a fine vestibule
and probably with the coffered ceiling of the nave. The interior,
dating from the 17th cent., was modernised by Card. Quirini in
1744. Festival on 25th April.
Vestibdle. lloman and ancient Christian inscriptions, built into the
walls. St. Mark in relief, above the handsome inner principal portal. The
Interior is approached by a descent of several steps. With the exception
of the tribune and the beautiful ceiling, all the older parts have been
Pal. Colonna. ROME. /. Strangers' Quarter, 163
dlsAgored by restorations. The Tbibunb, with its handsome pavement (opus Alezandrinam), lies a few steps hi^er than tiie rest of the church. The mosaics (in the centre Christ*, left, the saints Mark, Agapetus, and Agnes; right, Fellcianus and Hark escorting Gregory lY.) date from the most de- gx«ded period ot this art (about 833) and have been justly described as *utter caricatures\ In the Bight Aisle , 1st Chapel : altar-piece by Palma Oiovane^ the Resurrection. 3rd Chap. : Adoration of the Magi, Maratta. At the end, adjoining the tribune: *Pope Mark, an admirable old picture, per- haps by Carlo CriveUi. In the Left Aislb , 2nd Chap. : altar-relief, Greg. Barbadigo distributing alms, by Ant. cTEste. 4th Chap. : St. Michael, Mola.
In the Piazza, In front of the church, is the so-called Madonna Lucrezia, the mutilated marble bust of a colossal female statue (priestess of Isis) which carried on conversations with the Abbate Luigi near the Pal. Vidoni (p. 198; no longer extant), similar to those of Pasquin with the Marforio (eomp. p. 201).
The Via di S. Marco terminates in the Via Aracceli, which to the left leads to the Piazza AracoeU (p. 209) and the Capitol, and to the right to the Piazza del Gesti (p. 197).
In the prolongation of the Ripresa de* Barberi, beyond the Via S. Marco, a whole block has recently been levelled to afford an un- impeded view of the large Monument of Victor Emmanuel (p. 210) and to make room for its eubstructure. — To the left diverges the Via di Marforio (PI. II, 19, 20), leading to the Forum. The name is derived from Forum Martis (or Forum of Augustus). The famous statue of Marforio which once stood in this street, opposite the Career Mamertinus , is now in the Capitoline Museum (p. 216). At the beginning of this street, to the left, is the Tomb of Caius Poblicius Bihulus (PI. I, 19, 2/ now entirely built over), to whom the ground was granted by the Senate as a burial-place for himself and his family in recognition of his merits (^honoris virtutisque causa', as the in- scription records) towards the end of the republic. This point must therefore have lain outside the walls of Servius, which ran im- mediately below the Capitol , interments within their limits having been prohibited. — At the end of the Via di Marforio, to the right, are the church of 8, Giuseppe de' Falegnami (Career Mamertinus; p. 237) and the Forum Romanum (p. 222).
To the B. of the Piazza di Venezia, at the bend of the Via Na- zionale (p. 169), between the piazza in front of the SS. Apostoli (p. 165) and the Via della Pilotta (p. 152), rises the extensive Palazzo Colonxia (PI. II, 19), begun by Martin V., and after- wards much extended and altered. It is now in great part occupied by the French ambassador, and a number of rooms on the ground- floor, with interesting frescoes, are therefore closed. The *6alleria Colonna on the first floor (adm., see p. 123; Y2 ^- ^^ leaving) is entered from the Via della Pilotta, No. 17.
I. Room. From right to left. Tintoretto ^ Narcissus^ Moroni^ Portrait ; *Pietro Novelli, Marcantonio Colonna ; Muziano (of Bres- cia, an imitator of Michael Angelo), Vittoria Golo\«v^^\J5vfe\xv'K^^^^ Michael Angelo; Lor, Lotto^ Caid. Pom^eo OoVwiTv^ VTS-* ^ %««^'^^'^^
164 J. 8tf angers' Quarter. ROIO. PcH. Cdlonna.
but much damaged work ; Qiorgione (?), Giacomo Sciarra Colonna ; Pourhus^ Franc. Oolonna; Tintoretto^ Angels in glory with fou- busts; Moretto da Brescia (?), Portrait; Ag. Carracci^ Pompeo Co- lonna ; Hieron. Bosch (not Cranach), Temptation of St. Anthony; Van Dyckj Lucrezia Oolonna ; Dom. Ohirlandajo (?), Reconciliation between the Romans and Sabines ; *Bonifacio (not Titian), Madonna with saints ; ^Pietro NoveUi , Isabella Oolonna and her infant son Lorenzo Onofrio, a good work, deserving notice apart from the rarity of the master ; Dom. Ohirlandajo (or, according to 0. & 0. , Cosimo Rosselli), Rape of the Sabine women ; *Palma VecchiOy Madonna with St. Peter and the donor, the effect of the group being taste- fully enhanced by a background of bushes. In the centre a Renais- sance column of red marble with scenes from a campaign in relief. A staircase, on which is placed a cannon-ball fired into the city during the bombardment of 1849, descends to the —
II. Gallbey, with ceiling - paintings by Coli and Oherardi (Battle of Lepanto, 8th Oct. 1571, which Marcantonio Oolonna at the head of the papal fleet assisted in gaining). On the walls mirrors painted with flowers (by Mario de' Fior{) and genii (by C, Marattci). The statues here are of no great value, most of them mod- ernised. Reliefs built into the wall under the windows (left) : Head of Pallas ; "Wounded man, borne away by his friends ; Selene in the chariot (archaistic style). Right wall : *Ruhens, Assumption of the Virgin ; *8ttstermans, Fed. Colonna ; Crist. Allori, Christ in Hades; Salviati, Adam and Eve; *Van Dyck, Don Carlo Colonna, equestrian portrait ; Ouercino, Martyrdom of St. Emmerentia ; 8. OaetanOj Family group of the Colonnas (1581). Left wall : Tin- toretto ^ Double portrait; N. Poussin j Pastoral scene; Niccolh AlunnOj Madonna rescuing a child from a demon.
III. Room. The great attraction here consists of eleven water- colour *Landscapes by Oaspard Poussin, which are among his finest works and the most valuable in this gallery. Some of them are un- favourably hung, but every one of them will repay careful inspection. They represent a mountain-road close to a profound ravine, a bleak plain lashed by a storm, a calm lake enclosed by majestic trees, a riven rocky landscape with waterfall, and various other subjects. Notwithstanding the simplicity and uniformity of the materials used, these works will not fail to interest by the excellence of the composition and drawing. — Window-wall : Berchem^ Huntsman ; Claude Lorrain (?), Landscape; Wouvermanf?), Chase and cavalry- skirmish ; N, Poussin , Metamorphosis of Daphne ; a large cabinet with ivory carving by Franc, and Dom. Steinhard (in the centre, the Last Judgment, after Michael Angelo). Opposite (exit-wall) : Canaletto, Architectural piece ; Crescenzo d^ Onofrio ^ Landscape.
IV. Boom. Ceiiing-painting by Baltoni wvd Luti (in honour of Martin V,J. jBh trance- wall ; P. Veronese, "PoiUaW. q1 ^m^^-., Ko\- ^^m (?)^ Lor, Colonna. ; over tKe dooi , Bordone ^wq\. Boux(a<ilo^,
88, Apo8toli. ROME. /. Strangers' Quarter, 165
Holy Family. Right wall : Albano, Rape of Europa ; *8pagnaj St. Jerome; Domenico Puligo, Madonna; Ann, Carracci, Bean-eater; ParU Bordone, Madonna with saints. Exit- wall: Oiov. Bellini^ St. Bernhard; Oirolamo Trevisani, Poggio Bracciolini; Bronzino, Holy Family ; * Titian, Onnphrins Panvinins, an admirable study of the master's "best period (name arbitrary). "Window-wall : F, Mola, Gain and Abel; jS^cMso/ierrato, -Madonna; Ouido Renij St. Agnes
V. Room. Throne-room, with handsome old carpet.
VI. Room. Entrance-wall: ParmeggianinOj Holy Family; Innoc. da Jmola , Same subject ; two ^Madonnas surrounded by smaller cir- cular pictures, erroneously attributed to Van Eyck, but by a later Dutch master , interesting on account of their elaborate miniature- like execution. Right wall : Fr. Albano, Two landscapes ; Oentile da Fabriano (or, according to 0. & C, Stcfano da Zevio), Madonna ; *Oiulio Romano, Madonna (comp. p. Lvn); Jacopo d^Avanzo, Crucifixion ; Oiov. 8anti (father of Raphael) , Portrait ; Luini, Madonna (much damaged). Exit-wall : Fra, Fil. Lippi (?), Madonna ; Luca Longhij Same subject ; 8, Botticelliy Same subject.
The beautiful Garden^ on the E. side of the Via della Pilotta (entered by Via del Quirinale 12; comp. p. 176), contains several antiquities, fragments of a colossal architrave, said to have belonged to Aurelian's temple of the sun, and considerable portions of the brick-walls of the Thermae of Con^tantine (?), which formerly ex- tended over the entire Piazza di Monte CavsJlo (p. 173). The terrace commands a good survey of the city.
On the N. the Pal. Colonna is adjoined by the church and con- vent of the SS. Apostoli, the latter now containing the offices of the Ministry of War,
The church of *SS. Apostoli (PI. II, 19), facing the piazza of the same name, was founded by Pelagius I. in honour of SS. Philip and James, re-erected under Clement XI. in 1702, and restored after a fire in 1871. The vestibule by Baccio Pintelli (?), the only part of the building earlier than 1702, contains (on the left) the monument of the engraver Giov. Volpato by Canova (1807), and (on the right) an ancient *Eagle with chaplet of oak-leaves, from Tra- jan's Forum. Chief festival on 1st May.
Intkbiob. Bight Aisle, 3rd Chapel: St. Anthony by Luii. In the Left Aisle, 2nd Chapel: Descent from the Cross by Franc. Manno. At the end, to the left, over the entrance into the sacristy : *Monument of Clement XIV. by Canova, on the pedestal Charity and Temperance. In the tribune, with altar-piece by Muratori (said to be the largest in Rome), are the monu- ments erected by Sixtus IV. to his two nephews, the Cardinals Riario, that of Pietro (d. 1474) on the left, and that of Alexander behind the altar , and partly concealed by the organ. On the vaulted ceiling of the tribune. Fall of the Angels, a fresco by Qiov, Odassi^ in the rococo style, but of striking effect The older church was decorated X^'j MeVozio ^.o. Yor\>.^ a fine fragment of whose frescoes is now iiv \Xi^ Qj;qm\w^ VS* '^^^'*''^^ others are in the sacristy of St. Peter's (p. ^i!B4^. x«v«^w-
Tbe passage ia the monastery adiacent \o Vikfe <i\ixvTt\i ^^^* v-^^v^^ ment to JftcAael Angela, who lived and ^Aed in \^i^ -^^t^sSVi o\^>a- «^^ and the tomb of Card, Bessarion (d. 1412).
166 //. Eastern QuarUr. ROM^. Railway Station.
Opposite the front of the SS. Apostoll is the old Pal, Od€8calchi, hnilt by Bernini.
//. The Eastern Quarter.
Qnirixial. Yiminal. Eflqailine.
On the Quirinal at a very early period lay a Sabine town, the union of which with that on the Palatine formed the city of Rome. The Servian Wall (p. 130) ran from the Capitol along the N. W. side of the Quirinal, and then to the E. behind the Baths of Diocletian and the church of S. Maria Maggiore, enclosing the Quirinaly Viminal, and a part of the Esquiline, According to the new division of the city by Augustus, this quarter comprised two districts, the Alia Semita (Quirinal) and the JSxquiliae (Esquiline). The building of Aurelian's wall shows that this quarter was afterwards extended. According to the medisBval division these districts formed a single region only, named the Rione Afonti, the most spacious of the four- teen quarters in the city, as it extended from the Porta Pia to the now closed Porta Metrovia, below the Lateran, and to the Forum Romanum. Its inhabitants, called Montigiani, differ, like those of Trastevere, in some of their characteristics from the other Romans. Pius IV. constructed the long main street from the Piazza del Quirinale to the Porta Pia (Via del Quirinale and Via Venti Set- tembre). The second main street, intersecting this one and leading from the Pincio to S. Maria Maggiore ( Via Sistina and Via Quattro Fontane), was made by Sixtus V., who also provided the hill with water. With the exception of these inhabited quarters almost the entire E. part of Rome was until lately occupied by vineyards and gardens. But the selection of the city as the capital of the kingdom of Italy gave a strong impulse to its extension, and a new quarter has sprung up here near the station, which already rivals the older districts in business activity and prosperity. The main artery of traffic here is the Via Nazionale, which runs from the Piazza delle Terme along the ridge of the Quirinal to the Piazza Venezia , a distance of nearly a mile. Beyond the Piazza Venezia it is continued by the Corso Vittorio Emanuele (p. 197).
On the E. side of the Piazza dblle Terme (PI. I, 25) is the
handsome Railway Station, constructed by Miri^re and Bianchi
in 1872. Opposite the arrival-platform begins the wide Via Cavourt
leading to the Piazza dell' Esquilino and the Forum (see p. 176).
The main front of the station faces the Thermse of Diocletian. The
open space here, now called the 'Piazza del Cinque Cento', is
embellished with a Monument to the 500 Italian soldiers who were
surprised and slain at Dogali by the Abyssinians in 1886. A small
obelisk found at the church of S. Maria sopra Minerva in 1882 has
jbeen incorporated in this monument. Ad^aGentia «. copious fountain,
y'ed by the Acqua Afarcia, which "has "been ie<ieu\Vj t^%\.qt^\. \iv
tlie evening the piazzas is lighted Ijy electildtv*
8. Maria degli Angeli. ROME. II, Eastern Quarter. 167
The Thermea of Diocletian (PI. I, 25), which give name to the piazza, were the most extensive thermae in Rome, and were construct- ed by Maximian and Diocletian at the beginning of the 4th century. The principal building was enclosed by a wall, the outline of the round central portion (*exedra') of which, is preserved by the new houses at the beginning of the Via Nazionale (p. 169). The corners of the main building were occupied by two circular structures, one of which is now the church of S. Bernardo (p. 169), and the other belongs to a prison. The circumference of the baths is said to have been about 2000 yds., or half as much as that of the Baths of Cara- calla (p. 255), and the number of daily bathers 3000. The front faced the E., and the circular part, mentioned above, was at the back. Tradition ascribes the execution of the work to condemned Christians, in memory of whom a church, no longer existing, was erected here as early as the 5th century.
Pius IV. entrusted Michael Angela with the task of converting part of the Thermae into a Carthusian Convent. A large vaulted hall was accordingly converted into the church of *S. Maria degli Angeli (PI. I, 25), which was consecrated in 1561. The present transept was then the nave , the principal portal was in the narrow end on the right, and the high-altar placed on the left. In 1749 Van- vitelli entirely disfigured the church by converting the nave into the transept, blocking up the portal, and other injudicious alterations.
A small BoTUKDA is first entered. The first tomb on the right is that of the painter Carlo Maratta (d. 1713). The first tomb on the left is that of Salvator Bosa (d. 1673). In the Chapel , Christ appearing to Mary Magda- lene, an altar-piece by Arrigo Fiamingo.
We next enter the great Tbansept. The niche on the right in the passage contains a colossal statue of St. Bruno, by Houdon ; in the chapel on the left, the *Delivery of the Keys, an altar-piece by Muziano. The transept (formerly the nave) is lOO yds. long, 29 yds. wide, and 90 ft. high. Of the 16 columns, each 40 ft. in height , eight are antique , of oriental granite , which were barbarously painted by Vanvitelli, and the others were disengaged from the brick wall when the church was restored. — Most of the large pictures here and in the tribune were brought from St. Peter's, where they were replaced by copies in mosaic. In the right half (on the pavement the me- ridian of Borne, laid down in 1703) : on the right, Crucifixion of St. Peter by Ricciolini; Fall of Simon Magus, after F. Fanni (original in St. Peter's) j on the left, *'St. Jerome among the hermits, Muziano (landscape by Brit) \ Miracles of St. Peter, Baglioni. At the narrow end: chapel of B. Niccol6 Albergati. In the left half: on the left, Mass of St. Basil with the Emperor Yalens, Sublejfras; Fall of Simon Magus, Pomp. Battoni; on the right. Immaculate Conception, P. Bianehi; Besuscitation of Tabitha, P. Costanzi. At the nar- row end : chapel of St. Bruno.
In the Tbibunb (one of the monks acts as guide here, Vs f'Oi rigbt, Romanelliy Mary's first visit to the Temple ^ '*Domenichino^ Martyrdom of St. Sebastian (firesco) \ left, PomaranciOy Death of Ananias and Sapphira \ Ma- ratta^ Baptism of Christ. The choir contains two monuments (1. Pius IV., r. Ant. Serbelloni), designed by Michael Angelo.
The remaining buildings are still partly occxi^lft^ Vi ^i!sife^«Stt»s.-
ians and partly. by various oharita\)\e anOi fe^\x^aX\vi\l^\\s&^^Jw^^^^^
A good view is afforded, by the roof oi tVie <i\i\ict€t^, Vi -^Vv^ ^\viN.w%.
may ascend with the permission oi t\iO "Piiox.
168 II. Eastern Quarter, ROME. Museo d, Terme,
Passing through the arch with a cross, to the right of the church, and then through the door to the left in the conrt, with the inscrip- tion *Ospedale Margherita per i Poveri Ciechi', we reach the new *Mi78E0 DBLLE Tebub, wMch occupies several small rooms detached from the convent-court and part of the cloisters (adm., see p. 124).
The following are among the chief treasures of this collection. ^Female figure , a replica of the Barberini Juno (p. 309) , found in 1878 on the Palatine (admirable in the treatment of the drapery, but inferior in general effect to other reproductions of the same type). — 'Youthful Faun, with deer-skin, from Hadrian^s Villa. — *Kude bronze figure of a youth leaning on a staff, with portrait-features pointing to the Hellenic epoch (found, like the following, in building the new theatre in the Via Nazionale). — **Bronze figure of a pugilist, evidently represented as conversing with a comrade or an umpire. The realism of this repulsive figure, extending to the marks of iigury received in fighting, is masterly in execution. — 'Bacchus, a youthful figure in bronze, witli inlaid silver ornamentation, found in the Tiber in sinking the foundations of the Ponte Garibaldi. — Sleeping Hermaphrodite, found in building the Teatro Gostanzi. — 'Mural paintings and stucco ornamentation, from the house of a Roman citizen, found in the Tiber works at tJhe garden of the Villa Famesina (p. 323).
The central court, laid out as a garden, contains the larger sculptures and architectural fragments. The large cypresses here, said to have been planted by Michael Angelo, were blown down in 1888.
Adjoining the Piazza delle Terme is the Piazza 8, BerrMtdOy with the FoNTANONB dell' Acqua Fbliob (PI. 1, 22), erected by Domen- ico FontofM under Sixtus Y. The badly-executed copy of the Moses of Michael Angelo is by Prospero BrescianOj who is said to have died of vexation on account of his failure ; at the sides Aaron and Gideon by Giov. Bait, delta Porta and Flam. Vacca; in front four modern lions (originals in the Vatican). The Acqua Felice was conducted hither in 1583 from Colonna in the Alban Mts., a distance of 13 M., by order of Sixtus V. (Felice Peretti).
The Via Venti Settembbe , the name of which refers to the
entry of the Italians in 1870, unites the Porta Pia (p. 341) with the
Quirinal , ending at the four fountains of the Via Quattro Fontane
(p. 170). In this street , opposite the Acqua Felice , stands the
church of S. Maeia della Vittoeia (PI. I, 23), so called from an
image of the Virgin which is said to have been instrumental in
gaining the victory for the imperial troops at the battle of the 'White
Hiir near Prague, afterwards deposited here, but burned in 1833. The
church, with the exception of the facade, was erected by C. Madema, In the 2nd Chapel on the right, an altar-piece (Mary giving the Infant Christ to St. Francis) and frescoes by Domeniehino, In the left transept the notorious group of St. Theresa by Bernini (covered ; 5 s.). In the 3rd Chapel on the left, the Trinity by Ouercino^ and a Crucifixion attributed to Guido Reni,
In the Via Venti Settembre, to the right , nearer the Porta Pia, is the Finance Office (PL I, 26), built by Canevari.
A little to the S. W. of S. Maria della Vittoria, also in the Piazza S. Bernardo, is the ancient church of S. Susanna (PI. I, 22, 23), altered to its present form in 1600 by 0. Madema. Paintings on the Jateral walls from the history of Susanna, "b'j Baldasaate Ctoce -, >iX^Q?.^ ortlie tribune by Cesare Nebbia. — Opposite, aM sUw^wi^ %.\:\ViX^
Via Nasionale, ROME. II. Eastern Quarter. 169
back , is the church of S. Bb&nabdo (PI. I, 22) , a ciicular edifice, originally one of the corners of the Theimse of Diocletian (p. 167), and converted into a church at the end of the 16th century. The vault- ing is ancient , but like the Pantheon was once open. — The Via
Torino leads hence to the Via Nazionale (see below).
On the £. side of the station, opposite the departare-platform , the largest and besi-preserved part of the Wall of Serviui (PI. I, 25, 28), which protected the city on this undefended side, has been exposed to view. The wall, which is supported by a strong embankment, with its broad moat and numerous towers, might until recently be traced to the arch of Gallienus (p. 179) ; but the only parts now extant are a fragment in the Piazza Manfredo Fanti and another by the so-called Auditorium of Mee- cenas on the Via Herulana (see p. 181).
Towards the N.E. , passing the new buildings now springing up in this quarter, we reach (10 min.) the Oampo Militare (PL I, 29, 32), the camp of the Preetorians of imperial Rome, originally established by Tiberius, but destroyed by Gonstantine so far as it lay without the town -wall, from which it projects in a quadrangular form. At the end to the left, and on the side, traces of gates are still distinguished^ the wall was skirted by a passage, under which are several small chambers. The Gampo, which has been enclosed by a wall, is again devoted to military purposes.
Opposite the entrance of the church of S. Maria degli Angeli (p. 167), and through the middle of the circular wall of the Ther- ms, runs the broad Via Hasionale (PL 1, 22 ; II, 19, 16), now one of the busiest streets of the city, and during the season as thronged with passengers and vehicles as the Corso itself (Tramway, No. 1, see p. 3 of Appendix). On the right the Via Torino leads to 8. Ber- nardo (see above). In the Via Nazionale stands the H6tel Quirinal and, farther on , the new American Episcopal Church of 8t, Paul^ a Gothic structure by Sireetj with chimes (p. 119). The most im- portant cross-street is the Via Agostino Depretis (Via Quattro Fow lane) , which leads on the right to the Pal. Barberini (p. 170) and on the left to S. Maria Maggiore (p. 176).
To the left in the Via Nazionale (No. 154) is the QaUeria Tene- rani (Wed., 1-4; at other times, fee), a complete collection of the original models of the sculptor P. Tenerani (d. 1869). — To the right is the small church of 9» Vitale^ on a site considerably lower than the new street-level ; and farther on the handsome Palazzo delle Belle Artiy built as an exhibition-building in 1880-83 by Piacen- tinl, and the Palazzo Buffer, Farther on, to the left, are the new building of the Banea Bomana and the gardens of the Villa Aldo- brandini.
At the beginning of the Via del Quirinale (p. 173) , the Via Nazionale expands into a triangular piazza, in the middle of which, within a railing, is a fragment of the Servian Wall (see above), ex- cavated in 1875. Another fragment, with a well-preserved gateway, has been built into the Pal, Antonelli^ on the n%\it Q^^. V^^\ ^\.^ct.- case on the light ot the court). To t\ie S., \>fc\a\A \Jsv^ VlxXv v^e^v- cburob ofS. Caterma di Siena (Pl. U, i^^, 14^, i\!&ft^ ^"e^ ^ort*. ^eX^-*- MiliMie(PL U, i9,6), erected about i*iOQ \>^ V\xe^ ^^^''^ oiL^'^X^^^
170 //. Eastern Quarter. ROME. Pal, Barherini,
Alexius, commonly called Torre di NeronCy because Nero is said to have witnessed the conflagration of Rome from this point (no ad- mission). — To the right , at the corner of the Via Magnanapoli, is the church of 88, Domenieo e 8i8to (PI. II, 19, 15), with its lofty flight of steps, built by Vincenzo della Greca about 1640.
The Via Hagnanapoli is prolonged by the Via 8. Lorenzo in Panispema, leading to 8. Maria Maggiore (comp. p. 176). At the beginning of this street, to the left, is the church of S. Agata in Suburra (PL II, 22), dating from the 5th cent., but restored in 1633, and now possessing 12 granite columns only of the original ediAce. It belongs to the adjacent seminary for Irish priests. The left aisle contains the Jiianument of Daniel O^Connell (d. 1847 ^ who bequeathed his heart to this church), with a relief by Benzoni , erected in 1866. To the right of the entrance is the tomb of JoTin Lascaris^ author of the first modern Greek grammar (d. 1535).
From the above-mentioned triangular space the Via Nazionale descends the slopes of the Quirinal (95 ft.) in a wide curve. The flight of steps on the left descends to Trajan's Forum (p. 240). Farther on, to the left, isamedisevaltower of the Golonna, with im- mured fragments from the Forum of Trajan. At the next corner, to the left , stands a new Waldensian Church , and to the right the new Teatro Drammatico, We then skirt the S. facade of the Pal. CoUmna (p. 163) and proceed between the Via della Pilotta (p. 152) and the Piazza SS. Apostoli (p. 163) to the Piazza di Venezia (p. 162). _^
The Via Agostino Depketis (PI. I, 22), mentioned at p. 169, hitherto named the Via Quattro Fontane, forms a continuation of the Via Sistina (p. 150), like which it owes its construction to Sixtus V. Turning from the Via Nazionale to the right into the N.W. part of this street (which runs to the S.E. to S. Maria Maggiore ; see p. 176), we soon reach (5 min.) the four fountains, from which it took its former name, at the point of intersection with the Via del Quirinale (p. 173) and the Via Venti Settembre (p. 168). To the left is the small church of 8. Carlo or 8, Carlino (PI. I. 22, 2), built by Borromini in the most extravagantly ^baroque' style; to the right , in the Via Venti Settembre , is the Pal. Albani, originally built by Dom. Fontana, and afterwards inhabited by Cardinal Al. Albani, the friend of Winckelmann. [Hence to the Porta Pia (p. 341) we take about 20 min. more, passing the new War Office, the churches mentioned at pp. 167, 168, and the Acqua Felice (p. 168).]
The continuation of the street, leading to the Piazza Barberini, has retained the name of Via Quattso Fontanb (PI. I, 22). At the end of it, to the right, at the corner of the Piazza Barberini, lies the handsome —
*PalazEO Barberini (PL I, 22), begun by Madema under Ur- ban Vin., and completed by Bernini (p. lix). The court, laid out as a garden, contains a marble statue of TKorualdscn, by E. Wolff, after a work by the master himself, erected Yveie, ivc^w VNs %\.\i^\Q, Vj V\^ pupils and friends. — The principal sUiicas^ \^ to \\i^ \^i\.T«Aft.\
Piassa Barberini. ROME. II. Eastern Quarter, 171
the arcades; bnilt into it is a Greek *Tomb-relief; on the landing of the first floor, a *Lion in high-relief, from Tivoli. A number of mediocre ancient sculptures are distributed throughout the courts and other parts of the building. — At the right end of the arcades a winding staircase (13 steps , then to the right) ascends to the GkUleria Barberini (admission, see p. 124; catalogues for the use of visitors). This is the gallery of disappointment. In Raphael's Fomarina we expect to find a beauty radiant with the charms of youth, whereas her features present an almost haggard appearance, to which the ill-preserved condition of the picture further con- tributes. In Quido Renins Beatrice Cenci we hope to see a countenance Judith-like, and characterised by stern resolve, in- stead of which we encounter a pale, delicate face. Lastly, when we inspect Durtr*s Christ among the Scribes, we are almost tempted to doubt its authenticity ; the numerous heads are ungrouped, some of them resemble caricatures, and it is in the execution of the
hands alone that the workmanship of the great master is apparent. I. Room: 16. /V>marancto, Magdalenej 20. Farmeggianino, Betrothal of St. Catharine. — II. Boom : 33. A/ier Raphael^ Madonna \ 36. Innocento da Jmola, Madonna J 38. Titian, Cardinal Bembo, painted about 1540 but re- touched^ 53. Franciai^t Madonna with St. Jerome; 59. Bodoma, Madonna ^ 64. Qiov. Bellini (?), Madonna \ 68. Mengi, Portrait of his daughter \ 69. Pon- tormo (after Morelli), Pygmalion; 72. Francia, Madonna; 73. Masaccio(7), Portrait of himself. — III. Room : •76. Titian (? C. & C. ascribe it to Palma Vecchio), 'La Schiava% female portrait ; 79. CI. Lorrain, Castel Gandolfo ; 81. Bronzino, Portrait ; *82. Dilrer, Christ among the doctors, painted at Venice in five days in 1506 ('opus qninque dienun^) ; *86. Raphael^ Portrait of the so- called Fomarina , so frequently copied, unfortunately marred by restoration ; 85. 8. Oaetano, Lucrezia Cenci, stepmother of Beatrice; 87. Spanish School, Anna Colonna ; "^SS. Outdo Rent, Beatrice Cenci (p. 202) ; 90. N. Poussin, Death of Germanicus ; 92. Claude Lorrain, Wharf; 94. And. del Sarto, Holy Family.
Ascending the spiral staircase 60 steps farther, we turn to the right into the Principal Saloon^ with frescoes by Pietro da Cortona. A small door to the right leads hence into the Sculpture Saloon, containing , among a number of ancient and modern works, an ad- mirable *Statue by a Greek master, near the wall opposite the en- trance, representing a woman with one arm extended. It was formerly supposed to be a nymph, a Dido, or a Laodamia; but it more pro- bably represents a suppliant for protection at an altar, grasping a twig (now broken off) in the right hand.
On the highest floor is the Biblioteca Barherina (Thurs. 9-2) which contains 7000 MSS., including those of numerous Greek and Latin authors, of Dante, etc., a number of ancient bronze cistas from Palestrina , miniatures by Giulio Clovio (a pupil of Raphael), etc. Librarian, the Ahbi Pieralisi.
The ViaQuattroFontane, Uke the Via8i8tina(;g. 150) and the Via del Tritone (p. 154), ends in the Piazza. Babkkb.\"si VJ\. \^ ^5^^ 22). In the ceDtre the *Foiitaiia del TritOTie, \>^ 'SkeiwNm^ ^^y^hw blowing on a. conch. Ascending the Piazza, ^e^ coiaft \.Q ^^ ^'^^ ^ S. Nicola di Tolentino, with several nevv \iote\a , ^^\rX^\^^^^ '^^ '^'^
172 II. Eastern Quarter. ROME. VUla Ludoviei.
chuieh of that name, and then, under the name of Via S. Susanna, turns to the right to the Fontana deir Acqua Felice and the Piazza delle Terme (p. 166). — The second street to the left, on the N. side of the Piazza Baiherini, is the Via di 8. Basilic ^ which leads to the Villa Lndovisi (see below) , and through the Porta Salara to the Villa Alhani (p. 338 ; 1 M.).
To the left of the Piazza Barberini rises the Piazza de' Cappuc- cini, in which is situated the church of S. Maria della Conoezione (PI. I, 23), or dei CappuccirUy founded in 1624 by Card. Barberini.
In the INTBBIOB, over the door, a copy of Oiotto*s Navicella (in the ves- tibule of St. Peter's, p. 281), by Beretta. 1st Chapel on the right : *St. Michael, a famous work by Ouido Rent; in the 3rd, remains of frescoes by Domen- iehino. Over the high -altar a copy of an Ascension by Lanfraneo^ now destroyed. Beneath a stone in front of the steps to the choir liea the founder of the church, Card. Barberini ('hie jacet pulvis cinis etnihir); on the left the tomb of Alex. Sobiesky (d. 1714), son of John III. of Poland. Last chapel on the left: Altar-piece by Sacehi; in the first, one by Pietro da Cortona.
Beneath the church are four Bobial Vaults (shown by one of the monks), decorated in a ghastly manner with the bones of about 4000 departed Capuchins. Each vault contains a tomb with earth from Jeru- salem. In tiie case of a new interment, the bones which have been long- est undisturbed are used in the manner indicated. The vaults are illu- minated on 2nd Nov. (All Souls Day), lifter Ave Maria.
A little to the N.W. is 8. Isidoro (PI. I, 20), founded in 1622.
Behind, in the Corso di Porta Princiana is the Villa Malta, occu- pied by Lewis I. of Bavaria, before his accession. Opposite is the entrance to the Aurora Casino of the old Villa Ludovisi (see below). — The Porta Pinciana (PI. I, 21, 24), after having been walled up for centuries , was re-opened in 1888 to facilitate communication with the new quarter outside the Porta Salara.
Leaving the Piazza Barberini, and following the Via i>i S. Ba- silic (see above), we reach (5 min.) a corner from which the street to the right leads to the gate , and that to the left to the entrance of the former —
Villa Ladovisi (PI. I, 23), the gardens of which have fallen a prey to the extension of the town. The villa was erected in the first half of the 17th cent, by Card. Ludovisi, nephew of Gregory XV., and was afterwards inherited by the Princes ofPiombino, who sold the greater part of it in 1885. The magnificent * Collection of Ancient Sculptures contained in one of the Casinos, is to be transferred to a new building erected for it close by. The two Casinos, however, have been retained , though that with the gallery of statues will only remain until a museum has been prepared to shelter its con- tents (the latter may therefore be temporarily inaccessible). From the gateway (1/2 fr. on leaving) we proceed to the right to the —
/. Casino, containing a *Collection of valuable ancient sculp- tures.
Vestibule: i, 3, 7, 8. Hermec; by the cTvlxa-tvce-vv^W, Vo V\y^T^^V*Xi. J^ead of Juno, very ancient*, 18. Cande\o.bt\im m V\^«i ^o^:^ ^^ *• VwSaN*^
PiaxM del Quirinale. ROME. JI. Eastern Quarter, 173
tree & 15. Sitting statae of a Roman, by Zenon. To the left of the entrance : 25. Female draped figure ; 31. Tragic mask, mouth of a fountain in rosso antico. — Saloon : *28. Group of a barbarian , who , having killed his wife, plunges the sword into his own breast (right arm improperly restored), a work of the Pergamenian school (the 'Dying Gaul' in the. Capitol also belongs to this group ; see Introd'. p. xxxiii). To the right of the entrance : •©5. Warrior reposing (Mars?), probably destined originally to adorn the paproach to a door; 51. Statue of Athene from Antioch; 47. Oast of the statue of iBschines at Naples •, 46. Bust , name unknown ; above it , *45. Head of a Medusa, of the noblest type ; 43. Rape of Proserpine, by Bernini ; above it , 42. Judgment of Paris, a relief, the right side restored accord- ing to Raphaers design; **41. The so-called 'Juno Ludovisi^ the most celebrated, and one of the most beautiful heads of Juno ; 30. Mercury, in the same position as the so-called Germanicus in Paris. Left of the ent- rance: *1. Mars reposing, of the school of Lysippus: *7. Theseus and .£thra (or Telemachus and Penelope commonly called Orestes and Electra^, by Menelaos., pupil of Stephanus (p. zxxvi); *9. Youthful Satyr; 14. Dionysus with a satyr; 15. Head of Juno; !&L. Bronze head of Marcus Aurelius.
The Casino dell'* Auboba, to the W., which on the ground-floor contains a vigorous ceiling-fresco of ^Aurora by Quercino, and on the first floor a *Fama by the same, is seldom open to visitors. The entrance is in the Corso di Porta Pinciana, opposite the Villa Malta (p. 172).
The prolongations of the Via di S. Basilic (p. 172) are the Via Sallustiana and the Via di Pokta Salaba, which lead in 8 min. from the Villa Lndovisi to the Porta Salara (p. 338). Here in an- cient times lay the magnificent Gardens of Sallust, the historian, which afterwards became the property of the -emperors.
We now enter the Via del Qttibinale at the four fountains of the Via Agostino Depretis (p. 170). To the right are buildings connected with the royal palace ; to the left the church of S. An- dretty by Bernini. In a few minutes more we reach the •Piazza DEL Qui&iNALB (PI. 11, 19), recently extended and levelled, in the centre of which is a Fountain with an antique granite basin. Adjacent to the fountain are an Obelisk ^ 48 ft. high, which once stood in front of the mausoleum of Augustus and was erected here in 1787, and the two colossal marhle **Hor8e Tamers from which the piazza formerly derived its name (Piazza di Monte Ca- vallo). These admirable groups once stood in front, probably at the entrance, of the Therma of Gonstantine (p. 174), which were situated here. They are frequently mentioned in history, and have never been buried nor concealed from view. The inscriptions on the pedestals , Opus Phidiae and Opus Praxitelis are apocryphal , the groups being works of the imperial age (prob. 4th cent.) , copied from originals of the school of Lysippus. In the middle ages these were supposed to be the names of two philosophers, who, having di- vined the thoughts of Tiberius , were honoured by the erection of these monuments In recognition of their wisdom.
Opposite the Royal Palace, on the left, \a l^i^ Pol. ot XV^ ^wv- sulta, erected 77nder Clement XII. "by De\ ¥\i^a. , lorrmLciV^ ^^ ^^^ o/b tribunal of that name, charged ^ith the itit.ettvB\ ^^mVKv^^-^^^"^^^ of the Papa] States. It is now occupied by tVvet oii!L<^>«i» ^1 ^^1&V«>?^«^'<''*
174 II. Eastern Quarter, ROME. Palazzo Reg io.
of the Exterior. On the S.W. side of the piazza, behind the obelisk, stands the Palazzo delta Dataria, erected by Paul V. Farther on, to the left, is the Pal. Rospigliosi (see below).
The piazza commands a fine *Vib"w of the town, with the dome of St. Peter's in the background. During the excavations preparatory to the construction of the steps and the road extensive fragments of the walls of the Therm® of Constantino were found, and below them older walls of solid blocks, belonging apparently to the walls of Servius Tullius. The new Via delta Dataria descends straight to the Corso, and the first transverse street to the right, the Via di S. Vincenzo, leads to the Fontana Trevi (p. 161).
The Palazzo ISLogio, formerly Apostolico al Quirinale (PI. 1, 19),
begun in 1574 under Gregory XIII. by Flaminio PonziOy continued
under Sixtus V. and Clement VIII. by Fontana j and completed
under Paul V. by Madema^ has frequently been occupied by the
popes in summer on account of its lofty and healthful situation.
The conclaves of the cardinals were at one time held here , and the
name of the newly-elected pope was proclaimed from the balcony of
the facade towards Monte Cavallo. Pius VII. died here in 1823.
After 20th Sept. 1870, the palace was taken possession of by the
Italian government, and being now the residence of the king, the
greater part is seldom shown to the public.
From the principal entrance we pass between the sentinels, and ascend the broad staircase to the left at the end of the vestibule. At the top of the staircase we write our names in a book, and obtain an escort (1 fr.). Adjacent to the Sala Reqia, with frescoes by Lan/raneo and Saraeeni^ is the Gappklla Paolina, erected by Carlo Maderna^ and decorated with gilded stucco-work and copies in grisaille of Raphaers Apostles in SS. Vincenzo ed Anastasio alle Tre Fontane (p. 354) and with tapestry of the 18th cen- tury. To the right lies a suite of Drawing and Reception Rooms, newly fitted up, and adorned with pictures and tapestry, chiefly modem. The reception-room of the ambassadors, beyond the throne-room, contains a portrait of the Emperor William I., by Karl Arnold^ presented in 1874. In the 10th room, mosaics on the floor from Hadrian's villa. In the 14th, a ^Ceiling-painting by F. Overbeek (1859), to commemorate the flight of Pius IX. in 1848 : Christ eluding the Jews who endeavoured to cast him over a preci- pice (Luke iv. 28, 29). In the 15th, views from the Vatican. Towards the garden are the Royal Guest-Chambebs , once occupied by Napoleon I., Francis I. of Austria, and in 1861 by Francis II. of Naples. The frieze of the former audience-chamber here is a cast of Thorvaldsen't "^Triumphal Procession of Alex, the Great, ordered by Napoleon I. for this saloon. After 1815 the original became the property of the Marchese Sommariva, and is now in the Villa Carlotta near Cadenabbia on the Lake of Como, formerly his residence. In the small Chapel deir Annunziata an '^Annunciation, an altar-piece by Ouido Reni. — In the Court a staircase ascends to the right under the arcades; on the landing, "^Christ surrounded by angels, a fresco by Melozzo da Forli (p. 89), transferred thither in 1711 from SS. Apostoli.
The Garden^ which is rarely shown, was tastefully laid out by G.Maderna. It contains rare plants and several antiques, and com- mands a fine view. — [Omnibus from the Piazza del Quirinale to S. Agnese Fuoiij see p. 2 of the Ap^x."\
The *Pal&zzo BospigUoBi (^Pl. 11, \^\ ^i^'^XxA'wa S.^^M Cwd.. ^cipio Borghese^ nephew of PauW., oiv l\vft x\i\w^ q1 ^^lsi^'l>MswKi^fc
8. Silvestro dl Quirinale. ROME. II. Eastern Quarter, 175
of Constantine, afterwards became the property of the princes Ros- pigllosi, relations of Clement IX., of Pistoja. The palace contains frescoes from the Baths of Constantino, a heantiful CL Lorrain (Temple of Venus), and other treasures of art, but is only shown by special permission of the prince. The S.E. corner of the palace has been removed to make way for the new Via Nazionale (p. 169).
Admission to the Casino, see p. 124 (Y2 f^.).
We enter the court by a gate in the Via del Quirinale and then as- cend the steps to the left. Several small statues in the Garden.
Along the external wall of the Oaaino are placed ancient sarcophagus- reliefs (Hunt of Meleager, Rape of Proserpine, etc.). By the door to the right we enter the —
Pbimcipal Hall. ^* Ceiling -painting by Ouido Rent: Aurora strewing flowers before the chariot of the god of the sun, who is surrounded by dancing Horse, the master*s finest work. The colouring deserves special notice. The strongest light is thrown upon the figure of Apollo, whose hair and flesh are of golden hue. Of a corresponding tint are the yellowish- red robes of the nymphs nearest to Apollo. The colours are then gradually shaded off from blue to white, and from green to white, while the dun- coloured horses accord with the clouds in the background (p. lix). Op- posite the entrance is a mirror, in which the painting may be conveniently inspected. — On the frieze, landscapes by Paul Bril^ and on the ends of the sides , Triumph of Fauna and Cupid (from Petrarch), by Tempezta. Bight wall : Statue of Athene Tritogeneia with a Triton \ * Van Dych^ Portrait.
B.00H ON THE BiOHT. In the centre a bronze steed from the Thermee of Constantine. Opposite the entrance, Domenichino ^ Fall of man. Left wall: '^Lorenzo Lotto J Yd^mt^ Right wall: ^ Dutch School^ Portrait; Do- menichinOy Yenus and Cupid •, *Luca Signorelli, "Holy Family. Entrance-wall : L. Carracei (?), Samson. — Boom to the Left : entrance-wall , over the door, Pastignanoy Piet^; Ouido Reni, Andromeda; Portrait o{ Ji. Poussin (at the age of 56), a copy of the original in the Louvre. Left wall : Dan. da Volterra, Bearing of the Cross. In the comer a bronze bust of Sept. Severus. On these two walls and the following: Christ and the Apostles, thirteen pictures, attributed to Rubens, probably only partly by him ; Domen- ichino. Triumph of David.
No. 12, opposite the Pal. Rospigliosi, is the entrance to the garden of the Pal. Colonna (p. 163). In the Via del Quirinale, farther on, to the right, is the church of —
S. SilvoBtro al Quirinale (PI. II, 19), erected at the close of the 16th cent., and with the adjacent monastery belonging to the frater- nity of St. Vincent de Paul since 1770.
In the DoxB four oval frescoes by Domeniehino : David dancing before the Ark, Solomon and the Queen of Sheba, Judith, Esther and Ahasuerus. In the 2nd Chapel to the left, two landscapes by Polidoro Caravaggto and his assistant Maturino: Betrothal of the Infant Christ with St. Catharine, and Christ appearing as the gardener to Mary Magdalene.
The Via del Quirinale ends, as mentioned at p. 169 , at the Via
Nazionale.
The S.E. Pakt of thb Via Agostino Dbprbtis (PI. I, 22, II, 26 ; p. 170) leads from the Via Nazionale (p. 169) directly to the choir of S. Maria Maggiore. We turn to the li^lvt Xi^lort^ t^%.Obksv^ the piazza in front of the latter, enter the Nia^ \ii\iWi^^ wA\sv ^\5B« paces reach —
A Fadejuiana (PI. U, 25; open t\\\ ^ a.Txv.\ ^sw^^^^^*-^ -» ^"^"^
176 //. Eastern Quarter, ROME. 8, Maria Maggiore,
Quattro Fontane 81 , to be found from 1 to 4) , traditionally the oldest chnrch in Rome , erected on the spot where St. Pndens and his daughters Praxedis and Padentiana, who entertained St. Peter, are said to have lived. The church , the earliest record of which dates from 499, has been frequently restored ; it was much altered in 1598, and has recently been modernised in very bad taste. In the facade, lately adorned with mosaics (St. Peter with SS. Pndens and Pndentiana; on the left Pius I., on the right Gregory VII.), is an ancient portal borne by columns , which has also been restored.
Pleasing campanile of the 9th century. Chief festival on •19th May.
Intebiob. The nave and aisles are of unequal length. In the pillars are still to be seen the ancient marble columns which originally supported the wall. The *Mo*aics in the Tbibunb (4th cent.), Christ with S. Praxedis and S. Pudentiana and the Apostles, and above them the emblems of the Evangelists on each side of the cross, are among the finest in Rome (p. zlv; several of those on the right are modem). The Dohb above the high-altar was painted by Pomarancio. The Aislbs contain remains of an ancient mosaic pavement. In the left aisle is the Gappblla Oabtabi, over the altar of which is an Adoration of the Magi, a relief in marble by Oli- vietH. At the extremity of this aisle is an altar with relies of the table at which Peter is said first to have read mass. Above it Christ and Peter, a group in marble by O. B. delta Porta.
Below the church are ancient vaults in a good style of architecture, which the custodian shows if desired.
On the summit of the Viminal, not far off, stands the church of S. Lwrenxo in Faniipema (PI. II, 22), on the spot where St. Lawrence is said to have suffered martyrdom, an old edifice, but frequently restored. — Hence to the Via Nazionale, see p. 170.
In the Piazza dbll* Esquilino, the square in front of the choir of S. Maria Maggiore, stands one of the two Obelisks which formerly rose in front of the mausoleum of Augustus, 48 ft. in height (the other is on the Quirinal, p. 173). It was erected here by Sixtus V. in 1587. — The piazza is intersected by the broad Via Cavour (p 166), which is carried through the valley between the Esquiline and Viminal to the Forum Romanum.
The facade of the church overlooks the Piazza S. Maria Maoqio- RB, which is embellished with a handsome Column from the basilica of Constantine, 16 ft. in circumference, and 46 ft. in height, placed here and crowned with a bronze figure of the Virgin by Paul V.
**S. Karia Maggiore (PI. II, 25), also named Basilica Liberiana, or 8. Maria ad Nives, or 8. Maria ad Praesepe, from the manger which it contains, derives its usual name from its being the largest of the eighty churches in Rome dedicated to the Virgin. It is also one of the oldest churches at Rome, and indeed in Christendom. This is one of the five patriarchal churches (p. 135), and has a spe- cial 'jubilee entrance'. The principal festivals are on Christmas Day, 5th Aug., and the Assumption (15th Aug.). According to a legend which cannot be traced farther back than the 13th cent., tAe Virgin appeared simnltaneonsly to tVv^ devout Roman patrician Johannes and to Pope Liberins (^b*l-^^^ \w ^iX^evi ^\^^«si^^ 'wsisi- manding them to erect a churcVv to Yiet ow Wv^ s^^^. ^Vct^ HXv«^
8. Maria Maggiore. ROME. II. Ecutem Quarter, 177
shoiild And a deposit of snow on the following morning (5tli Aug.). The Baailiea Liberianaf which they are said to have built in nhed- ience to this vision , was re-erected hy Sixtus III. (432-40), who named the church 8. Maria Mater Dei , shortly after the Council of Ephesus had sanctioned this appellation of the Virgin (430). Of this edifice the nave with its ancient marhle columns and mosaics is still preserved. In the 12th cent, the church was farther altered In the mediaeval style. Eugene III. added a new porch, Nicholas IV. a new tribune adorned with mosaics , and Gregory XI. gave the campanile its present form and its pointed roof. About the end of the 15th cent, began a new period in the history of the church, when the irregularities of the mediaeval additions were removed, and symmetrical lines were formed by the erection of accessory buildings and straight walls. The two large side-chapels, covered with domes, were added by Sixtus V. in 1586 and Paul V. in 1611. The exterior of the tribune was remodelled by Clement X., and the final restoration was entrusted by Benedict XIV. to Fuga,
The Fa^adej designed by Fuga in 1743, consists of a porch with a loggia above it, opening towards the piazza in three arches. The five portals in this porch correspond with four entrances to the church (the last of which on the left, the Porta Santa , is now built up), and with a niche on the right. To the right is a statue of Philip IV. of Spain. The loggia (staircase to the left in the vestibule ; one of the vergers opens the door), from which the pope formerly pronounced his benediction on 15th Aug., contains mo- saics from a facade of the 13th cent., restored in 1825.
Above, in the centre, Christ; on the left the Virgin, SS. Paul, John, and James ; on the right SS. Peter, Andrew, Philip, and John the Baptist. Below, on the left, the vision oi Pope Liberius and the Patrician Jo- hannes ; on the right, the meeting of the two, and the tracing of the site of the church on the newly-fallen snow.
The Interior, dating from the pontificate of Sixtns III., 93 yds. long and 19 yds. wide, and subsequently enlarged, produces a rich and imposing e£GBct. The pavement of the Navs dates from the i2th cent, (p. xlvil) and the handsome ceiling was executed from designs by Oiul. da Sangallo. The architrave, adorned with mosaic, is supported by 42 Ionic columns, 33 in marble and 4 in granite, above which, and on the chancel arch, are * Mosaics of the 5th cent., in the ancient style (p. xlvi; good light early in the morning). Those on the arch represent events from the Life of Mary, Annunciation, Infancy of Christ, Slaughter of the Innocents, etc. \ left wall, history of Abraham and Jacob; right wall, Moses and Joshua (several of the pictures were restored in 1825). In front of the chancel arch is the High-Altar, consisting of an ancient sarcophagus of porphyry, said to have been the tomb of the Patrician Johannes, and containing the remains of St. Matthew and other relics \ the canopy is borne by four columns of porphyry. In the apse of the Tbibumb are ^ Mosaics by Jacobus Torriti (1292): Coronation of the Virgin, with saints, near whom are Pope Nicho- las IV. and Card. Jac. O)lonna (comp. p. xlviii).
At the beginning of the nave are the tombs of Nicholas IV. (d. 1292) on the left, and Clement IX. (d. 1669) on the right, erected b^ &vfA.\y^N; . %?x^ Clement X. respectively. Right Aislb*. Yiral <^\l&.^c^'. Ba^lxfcU'nj ^'^^J^'^'^ ancient foot of porphyry. Farther on is tlie Ca.p. A.fc\ Ctoc^i^wa VvKXv "sa ^^^^ amos of porphyry f containing five boarda from ^iife ^Uswtv^w ^VP^t^^-t'- Christ' (whence termed Cappella del i*re«epe^. — 1^ ^^^^^ ^va.^*^ v^k^^ Babdbkxb, Italy II. l(Hh EdiUon. '^
NSi
178 II. Eastern Quarter. ROME. 8. Prassede,
the sumptuous '^Sistinb Chapel, constructed by Fontana, and of late gor- geously restored; in the niche on the left, an altar-piece (St. Jerome) by Ribera; on the right, occupying the whole wall, the monument of Sixtus V., with a statue of the Pope by VaUoldo ; on the left, monument of Pius V. by Leonardo da Sarzana. Over the altar, a canopy in gilded bronze re- presents angels bearing the church \ in the 'Confessio* under the staircase- a statue of S. Oaetano, by Bernini y and by the altar a relief of the Holy Family, by Cecehino da Pieircuanta (1480). — At the end of the right aisle, the Gothic monument of Card. Gonsalvi (Gunsalvus, d. 1299) by Giov. Cotmas. Left Aisle. 1st Chapel (of the Cesi) : Martyrdom of St. Catharine, altar- piece by Oirol. da Sermoneta; on the right and left two bronze statues to the memory of cardinals of the family. 2nd Chapel (of the Pallavicini-Sforza), said to have been designed by Mich. Angelo: Assumption of Mary, altar- piece by Oir. Sermoneta. — In the Left Tbansept, opposite the Sistine Chapel, is the BoBGHESs Chapel, constructed by Flaminio Fonzio in 1611, and also covered with a dome, (^ver the altar, which is gorgeously decorated with lapis lazuli and agate, is an ancient and miraculous picture of the Virgin (almost black), painted according to tradition by St. Luke, which was car- ried by Gregory I. as early as 590 in solemn procession through the city, and again by the clergy during the cholera in 1837 and in the war of 1860. The frescoes in the large arches are by Ouido Reni^ Lanfranco^ Cigolij etc. The monuments of the Popes (1.) Paul V. (Camillo Boi^hese, d. 1621) and (r.) Clement VIK. (Aldobrandini, d. 1605) are by pupils of Ber- nini. The crypt contains tombs of the Borghese family.
In the right corner of the Piazza S. Maria Maggiore is a side- entrance to the church of —
*S. PrasBede (PI. II, 25), erected by Paschallsl. in 822, and dedi- cated to St. Praxedis, the daughter of St. Pudens with whom Peter lodged at Rome, and the sister of S. Pudentiana. It was restored by Nicholas V. about 1450, again in 1832, and finally in 1869. The
church is generally entered by the side-door.
Interior. The nave is separated from the aisles by 16 granite columns (six others, bearing arches, having been replaced by pillars). The * Mosaics (9th cent.; p. xlvi) deserve special notice. On the triumphal arch the new Jerusalem guarded by angels, Christ in the centre, towards whom the saved are hastening; on the arch of the tribune the Lamb, at the sides the seven candlesticks and the symbols of the Evangelists; lower down the twenty- four elders (interesting as showing the mode in which the art accommo- dated itself to the spaces allotted to it ; thus , in order to follow the curve of the arch, the arms of the foremost elders in the middle and upper rows gradually increase in length) ; in the round part of the apse, Christ sur- rounded with saints (on the left Paul, Praxedis, and Pope Paschalis with the church; on the right Peter, Pudentiana, and Zeno). On either side of the tribune are galleries. — Right Aisle. The 3rd chapel is the Chapel of the Column (ladies admitted on the , Sundays of Lent only; the sacristan opens the door when desired). At the entrance are two columns of black granite with ancient entablature. The interior is entirely covered with mosaics on gold ground (about the 10th cent.), whence the chapel is some- times called Orto del Paradiso. On the vaulting a medallion with head of Christ, supported by four angels. Above the altar a Madonna between the saints Praxedis and Pudentiana. To the right in a niche , the column at which Christ is said to have been scourged. The 4th chapel contains the tomb of Card. Cetti (d. 1474). At the extremity of the right aisle the Cap. del Crocefisso contains the tomb of a French cardinal (d. 1286). — In the Left Aisle by the entrance-wall is a stone-slab, on which St. Praxedis is said to have slept. The 2nd Cap. di 8. Carlo Borromeo contains a chair and table once used by the BSkint. The 3rd Cop. Agtatt contains paintings by the Cav. iPArpino. — The marble spout of a foutvlaixv \tv V\ift twj^ \xv^\^'a.\&^ ihe spot where St. Praxedis collected the blood ot t\ve mwVsTa.
The CoNFEBBio (keys kept by the sacrValatO cotvV».\ti% ^wcX^wV ^.^xT^ciVtv^v
8. Bibiana. ROME. II. Eastern Quarter. 179
with the bones of the sister saints Praxedis and Pudentiana on the right, and those of martyrs on the left. The altar is decorated with fine mosaic of the 13th centary. Above it an ancient fresco of the Madonna between the sisters. — The Sacbisty contains a Scourging by Oiulio Romano.
To the S, and S.E. of the Piazza S. Maria Maggiore run two new thoroughfares , the Via Merulana , on the right , leading to the Lateran fp. 267), and the Via Oahlo Albbbto , on the left. In the latter, to the left, is the church of 8. Antonio Abbate, with a portal of the 13th cent. ; interior uninteresting. S. Antonio is the tutelary saint of animals, and in front of the church from 17th to 23rd Jan., domestic animals of every kind used to he blessed and sprinkled with holy water.
A cross-street leads to the right from the Yia Carlo Alberto to the church of 8. Vito and the Arch of Qallienua (PL II. ; 25, 28). This honorary arch was erected in 262 in honour of the Emp. Gal- lienus *on account of his bravery , surpassed only by his piety' by a certain M. Aurelius Victor. The architecture is simple, but in the degraded style of the age.
The Via Mazzinl and Via Rattazzi lead to the left from the Via Carlo Alberto to the Piazza Manfredo Fanti^, in which stands the handsome Aquarium (PI. II, 28), built from a design by E. Bemich in 1885 (adm. from 9.30 a.m., 1 fr. ; director. Prof. Vinciguerray
The Via Carlo Alberto ends at the large Piazza Vittobio Ema- NUELE (PI., II, 29), which is embellished with flower-beds. Here, on the left, are considerable remains of a water-tower of the Aqua Julia (PI. II, 28), in the niches of which the so-called trophies of Marius, now on the balustrade of the Capitol, were formerly placed (p. 210). The ruin, called Trofei di MariOy has been partly restored, and is under the care of a *guardia degli scavi'. — At the N. angle of the piazza rises the church of 8. Eusebio^ re-erected in the 18th cent., with the exception of the campanile. The ceiling-painting, the glory of St. Eusebius , is one of the earliest works of Raphael Mengs; the high-altar-piece is by Bald. Croce.
Several new streets, not yet completed, lead from the Piazza Vittorio Emanuele to the church of S. Bibiana (PI. II, 31), conse- crated in 470, and rebuilt for the last time in 1625 by Bernini. It contains eight antique columns ; above these are frescoes from the life of the saint, on the right by Ciampelli, on the left by Pietro da Cortona (modernised). The statue of St. Bibiana on the high- altar is by Bernini. To the left by the entrance is the stump of a column, at which the saint is said to have been scourged to death. — The Via di 8, Bibiana leads to the new Porta di 8. Lorenzo and the basilica of that name, which may be conveniently visited at this juncture (see p. 343). We may return by tramway-line No. 2 (p. 3 of the Appx.).
The wide Vialb Paincipessa Mab.ob£B3:ik \fe^^^ Vewt.^ \ft "visNfc IVassa Ouglidmo Pepe (with remains ol t\ve» iVjo^sb-xcL^xv^^^^^ ^^^^v Julia) and the (iO min.) Railway Station ^^. \^^"^. ^^^ "^^ ^^^
180 II, Eastern Quarter, ROME. Porta Maggiore,
it leads in 5 min. to the so-called Temple of Minerva Medica (PI. II, 32), the ruin of an ancient Nymph»um in the form of a decagon, 55 yds. in circumference, with deep niches in the walls, and originally covered with marhle below and stucco aboye. This must have belonged to some splendid bath-establishment, as many ancient statues have been found in the yicinity. One of these, the Minerva Giustiniani of the Braccio Nuovo in the Vatican (p. 316), has given rise to the otherwise unfounded appellation of 'Temple of Minerva'. In the n^iddle ages the ruin was called Le Oalluzze a name which has been conjectured to be a corruption of (the Thermae of) 'Gains and Lucius Caesar', of whose existence, however, there is no other hint. The vaulting existed down to 1828. The build- ing, which is architecturally Interesting , dates from about the 3rd cent, after Christ.
The dusty and unfinished Via Conte Verde , the middle street running from the S.E. side of the Piazza Yittorio Emanuele, leads to the church of 8, Croce in Qeruaalemme (see below); the Via Emanuele Filiberto, the street to the right, leads to the Lateran (p. 267); and the Via Principe Euobnio, on the left, to the Porta Maggiore.
The * Porta Hagg^ore (PI. II, 35) was originally an archway belonging to the Aqua Claudia, above which the Anio Novus flowed through a second conduit. The inscriptions record the construction of both aqueducts by the Emp. Claudius, A.D. 52, the Claudia, 45 M. in length, bringing water from the neighbourhood of Subiaco, and the Anio Novus coming from the sources of the river of that name , a distance of 62 M. ; and also their restoration by Vespasian in 71, and by Titus in 81. Aurelian converted the monument into one of the gates of his city-wall; and the Colonnas used it in the middle ages as the nucleus of a fortification. The gate derives its name either from its imposing dimensions , or from the church of that name. It was purged of the later additions by Gregory XVI. — Two roads diverged hence : to the left the Via Praenestina, and to the right the Via Labicana, now named Via Casilina,
Between the two roads, outside the gate, on the removal of the
fortifications of Honorius, which have been re-erected by the wall
to the right, was discovered the ''^Monument of the Baker Eurysaces^
dating from the close of the republic ; it is erected in imitation of
grain-measures laid alternately in vertical and horizontal rows.
The monument was erected by the baker himself; and the principal inscription, repeated several times, is to the effect that — ^This is the monument of Marcus Vergilius Eurysaces, a public purveyor of bread and an official'. Some of the reliefs represent grinding, baking, and other parts of his trade, and others refer to his post of purveyor to the city.
From this point to the Amphitheatrum Castrense and the Porta S. Oiovanni, see p 273, to the Campagua, %ee ip. 345.
From the Porta, Maggiore a road \eads to ^ m\w^^ ^. ^\^<ifc Vft. Oerusalemmej passing under the aicVi o? t\i«i CUw^wv %s\vvfe^\iRX., ^sv\
8, Croce in Oerusalemme, ROME. I J, Eastern Quarter. 181
skirting the wall on the Inside. From S. Maria Maggioie to this chnrch by the Via Gonte Yeide is a walk of 20 minutes.
8. Croee in Genualexnme (PL II, 36), one of the seven pil- grimage-churches, once named Basilica Sessoriana^ because the 8es»oriumj perhaps an ancient court of judicature, formerly stood here, is said to have been erected by St. Helena in honour of her discovery of the Gross. As early as 433 a Gouncil met here. The church was rebuilt by Lucius II. in 1144, and was modernised under Benedict XIV. in 1743, by Oregorini, who added the poor
facade.
Intebior. The nave was originally borne by 12 antique columns of granite, of which 8 only are now visible. An ancient sarcophagus of basalt below the high-altar contains the relics of SS. Anastasius and Ceesarius. In the tribune are modernised ^Frescoes of the Invention of the Gross, as- cribed to Pinturicchio (according to 0. & C, by Fiorenzo di Lorenzo). The church contains numerous relics, including the ^Inscription on the Cross*.
To the left of ti^e tribune a staircase descends to the Crypt, where on the left is an altar with a marble relief (Pieti) \ at the sides are statues of Peter and Paul of the 12th century. On the right the chapel of St. Helena (to which ladies are admitted on 20th March only). On the vaulting are * Mosaics , after Bald. Peruxzi , representing the Four Evangelists. In the centre, Christ. In the arch over the entrance, on the left St. Helena, right St. Sylvester; over the altar, on the left St. Peter, on the right St. Paul. The altar-statue of St. Helena is an exact copy of the Barberini Juno in the Sala Botonda of the Vatican (p. 306), with a cross for the sceptre in the right hand, and a nail of the cross for the vase in the left.
The greater part of the old Gistercian monastery formerly belong- ing to the church is now used as a barrack.
On the other side of S. Croce is an apse with arched windows and the beginning of adjoining walls, which are supposed to have belonged to a Temple of Venus and Cupid , or a Nymphaeum of Alexander Severus, or to the Sessorium mentioned above.
From S. Groce to the Lateran is a dusty and shadeless walk of 5 min. (p. 266).
From S. Maria Maggiore the Via Merulana (PI. II, 26, 29, 30 ; omnibus No. 7 and tramway No. 3, see pp. 1, 3 of Appx.) leads to the right to the Lateran (in 1/4 hr.; p. 265).
The first cross -street to the right is the Via di 8. MartinOj which, under different names , leads through a well-peopled quarter to the Forum. To the left is the Via di 8. VitOj in which stands 8. Alfonso di Liguori , a Gothic church built by Wigley in 1856, at the cost of a Mr. Douglas. At the end of the street are the church of 8. Vito and the Areh of Oallienus (see p. 179). The next cross- streets to the right are the broad new Via dello Statuto^ which unites with the Via Cavour , and the Via di 8. Pietro in Vincoli (see below).
In this neighbonrhood, but scarcely acce&slYAe^ ou ^.^cowuV ol VJs^^^ '^ ^ « Btreeta in progress, are the so-called Bette Eale CP\. '^^..^ift^, «iOxv%\»^V^^'^\ seven, or rather nine, parallel vaulted cliambeTA , vi\iVt\i ve^«i«« ^^ ^^"^ been used m reserroira for the Therms oi Titxia is- "^Sti.
182 //. Eastern Quarter. ROME. 8. Martino ai Monti,
Farther on in the Via Merulana , to the right , is the new and unfinished Palazzo Field. Adjacent is a small triangular space, where a building in *opus reticulatum' was discovered in 1874. It is supposed to have belonged to the Gardens of Maecenas which lay here. The oblong chamber, now roofed in, has a number of steps rising at the N. end, like the seats in an amphitheatre. The walls were richly decorated with paintings, which are now rapidly fading. It is used as a storehouse for newly discovered sculptures and in- scriptions and contains nothing of general interest. Outside the S. and E. walls are seen fragments of the Servian wall (p. 169). Adm. on Thurs., 9-11 and 2-5.
Still farther on in the Via Merulana, at the comer of the Via La- bicana (by which we may reach S. Clemen te and the Thermae of Titus in 5 min. ; see p. 237), is the small church of 8. Pietro Mar- cellino, founded at a very early period and entirely renewed under Benedict XIV. Opposite is the imposing new House of the Francis^ cans , built in 1886-87. We then reach the Piazza del Laterano (p. 266).
From the Via Merulana diverges the Via di S. Pibtbo in Vin- ooLi to the W. , leading to the church of —
S. Martmo ai Monti (PI. II, 26), erected by Symmachus about
the year 500, adjacent to the Baths of Trajan and an old church of
Pope Sylvester. It was rebuilt in 844 by Sergius II. and Leo IV. , and
handsomely modernised about 1650. Principal festival, 11th Nov.
The Intebior, a basilica with a roof of straight beams, contains 24 an- tique columns. In the S. aisle six ^Frescoes by 0. Poussin^ from the life of Elijah, the patron of the order (marred by restoration). In the N. aisle six smaller ^Frescoes. Also two pictures representing the interior of the old churches of the Lateran and of St. Peter. — The Pkesbytebium is eleven steps higher; below is the Crypt. From the latter we enter a large vault, probably once belonging to Thermse, but at an early period converted into a church. The vaulting bears traces of ancient painting. This is supposed to be the site of Pope Sylvester's church, of the period of Constantine.
In 6 min. more we reach the church of *S. Pietro in Vincoli (PI. II, 23 ; 150 ft. above the sea-level), also named Basilica Eu- doxiana after Eudoxia , wife of Valentinian III. , who founded the church about the year 442, as a receptacle for the chains of St. Peter which had been presented by her to Pope Leo I. It was restored by Pelagius I. and Hadrian I., the vestibule added by Baccio Pintelli(?), and the whole is now modernised. Admission before 11 a.m. and after 3 p.m.; when closed, visitors ring at the ad- jacent door to the left, No. 4 (Y2 ^r.).
Interior. The nave and aisles are separated by 20 antique Doric
columns. To the left of the entrance is the monument of the Florentine
painters Pietro and Antonio Pollajuolo (d. 1498). The fresco above it,
representing the plague of 680, is attributed to the latter master. The
Left A18LB containa the monument (iiv ttift cottv^t'^ olVXifc Uwued Card. Nico-
Jaus Cusanua (from Cues on the Moselle, d. i^k^^. Miwe. '\\. ^ T^^x'iV. ^^\.«Kt
With keys and chains, on the left the dotvov C^Vc. C\^?.^\i\5.%^i^ V\^\. ^ii^asL^^.
■—On the 3rd altar to the left a mosaic oi llie 1V\v cvitiV.. >n\.VV %\.. %^^a"C«ai,
8* Pietro in Vincoli, ROME. //. Eastern Quarter, 183
At the end of the Bight Aisle is the monument of Pope Julius II. (p. 71) with the ** Statue of Moses hy Michael Angela^ one of his most famous works. The monument was originally destined for St. Peter^s, and intended to be a most imposing work, consisting of upwards of 30 statues. Owing to various ad- verse circumistances the portion preserved here was alone completed. (Two statues destined for this monument are at the Louvre.) The statues of Moses (who is represented by mediaeval Christian artists with horns owing to an erroneous translation of Exodus xxxiv. 35), Rachel, and Leah (as symbols, on the left of meditative, on the right of active life) alone were executed by the great master, and even these were not entirely his own workmanship. The grouping only of the remainder was from his design. The figure of the pope (who is not interred here) by Maso del Bosco is a failure*, the prophet and the sibyl at the side are by Raf. da Montelupo. — To the right of the choir is St. Margaret, an altar-piece by Ouercino. — The Choir contains an ancient marble seat from a bath, converted into an episcopal throne. A cabinet under the high-altar, with bronze "^Doors (by the Pollajuoliy 14T7), contains the chains of St. Peter, which are ex- hibited to the pious on 1st August.
The adjacent monastery of the Oanonici Regolari is now the seat of the physical and mathematical faculty of the nniversity. The handsome old monastery-court, by Oiuliano da Sangallo, planted with orange-trees , is embellished with a fountain by Antonio da Sangallo. (Entrance by No. 5, to the right of the church.) — Op- posite the facade of the church is the Collegium Maroniticum^ with an old tower commanding a fine view.
Proceeding to the left, and then, where the, street divides', to the left again, we reach the Thermae of Titus (p. 237) in 5 minutes. — The street in a straight direction descends to the Basilica of Con- stantine (p. 232), which is conveniently visited after the church of S. Pietro, To the right of S. Pietro in Vincoli is the church of S. Francesco di Paolaj with a monastery, now the B. Istituto Tecnico.
III. Some on the Tiber (Left Bank),
That part of the city which extends to the W. from the Corso as far as the river was uninhabited in the most ancient times (Campus Martius)^ but was gradually covered with buildings as Rome ex- . tended her sway, and as far back as the Republic, but more parti- cularly in the reign of Augustus, it became the site of many palatial edifices, and the new town of ancient Rome. This quarter, which is now densely peopled, and was till quite lately in the main med- isBval in character, consists of a network of narrow and dirty streets and lanes, enlivened by the busy traffic of the lower classes, and containing many highly interesting churches and palaces of the middle ages and the Renaissance. The present government has undertaken the task of improving this quarter by the construction of new and broad streets. The following description begins with the N. side.
From the Piazza del Popolo the \)ioa^NiiL Tyi^xe^tr^k- ^^'«^^ id, id), with ite prolongation the Via deWa ^ctoU,\ei^^^ \»'0s^^'^. in iSmia. to S. Luigi de' Frances! aneL IYlg ^iwx^^v^w^^^^'^^'^^
184 III. Left Bank. ROME. Mausoleum of Augustus
Agonale}. On the right, 4 min. from the Piazza del Popolo, is a modern building with a central part in the shape of a horseshoe (II Ferro di Cavallo), erected by Gregory XVI., and now containing the Direzione Centrale del Lotto, and studios belonging to the Aeca- demia di Belle Arti, or di S. Luea (p. 238).
In the Via de' Ponteflci, a cross-street to the left, is the entrance (No. 57; on the right) to the KauBoleam of AugpiBtiui (PI. I, 17), erected by that emperor as a burial-place for himself and his family, and in which most of his successors down to Nerva were interred. On a huge substructure , which contained the mortuary chambers, arose a mound of earth in the form of terraces , embellished with cypresses, surmounted by a statue of the emperor , and environed with a park. In the middle ages it was converted into a fortress by the Golonnas ; and a theatre (Anfiteatro Urhberto L) is now fitted up within its precincts. A few of the tomb-chambers are stiU preserved. Fee ^2 ^i' Generally closed at midday.
To the left in the Via di Ripetta we next reach the church of 8. Rocco (PI. I, 14) , erected in 1657 by De Rossi , with a facade added by Valadier in 1834. Immediately beyond it , on the right, is the Harbour of the Ripetta, constructed by Clement XI. in 1707 j the picturesque curving flights of steps (built in 1704 with stones from the Colosseum) have lost greatly in effect from the construction of the Ponte di Ripetta , a new iron bridge leading to the Prati di Castello (p. 276). To the left is the end of the Palazzo Borghese (see below).
A little farther on , the street takes the name of Via dbt^la ScaoPA (PI. I, 3 ; II, 3), which it retains as far as the Piazza of S. Luigi de' Francesi (see pp. 189 et seq.).
The Via della Scrofa is soon intersected (about 9 min. from the Piazza del Popolo) by an important street, the Via dell a Fonta- NELLA (PI. I, 16), which diverges from the Corso opposite the Via Condotti. At the Via della Scrofa it assumes the name of Via del Clementino, beyond which it is continued, as the Via di Monte Brianzo and the Via Tordinona, to the Ponte S. Angelo. The church of S. Trinity de' Monti (p. 149) is visible the greater part of the way, forming the termination of the street. In the Piazza Nicosia , ad- joining the Via del Clementine , is the new Palazzo Oalitzin (PI. I, 13, 13), an imitation of the Pal. Giraud (p. 276). In the Via Tor- dinona the houses on the river-side have recently been levelled with the ground. A spacious quay named the Lungo Tevere, and a new bridge named the Ponte Umherto are in progress.
Turning to the left from the Via deVU ^ciCii^\wto the Via della FontanelU, we reach the Piazza Bo^lq-^bs^, -m^^^^ ^^^\^\fc\ —
*PAla,zzo Borghene (PI. I, 16"), Xiegwtv \>^ oi^^^ ^^ ^w\.\>^ta.
Pida%zo Borghese. ROME. III. Left Bank, 185
in 1590 by the architect Mart. Lunghi the Elder, and completed by Flaminio Ponzio by order of Paul V., through whom it came into the possession of the Borghese family. The principal facade is towards the Via della Fontanella; the more imposing lateral facade is towards the Piazza Borghese. On the ground-floor and first floor the •OoTJBT is surrounded by arcades resting on clustered granite columns (permessl for the Gallery obtained to the left). Below these are three ancient colossal statues (a Muse , an Apollo Musa- getes^ and a portrait-statue] ; and at the end of the right passage a fragment of the statue of an Amazon. Behind lies the small garden, containing three rococo fountains by Rainaldij and some trifling antiquities. In the centre of the left side of the arcades is the entrance to the **Ckdleria BorgheBe (admission, see p. 122; catalogues for the use of visitors) , hitherto the most important in Rome next to that of the Vatican, but much weakened in 1888 by the removal of several of its greatest treasures. Other changes may be expected. The following account refers to the collection as it was in summer, 1889. — Among the works which have been removed were several paintings of the Older School, but the 15th century, through the gallery was founded at a time when the works of that period were not generally appreciated , is still better represented here than in the other private galleries of Rome. Among these are an admirable Holy Family ascribed to Lorerizo di Credi (Room I, No. 54) and two good specimens of the Milanese School of Leo- nardo da Vinci (Christ imparting his blessing, a small work by Marco d''OggionnOj I. Room, No. 33; Christ bearing his Cross, by SolariOj II. Room, No. 42).
Among the works ascribed to Raphael the Entombment (II. Room, No. 38) alone is authentic. The picture is not well pre- served, and is perhaps not entirely by Raphael's own hand. The impression produced by it is disappointing, the composition seems too studied, and the colouring cold (p. liii). The predelle belong- ing to it are in the Vatican (p. 301). The Fornarina (II. Room, No. 65), the Madonna d'Alba (II, 39), Pope Julius II. (H, 18), and others ascribed to Raphael are copies ; the unknown Cardinal (II, 21) is by a somewhat later Florentine master, who for the colouring of the gown has used a different kind of red from Ra- phael. It is quite as improbable that the so-called Portrait of Cesare Borgia (II, 26) was executed by Raphael. Cesare Borgia died in 1507, whereas the costume of the portrait is in the style of the middle of that century. The painter of this unknown per- sonage was perhaps Angela Bronzino. The IX. Room contains several Frescoes transferred hither from the Villa of Raphael, and ascribed to that master; but they are unlike \A"&'?iQ's!tos\»:^^?s&^^^^'^ in composition and execution.
The School of Fbrhara of the i^l\i tetvV.. \% ^^Vs^^^^ ^^ well rep resented. A fine example of Maixolln? » Tv^iXssv^^^ ^'^ ^'^'^
186 IIJ. Left Bank. ROME. Palazzo BorgUse.
ing is Ms Adoration of the Magi (II, 59). Dosso Dossi's Circe (III, 1 1) conducts lis into a world of fancy, similar to that depicted by Ariosto in Ms Orlando. Lastly there are several excellent works by QarofalOj the Raphael of Ferrara (II, 9 : Descent from the Cross).
The CoLOUBiSTS op the XVI. Cent, will not fail to attract the visitor. To Sodoma the gallery is indebted for a Piet^ (I, 7) and a Holy Family (II, 44), in which the head of the Madonna is radiant with beauty. At a comparatively recent period (1824) an important work by Correggio was secured for the gallery. It represents Danae with Cupids sharpening their arrows (in, 40). The figure of Danae is rather graceful than strictly beautiful, but the Cupids are very charming, and the chiaroscuro masterly. — A whole room is de- voted to the Venetian Sohool. Titian's so-called Earthly and Heavenly Love (X, 21) is one of those creations which produces an indelible impression on the beholder. The picture rivets the attention like a poetical dream, and after the eye has feasted on the charms of the colouring the composition still captivates the imagi- nation. The Arming of Cupid (X, 2) is one of the finest mytho- logical works by the same master. Bonifacio is another master who supplies us with examples of the richness of colouring of the Ve- netian School (XI, 16, being the finest). Qiorgione , on the other hand, is not fairly represented by the only specimen of his handi- work which the gallery possesses (X, 13).
As it is generally the case in the Roman galleries, the painters of the later revival of art, the adherents of the Carracci and the Naturalists, figure very numerously hero. Domenichino' s Diana (V, 15) contains a number of nymphs with lifelike heads, and an excellent background of landscape ; and AlbanVs Elements (V, 11-14) are superb decorative pictures. On the other hand , the works of Caravaggio , the chief of the naturalists (V, 26), are re- pulsive. The pictures by German and Netherlandish masters in the Xn. Room are unimportant. — The apartments are artistically decorated.
I. Room. *Decorations in grisaille and gold , by Carlo Villani. Left: *1. Sandro Botticelli , Madonna; 2. Sodoma , Piet^, unfor- tunately darkened by age; 3, 5, 6, 7. Pinturicchio (?), History of Joseph, panel-pictures such as were used in Florence for the doors of cupboards, the lids and sides of *cassoni', etc. ; 8. Luini (a copy), Vanitk; *13. Solario (?), Ecce Homo; *26. School of Leonardo, Madonna; 16. Piero di Cosimo, Madonna with the Child, St. John, and angels; iS, Perugino, St. Sebastian; 19. Sodoma (J^, Leda and the swan , an excellent copy of a celebrated picture by Leo- nardo; 21. Mazzolino, Madonna; 24. Portrait of Petrarch; 32. Zuini (a copy'), St. Agatha; *33. Marco da Oggionno , Youthful Christ; 34. Perugino, Madonna (a co-p7\*^^. Rxdolfo Qhirlandajo C^ccording to PasB&vsLTit, by Timotco della VUe\Va^T^\\.^l^\i^^^ erroneously called a portrait of lUp\iaeV ^i^ \i\m^t\l\ I^-.* Audita
Palazzo Borghese ROME. IJJ. Left Bank. 187
Solario , Christ bearing tlie Cross ; 43, Fr, Francia f?j, Madonna ; ♦53. Ant. PollajuolOj The Nativity; •54. Lorenzo di Credi (?), Holy Family, a work of the highest rank; 55. Fr, Francia (?), St. Anliony ; 57. Fr. Francia, Madonna ; 67. Qarofalo (?), Adoration of the Child.
II. Room. 6. Qarofalo, Madonna with St. Joseph and St. Michael; *9. Qarofalo^ Christ mourned over by his friends; 18. Raphael, Portrait of Julins II., an admirable copy; 19. Perugino Portrait of a woman (copy); *21. Raphael (?), Portrait of a car- dinal; 22. Copy after Raphael , John in the wilderness; *26. Ra^ phael (?), Portrait of CsBsar Borgia (?) ; 29. Oiulio Romano (? more likely J5aid. Peruzzi), Venus; 30. (?) Portrait of a woman ; 34. Andrea del Sarto (?), Madonna; *38. Raphael, Entombment (1507), his lust work before going to Rome , ordered by Atalanta Baglioni for her chapel in S. Francesco de' Conventuali at Perugia (p. 53), afterwards purchased by Paul V. ; 39. Raphael , Madonna di Casa d'Alba , an old copy ; 40. Fra Bartolommeo , Holy Family ; '44. Sodoma, Holy Family ; 53. Raphael (?), Portrait of Perugino ; *54. Antonello da Messina, Portrait; 55, 56, Qarofalo, Madonna and saints ; 59. MoAzolini, Adoration of the Magi ; 60. Qarofalo, Ma- donna; *65. Portrait of the so-called Fornarina, a good copy of Raphael's original in the Pal. Barberini (p. 171), perhaps by Sasso- ferrato.
HI. Room. 1. Qarofalo, Madonna; *11. Bosso Dosai, The Sorceress Circe; 13. Solario (?), Mater Dolorosa; 14. Sofonisba Anguissola, Portrait of a woman; 22. School of Raphael, Holy Family ; 24. Andrea del Sarto (?), Madonna with angels ; *28. Ma- donna with the Child and St. John , by the same (?) ; 35. Andr. del Sarto (?), Venus with two Cupids ; *40. Correggio , Danae, one of his finest easel-pieces; 41. Luca Cambiasi, Venus and Cupid on dolphins (unfinished); 42. Bronzino (?), Portrait of Cosimo de' Medici ; 46. Mary Magdalene, after Correggio' s original at Dresden ; 47. Ann. Carracci, St. Francis ; *48. Sebast. del Piombo, Scourging of Christ (the same piece is in S. Pietro in Montorio as a fresco, p. 328) ; 49, And, del Sarto (?), Mary Magdalene.
IV. Room. ^2. Domenichino, Cumsean Sibyl ; 4. Lod. Carracci, Head; 10. Cav. d^Arpino, Rape of Europa; 14. Sch. of the Carracci, Entombment; *15. Quido Cagnacci, Sibyl; 21. Ag. Carracci, Entombment; 33. Luca Giordano, Martyrdom of St. Ignatius; Carlo Dolci, 36. Madonna, 37. Mater Dolorosa, 34. Head of Christ ; 38. Sassoferrato, Madonna.
V. Room. '11 , 12, 13, 14. Francesco Albani , The Four Ele- ment, landscapes with mythological accessories ; '15. DomerUchino, Diana and her Nymphs practising with th«vt \i^^^\ ^>^. ^«.^, Zucearo, Christ bewailed by angels-, 0,^. Cara-oagglo^^^^'^rwsa.^^Si^v St Anna and the Child Jesxis-, Tl. VaTolatl (\\ Po.^o^5om•«vo^, Venns} 28. Cav, d'Arpino, Battle.
188 III, Left Batik. ROME. Palazzo Borghese.
VI. Room. 1. Valentinj Return of the Prodigal Son ; ♦S. Andrea Sacchi , Orazio Ginstiniani ; 5. Ouercino , Return of the Prodigal ; 7. Pietro da Cortonaj Giuseppe Ghislieri; 8, 10. Caravaggio, DaYid; 11. BarocciOj Flight of JEneas from Troy; ♦IS. Titian, Three periods of life, a copy by Sasaoferrato (original in London) ; 18. Saasoferrato , Madonna; 24, 26. Landscapes in the style of Poussin ; 36. Caravaggio, Boy with fruit.
VII. Room. The lower part of the wall is adorned with mirrors, on which Cupids (by Cirofern) and garlands (by Mario de* Fiori^ are painted. Above, in small niches, are 16 ancient portrait-busts, some freely restored. In the centre is a table of mosaic composed of stones some of which are extremely rare.
Vin. Room , containing a number of small objects of art. 13. Mareello Provenzale, Madonna; 68. P. Bril (?), Orpheus with the animals in a landscape; 73. Vanniy The Graces; •76. Female head, a silver-point drawing of the School of Leonardo ; ^83. View of the Villa Borghese in the 17th century. — To the left a passage adorned with landscape-frescoes leads to the —
IX. Room. Three •Frescoes (under glass) from the so-called Villa of Raphael, which formerly stood within the grounds of the VUla Borghese, and was removed In 1849 (p. 334): 1. Marriage of Alexander and Roxana, from a drawing in the Albertina in Vienna, which bears the name of Raphael ; 2. Nuptials of Vertum- nus and Pomona, of inferior value; 3. The so-called *Bersaglio de' Dei' (shooting contest of the gods), from a drawing in the Brera at Milan ascribed by Raphael to Mich. Angelo ; this obscure com- position is perhaps borrowed from Lucian (Nigrinus , C. 36). All three were probably executed by Raphael's pupils. — Returning to the mirror-room, and leaving it by the door to the left in the oppo- site wall, we enter the —
X. Room. Opposite the entrance: 1. Moroni, Portrait; *2. Ti- tian , Cupid equipped by Venus and the Graces (c. 1560) ; 4. Sch, of Titian, or of Oiorgione, Judith, said to have the features of Titian's wife; 6. Sch. ofFerrara, Cupid and Psyche ; *9. Lor. Lotto Portrait; 13. Oiorgione (or school of Ferrara?), David with the head of Goliath; 14. Paolo Veronese, John the Baptist preaching repentance; *i6. Titian, St. Dominic; 20. Paolo Veronese, Venus with satyr and amoretti. — **21. Titian, *Amor sagro e profano' or rather 'Artless and Sated Love', one of Titian's greatest works, representing a favourite allegory of 16th cent, painters ; to the right is the charming figure of Artless Love, to the left Sated Love (see also p. 186). — 22. Leonello Spada, Concert; 26. School of Palma Vecchio, Portrait ; 30. Leandro Bassano , The Trinity ; *36. Oiov, Bellini f?), Madonna, an early work.
XL Room. 2. Paolo Veronese (?), St, kivW\oiv^ ^\jout to preach to the fsbes; 5. Palma Vecchio^ Lucietia-, V\. Andt. BcKlaowvt, Last Sapper; 15. Bonifacio Junr., OYinst wjvotv^ \i\% ^\%tV^\^%»'
8, Agostino. ROME. III. Left Batik. 189
♦16. Bonifacio J Return of the Piodigal ; 17. Titian , Samson (re- touched); 18. Bonifacio y Christ and the adulteress; 19. Palma Veechio (?), Madonna ; *32. Falma Vecchio^ Holy Family ; 33. For- dtnonc., Family-portraits.
XIL Room. Dutch and German masters. 1. VanDyck(?)j Cruci- fixion ; *7. Entombment , by the same (?) ; 8. D. Teniers, Genre picture; 9. A, Brouwerf?), Genre picture; 10. Dutch School (Fitter Coddejj Soldiers; 11. LeDucj Conversation-piece; 16. Brabant 8ch. , Mary's visit to Elizabeth; 17. Qherardo delta Notte (Hont- horst)^ Lot and his daughters; 25. Durer (?), Portrait (said to be of Duke Louis VL of Bavaria); 27. VanDyck(?), Portrait; 44. Lucas Cranachj Venus and Cupid.
Among the pictures formerly in the Gallery, which have now been removed to the Prince''s private rooms, the following may be mentioned : Al. Alloriy BLisen Christ; several portraits by Oiov. Bellini; Lor. di Credi, Madonna with the fiower-glass; Fr. Franeia^ St. Stephen; Quercino, Fe- male half-figure, and a Hater Dolorosa ; Ouido Beniy St. Joseph ; School of Leonardo da Vinci ^ Madonna; Lor. Lotto, Madonna with So. Onuphrius and Augustine; Pem^^no, Portrait of himself; Ribera, St. Stanislaus with the Child Jesus ; Oiulio Romano and his scholars, frescoes from the Villa Lante; Sasso/errato, Madonna; IHtian, Portrait of himself.
Following the "Via della Scrofa (p. 184) from the Palazzo Borghese and after 5 min. taking the fourth cross-street to the right (in front, straight on, is S. Luigi de* Francesi, p. 193), we reach the Piazza di S. Aoostino.
♦S. Agofltiiio (PI. I, 13), erected by Baccio Fintelli(f} in 1483 by order of Card. d'Estouteville, the protector of the Augustinians, on the site of an old oratorium, was the first Roman church with a dome. The facade and the spacious flight of steps are said to have been constructed of stones from the Colosseum. The interior, in the form of a Latin cross, was restored in 1750 , and again in
1860, when it was adorned with frescoes by Oagliardi.
Iktesiob. On the entrance -wall a * Madonna and Child, in marble, by Jacopo Tattiy sumamed Jac. Sansovino after his master Andrea Sanso- vino, surrounded by numerous votive offerings. In the 1st Chapbl on the right, St. Catharine by Venusti; in the 2nd, Nuccfs free copy of the lost Madonna della Rosa of Raphael ; in the 4th, * Christ delivering the keys to Peter, a group by Cotignola. By the 5th Chapbl is the monument (the second to the left) of the learned Onofrio Panvinio (d. 1568). Adjoining the door of the sacristy is the monument of the learned Cardinal Xoris. — The Riqht Tbakbept contains the chapel of St. Augustine with an altar-piece by Ouereino : St. Augustine between John the Baptist and Paul the Hermit.
The High Altab was decorated by Bernini ; the image of the Madonna is said to have been painted by St. Luke, and brought from the church of St. Sophia at Constantinople. In the chapel on the left of this are preserved the remains of St. Monica, mother of Augustine^ altar-piece by Ootlardi.
The 2nd Chapel in the Left Aislb contains a "^Group in marble (St. Anna, Mary, and Jesus) by Andrea Sansovino (1512). In the 4th, St. ApoUonia, altar-piece by Mutiano. In the Nave, on the 3rd pillar to the left^ **RaxfhaAV%. Prophet Isaiah, holding a scroll with the woidft Itoxcl \«. X3^\v ^^ -^vai^^r^^ in 1512, but unfortunately retouched by Dan. da "VoXtcrTa^ ^w^ wsyw \fi»s2o. injured. In the execution of this work ttie ^reftiX. xaaaX-^t V^ vs»:\^ \ft v*^*^ been induenced by that of M. Angelo in tbe aiallne C\i«.v^\. ^.^AVrv\*A.Q.
To the right of the churcli Ib ttie CiivUwv^^^ 1^ VXv^ ^ift>\xoW^
190 ///. Left Bank. ROME. Palazzo Lancelotti.
Angelica J consisting of upwards of 100,000 vols, and 2945 MSS., (adm., see p. 116).
Proceeding from the Piazza S. Agostino straight through the archway, we reach the Piazza S. Apollinake (PI. I, 13), in which are situated the Seminario Romano, a kind of grammar-school, and S, Apollinare, an old church, rebuilt in 1552 and 1750, and owing its present form to Fuga. To the left, over the altar in the inner vestibule, is a Madonna by Perugino (?). — Opposite the church is the Pal. Altemps, of the 16th cent., completed by the elder Xunghi, possessing a handsome double court with arcades, the lateral colon- nades of which are built up, and containing a few ancient statues.
From the Piazza S. Apollinare the Via Agonale leads to the S. to the Piazza Navona (see below). In a straight direction we reach the Piazza di Tor Sanguigna , whence the narrow Via de* Coronari and the Via di Panieo lead to the (10 min.) Ponte San Angelo.
The Via della Maschera d^Oro , No. 7 in which is adorned with a frieze with paintings from the myth of Niobe by Polidoro da Gara- vaggio (much damaged) , leads to the Palazzo Lancelotti (PI. I, 13, i), erected under Sixtus V. by F. da VoUerra, and completed by C. Madema, with a portal by Domenichino. The court contains ancient statues and reliefs. In the private apartments of Prince Lancelotti, shown by special permission only, stands the celebrated **Discus Thrower J found on the Esquiline in 1761 , a marble copy of the bronze statue by Myron (p. 305).
The * Piazza Navona (PI. II, 13), now officially named Circo Agonale, occupies, as its form still indicates, the Circus or Stadium of Domitian. The name *Navona', which was used in the middle ages, is said to be derived from the agones , or contests which took place in the circus. It is embellished with three Fountains. That on the N. side, by Leon, della Bitta and Greg. Zappolk, erected in 1878, represents Neptune in conflict with a sea-monster (polypus); round the central group are Nereids and sea-horses. Not far from it , in the centre of a large ancient basin of Pentelic marble, rises a fountain erected by Bernini under Innocent X.; at the corners of the lofty mass of rock , the different parts of which represent the four quarters of the globe, are placed the gods of the four largest rivers, the Danube , Ganges, Nile, and Rio della Plata, executed by pupils of Bernini. The whole is surmounted by an obelisk, which was ori- ginally erected in honour of Domitian in the Circus of Maxentius (p. 352). The third fountain, at the S. end of the piazza, is adorned with masks, Tritons, and the statue of a Moor by Bernini.
On the W. side of the Piazza Navona stands the church of A Ag^eae; the interior, in the form of a Greek cross , and the campanili, are by C. Rinaldi, and the UsteVe^s ia.^;^^^ \i^ ^Qxtomini. The Romans used to maintain t\\at tVieMVe o\\ >-Vfe %\fe^\. ^wvwVaMjL veiJed bis head in order to avoid seeing t\i\a U(;«.^fe.
8, Maria dell' Anima. ROME. III. Left Bank. 191
Over the principal door is the monument of Innocent X. by Maini; to the left, in the chapel of the transept, is a statue of St. Sebastian, adapted from an ancient statue by Maini. Beneath the dome are 8 columns of 'cot- tanello*. The old church was in the side-vaults of the Circus where the saint suffered martyrdom. Two subterranean chapels with ancient vaulting still remain , one of them containing a good relief of the Martyrdom ot St. Agnes by Alffcnrdi (descent by a stair).
To the left of the church is the Palazzo Pamphilj, also erected by Rinaldi, now the property of Prince Doria. Opposite to it is the national church of the Spaniards, 8. Qiacomo degli Spagnuoli (PI. II, 13, 23), erected in 1450, and recently restored.
On the S. side of the piazza is the Pal. Braschiy with the Pas- quino (see p. 201). A little to the E. lie the Pal. Madama and the Pantheon (pp. 192, 193).
The Via di 8. Agnese^ to the right of the church, leads to the Via delV Anima on the right, where on the left side is situated *S. Maria dell' Anima (PI. II, 13; open till 8^2 a.m., on holidays till noon ; when closed, visitors go round the church by the Vicolo della Pace on the right, and ring at the door of the Hospice, opposite S. Maria della Pace). The name is derived from a small marble- group in the tympanum of the portal : a Madonna invoked by two souls in purgatory. This is the German national church and was erected in 1500-14. Handsome facade by Oiuliano da Sangallo. Part of the interior is said to have been designed by Bramante.
The Interior has lately been thoroughly restored. The central window of the entrance-wall formerly contained stained glass by William of Marseilles, now modern. The modern frescoes of saints on the ceiling are by L. Seitt (1875-82), and the stained-glass window over the chief portal was designed by him. — Rioht Aisle. 1st Chapel : ''St. Benno receiving from a fisherman the keys of the cathedral at Meissen (Saxony), which had been recovered from the stomach of a fish, altar-piece by Carlo Saraceni. 2nd Chapel : Holy Fam- ily, altar-piece by Oimignani; left, monument and bust of Card. Slusius. 4th Chapel: altered copy of Michael Angela's Piet& in St. Peter's, by Nanni di Baccio Bigio. — Left Aisle. 1st Chapel : ''Martyrdom of St. Lambert, C. Saraceni. 3rd Chapel: ft*escoes from the life of St. Barbara, Mich. Coxcie. 4th Chapel: altar-piece (Entombment) and frescoes by Salviaii.
Choib. Over the high-altar , *Holy Family with saints , by O. Romano, damaged by inundations; on the right, "Monument of Hadrian VI. of Utrecht (preceptor of Charles V., d. 1523), with figures of justice, prudence, strength, and temperance, designed hy Baldassare Peruzzi , executed hy Michelangiolo Sanese and Niceolb Tribolo; opposite to it, that of a Duke of Cleve-Jiilich- Berg (d. 1575) by Egidius of Riviire and Nicolaus of Arras. A relief in the ante-chamber of the sacristy (at the end of the N. aisle) represents the in- vestiture of this prince by Gregory XIII. In the church, at the entrance to the sacristy, is the tomb of the learned Lucas Holstein of Hamburg, librarian of the Vatican (d. 1661).
The German Hospice connected with the church was under Austrian management from 1815 to 1863. Opposite the hospital rises the church of —
♦S. Maria deUa Pace (PI. 11, I, 13, S\ ftTec,\.^\Vi '^V^x.x^'s,^^ . (1484) and Innocent VIII., restored bv A\e^w\^«iN\\.> ^xA ^^^- vided by Pietro da Coriona with a iacjadG axv^ ^eim\t\xcv^\^^ ^wfCvj.^- Tbe cburcb consiata of a domed octagon, ^\t\i «. ^^^^ \x^^^«
192 III, Left Bank. ROME. 8. Maria deUa Pace.
Over the Ist Chapel on the right are ** Raphael's Sibyls : to the left the Sibyl of Cnmffl ; on the arch above, the Persian ; then the Phrygian , and the aged Sibyl of Tibur , receiving from angels and recording revelations regarding the Saviour. They were painted in 1514 by order of Agostino Ohigi, who erected the chapel, and skilfully freed from 'restorations' by Palmar oli in 1816 (best light, 10-11 a.m. ; see also p. Ivi).
^With perfect mastery of the art of utilising the space at his com- mand, a tiJent admirably illustrated in the Stanze, Raphael has here filled up the segment of the arch so simply and naturally that the spectator is apt to overlook the consummate skilfulness of the grouping. Equally characteristic of Raphael are the rhythm of the composition , the display of spirited contrasts , and the delicate gradations and judicious denoue- ment of passionate emotions-, while the gracefulness of the female forms and the sprightly beauty of the angel-boys are specially Raphaelesque. Michael Angelo's Sibyls are justly extolled as creations of a sublime imagination, striking the spectator with their supernatural majesty; but these female figures of Rapliael are pre-eminently human and lovaDle\
In the lunette above the Sibyls are the Prophets by Timoteo Viti (p. 97) : on the right Jonah and Joshua, on the left Daniel and David.
At the sides of the 1st Ghapel on the left are ^Monuments of the Ponzetti family, of 1505 and 1509 (which should be compared with the heavy decorations of the 2nd chapel on the right, executed half-a-century later). ♦Altar-piece in fresco by Bald. Peruzzi: Madonna between St. Brigitta and St. Catharine, in front the donor Card. Ponzetti kneeling (1516). The vaulting above contains scenes from the Old and New Testament , in three rows , also by Peruzzi. — To the left, under the Dome, is the entrance to the sacristy and court (see below). Over the first altar on the left, Adoration of the Shepherds, \>y Sermoneta; above it, the Death of Mary , by Afo- randa. The second altar, with handsome marble-work, partly gilded, is of 1490. The high-altar is adorned with an ancient and highly revered Madonna ; on the vaulting are pleasing 'putti' by Albani. Over the adjacent altar to the right, Baptism of Christ, by Sermoneta. Over the niche , Mary's first visit to the Temple , by Bald. Peruzzi (retouched). — Newly-married couples usually at- tend their first mass in this church.
The *MoNASTERT Court, constructed by Bramante (p. li) by order of Card. Oaraflfa in 1504, is interesting. On the ground-floor are arcades , above which runs a series of columns. By the right wall, the tomb of Bishop Boccaccio (d. 1437). Entrance through the church, or by Via Arco della Pace 5.
From the portal of the church the Via della Pace and the Via in Parione lead straight to the busy Via del Oovemo Vecchio (p. 201).
The Via del Salvatore leads to the E. from the Piazza Navona
to the Piazza Madama, where, in front of us, rises the facade of
tlie Pal&zzo Jfadama (PL II, 13), so called ttom Margaret of Parma,
daughter of Charles V. , by wliom it was otvce occ,\3i^\^^. ^i«s*\wi^>i
^nd subsequently it belonged to the M.ftd\c\s, atet^w^% ^ime^-^v^^^^^
8. Luigi de' Francesi. ROME. III. Left Bank. 193
of Tuscany, by whose orders Marocelli altered it to its present form in 1642. The Italian Senate now meets in this palace. One en- trance is from the Piazza S. Luigi, the other from the Piazza Madama. The vestibule, court, and staircase contain antique statues, sarco- phagi, reliefs, and busts. The large hall was adorned by Maccari in 1888 with frescoes representing Appius Claudius Cascus, Regulus, Cicero, and Catiline.
Passing the left side of the palace (to the right to the Piazza S. Eustachio, p. 197), we reach the Piazza di S. Luigi de' Francesi, to the right in which rises S. Lnigi de' Francesi (PI. II, 13), the national church of the French, consecrated in 1589, having been built on the site of several earlier churches. Facade by Giac. delta Porta. It is one of the best buildings of its period, and the interior also is judiciously decorated. Some of the pictures are badly lighted.
RiQHT AiSLB. 1st Chapel : St. John, altar-piece by 0. B. Naldini. On the opposite pillar is a monument to French soldiers who fell at the siege of Rome in 1849. 2nd Chapel: •Frescoes from the life of St. Cecilia, one of Ihe most admirable works of Domenichino (p. lix) ; on the right the saint distributes clothing to the poor -, in the lunette above, she and her betrothed are crowned by an angel ; on the left the saint suffers martyrdom with the blessing of the Pope^ above, she is urged to participate in a heathen sacrifice-, on the ceiling, admission of the saint into heaven ; altar-piece, a copy of RaphaeVs St. Cecilia (in Bologna) by Ouido Rent. 4th Chapel, of St. B^migius : altar- piece, the Oath of Clovis, by Oiac. del Conte ; frescoes on the right, Campaign of Clovis, by Oirol. Siceiolante (da Sermoneta); on the left, Baptism of Clovis, by Pellegrino da Bologna. 5th Chapel, del Crocifisso: on the left the monument of the painter Gudrin (d. 1833), on the right that of Agincourt (d. 1814), the writer on art. — Over the high-altar : "^Assumption, by Franc. Bassano.
Left Aisle. 1st Chapel : St. Sebastian, altar-piece hjMassei; on the right and left modern frescoes; by the first pillar on the right the monument of Claude Lorrain , erected in 1836. 3rd Chapel , of St. Louis : altar-piece by Plauiilla Brieciy who is said to have designed the architecture also ; picture on the left by Oimignani. 5th Chapel, of St. Matthew : altar-piece and pic- tures on the right and left by CaravaggiOy on the left the Evangelist's vocation to the apostleship, on the right his death.
From the Piazza S. Luigi to the N. to the Via della Scrofa and S. Agostino, see p. 189. In a straight direction we proceed through the Via Qiustiniani to the Piazza del Pantheon (PI. II, 16). Above the large Fountain^ erected by Lunghi under Gregory XIII., was placed the upper end of a broken obelisk by order of Clement XI. This piazza generally presents a busy scene (comp. p. 122).
On the S. side of the piazza rises the church of 8. Maria Rotonda^ or the **Fantheon, the only ancient edifice at Rome which is still in perfect preservation as regards the walls and the vaulting. The original statues and architectural decorations have long since been replaced by modern and inferior works, but the huge circular structure with its vast colonnade still presents a strikingly imposing appearance. The walls , constructed of admirable brickwork, 20 ft. in thickness, were originally covered with marble and st\ic<i<i. '^V.^ ground in the environs has gradually "be^iv ^qtk\xOs^t.««»^^*^^'^^ pavement of the temple, to whicK fli^e step^ IctisvetV^ ^^^j.^w^^^j^"^ lies below the leyel of the piazza. E.Tyia.^a.\.VoTL^ xaa.^'ei *vcv *^^^ ^"^ Basdbkmb. Italy II. IQth Edition. ^-"^
IM in. Left Batik, ROME. ParUheon,
front of the edifice , which led to the discovery of two fine marhle reliefs, have been filled up again as they interfered with the street traffic.
The PoBTico (36 yds. wide, 14 yds. deep) is borne by 16 Corinthian columns of granite, 13 ft. in circnmference , and 39 ft. in height; the tympannm formerly contained reliefs, and the roof was embellished by statues. Eight of the columns are in front ; the others form three colonnades, originally vaulted over, termi- nating in niches, in which stood the colossal statues of Augustus and his son-in-law M. Agrippa. The latter, according to the inscription on the frieze (M, Agrippa L. F. Cos. tertium fecit) , caused the edi- fice to be erected B.C. 27. Pope Urban YIII. (Barberini) removed the brazen tubes on which the roof rested, and caused them to be converted into columns for the canopy of the high-altar of St. Peter's and cannons for the defence of the castle of S. Angelo. This Van- dalism gave rise to the epigram of Pasquin, *Quod non fecerunt harbari, fecerunt Barberini , The two campanili, the 'ass's ears', as they were derisively termed, erected by Bernini under the same pope, were removed in 1883. — The central colonnade leads to the Entrance, with its ancient door strongly secured by bronze plates, in order to diminish the weight of which the upper portion is re- placed by a railing.
The iNTBaioK, lighted by a single aperture in the centre of the dome, produces so beautiful an effect that it was currently believed at an early period that the temple derived the name of Pantheon, which was applied to it as early as A.D. 59, from its resemblance to the vault of heaven (comp. p. xxxvi). The height and diameter of the dome are equal, being each 140 ft. The diameter of the open- ing is 80 ft. The surface of the walls is broken by 7 large niches, in which stood the statues of the gods, including, as has been ascer- tained, those of Mars, Venus, and Caesar. The architrave is borne by fluted columns of giallo antico or pavonazzetto in couples , the shafts being 26 ft. in height. Above the latter, and corresponding with the niches , formerly rose a series of round arches , borne by Caryatides , but they appear to have been removed during a very early restoration of the edifice. The white marble, porphyry, and serpentine decorations of the Attica or Attic story remained in part till 1747 , when they were barbarously covered with whitewash. The coffered ceiling of the vault, which consists of concrete, was decorated with gold-leaf, and the whole roof was covered with gilded bronze tiles, which the Emp. Constans II. removed to Constanti- nople in 655. UnderGregorylll. these tiles were replaced by lead. The building has frequently been restored, as, for example, by Domitian, Trajan, Septimius Severus, and Caracalla. The names of the last two are recorded by an inscription on \.\vfe ?.Tc\v\lT;5L\e of the portico. Id 609 the Pantheon was conseciaite^ \i^ "^o^^'^^wM^^^Y^ . %:^^ Christian church, under the name ol S. Maria ad MatV^tt* ^.^1;^^
Pantheon. ROME. ///. Left Bank. 195
and in commemoration of the event the festival of All Saints was instituted (13th May, bnt afterwards celebrated on Ist Nov.). A palace , a cathedral-chapter , and a cardinal's title were afterwards attached to the church, which is generally known as S. Maria Botondaj or La Rotonda.
In the second recess to the right of the high-altar is the burial vault of King Victor Emmanuel II. (d. Jan. 9, 1878). In the first Chapel to the left of the high-altar stands the simple monument of Card. Consalvi (buried in S. Marcello, p. 157), by Thorvaldsen.
To the left of the 3rd altar is RaphaeVs Tomb (b. 6th Apr., 1483; d. 6th Apr., 1520). On the wall is the graceful epigram composed by Card. Bembo: — Hie hie est Raphael^ timuit quo sospite vinci Rerum magna parens^ et moriente mori. The Italian translation runs thus: —
''QuesH i quel Raffaele, cui vivo vinta Esser temea Natura^ e morto estinta*.
A lengthy inscription beside it announces that Baphaers remains were placed in a new sarcophagus in 1833. The statue of the Madonna on the altar, \i-^ Lorenseito^ was executed in accordance with Raphael's last will.
The Pantheon is also the last resting-place of Ann. Carracci , Taddeo Zucchero, Bald. Peruzzi, Perino del Vaga, Giov. da Udine, and other celebrated artists. The altars and recesses are adorned with paintings and sculptures of the 18th century.
A visit to the interior by moonlight is recommended, but for this, as for the ascent of the dome, a special permesso must be obtained.
At the back of the Pantheon lie the ruins of the Thermae of Agrippa, which, however, have no connection with it. A large part of tliese baths was exhumed in 1881-2; and the rear wall of a large hall, with recesses, was brought to light in the Via della Palombella. A fluted column and a finely executed frieze (shells and dolphins) have been found and placed in position. Along the E. side of the Pan- theon extended a kind of colonnade, of which considerable remains are extant.
From the Piazza of the Pantheon the Via de^ Pastini leads towards the E. to the Piazza di Pietra (p. 156); or we may turn to the left (N.), cross the Piazza Capranica^ with the small theatre of that name, and reach Monte Citorio (p. 155) ; or, lastly, we may follow the Via del SeminariOy also towards the E., to S. Ignazio (p. 155).
Behind the Pantheon lies the Piazza della Minerva (PI. II, 16), where the church of S. Maria sopra Minerva lies on the left, and the H6tel de la Minerve opposite to us. In the centre of the piazza is a marble elephant, on the back of which a small ancient Obelisk was placed by Bernini in 1667 (p. 196).
*8. Maria Bopra Mtiierva, erected on the ruins of a temple of Minerva founded by Domitian, the only ancient Gothic church at Rome, was probably begun about 1285 by the builders of S. Maria Novella at Florence (p. xlviii). It was restored and re-decorated
with painting in 1848-55, and contains several valuable works of art.
Interior. By the en trance- wall, on the rigbt, \Sift Vwu^ o\\3s!kfc'^\«5ftfe-vs5C\ss& knight Diotisalvi (d. 1482). — Lbpt Aislb. On l\ift \^^\.,\Xi«k X^TO^i Qi KX^^^Vj^^"^- tine Franc. Torn&buoni. byJ/tno daFxesole; a\)OVft \\. \Xi^xcLOTL\«a«^V^\^^^^; Glac. Tehaldi (d. 1466). To the rigbt of ttie ».\Ut va X^sv^ ^f^cS^?S^\ss^i- SebastiAB, by Mrh da Hetoleff), Ovet ttie «:itw. \i^«.«^ ^^ ^\vs\sXn ^^
196 ///. Left Bank, ROME. S. Maria sopra Minerva,
rugino. In the 5th Chapel is (r.) the monument of the PrinceM Lante, by Tenerani. — Right Aislb. By the pillar between the 3rd and 4th chapels is an egress (generally closed) with an ancient Greek sarcophagus (Hercules taming the lion). In the 4th Chapel, the ^Annunciation, a picture on a golden ground (in the foreground Card. Giov. a Torrecremata recommending three poor girls to the Virgin), painted to commemorate the foundation of the charitable in- stitution of S. Annunziata and erroneously attributed to Fra Angelica ; on the left the tomb of Urban VII. (d. 1590), by Ambr. Buonvicino. The 5th Chapel (Al- dobrandini) contains paintings hy Alherti; over the altar the Last Supper by Baroccio ; monuments of the parents of Clement VIII. by Oiac. delta Porta. — Right Tbaksept. A small chapel on the right is first observed, containing a wooden crucifix attributed to Oiotto; then the "^Caraflfa Chapel (recently restored), with a handsome balustrade , painted by Fitippino Lippi ; on the right Thomas Aquinas, surrounded by allegorical figures, defending the Catholic religion against heretics ^ in the lunette, St. Thomas and the Miracle of the Cross*, on the wall at the back, the Assumption of the Vir- gin; altar-fresco, the Annunciation, with a portrait of the donor Card. Carafia; sibyls on the vaulting by Rafaellino del Oarho; on the left the monument of Paul IV. (d. 1559) , designed by Pirro Ligorio , executed by Oiac. and Tom. Casignola. By title wall, adjacent to the latter, the *Tomb of Bishop Guiliel. Durantus (d. 1296), with a Madonna in mosaic by Johannes Cosmos^ one of the best works of that period. The first chapel by the choir contains an altar-piece by C. Maratta. The second is the Cappella del Rosario ; altar-piece groundlessly attributed to Fra Angelieo ; on the right the tomb of Card. Capranica (about 1470). — The Choib contains the large monuments of the two Medicis, (1.) Leo X. and (r.) Clement VII., designed by Ant. da San Oallo; that of Leo executed by Raffaele da Monte Lupo^ that of Clement by Oix>v. di Baccio Bigio ; on the pavement the tombstone of the celebrated scho- lar Pietro Bembo (d. 1547).
In front of the high-altar, to the left, is Michael AngeWs **Christ with the Cross, which was ordered by Metello Vari and P. Castellari in 1514, and erected in 1521. Pietro Urbano^ an assistant of the great master, was entrusted with the touching up of the work after its erection, but as he acquitted himself badly of his task, the finishing strokes were given to it by Roderigo Frizzi. The nudity of the figure is justified by the master's intention to pourtray the Risen Christ, but it is now marred by a bronze drapery ; the right foot also is protected against the kisses of the devout by a bronze shoe (comp. p. li).
On the left by the choir is a passage to the Via S. Ignazio; on the wall the tombstone (first on the left) of Fra Beato Angelieo da Fiesole, who died in the neighbouring monastery in 1455, with his portrait and the inscrip- tion : ffic Jacet Venerabilis pictor Frater Joannes de Florentia Ordinis prae- dicatorum M LV. — In the Left Transept is the Chapel of S. Domenico, with 8 black columns, and the monument of Benedict XIII. (d. 173()) by P, Bracci. Adjacent, to the right, is the entrance to the sacristy.
The adjoining Dominican monastery, formerly the residence of
the chief of the order, now contains the offices of the Minister of
Education and the Bibliotheca Casanatensis (entrance to the left by
the church, first door to the right beyond the court; adm. see
p. 116). The library is the largest in Rome after that of the Vatican,
consisting of 200,000 vols, and 1000 MSS.
The space between the Piazza del Collegio Romano and the Piazza
S. Ignazio was occupied in antiquity by a famous Temple of Isis,
and the excavations on this site have brought numerous remains
of antiquity to light. Among these are the lions, sphinxes, and ca-
nopi in the G&pitoline Museum (jp. *li^^, aii^Wv^ Q\)^\\^t?. now in the
Piazza della Rotonda, (p. 193), t^e Plana. ei^\\a^Nii\i^TN^^ A^'^, vgv^
^Ae Piazza Termini (p. 166).
GesU. ROME. III. Left Bank. 197
The Via de* Stciderari leads to the right from the Piazza Ma- dama (p. 193), passing the palace, to the Piazza S. Eustachio. Here stands the —
Uniyendtlb della Sapienza (PI. IT, 13, 26; entrance Via della Sapienza71), founded in 1303 by Boniface VIII., and after a rapid decline re-established by Eugene lY. It attained its greatest pros- perity under Leo X., and under Leo XII. and Gregory XVI. possessed five faculties, but there are now four only (law, medicine, physical science, and philology). It contains several natural history collec- tions and the Biblioteca Alessandrinaf a library of more than 10,000 vols., which is open daily (p. 116). The present building was de- signed by Oiac. della Porta. The church (S. Ivojj with its grotesque spiral tower, was designed by Borromini in the form of a bee, in honour of Urban VIII., in whose armorial bearings that insect figures.
The Via della Palambella leads hence in a straight direction to the Pantheon (p. 193) ; the Via della Valle, to the right, leads to 8. Andrea and the Corso Vittorio Emanuele (see below).
The wide Corso Vittorio Emanuele (PI. II, 16, 13, 10), re- cently constructed through the most closely built quarters of med- iaBval Rome, is a continuation of the Via Nazionale, described at pp. 169, 170, and facilitates communication between the Piazza Ve- nezia (p. 162), in the centre of the city, and the Ponte S. Angelo. On the left is the main facade of the Pal. di Venezia (p. 162), and on the right rise the Palazzi Bonaparte (p. 162), Doria (p. 158), and Grazioli. We next reach the Pal. Altieri, with its extensive facade, erected in 1670, bounding the N. side of the small Piazza drl Gbsu (PI. II, 16), which is called after the church of that name.
•Oeflti , the principal church of the Jesuits, is one of the most gorgeous in Rome. It was built by Vignola and Oiac, della Porta by order of Card. Alessandro Farnese, in 1568-77. Comp. p. Iviii.
In the Navs is a *Geilmg-painting by Baciccio^ by whom the dome and tribune were also painted, one of the best and most lifelike of the rococo works of that period. The walls were covered with valuable marble at the cost of the Principe Aless. Torlonia in 1860. On the high - altar, with its four columns of giallo antico: Christ in the Temple, by Capalti; on the left the monument of Card. Bellarmino with figures of Religion and Faith, in relief^ on the right the monument of P. Pignatelli, with Love and Hope. — In the Tbansbpt , to the left : *Altar of St. Ignatius with a picture by Pozzi^ under which a silver-plated relief, representing St. Ignatius sur- rounded by angels, is said to be concealed. The original silver statue of the saint, by Le OroSy which was formerly here, is said to have been removed on the suppression of the order in the eighteenth century. The columns are of lapis lazuli and gilded bronze*, on the architrave above are two statues: Ood the Father, by B. Ludovisi^ and Christ, by L. Ottoni^ behind which, encircled by a lialo of rays , is the emblematic Dove. Between these the globe of the earth, consisting of a single block of lapis lazuli (said to be the lai^est in existence). Beneath the altar, in a sarcophag,us oC <^v\<Sa.'^ bronze, repose the remains of the saint. Oik lYifc "n^\. wv^\«S!^ "w^ vgcosv^'^ in marble J on the right the Christian TcleW^ioTi, «A. \\k^ «v^V. ^^ "^'"'^f^ hereUcs shrink, by Le Cfroi; on the left Faitti witti VJo^eCu^ ^^^^'^^VT v^^- a heathen king is in the act of adoring, by Th^odon. 0^^o«\Va^ ^^ ^^^ ^ sept, on the right, the altar of St. Francis Xaviex.
198 III. Left Bank. ROME. ifif. AndrM deUa Valle.
The church presents a most imposing sight on 31st Dec. , on the festival of St. Ignatius, on 31st July, and during the Quaranfore (two last days of the Carnival) , on which occasions it is brilliantly illuminated in the evening. During Advent and Lent, and generally at other seasons also, sermons are preached here at 11 a. m., often by priests of great ability.
Adjoining the church is the former Casa Professa of the Jesuits, now a barrack , adjacent to which , Via di AraccBli 1 A , is the en- trance to the rooms of St. Ignatius (Mon., Wed., Frid., 9-11). On the opposite side of the street is the Palazzo Bolognetti(Vl. I, 16, 3).
— Passing the monastery, 'and following the Via di Aracalif we reach (5 min.) the Piazza di Aracoeli, at the foot of the Capitol (p. 208).
— From the opposite angle of the Piazza del Gesd, the Via delOesii leads to the right in 5 min. to the Piazza della Minerva (p. 195).
' The lofty dome in front of us in the Oorso Vittorio Emanuele he- longs to the church of S. Andrea della Valle (see below). A few hundred paces to the W. of the Piazza Gesti the Oorso is crossed by the Via di Tor Argentina^ leading on the right to the Pantheon (p. 193) and on the left to the new Ponte Garibaldi (p. 202).
The small Via del Sudario (PI. II, 13), diverging from the Corso to the left at this point, first passes the Teatro Argentina on the left, and then, at the corner on the right (No. 13), the Palazzo Vidoni, formerly Caffarelli and Stoppani, originally designed by Raphael. Charles Y. re- sided here in 1536 as the guest of the Caffarelli. On the staircase is the so-called Abbate Luigi^ a Roman figure in a toga, formerly placed at the K. angle of the palace, facing S. Andrea della Valle, and used as the bearer of lampoons and pasquinades (comp. p. 163). In one of the rooms is the Calendarium Praenestinttm of Verrius Flaccus, being five months of a Roman calendar found by Card. Stoppani at Palestrina. Admission not easily obtained.
Farther on in the Corso Vittorio Emanuele is the church of *S. Andrea della Valle (PI. II, 13), begun by P. Olivieri in 1591 on the site of several earlier churches, and completed by C. Madema. Facade designed by Carlo Rainaldi. The interior is well propor- tioned, but part of it has been whitewashed. See p. Iviii.
On the right the *2nd Chapel (Strozzi) contains copies in bronze of the Pieta (in St. Peter's) and the Rachel and Leah (in S. Pietro in Vine.) of Michael Angela^ by whom this chapel itself was perhaps designed. — On the left the 1st Chapel (Barbesini) is adorned with several marble statues of the school of Bernini: St. Martha by Mocchi , John the Baptist by Pietro Bernini^ Mary Magdalene by Stati da Bracciano^ and St. John by Buonvidno. — At the end of the Nave are the monuments of the two popes of the Piccolomini family, brought here from the old church of St. Peter ^ on the left that of Pius II. (d. 1464), by Nic. della Quardia and Pietro Paolo da Todi-^ on the right that of Pius III. (d. 1503), executed somewhat later. — In the Dome: Glory of Paradise, by Lanfranco; be- low, the "^Evangelists by Domenichino^ one of his finest works. By the same master, "Paintings on the vaulting of the apse. In front, between the trans- verse ribs: John the Baptist, St. John, and St. Andrew pointing to Christ (Gospel of St. John, I. 35) \ in the vaulting itself, on the left, the Scourging of St. Andrew ^ then the Vocation of Peter and Andrew by Christ \ on the right, St. Andrew beholds and reveres the cross to which he is about to be affixed 5 below are six female figures representing the virtues (p. lix). The large lower frescoep by Calabrese (martyrdom oi tlae aaAtvl^ ate of no great value.
Opposite this church opens tlie amaW Piaittt della VolU^ ^^wv- taining the Palazzo Capranica^ which ift occw^Ke^ >o^ ^^^^ ^ix^a-^Y^tv
Fdl. deUa Cancelleria, ROME. IJJ, Left Bank. 199
enToy to the Vatican. The Via deUa Voile leads to the Piazza S. Eustachio (p. 197).
No. 141 in the Corso Vitt. Emanuele, to the right, is the PalazzlT Hassimi alle Colonne (PI. II, 13, ii), a fine structure by Baldassare Peruzzi, who, however, died in 1536 hefore its com- pletion. The arc-shaped facade was skilfully adapted to the curve of the originally narrow street, but has lost its effect by the con- struction of the wide Corso. The glimpse obtained of the double court is strikingly picturesque. On the second floor is the Chapel of S, Filippo Neri (open on 16th March)', who is said to have here
resuscitated a child of the family.
In 1467, within the buildings connected with this palace, the Germans Pannartz and Schtoeinheim^ who during the two previous years had found an asylum in the monastery of Subiaco (p. 381), established the first printing- . ofUce in Rome, from which they issued Cicero'^s epistles and other works, furnished with the name of the printers and the words *'In aedibus Petri de MaximW*. — The Massimi family claims descent from the ancient Fabii Maximi, and their armorial bearings have the motto ''Cunciando restituiV.
Farther on is the small Piazza di S. Pantaleo (PI. II, 13), containing (right) the small church of that name, with a fagade erected by Valadier in 1806. The Via Ouccagna, to the right, ends at the Piazza Navona (p. 190). For the Via di S, Pantaleo^ also diverging to the light from the Corso, and its continuation the Via del Qoverno VecchiOj see p. 201.
On the left side of the Corso Vitt. Emanuele, at the point where the Via Baullari diverges to the Palazzo Farnese (p. 205), is the little Palazzo Linotta or Palazetto Farnese^ of which Bald, Peruzti is said to have been the architect. Tasteful but sadly dilapidated court and staircase. — The Corso here bends a little to the N.W. and discloses a view of the dome of St. Peter's.
To the left lies the long and narrow Piazza della Cancelleria (PI. II, 13), with the palace of that name and the church of S. Lo- renzo in Damaso.
The *Palazzo della Cancelleria (PL II, 13), an ediflce of ma- jestic simplicity, designed by Bramante in strict conformity with the ancient orders of architecture, is one of the finest palaces in Rome (p. li). The elegant Fa9ade is constructed of blocks of travertine from the Colosseum. The chief portal, in an inharmonious baroque style, was added by Vomenico Fontana, It leads into the *Court, in two stories , surrounded by arcades. The columns originally be- longed to the ancient basilica of S. Lorenzo, from which they were removed by Bramante (see p. 200). The graceful capitals are deco- rated with roses, a flower which belonged to the armorial bearings of the founder Card. Riario. To the right is an archway leading to the church of S. Lorenzo. This is the only palace in the interior of the city which the Italian government stiU. -^geroiW.^ Xft \i^ ^^wi:^'iiA. by the ecdesiastic&l authorities.
The N. part of the Cancelleria is oc(iTxp\e^\>^ ^'^ Ott»jt<3sv vjJL^.Ai»- renzo in Damaao, which has the above-meiv^ou^^ i^^^ifi^ ^^ ^^as^^
200 ///. Left Bank, ROME. Chiesa Nuova.
with the palace. The handsome portal is by Vignola. The church was originally founded by Damasus I. (ca. 370) near the Theatre of Pompey, but it was taken down in 1495 at the instance of Card. Riario and rebuilt here from a design by Bramante. The internal decoration is quite modern, dating from the time of Pius VII. (1820) and Pius IX. At the end of the right aisle is the tomb of the papal minister Count Rossi, who was assassinated on the staircase of the Palazzo della Cancelleria in 1848 (bust by Tenerani).
From the Gancellaria to the Campo di Fiori, see p. 204.
We continue to follow the Oorso Vltt. Emanuele. At the corner of the second street to the right is the Palazzo SorOy formerly erron- eously ascribed to Bramante, and frequently altered. — To the right stands the —
Chiesa Kuoya (PI. II, 10), or 8. Maria in Vallicellaj erected by S. Filippo Neri (about 1550-1605) for the order of Oratorians found- ed by him. Architecture by Oiov. Matteo da Citth di Castelh, in- terior by Mart. Lunghi the Eldery facade by Rughesi,
The Interior, which is dark and unfavourable for pictures, is richly decorated. The admirable stucco-work is by Cos. Faniello and Ercole Ferrata. The ceiling of the IT^aye , the dome , and the tribune are painted by Pietro da Cortona. — On the right, Ist Chapel, Crucifixion, Scip. Qoc- tano\ 3rd Chapel, dell'' Ascensione, altar-piece by Muziano. — On the left, 2nd Chapel, Adoration of the Magi, Ces. Nebbia; 3rd Chapel, Nativity, Durante Alberti ; 4th Chapel, Visit of Elizabeth, Baroccio. — Left Transept: Presentation in the Temple, Baroccio; Peter and Paul, statues in marble, by VaUoldo. Here also, adjoining the tribune, is the small and sumptuous Chapel of S. Filippo Nebi, beneath the altar of which his remains repose. Above is the portrait of the saint in mosaic , after the original of Quido Rent preserved in the adjoining monastery. — Over the High Altar, with its four columns of porta santa, a Madonna by Rubens; on the right "^'SS. Gre- gory, Maurus , and Papia, on the left *SS. Kerens and Achilleus, also by Rubens^ who painted these pictures during his second stay in Rome in 1606 for this church , which was then the most fashionable in the city. — Right Transept, On the right. Coronation of Mary, Cav. d' Arpino\ SS. John the Baptist and John the Evangelist, statues in marble hy Flaminio Vacca.
The Sacristt (entered from the left transept) was constructed by Maru- celli. On the vaulting : Angel with instruments of torture, by Pietro da Cor- tona. Colossal statue of the saint by Algardi.
On 26th May, the festival of the saint, and after Ave Maria every Sunday from ist jNov. to Palm Sunday, concerts of sacred music, to which men only are admitted, are given in the adjoining Oralorium^ which derives its name from the oratories fitted up by S. Filippo Neri. The saint was fond of music and advocated a cheerful form of divine service.
The adjoining Monastery, erected by Borromini, is of irregular shape, but remarkably massive in its construction. It contains a room once occupied by the saint, with various relics. The Corte di AppellOy the Trihunale Civile e Correzionale, and the Trihunale di Commercio are now established here. — The valuable Bihliotheca Vallicellana^ founded by S. Filippo Neri, and gradually enriched by rare MSS., now belongs to the 'Society Romana di Storia Patria'
and is accessible without special peimissioii^. VV^\, ^w\x, lu the
eourt, to the left at the top of the great sta.vtea.s»^~^.
farther on, to the left, lies the sma\\Piki.2.K^\ci^i.t^^\.TV^VVS^.,
Palazto Brdschi, ROME. III. Left Bank, 201
with the Bohemian Hospital , tlie facade of which is adorned with sgraffiti. — The Corso Vitt. Emanuele is being continued to S. Gio- yanni de' Fiorentini (p. 207). In the meantime we may follow the Via de* Banchi Vecchij to the right, to the Ponte S. Angelo (p. 274).
From the Piazza S. Pautaleo (p. 199) the Via S. Pantaleo (PI. II, 13) runs towards the N.W. No. 9 in this street, on the right, is the spacious Palazzo Brasohi, erected by Morelli at the end of last century, and now occupied by the Minister of the Interior. It con- tains a fine marble *Staircase and a few ancient statues. The back of the building looks towards the Piazza Navona (p. 190).
Passing the palace, we reach the Piazza del Pasquino (PL 11, 13), which derives its name from an ancient group of statuary placed at the obtuse angle of the Pal. Braschi. This was an admirable, but now sadly mutilated work of a good period of art, and is said to have been called Pasquino as early as the end of the 15th cent, after a tailor of that name who lived in the vicinity and was notorious for his lampooning propensities. It was once the custom to affix satires and ebullitions of malice to this statue, the answers to which used to be attached to the Marforio (p. 162, 216), and to refer them to the slanderous tailor, whose name is perpetuated iii*^ the word 'p'asquinade'. Compositions of this kind have been much in vogue at Rome ever since that period, sometimes vying with the best satires of antiquity. The group represents Menelaus with the body of Patroclus, looking around for succour in the tumult of battle. Duplicates of the group are in the Loggia de' Lanzi and the Palazzo Pitti at Florence, and there are fragments in the Vatican (p. 309).
We follow the Via del Govbrno Vkcchio, in which, on the right, is the Pal, del Oovemo Vecchio (PI. II, 13, 20), which for a time was occupied by the law and police courts. No. 124, opposite, is an elegant little house in Bramante's style, built in 1500 for the papal secretary J. P. Turcius.
We next pass the back of the Philippine Convent (now a court- house, p. 200) and cross the Piazza deW Orologio^ whence the Via Monte Giordano leads to the Palazzo Oabrielli , with a pretty foun- . tain in its court. [Thence the Via di Panico leads to the Ponte S. Angelo.]
The Via del Govemo Vecchio now takes the name of Via de Banchi Nuovi and ends at the Via del Banco di S. Spirito, through which we may proceed to the Ponte S. Angelo (p. 274; 12 min, from the Piazza S. Pantaleo).
From the Corso Vitt. Emanuele the imT50ttwv\.N\K^^^^^ ^^»'- obntina, mentioned at p. 198, leads to t\vft ^. Vi \Js\ft'\-'^«^« ^^'x lowing it from the Via Nazionale ^e iea<iVv Vu ti mVsv. VJcv^ ^^^'lfl-^ ^^^ chwrcb of 8, Carlo a' Catinari (PI. 11, 14), \i\JAVt \s^ Ko%oXV \».^
202 ///. Ltfl Bank. ROME. Palazzo Mattel.
in honour of S. Gailo Boiiomeo, in the form of a Greek cross, with
a dome.
Ist Chapel on the right: Annunciation, by Lanfranco. In the 8i>ace8 below the dome are the four cardinal virtues, by Domenichino. In the transept to the right, Death of St. Anna, Andrea Sacehi. Over the high- altar. Card. Borromeo in the procession of the plague at Milan , P. da Coriona; tribune decorated by ^on/ranco. The other paintings are inferior.
Through the Via Giubbonari to Pompey't Theatre^ see p. 205.
Beyond S. Carlo a' Catinari the Via di Tor Argentina (hitherto here called the Via di Mortella^ leads to the S. to the new Ponte Qaribaldi (p. 330 J. Two side-streets lead to the E. to the Pal. Cenci-BologneUi (PI. II, 14, 17) and to the old Ghetto (see p. 203). The Pal. Oenci was the home of ill-fated Beatrice Cenci, who was executed In 1599 for the murder of her father, a man of execrable character. Her portrait in the Pal. Barberini (p. 171) is frequently copied by Roman artists.
The Via dei Falegnami runs to the E. from S. Carlo a' Catinari to the small Piazza Tajb.ta£uga (PL II, 17), named after the grace- ful ^Fontana delle Tartarughe (tortoises), erected by Oiac. delta Porta in 1585, and embellished with bronze figures of four youths, by the Florentine Taddeo Landini. This is the most charming foun- tain in Rome ; the design was formerly attributed to Raphael.
Farther on, to the left, is the Palazzo Mattel (PI. II, 17, 27),
originally an aggregate of separate buildings which occupied the block
between S. Caterina de' Funari and Via Paganica. Of these the
handsomest is the present so-called palace (principal entrance. Via
di S. Caterina de' Funari 32 j side-entrance. No. 31), erected in 1616
by Carlo Madema, and one of his finest productions.
In the passages of the entrance, in the arcades, and along the sides of the Coukt, a great number of ancient reliefs are built into the walls. In the court are (r.) Mars with Rhea Silvia, and Apollo with tbe Huses', and (1.) the Calydonian hunt and Rape of Proserpine. In the portico, Sacrifice of Mithras, Apollo with the Muses, and a Ba'cchanalian procession, all from sarcophagi. The statues in the court and niches on the staircase, some of them much modernised, are of no great value. The stucco decorations of the ceiling on the staircases are well executed.
Farther on , in the Via de' Falegnami , we observe on the left, within the ancient Circus Flaminius , the church of S. Caterina de' Funari (PI. II, 17), erected in 1564 by Oiac. delta Porta, with a singular-looking tower. It contains a few unimportant pictures by A. Carracci (1st chapel on the right), Nanniy Venusti^ Muziano, and Agreati. The name of the church is derived from the rope-makers who in the middle ages plied their vocation within the circus. The adjoining Augustine nunnery contains a girls' school.
• The Via de' Falegnami ends at the Palazzo Righetti (Strozzi, PI.
II, 17, 16), where the Via Deltlni leads to the lef^ to the Via di
AracoBh (p. 163), while the street to the right leads to the Piazza
Oamtitelli. Here, on the right, is S. "MLa.Ti«t isi CJwsL^itelli (P\. II,
^?J, erected by Bainaldi under AAe^andex Nil. Iqi \\i^ x^t^^W^jkW ^1
« miraculous image of the Virgin, to YJ\i\c\i t\i& tG%%^\.vQWQl \Xv^^\^\ja
Portico of Octavia ROME. ///. Left Bank, 203
in 1656 was ascribed. A smaller charcli of the same name, men- tioned in the 13th cent., formerly stood on this site.
The iNTBKios, with its handsome projecting columns, is effective. — Beneath the canopy over the Hioh-Altab is placed the miraculous Ma- donna. In the 2nd Chapel on the right, the Gift of Tongues, by Ltica Gior- dano; in the 1st Chapel on the left, two monuments resting on lions of rosso antico. In the S. transept is the tomb of Card. Pacca by Petirich.
From the S.E. end of the Piazza Campitelli the Via di Tor de' Specehij skirting the foot of the Capitol, leads to the left to the Piazza AracoBli (p. 209), while the Via Montanara runs to the right to the small but busy Piazza Montanara (PI. II, 17), much fre- quented by the country-people, especially on Sundays (tramway to S. Paolo Fuori, see Appx.).
In the Piazza Montanara , to the right , stands the Theatre of Kaxcellus (PL II, 17, 5), which was begun by Caesar, and com- pleted in B.C. 13 by Augustus, who named it after his nephew, the son of Octavia. Twelve arches of the outer wall are now occupied by smiths and other artizans as workshops. The lower story, partly filled up, is in the Doric, the second in the Ionic style, above which, as in the Colosseum, a third probably rose in the Corinthian order. It is said to have accommodated 20,000 spectators. The stage lay towards the Tiber. In the 11th cent, the theatre was used by Pier- leone as a fortress. To his descendants succeeded the Savelliy whose palace stands on a lofty mound of debris within the theatre. In 1712 the palace was purchased by the Orsiniy and in 1816-23 was occupied by the historian Niebuhr, when Prussian ambassador. — From the Piazza Montanara the busy Via Bocca delta Verith leads to 8. Maria in Cosmedin (p. 249).
To the W. of the Theatre of Marcellus , extending as far as the Pal. Cenci, lay the Ghetto (PI. II, 17), the quarter allotted by Paul rv. to the Jews , who in ancient and mediaBval times occupied a quarter in Trastevere. The quarter, which was formerly closed by gates, was, however, entirely pulled down in 1887. Along the N. edge of it runs the Via delta Peacariay in which, immediately to the N.W. of the Pal. Orsini and the Theatre of Marcellus, are the interesting remains of thePortioo of Octavia (PL II, 17, 25), erect- ed by Augustus on the site of a similar structure of Metellus (B. C. 149), and dedicated to his sister. Under Titus it was destroyed by a fire which raged in this quarter of the city, but it was restored by Sept. Severus and Caracalla in 203, as the inscription records. The principal entrance consisted of a vestibule with eight Corinthian columns, of which two in the inner, and three in the outer row are still standing. To the right and left of this were double rows of 14 columns each, while there were at least 40 columns in a row at the sides. The entire colonnade , with its 300 coIwxelw^^ ^tvsK^^^^ "*!»> oblong space, within which stood temples oi ixs^^W.^^ '^iXa^ss^ ^^ Jano, Columns from this structuie at© liecvweviWTj ^^i'S^ \i^SN^ T^^ other ediAcea, It was adorned with maii^ «.^mVt^'^\.^ ^«i>«-^ ^^ ^
204 ///. Left Bank, ROME. 8, BaHolomeo.
which formed part of the Macedonian booty, and it was here that the Medici Venus was found. In 770 the church of 8, Angela in Pescaria was built on the ruins of the colonnade by Stephen III., but, having been frequently restored, it has lost its mediaeval char- acter. A papal bull, issued in 1584, formerly compelled the Jews to hear sermons here on their Sabbath, when the Old Testament was expounded to them in accordance with the doctrines of the church.
The new street to the S. of the Portico of Octavia and to the W. of the Pal. Orsini leads to the Fonte de' Quattro Capi (PI. II, 17), the oldest bridge now in Rome, built in B.C. 62 by L. FdbriciuSj as the inscription records. The name is derived from the four-headed figures on the balustrades. It is now, however, sometimes called the Ponte Fabricio. Fine view.
On the island (Jsola Tiberina or di 8, Bartolomeo) to which the bridge leads is a small piazza, embellished in 1869 with a monument to SS. John, Francis, Bartholomew, and Paulinus. Here, perhaps on the site of an ancient temple of iEsculapius, is situated the church of —
8. Bartolomeo (PI. II, 18), erected about the year 1000 by the Emp. Otho III. in honour of St. Adalbert of Gnesen, and er- roneously named S. Bartolomeo. The emperor had desired the Beneventans to send him the relics of St. Bartholomew, but received those of St. Paulinus of Nola in their stead. The present church, with the exception of the campanile, is modernised and uninterest- ing 5 facade by Lunghi, 1625.
The Interiok contains fourteen ancient columna; in the choir, remains of an early mosaic. In the centre of the steps leading to the presbyterium is the month of a fountain of the 12th cent., on which a figure of Christ with a book in his hand, and the lieads of two side- figures are alone distinguishable.
In the small Garden of the Monastery (visitors ring at the entrance to the right by the church) is seen part of the ancient bulwark of travertine which gave the island the appearance of a ship. An obelisk represented the mast. The figure of a snake hewn on the bow of the ship is a reminiscence of the story that the Romans, when sorely afflicted by the plague, sent for ^sculapius from Epidaurus in B.C. 293, and that a snake, a reptile sacred to the god, concealed itself in the vessel, and on reaching the harbour escaped to this island, which was dedicated to ^sculapius in consequence. That the god was worshipped here has been proved by the discovery in the island of limbs in terracotta, which were presented by sick persons as votive ofTerings.
The island was connected with Trastevere by the ancient Pons Cestius (Qratianus; PI. II, 18), which was built by Augustus, and restored by the Emperors Valentinian and Gratian. This bridge is now being rebuilt, and the traffic is served by a temporary wooden structure at the S. end of the island (p. 331).
To the S. of the Pal. della CanceWenai ^^. V^^^ \\^^ \Xi«.^^K!L'LK Oaatpo di Fioub (PI, II, 13), an \mporUii\. cewU^ Qi^ixx^Xw^^^^.^s^^
Palazzo Famese. ROME. ///. Left Bank. 205
daily since the vegetable-market, with the picturesque country- people who frequent it in the morning, was transferred hither from the Piazza Navona. Heretics and criminals used to he put to death here. Among the former was the celebrated philosopher and free- thinker Giordano Bruno, whose death in this square on Feb. 17th, 1600, is now commemorated by a monument erected in 1889.
Between the Piazza Campo di Fiore and S. Andrea Valle once lay the Theatre of Fompey (PI. II, 13, 14). In this piazza is the Pal. Pio or Righetti (entrance, Via del Biscino 95), in the court of which a bronze statue of Hercules (p. 306) and substructures • of the theatre were discovered in 1864. ITumerous fragments of the ancient walls are incorporated in the modern building. The semicircular bend of the street by S. Maria di Orottapinia (PI. II, 13, 5) distinctly shows the form of the ancient theatre. The Via de' Giubbonari leads hence to S. Carlo a' Catinari (p. 201).
From the Campo di Fiore three parallel streets lead to the S. W. to the Piazza Farnbsb, adorned with two fountains. Here is sit- uated the —
'Talazzo Famese (PI. II, 14), one of the finest palaces at Rome, begun by Card. Alex. Farnese, afterwards Pope Paul IH. (1534-45), from designs by Ant. da Sangallo the Younger (p. Ivii), continued after his death (1546) under the direction of Michael Angela (who designed the beautiful cornicing), and completed by the construc- tion of the loggia at the back, towards the Tiber , by Oiac. delta Porta in 1580. The building materials were taken partly from the Colosseum, and partly from the Theatre of Marcellus. This palace was inherited by the kings of Naples, and from 1862 to 1870 was occu- pied by Francis H. It was purchased in 1874 by the French govern- ment, whose embassy to the papal court is now established here ; on the second floor is the *Ecole de Rome*, or French archaeological in- stitution, founded in 1875. The triple *Oolonnade of the entrance and the two halls of the court were designed by Sangallo, in imi- tation of the Theatre of Marcellus. The court contains two ancient sarcophagi (that to the right from the tomb of CsBcilia Metella, p. 349). The celebrated antiquities once in this palace (Farnese Bull, Hercules, Flora) are now in the Museum of Naples.
A room on the 1st floor (no admission) contains '^sesgoes by Annibale Carracci , his finest work, consisting of mythological scenes with rich ar- chitectural painting, executed in eight years by him, his brother Lodovico, Domenichino y and other masters. — The old banquet-hall has a "^Ceiling in carved wood, designed by Michael Angela.
From the Piazza Farnese a line of streets , called the Via di MoNSERRATO and Via de' Banchi Vecchi, leads to the N.W. to the Ponte S. Angelo (p. 274). On the left is 8. Maria di Monserrato (PI. II, 10, 3\ the national Spanish church, with a hospice. It was erected in 1495 by Ant, da Sangallo the Elder, and afterwards restored . The altar-piece of the first chapel on the right is by Ann. Carracci.
To the S.E. of the Piazza Farnese th^ YiwAa ^^ ^ «oJa X's.^^^ Vi the Piazza di Capo di Fbbbo. Heie, oii t\iei t\^\., tv^^-^ ^^ —
PalASBO Spada, alia Begola (P^. 11, 14^, ^xe^oX^^ vd.'Osv^^^^- ^edte of Paul lU. about 1540 by Card. Ca^dMew, N»^ Vffi^\.^^^.^^ ^^ ^
206 III. Left Bank, ROME. Pal, Spada alia Regola.
house built by Raphael for himself. Since 1640 the palace has belonged to the Spada family. It contains an interesting collection of antiquities and pictures, but is now inaccessible to all except those provided with an influential introduction.
The most important Antiquities are collected in* a *Museo\ Opposite the entrance-wall : sitting *Statue of Aristotle, a copy of a celebrated Greek work; right arm and left leg modern. Then eight fine '^Reliefs, found in 162C in S. Agnese Fuori le Mura, where they formed part of the pavement, with their faces downwards. Beyond the Aristotle, to the left, 65. Dsedalus and Pasiphae; right, 72. Paris as a cowherd. Window-wall: 66. Wounded Ado- nis ; 67. Ulysses and Diomedes carrying off the Palladium. Entrance-wall : Endymion; Perseus and Andromeda, casts from the originals in the Capi- toline museum. Left wall : 68. Paris taking leave of (Enone \ 69. Hypsipylc finds Opheltes, who had been entrusted to her, killed by a snake; 70. Am- phion and Zethus ; 71. Bellerophon watering Pegasus. Also several busts, small statues, etc.
From the court a staircase to the right ascends to the Upper Floor. In the Ante - Chamber is a Colossal Statue of Pompey^ found in the ponti- ficate of Julius III. (1550) in digging the foundations of a house in the Yi- colo de"" Leutari. The body was in the gro\md of one proprietor, and the legs in that of another. As both parties claimed the statue, the judge or- dered it to be divided; but the pope prevented this by purchasing it foi 500 scudi, and presented it to Cardinal Capodiferro. The head, though of a separate block, belongs to the original statue. The workmanship is mediocre.
We now traverse a room adorned with unimportant frescoes to the Picture Gallery. I. Room, beginning opposite the entrance : 3. Bolognese School^ Madonna; 7, 12. French School, Portraits; 10. Camuccini, Card. Patrizi ; 22. Co- ravaggio, Portrait; 40. Scipio Oaetano^ Julius HI. — II. Room: 1. Seb. del Piomho^ Astronomer ; 6. Baudin, Still-life ; 9. Brueghel, Landscape ; 10. Outdo Rent, Judith; 12. 0. Poussin, Landscape; 16. And. del Sarto, Visitation of Elizabeth (seriously damaged) ; 43. Leonardo da Vind (a copy of the original in England), Christ and the scribes. — III. Room : 2. Caravaggio, St. Anna and the Virgin ; 4. Raphael, John the Baptist, a copy ; 15. Brueghel, Landscape ; 24. Quercino, Dido's death ; 26. Baciccio, Design of the ceiling-painting in Gesu (p. 197); 29. Salvator Rosa, Landscape; 31. Titian, Portrait; *40. Moroni, Por- trait; 48, ^49. Marco Palmezzano, God the Father, and Bearing the Cross; 51. T%tian{f), Card. Paolo Spada; 60,70. Salv. Rosa, Landscapes; 03. Guido Reni, Abduction of Helen; 67. Borgognone, Cavalry-skirmish. — IV. Room: 4. Ouido Reni (ascribed to Giulio Romano) , Card. Bernardo Spada ; 9. After Titian, Paul III. ; 10. German School, Portrait (1511); 15. Caravaggio, Laugh- ing angePs head; 18. German School, Portrait; 26. Ger. Eonthorst, Christ in the garden; 30. Caravaggio, St. Cecilia i 31. Maratta, Card. Fabricius Spada; 44. Andr. del Sarto 0), Madonna; 54. French School, Portrait.
Pursuing the same direction beyond the Piazza Capo di Ferro, we next reach the small Piazza de' Pellegrini. On the left is the back of the Pal. Santacroce, now a Monte di Pieth (PL II, 14), or pawn-offlce, founded in 1539, and established here in 1604. fSome of the numerous pictures pledged here are of considerable value.") On the right is the church of 8. Trinith de* Pellegrini, erected in 1(314 ; the high-altar is adorned with a Trinity, by Guido Reni. The neifi;h- bouring hospital for convalescents and pilgrims contains 488 beds, and can provide dinner for 944 persons at one time. Italian pil- grims are entertained here at Easter for three days, and foreigners for four.
The Via db' Pettinari (PI. 11, i^ \fta.^^ itQ«v >.V^^\^'L'l^ ^J^^ PeUegTini to the Ponte Sisto C^see p.^W^.
ROHAVETinS f
-- Mrmr ■••« isea Kie
S.Oiov.de'Fiorentini. ROME. III. Left Bank. 207
From the Ponte Sisto towards the N.W., parallel with the river, nins the Via del Fontanonb, prolonged by the Via Giulia (PL II, 14, 10), which was built by Julius 11., leading in 12 min. to the Ponte S. Angelo. To the left in the Via del Fontanone, is the Pal, Falconieri , built by Borromini , with hennaB on the fagade in €i ba- roque style, terminating in colossal falcons' heads ; the court affords a good view of the opposite bank of the Tiber, the Villa Famesina, and theJaniculum. IntheVicolo dellaLunetta, the next cross-street to the left, is the church of S. Eligio degli Oreficiy a graceful little circular structure, built in 1509 from a design by Raphael and re- newed in 1601. Farther on in the Via Giulia, on the same side, the Carceri Nuovi^ a prison founded by Innocent X. ; then No. 66, the Pal. Sacchetti (PI. II, 10), originally erected by Antonio da San- gallo the Younger as his private residence. The courses of rough rustica masonry in the lower stories of the houses on the left side of the street, formed the beginning of a large court of justice, pro- jected by Julius II. and designed by Bramante, but never carried out.
At the end of the street, on the left, is S. Giovanni de' Fioren- tini (PI. II, 10), the handsome national church of the Florentines. The building was begun, by desire of Leo X., from a design by Jac. Sansovino (which was preferred to competing plans of Raphael, Sangallo the Younger, and Peruzzi) ; and the difficult task of com- pleting the substructures on the river was executed by Sangallo. Michael Angelo, and on his death, 6iac. della Porta were afterwards engaged in the work , and the facade was added by Aless. Oalilei in 1725. The only object of interest in the church is a picture by Salv. Rosa in the chapel of the right transept (SS. Cosmas and Damianus at the stake).
Near the church a Chain Bridge (1 soldo), constructed in 1863, crosses the river to the Lungara (p. 322). The Via Paola leads from the church to the Ponte S. Angelo (p. 274).^
IV. Ancient Home.
This part of onr description of Borne embraces the southern portion of the city, beginning with the Capitol, and extending eastwards as far as the Lateran: i. e. the hills of the Capitoline, Palatine, Aventine, Cselin.s, and the 8. slope of the Esquiline. This was the most important quarter of the Republican and Imperial city, but lay waste and deserted from the early part of the middle ages down to our own times. Recently it has lost much of its characteristic aspect owing to the construction of new quarters, consisting mainly of tenement houses of the most Philistine nppearance. A considerable part of it, however, extending from the Forum Bomanum and the Fora of the Emperors to the Oircus Maximus, the Therm aj of Caraealla, and the Porta 8. Sebastiano^ la Iq \j^'^tQ\.'i.^\RSy^ under the name of Passeggiata ArehtoXogica.^ itOTO. ^'fc \i^w^. q\ 'Caft* ^isv^^^rsv TBsiorer. A number of ancient churches, w"h\c\i wr^ wlVccoi^SS:^ ^:o^ex<^,%^sv^?, to students of Christian arcbitectnTO , as weW «l« >iXifc Vca^Q%Vwj, ^^J^'«N.-v«« of the Capitol and Lateran, also attract numetoTxa -^^SX.at*.
{«*.
208 IV. Ancient Rome. ROME. The Capitol.
The Capitol.
This is the smallest , but historically the most important of the hills of Rome. It was originally merely the S. spur of the Quirinal, from which it was separated by a slight depression, but this hollow was greatly enlarged in consequence of the building operations of Trajan. The Capitol consists of three distinct parts: (1) the N. summit with the church and monastery of Aracoeli (164 ft.); (2) the depression in the middle with the piazza of the Capitol (9o ft.); and (3) the S.W. point with the Pal. Caffarelli (156 ft.). It was on this piazza, the Area Capitolina^ that Romulus is said to have found- ed his asylum; it was here that popular assemblies were after- wards held; and it was here, in the year B. C. 133, on the occasion of the suppression of the revolt of Tiberius Gracchus, that the blood of the citizens flowed for the first time in civil warfare. One of the peaks of the hill was occupied by the Arx , or citadel , with the temple of Juno Moneta , while the other was the site of the great Temple of Jupiter. The temple was built by Tarquinius Superbus, the last of the kings, and consecrated in B.C. 509, the first year of the Republic. It was 800 ft. in circumference, and possessed a triple colonnade and three cellsB, that of Jupiter being in the middle, and one for Juno and Minerva on each side. In the year B.C. 83, during the civil war, the temple was burned down, and the same fate overtook it in A.D. 69, on the occasion of the struggle between Vespasian and Vitellius. This most sacred shrine of ancient Rome was magnificently restored by Domitian , and was preserved down to the year 455 , when it was plundered by the Vandals and rob- bed of its gilded bronze tiles. After tliat period there is no trace of it in history.
For nearly 500 years after the time of Cassiodorus, the min- ister and chronicler of Theodoric the Great (6th cent.), there is no mention of the Capitol in the annals of Rome. The hill was in the possession of the monastery of Aracceli , and the name of Monte Caprino^ or hill of goats, which was applied to the S.E. height, bears testimony to its desertion. The glorious traditions, however, which attached to this spot, gave rise to a renewal of its importance on the revival of a spirit of municipal indepen- dence at Rome. In the 11th century it again became the centre of the civic administration. The prefect of the city resided here ; among the ruins of the venerable citadel the nobility and the citi- zens held their public assemblies ; and in 1341 Petrarch was crown- ed as a poet in the great senate-hall here. The hill could originally be approached from the Forum only, the N.W. side being precipi- tous and inaccessible, but in 1348 the latter side was connected for the first time with the new quarter of the city by the construction of the flight of steps of AracoBli, wMciVi Nva.^ vd\aQ?»t the only public work executed at Rome during the ex\\& oi Wv^ -^^.^^X <j.qwt\. %.\. kH\?.- lion. About 1389 Boniface IX. conveiloaL tV^ -g^X^t^ ^i^'t^^ «»«ft»X^
The Capitol, ROME. JV, Ancient Rome. 209
into a kind of fortress, but its pres&nt form dates from the 16tli cen- tury. Two new approaches from the city having been constructed in 1536, the Capitol has since formed a kind of termination of the modern part of the city in the direction of the ruins of ancient Rome.
From the Piazza AaAcojLi (PI. II, 17) three approaches lead to the Capitoline Hill, that in the centre being the principal ascent for pedestrians. On the left a lofty Flight op Steps (124), constructed in 1348, ascends to the principal entrance of the church of -S. Maria in Aracoeli (generally closed, see below), — On the right the Via DBLLB Tbb Pilb, recently converted into a handsome drive (on which occasion remains of the ancient Servian wall , enclosing the hill in the direction of the Campus Martius, and now seen behind the rail- ings to the left, were brought to light), leads past the entrance of the Pal. Caffarelliy which was erected in the 16th cent, by Ascanio Caifarelli, a former page of Charles V., and is now the residence of the German ambassador. The principal approach and the Via delle Tre Pile lead to the Piazza del Campidoglio, see p. 210.
*S. Maria in Araccali (PI. II, 20), a very ancient church, is men- tioned in the 9th cent, as 8. Ma/ria de Capitolio. The present name, derived from a well-known legend (see p. 210), dates from the 14th century. The church, of which the Roman senate formerly enjoyed the patronage, has given a title to a cardinal since the time of Leo X. The facade is unfinished.
Visitors generally approach the church from the Piazza of the Capitol by the staircase to the left, at the back of the Capitoline Museum, and on the first landing torn to the left. Over the door an ancient mosaic, the Madonna between two angels.
The Interior is disfigured by modem additions. The nave is borne by 22 ancient columns, chiefly of granite, varying greatly in style and dimen- sions. The 3rd on the left bears the inscription '^A cubiculo Augtutorum\ The rich ceiling was executed to commemorate the victory of Lepanto in 1571.
By the wall of the principal Enthanob, to the left, is the tomb of the astronomer Lodovico Grato (1531), with a figure of Christ by Andrea Sansovino ; on the right the ^Monument of Card. Librettus or De Alibrettis (a member of the celebrated French family of d'Albret ^ 1465), with partly- preserved painting. Right Aislb, 1st Chapel : '^Frescoes from the life of St. Bernardino of Siena , by Pinturicehio, restored by Camuccini. Frescoes on the ceiling attributed to Franc, da Cittd di Castello and L. Signorelli. The 5th Chapel (of St. Matthew) contains good pictures by Muziano. — Left Aisle. In the 2nd Chapel a manger (presepe) is fitted up at Christmas, t.€., a gorgeous representation of the Nativity in life-size, with the richly decorated image of II Santo Bambino ^ or Holy Child, which forms the principal treasure of the church. This image is believed to protect per- sons in imminent danger, is frequently invoked and revered, and is some- times conveyed to the houses of the sick, on which occasions passers-by kneel on its approach. During the week after Christmas, from 3 to 4 o'clock daily, a number of children from 5 to 10 years of age address their pe- titions to the bambino. At the end of the left aisle a tomb-relief of Msgr. Crivelli by Donatello (much damaged).
Tbamsbpt. On the right and left, by the pillars of the nave ^ are tvr<\ ^Ambones from the old choir, by Laurentiu* and Jcicobus CoKmoA.^^!\^^^2o».v^ on the right belongs to the Savelli; on the t\%^\. M^^\^iV ^^^^'^'^^JJ^^l^a. naJJj an ancient sarcophagus) are moi\umeiila ot >iXv^ I^tdlNY^ ^ ^^\.^^-^-vftK?N\. cent, (of the parents and a brother of HonotVaa \N .^. '^^^^'^Vlx^^*?^'^^ contains a, rectangular canopy , borne by ?> colvuswi^ vi^ ;A^Ai^%.ve^ -»
Bakdbkrr. Italy II. iQth Edition. '^^
2\0 IV. Ancient Rome. ROME. The Capitol.
the Gappslla Santa, or di S. Elbna. Beneath the altar, which was destroyed daring the French Revolation, bnt was restored in 1835, the remains of S. Helena are said to repose in an ancient sarcophagus of porphyry. The present altar also encloses an ancient altar, bearing the inscription Ara Primogeniti Dei, which is said to have been erected by Angasttis. According to a legend of the 12th cent., this was the spot where the Sibyl of Tibur appeared to the emperor, whom the senate proposed to elevate to the rank pf a god, and revealed to him a vision of the Virgin and her Son. Hence the name, 'Church of the Altar of Heaven\ At the end of the N. transept is the monument of Matthteus of Aquasparta (d. 1302), the general of the Franciscans, mentioned by Dante.
Choir. To the left, the *Tomb of Giov. Batt. Savelli (d. 1498). From 1512 to 1565 the high-altar was adorned with the Madonna of Foligno by Raphael, ordered for this church, afterwards at Foligno (p. 79), and now in the Vatican. The donor, Sigismondo Conti da Foligno, is interred here. The present altar-piece is an ancient picture of the Madonna, ascribed to St. Luke.
The Franciscan monastery belonging to the church was pulled down in 1888 to make room for the large Monument of Victor Emma- nuel II., which occupies the N. end of the Capitol.
The Central Approach, ascending in low steps paved with asphalte (*la cordonnata'), leads to the Piazza del Campidoglio. At the foot of the steps are copies of the Egyptian Lions mentioned at p. 216, and at the top a group of the horse-taming Dioscuri (Castor and Pollux), which are said once to have adorned the theatre of Pompey. In the pleasure-grounds to the left is a bronze statue of Cola di Rienzi, by Masini. The pedestal, formed of ancient archi- tectural and inscribed fragments , is intended to suggest Rienzi's antiquarian studies.
The design of the present *Piazza del Campidoglio, or Square of the Capitol (PI. II, 20), is due to Michael Angelo, and its execu- tion was begun in 1536 by Paul III. (comp. p. 224). The palaces of the Conservatori and Senators were already in existence, but their facades were altered. Michael Angelo caused the open space towards the slope of the hill to be widened, so as to impart to the piazza an appearance of greater size. — On the balustrade in front, at the sides of the Dioscuri, are the so-called Trophies of Marius, from the water-tower of that name of the Aqua Julia (p. 179), and the statues of the Emp. Constantino and his son Constans from the Thermae of Constantine (p. 174), on the Quirinal. On the right is the first ancient milestone of the Via Appia, and on the left the seventh milestone of the same road, found at Torricola in 1660.
In the centre of the piazza rises the admirable ^Equestrian Statue
of Marcus Aurelius (IQi-iSi'), in bronze, once gilded, and originally
placed in the forum near the arch of Sept. Severus. In 1187 it was
erected near the Lateran, and, as the inscription records, transferred
hither in 1538. It owes its excellent preservation to the popular
belief that it was a statue of Constantine, the first Christian emperor
{see pp. J 33, xxxviii). The pedestal is said to have been designed
Jby Michael Angelo. Owing to its modeiate \ve\^\i\. , tke head of the
statue IS distinctly visible , whereas moAciu tL?>vuft% ^^ Wv^ V\xv\ ^i^
often perched so high as to be almost indistvwgvxV&Vv^Vie.
The Capitol. ROME. IV. Ancient Rome. 211
Beyond this monument rises the Palazzo del Senatore (PI. II, 20, 2), which was re-erected by Boniface IX. in 1389 on the site of the ancient Tabularium, and provided with its handsome flight of steps by Michael Angelo, under • whose directions it is probable that the facade was constructed by Oiac. delta Porta. The river- gods which adorn it are the Tiber (right) and Nile (left). In the centre a fountain, above which is a sitting statue of Rome from Cori (comp. p. 386). The palace contains a spacious senate -hall, the offices of the civic administration, and an observatory. The Cam- panile was erected by Gregory XIII. in 1572, to replace an older one, probably belonging (like the four corner-towers, one of which towards the Forum, on the left, is still recognisable) to the edifice of Boniface. The roof of the tower, which is adorned with a standing figure of Roma, commands an extensive view (entrance, see p. 221).
The two palaces at the sides were erected in the 17th cent, by Oiacomo del Duca^ with some deviations from the plans of Michael Angelo. On the right is the Palace of the Conservatori (PI. 1), or town-council, with its collections (see below ; a fire-engine station on the ground-floor), and opposite is the Capitoline Museum (PI. 12 j p. 216). ■— The flights of steps and colonnades on the E. side of these palaces were erected by Vignola (ca. 1550) ; that to the left by the museum leads to the church of S. Maria in AracoBli (p. 209); that to the right, on the opposite side, to Monte Caprino (p. 221).
On the right of the Palace of the Senators runs the Via del Campidoglio, and on the left the Via delV Arco di Settimio Severo (p. 237), both descending to the Forum.
Collections of thb Oapitol.
These are contained in the two side-palaces just mentioned, and are open daily, under the conditions mentioned at p. 123.
A. *Palace of the Conservatori.
(Comp. Plan, p. 216).
The principal door leads from the Piazza del Campidoglio into the CouBT. By the right wall of the court are the hands and limbs of a colossal figure in marble. In the middle is the cinerary urn of Agrippiua, wife of Germanicus, which in the middle ages was em- ployed as a measure for com ; inscription , Ossa Agrippinae M. Agrippae f. divi Augusti neptis uxoris Oermanici Caesaris Matris C. Caesaris Aug. Oermanici principis. By the left wall are alto- reliefs of Roman provinces, interspersed with barbaric trophies and weapons , which once adorned the lower part of the T^x^!<^^ ^^ Neptune mentioned at p. 155*, also a c.o\o9»^i\. Xv^e^^ .» ^^-^wji'** ^'^ Domitian. — In the centre of the c6Voiviv%.^ei o^^^%Vw^ ^C>kv^ e\i5«^^^^ a statue of Roma; at the sides statuea oi\iat\i^TVWve.Vw^«i ^^»ovja:Ls To the left, in the comer, a co\oaaa\\>Tomft V^^^^N^^"^^^*^
212 IV. Ancient Rome. ROME. The Capitol.
group, *Horse torn by a lion, said to have been restored by Michael Angelo.
In the Entrance-Hall farther on , opposite the staircase, 30. Modern 'columna rostrata*, with the genuine fragment of an in- scription in honour of 0. Duilius, the victor of Myl©, B.C. 260, placed here in the reign of Claudius and composed in a purposely antiquated style. Below the window is a statue of Charles of An- jou, King of Sicily (formerly in the large Hall of the Capitol), who was Senator of Rome in 1263-66, 1268-78, and 1281-84. On each side of the Stairoasb are Roman Inscriptions built into the wall, most of which were found on the Esquiline. — On the landing of the staircase is a list of streets in the 1st, 10th, 12th, 13th, and 14th regions of ancient Rome, dating from 136 A.D. Built into the walls are four *Reliefs from a triumphal arch of M. Aurelius, found near S. Martina in the Forum : on the right, 44. Sacrifice in front of the Capitoline temple ; on the long wall, 43. Entry of the em- peror ; 42. Pardon of conquered enemies ; 41. His reception by Roma at the triumphal gate. On the walls are ancient inscriptions. — On the left, above the second landing. No. 43. Relief, Curtius on horseback leaping into the gulf (15th or 16th cent.). Opposite, inscription referring to Frederick XL's victory over the Milanese. — In the passage above, two reliefs from the triumphal arch of M. Aur- elius (p. 163), which was removed in 1653 by order of Alexan- der VII., representing an oration of Marcus Aurelius and the apo- theosis of Faustina. On the left is the entrance to the Collections described below.
We traverse two Rooms with modern lists of Roman magistrates, and enter a long Coreidob containing the so-called Protomotbca, founded by Pius VII., a collection of busts of celebrated Italians, including poets (such as Dante, Petrarch, and Ariosto), scholars, painters, architects, and sculptors. At the end of the corridor is a monument to Canova. Several eminent foreigners have also been admitted : (1.) Winckelmann, (r.) Poussin and Raphael Mengs. On the walls are several old plans and views of Rome. — The second door to the right in this passage is the entrance to the New Capi- toline Museum (see below), while the last door but two leads to the picture-gallery (p. 214), and the last but one leads up two steps to the 7th, 6th, and 5th rooms of the New Capitoline Museum.
The "^ew Capitoline Collection contains chiefly the bronzes and the yield of recent excavations.
I. Room of thb Bronze Utbnsils. Bronze Chariot, with repre- sentations in relief ; *Bronze Seat^ with a footstool, adorned with inlaid silver work, found at the ancient Amiternum ; Litter, partly inlaid with silver. Along the walls are smaW^i \iioviXfe%^ iwoluding a hermaphrodite, from whose back spriYiSS a.w a.T«:tife^Q^^, ^^-^V^^^ AS a bearer. The door in front of us leads \.o tV^ —
The Capitol. ROME. IV. Ancient Rcme. 213
II. Room, wMch contains the Collection of Coins. — The door to the left leads into the large octagonal —
III. Dome Saloon, lighted from above, and constructed of iron and -wood in the Pompelan style, by Vespignani. In the Vestibule, to the right: 2. Tombstone of Q. Sulpicius Maximus^ a boy of 1172 years , who , according to the Latin inscription , worked himself to death after having gained the prize over 62 competitors for extem- porising in Greek verses, quotations from which are inscribed on each side of the statuette of the youthful poet. To the left : 8. Sit- ting figure of Terra Mater (Mother Earth), in a small temple with in- scription. — Opposite the entrance is a beautiful fountain-spout in the form of a drinking-horn, found in the garden of Maecenas (p. 182). 18. Youthful athlete pouring oil into his left hand; 14, 16. Tritons, forming part of the following group. *15. Half-figure of the Emperor CommoduSj with the attributes of Hercules ; the marble still displays its fine original polish ; the pedestal is formed by two Amazons (one only preserved) bearing a shield enclosed by cornucopiae, below which is a celestial globe. 19. Figure of Bonus Eventus, with a cornucopia. 21. Large Sarcophagus fromVicovaro (p. 380), with hunting scenes. 24. Terpsichore; 25, 27. Well-pre- served youthful portrait-heads, found together on the Esquiline ; *26. Venus in the act of loosening her hair (both arms missing). Then, two interesting statues of a post-Oonstantine period, each holding aloft a cloth in the right hand as the signal for starting in the chariot-race. Graceful seated figure of a young girl. 33. Statue of Claudia Justa, with attributes of Fortune ; Replica of the so- called Eros of Praxiteles (Vatican Gallery, p. 308), wrongly re- stored as a lyre-player; in a niche behind it, to the right, interest- ing *Relief , representing Vulcan and three Cyclopes making the shield of Achilles ; •36. Head of a Centaur (probably Chiron) ; 38, 42. Athletes ; *46. Marsyas bound to a tree (the tree, hands, and feet modern restorations). Opposite, *59. Head of an Amazon. In the middle, between the pillars : 62-65. Caryatides in the archaic style; two large vases, the one with spirited Bacchic represen- tations particularly fine. 35. Infant Hercules with the lion's skin, club, and quiver, in his left hand the apples of the Hesperides ; 10, Old woman carrying off a lamb.
IV. Gallbby. To the right : 46. Colossal bust of Maecenas ; *75) Fighting Hercules, with a portrait-head; several fine ancient Greek tombstones with female figures ; 70. Colossal foot in marble, with a Tyrrhenian sandal adorned with a pleasing composition of Tritons, Cupids, and Dolphins. — On the walls of the Corridor: Priest's boy with a sucking-pig for sacrifice. 125. Boy (restored as Mercury) playing with a tortoise (fountain- flguTe"^\ VI4:» ^-wiS^^ vase, richly adorned with acantbus leaN^S'., V&^.'^vi ^VO^ "^^ '^'«^'^^^ dog. On the sarcophagus to the ligYit axfe ?>e^et^ V^^^^S '^^^^^ ^ ^
Attbis (under glass) shows traces ot ipa\Tv\ivTV^ vti^ %^^A^a.^- ^^^
214: IV . Ancient Rome. ROME. The Capitol,
Anacreonf tlie poet, found in the gardens of Caesar, outside the Porta Portese. Adjacent, a torso of Athena, modelled after the Par- thenos of Phidias ; fragment of a marble shield with battle-'scenes. To the left, 130. Silenus in a crouching attitude, a fountain-figure.
We traverse the corridor of the Protomoteca (passing the monu- ment of Canova on the right), and enter the —
V. Room op the Tberacottas, chiefly common domestic utensils (pitchers, lamps, jars, etc.) and terracotta reliefs used as mural de- corations. In the corner to the left is a seated female figure. Reliefs •with landscapes (views of the Nile) and mythological scenes (Her- cules and Telephus), showing traces of colouring. Near the exit are an ivory diptych and a stilus,
YI. Room op the Bbonzbs. At the entrance, *Prie8t'8 Boy (Ca- millus) ; Ephesian Diana, on a trilateral altar. By the window, the so-called *Capitoline Wolf, with Romulus and Remus; possibly the same which the aediles Cneius and Quintus Ogulnius erected in B. 0. 296, though more probably of an early mediaeval origin. An injury on the right hind-leg is supposed to have been caused by lightning , by which , according to Cicero, the figure was struck in B.C. 65, in the consulate of Manlius and Cotta; the twins are mod- ern. This work, with other bronzes, stood near the Lateran as early as the 9th century. 36. Small three-bodied ITecatc. The* Thorn Extractor f k boy removing a thorn from his foot. Gilded Statue of Hercules. A Horse, sadly mutilated, but of excellent workmanship, found in 1849, together with the fragments of a Bull, Then a Co- lossal Hand and a Colossal Foot, found near the Pyramid of Cestius (comp. p. 252). To the left of the exit, an expressive '^Bronze Head, said to be that of C. Junius Brutus, who expelled the kings and became the first consul ; eyes of coloured stone. Vase, found near Anzio, presented by King Mithridates to a gymnasium (foot and handles modern).
Vn. Room of the Etruscan Terracottas, or the so-called Museo Italico, a collection of vases, terracottas (including two sar- cophagi with figures on the lids), bronzes, and various anticaglias from Etruria and Latium. Under glass : Silver cover of a cist with archaic figures of animals, found at Palestrina.
On quitting this collection we pass through the first door on the right in the corridor and ascend to the —
Picture Oallery ('Pinacoteca'), founded by Benedict XIV. In
a straight direction we enter the first saloon. The names of the
artists and the subjects are attached to the pictures.
I. FiKST Saloon. Entrance-wall, to the right of the door: *'Sd. Rubens,
Romulus and Remus. Right wall: 145. Giorgione, Holy Family-, 6. Roma-
nelli, St. Cecilia; 7. Pietro da Cortona, Triumph of Dionysus ; 65. Garofalo,
Jladonna and saints; 127. Lorenzo di Credi, ^ladonna and Child; 13. Ouer-
ct'nOf John the Baptist', 14. N. Poussin^ Flora (copy of the picture in the
Louvre); 16. Outdo Reni, M. Magdalene*, ^. Domcnichxno^ Cvvm«.^\v Sibyl.
Narrow wall: U2. Albani, Nativity of tlvc \\t?,\xv\ "ifc. TinloreUo, ^. IX^-
dalene; 210. Gaud.^Fen-ari, Madonna-, 27. Fra Harlolommco VJ^,^Jtvi?>^^v\»x:vvii3L
The CapitoL ROME. IV. Ancient Rome. 215
in the Temple \ 30. Qarofalo , Holy Family ; 34. Cfuercino , Persian Sibyl ; 70. Paolo Veronese y Madonna and saints (copy); above, Lo Spagna, Two saints (fresco). Left window-wall : 9. Albania Magdalene ; 52. S. Botticelli^ Madonna and saints ; 55. Aff. Caii'acdy Holy Family ; 196. Cola delV Ama- trice, Assumption; 51. School of Raphael, Holy Famil)r; 195. Paolo Vero- nese, Ascension; 54. Oarofalo, Coronation of St. Catharine; 2. Outdo Rem, A glorified spirit (unfinished). Entrance-wall : 91. Q. Eeni, Sketch for No. 2; 76. P. Caravaggio, Meleager ; 78. Fr. Francia^ Madonna (1513). On the right window-wall, above: Ten frescoes attributed to Lo Spagna, representing Apollo and the Muses, formerly at La Magliana (p. 393).
II. Saloon. Entrance-wall: Pietro da Cortona^ 58. Sacrifice of Iphi- geneia, 190. Alexander and Darius. Right wall: 47. P. da Cortona, Rape of the Sabine women; 116. Outdo Reni, St. Sebastian; 117. Ouercino, Cleopatra and Octavian; 119. Lod. Carracei, St. Sebastian; 128. Caravaggio, Fortune-telling gipsy. Short wall : *143. Ouercino, St. Petronella raised from her tomb and shown to her bridegroom. Left wall : 154. Paolo Veronese, Magdalene; 41. N. Poussin, Orpheus; 169. Cignani, Madonna; 164. (?aro- falo, Madonna ; 180. Titian, Christ and the adulteress ; *'224. Paolo Veronese, Rape of Europa.
III. Room. •132. Oiov. Bellini, Portrait; 87. St. Nicholas, by the same ; 124. Paris Bordone (catalogued as Titian), Baptism of Christ ; 136. Oentile Bellini (?), Petrarch; 129. Oiov. Bellini^ Portrait; 49. Domenichino, Landscape with Hercules; 103. Domenichino, St. Barbara; 66. Bronzino, Portrait of a lady; 137. Domenichino, Landscape with St. Sebastian; 98. School of Bellini, Holy Family. Right wall: 222. Bassano, Christ in the house of the Pharisee; also a few good landscapes.
IV. Room. 80. Velazquez, Portrait ; *100. Van Dych, Portraits of Thos. Killegrew and Henry Carew ; *134. Portrait of Michael Angelo, probably by himself; *106. Van Dyck, Two portraits; *61. Ouido Reni, Portrait of himself; Qarofalo, 161. Annunciation, 201. Transfiguration, 204. Ador- ation of the Magi ; 223. Paolo Veronese, Madonna with angels.
The Sale dei Conservatori {i.e. of the town-councillors) contain frescoes and other works of art, chiefly of the end of the 16th century.
We pass through a Cokkidok, containing a collection of porcelain pre- sented by Oonte Gini, and the old Chapel, containing an altar-piece (Ma- donna) by Agostino d*Ingegno , formerly ascribed to Pinturicchio. We then reach the I. Room, the walls of which are frescoed by Sodoma with scenes from the Punic Wars. — II. Room (to the right) : Frescoes by Lau- reti ; statues of the generals Marcantonio Colonna, Alexander Farnese, Ro- spigliosi, Aldobrandini, and Barberini. — Large Saloon, with frescoes by the Cavaliere d''Arpino, representing the Combat of the Horatii and the Curiatii, and other scenes from the period of the Kings ; it also contains a bronze statue of Innocent X. by Algardiy and a marble statue of Urban VIII. by Bernini. — We now return through R. II. into the IV. Room. Scenes from the Cimbrian war, and several antique busts. — V. Room: Fragments of the *Fasti Consulares, or lists of Roman consuls, found in the 16th cent, (and smaller fragments in 1818 and 1872), between the temples of Castor and Faustina. They were originally exhibited in the Regia, or official residence of the Pontifex Maximus (p. 231). The busts of B. Bor- ghesi (by Tadolini) and W. Henzen (by Kopf), two scholars who explained the Fasti, were placed here in 1888. The ancient hermee with modern in- scriptions are unimportant. — VI. Room. Several antiques: jug in the form of a female head in bronze; two ducks; head of Medusa, by Bernini. — VII. Room, a small room, with relics of Garibaldi, weapons, garlands, banners, letters, etc. — VIII. Room, formerly the assembly-hall of the Senate. The frieze, representing scenes from the life of Scipio Africanus, is attributed to Ann. Carracd. On the walls is tapestry woven at S. Michele. Bust of Michael Angelo, attributed to himself. AUq VivsXa \xk. \Ba:e*^'^ '5.\ Victor Emmanuel, Cavour, and Mazzinl.
216 IV. Ancient Rome. ROME. The Capitol,
B. **Capitolixie Haseum.
This mnsenm was founded by Innocent X., and extended by Clement XII., Benedict XIV., Clement XIII. , and Pius VI. The works carried off by the French were restored with few exceptions to Pius VII. The collection is much smaller than that of the Vatican, but is rich in admirable works. Catalogue , prepared for the Com- missione Archeologica Mnnicipale in 1882, sold at the entrance (3 fr.}.
a. Ground Floor.
Court (Oortile). Above the fountain in the centre is the *Marforio, a colossal river- god holding a shell, probably repre- seiking the Rhine or Danube, erected in the middle ages in the Via di Marforio opposite the Career Mamortinus, where it was em- ployed as a vehicle for the sarcastic answers to the interrogatories of Pasquino (see p. 201). Among the other sculptures , most of which are unimportant, are the two*Egyptian Lions of basalt (form- erly at the foot of the steps of the Capitol), two Granite Columns with reliefs, and two large Canopi (dog-faced baboons), all from the Temple of Isis (p. 195).
Corridor (PI. 4), to the left of the entrance: 3. Colossal Minerva ; 5. Bacchante ; below. Sarcophagus with Bacchanalian re- presentation, purposely mutilated. — On the left, at the end, is the entrance to the —
I. Room (PI. 1). Sarcophagus with a lion-hunt. In the centre is an altar with a sacrificial relief, erected by the superintendents of a Roman district (Vicus JEsculati), found in 1888 near the Ponte Garibaldi. On the walls are several ancient mosaics, one of which (No. 27) seems to represent a vessel leaving port (found on the Quirinal in 1878). Above the door of the 2nd room : 20. Cupids binding a lion, with Hercules In female attire spinning in the back- ground. By the door, under glass, is a mosaic representing the ris- ing of the Nile. — The two following rooms (PL 2, 3) contain in- scriptions, sarcophagi, etc., of little p;eneral interest.
We return to the Corridor (PI. 4). To the left: several med- iocre female draped statues. — To the right of the principal en- trance: (right) 25. Diana; 24. Hercules; 23. Luna; 21. Mercury; (left) 14. Cyclopean Polyphemus with one of his victims (erroneously restored); (left) 15. Hadrian as a priest; (right) 20. Jupiter; below. Sarcophagus with the Calydonian Hunt; (right) 19. Colossal Mars (legs modem) ; 17. Hercules with the Hydra, found in the 16th cent, near S. Agnese in the Via Nomentana and restored by Algardi (the parts origiiMilly missing, the Hydra and leg of Hercules, were after- warda discovered and are now exhibited beside the restored group). — Adjacentj to the right, is the eT\tTaT\e,e to t\\Tfte rooms containing JnscrJptions and several interestli^g aaito-jiViaL^v.
L Room [PI. 5). In the centie: Aia, ^\i\c\\^VQQ^\\\^^t^^'^V^\.-
F
I I H
The Capitol. ROME. IV, Ancient Rome. 217
place of Albano till 1743, with archaic representation of the ex- ploits of Hercnles. Also a few insignificant busts. — II. Room (PI. 6). *5. Sarcophagus with battle between the Romans and Gauls ; the commander of the latter commits suicide (perhaps Ane- roestus, defeated B.C. 225 near Pisa); (left) 11. Cippus of T. Sta- tilius Aper, the architect (^mentor aedificiorum'), with a wild boar (aper) at his feet and a measuring wand and other instruments at the sides. On the walls are inscriptions. — III, Room (PI. 7). Large *Sarcophagus (formerly supposed to be that of Alex. Severus and his mother Mammaea) , with scenes from the life of Achilles. Achilles among the daughters of Lycomedes, (left) farewell of Dei- damia, (right) arming of Achilles; at the back, Priam begging for the body of Hector (found in 1594 with the Portland Vase of the British Museum on the Mte. del Grano, near the Porta Furba, p. 347). Left of the door : 15. Sitting statue of Pluto. — We now return to the hall, and ascend the staircase to the —
b. First Floor.
Staircase (PI. 8). Into the walls are built the fragments of the marble Plan of Rome, an important topographic relic, executed under Sept. Severus, found in the 16th cent, near SS. Cosma e Da- miano (p. 231). Portions of the pieces found have been lost, but supplemented from the extant drawings (these parts are indicated by asterisks). On the landing of the stair are two female statues, groundlessly designated as Pudicitia and Juno Lanuvina.
I. Room op the Dying Gladiator. In the centre: 1. **Dying
Gladiator, found at Rome in the 16th cent, and originally preserved
in the Villa Ludovisi. The trifling restorations (right arm and part
of the base) are said to have been made by Michael Angelo.
The dying warrior, recognized as a Gaul by his twisted collar, short hair, and mustache, is sitting on his shield, while the blood pours from his wounded breast ^ he has evidently inflicted the fatal blow himself, having previously broken the crooked horn which lies on his shield. He has preferred death to captivity, and exhibits the same dignity of char- acter as the Barbarian in the group now in the Villa Ludovisi (p. 173), which was probably found at the same time (comp. p. xxxiv). The visitor will readily recall the exquisite lines by Byron : Childe Harold, Canto iv., 140.
7. (right of the door) Apollo with lyre. Right wall : *5. Head of Dionysus, erroneously taken for a woman's (Ariadne's); 4. Ama- zon; 3. Alexander the Great; 2. Demcter. Wall opposite the en- trance: 16. Head of M. Jun. Brutus, the 'tu quoque Brute' of Cae- sar; 15. Priestess of Isis; 14. Flora from the villa of Hadrian. Left wall : *12. Antinous from Hadrian's villa (p. xxxvil) ; below, Tomb- stone erected by a freedman of Tiberius to his wife,* with elegant Greek and Latin verses and tasteful ornamentation. *10. Satx^v of Praxiteles, the best of the extant copies ^jp. Xi"L\\^.
TM3 h the fignre which suggested the t\V\ft ot 'fi^iw\Jcv;i.-wv€V^v?^N^5»^'^^ romance, The Marble Faun (see p. i28\ in t\\e o-^ftTvVti?,'^^.^^'* o^^Vvtw ^ curs a nne descriplion of the statue.
218 IV. Ancient Rome. ROME. The Capitol.
9. Girl protecting a dove; instead of the modem snake, there was probably a dog , or some other animal in the original. Entrance- wall: 8. Zeno, found in 1701 in a villa of Antonlnas Pius at Civitli Lavlnia.
II. Stanza del Fauno. On the walls reliefs, Inscriptions, etc. , among them the Lex Regia of Vespasian (black tablet of bronze on the entrance-wall), whence Cola di Rienzi, *the last of the Tribunes', once demonstrated to the people the might and liberty of ancient Home. In the centre , 1. Satyr (Fauno) in rosso antico, raising a bunch of grapes to his mouth , from Hadrian's villa , placed on a remarkable altar, dedicated to Serapis. Window-wall : 26. Colossal head of Bacchus, on a circular ara with a rostrum, and the inscription ara tranquillitatis , found together with the Ara Ventorum and the Ara Neptuni at the harbour of Anzio (p. 397), where they were em- ployed by sailors for offering sacrifices. Wall of egress : 4. Head of Mercury (?) ; 3. Sarcophagus with relief of Diana and Endymion ; *6. Head of Juno Sospita ; 8. Boy with mask of Silenus. Right wall : 10, Minerva; 12. Mars. Entrance-wall: 15. Bust of Hercules; 16. Boy struggling with a goose, copy of a statue by BoethoSj excavated near the Lateran in 1741 ; *18. Sarcophagus with battle of Ama- zons, and, on its left corner, 21. Head of Ariadne crowned with ivy.
HI. Large Saloon. In the centre : 1. ^sculapius, in nero an- tico, on an altar representing a sacrifice. *2, 4. Two Centaurs in bigio morato, by Aristeas and Papiasy found in Hadrian's villa in 1736 ; 3. Colossal basaltic statue of the youthful Hercules, found on the Aventiue ; it stands on a beautiful altar of Jupiter , embel- lished with representations of his birth, education, etc. ; 5. Ju- piter, in nero antico , or black marble , found at Anzio , on an altar adorned with Mercury, Apollo , and Diana , in the archaic style. — Window-wall to the left of the entrance : 29. Portrait- statue restored as Hygieia; 31. Apollo with lyre; 32. M. Aurelius ; 33. Amazon; 34. Mars and Venus, with portrait-features; 36. Athena. — Wall of egress: 6. Satyr; 7. Apollo; 8. Minerva; 9. Co- lossal bust of Trajan with civic crown. — Right wall : 13. Hadrian as Mars, found nearCeprano. In the niche: *17. Athena, archaistic statue. 19. Amazon; 20. Apollo; 21. Mercury; 22. Old nurse, probably from a group of the Children of Niobe ; 24. Ceres (?). — Entrance-wall : 25. Colossal bust of Antoninus Pius ; 27. Hunter with a hare ; 28. Harpocrates, god of silence, from Hadrian's Villa.
IV. Room of the Philosophers. On the wall valuable *ReliefSj six from the frieze of a temple of Neptune, with sacrificial imple- ments and parts of ships (Nos. 99, 100 1C2, 104, 105, 107). —In the centre (No. 98) the sitting consular *Statue of Marcus Claudius Mar- cellus (?), conqueror of Syracuse, B. C. 212, from the Giustiniani collection f formerly in the Museo CMaramonti. Also 93 *Bust8 of Celedrated Characters of ^niiguit'y , to some; oi vj\v\t\v M\i\\.T^T"i wvocvviA are amxed. 1, Virgil (V); 4, *5, 6. Socta.Ua\ ^. kmWiJi.^^ Wi^ qxvv.-
The Capitol. ROME. IV. Ancient Rome. 219
tor; 10. Seneca(?); 13. Ly8ia8(?); 16. Marcns Agiippa ; 19. Theo- phiastus; 20. Marcus Aurelius; 21. Diogenes the Cynic; 22. So- phocles (not Archimedes) ; 23. Thales ; 24. Asclepiades ; 25. Theon ; 27. Pythagoras ; 28. Alexander the Great (?) ; 30. Aristophanes (?) ; 31. Demosthenes; 33, 34. Sophocles; 35. Alcibiades (? certainly not Persius) ; 37. Hippocrates ; 38. Aratus (?) ; 39, 40. Democritus of Abdera ; 41, 42, 43. Euripides ; 44, 45, •46. Homer ; 47. Epimen- ides; 48. On, Domitius Oorbulo, general under Claudius and Nero; *49. Scipio Africanus, recognisable by the wound on his head which he received when a youth at the battle of Ticinus, whilst saving his father's life ; 52. Cato of Utica (?) ; 54. Minerva ; 55. Cleo- patra (?); *59. Arminiu8(?), erroneously named Oecrops; 60. Thu- cydide8(?); 61. iEschines ; 62. Metrodorus; 63. Epicurus and Me- trodorus; 64. Epicurus; 68, 69. Masinissa; 70. Antisthenes; 72, 73. Julian the Apostate ; 75. Cicero ; 76. Terence , according to others 0. Asinius PoUio ; *82. iEschylus (?). The names of the busts by the window-wall are unknown.
V. Room op thb Busts op thb Empbeobs. Reliefs by the entrance-wall: •92. Endymion asleep, beside him the watchful dog ; *89. Perseus liberates Andromeda (these two belong to the eight reliefs in the Pal. Spada, p. 206). Above the window are other sarcophagus -reliefs. — The collection of the emperors' busts is one of the most complete in existence; the names are lor the most part verified by coins (comp. p. xxxv). In the centre : *84. Sitting female statue, believed to be Agrippina, daughter of M. Agrippa, wife of Germanicus and mother of Caligula. The number- ing of the busts commences in the upper row , to the left of the entrance-door. 1. Julius Caesar; 2. Augustus; 3. Marcellus, nephew of the latter (?); 4, 5. Tiberius; 6. Drusus the elder; 7. Drusus, son of Tiberius ; 8. Antonia, wife of the elder Drusus , mother of Germanicus and Claudius ; 9. Germanicus ; 10. Agrippina, his wife; *11. Caligula, in basalt; 12. Claudius, son of Drusus; 13. Messa- lina , fifth wife of Claudius ; 14. Agrippina the younger, daughter of Germanicus, mother of Nero; 15. Nero; 17. Poppaea, Nero's sec- ond wife; 18. Galba; 19. Otho; 20. Vitellius (?) ; 21. Vespasian; 22. Titus; 23. Julia, his daughter; 24. Domitian; 26. Nerva (mod- ern?); 27. Trajan; 28. Plotina, his wife; 29. Martiana, his sister; 30. Matidia, her daughter ; 31, 32. Hadrian ; 33. Sabina, his wife ; 34. ^lius CsBsar, his adopted son; 35. Antoninus Pius; 36. Faustina the elder, his wife ; 37. M. Aurelius as a boy ; 38. M. Aurelius, more advanced in life ; 39. Faustina the younger, daugh- ter of Antoninus, wife of Aurelius; 41. Lucius Verus; 43. Com- modus; 45. Pertinax; 50, 51. Septim. Severus; 53. Caracalla; 57. Heliogabalus ; 60. Alex. Severus; *62. Maximia^ ^^. ^^kS^s^^s.^ son ofMaximin; 64. Gordiaii Afr. •, ^t). OoT^\m% 1^- ^^K^^'^^^^n 8a Diocletian (?); 82. Julian the A.i?Oft\.a.\.e^ ^xO«i^\^ ^ ^x^^ philosopher; the inscription is medi»yaV). ^^Tv^eriX e^x.^"^ "^^
220 IV. Ancient Ronie. ROME. Tfie Capitol.
VI. CoRBiDOB. At the left end : Beautiful maiMe vase on an archalstic *Puteal with the 12 gods : Jupiter, Juno, Minerva, Her- cules, Apollo, Diana, Mars, Venus, Vesta, Mercury, Neptune, and Vulcan. By the window to the left : *33. Bust of Caligula ; Then, the hack of the visitor heing turned to the window: (1.) 30. Trajan; (1.) *29. Pallas, found at Velletri, exactly corres- ponding to the statue (No. 114) in the Braccio Nuovo of the Va- tican; (1.) 28. M. Aurelius, as a boy; (l.)*35. Head of Silenus; (1.) 26. Augustus ; (1.) 25. Jupiter, on a cippus with relief: Claudia Quinta drawing a boat containing the image of the Magna Mater up the Tiber; (r.) 38. Venus; (r.) 42. Female draped statue. (The door opposite leads to the Venus room.) Left, 21. Head of Apollo ; (r.) 43. Antinous; (l.)20. Psyche; (r.) 46. Selene; below, •Sar- cophagus with representation of the birth and education of Bac- chus. Here and in the following compartments, on the right, are immured the inscriptions from the columbarium of the freedmen of Livia (found in 1726 near the church of Domine Quo Vadis). Right : 48. Child of Niobe ; (1.) 15. Venus ; (r.) 49. Juno ; (1.) 14. Marble vessel with Bacchanalian scenes; (r.) 50. Copy of the discus- thrower of Myron (Pal. Lancelotti, p. 190), incorrectly restored as a warrior; (1.) 12. Flute-playing Satyr; (r.) 52. Muse; (1.) 10. Octagonal cinerary urn with Cupids in the attitudes of celebrated statues; 54. Venus, with portrait-head ; below, (r.) Sarcophagus with the rape of Proserpine and the child Hercules with the snakes; (1.) Archaistic relief, a lute-player (?); (1.) 8. Old woman intoxicated ; (r.) 58. Sitting draped statue. Opposite the entrance to the Room of the Doves : (1.) *0. Cupid bending his bow (after Lysippus) ; (r.) 60. Flute-playing Satyr ; (1.) 3. Recumbent lion ; >.) 61. Silenus; (r.) 62. Septimius Serverus ; (1.) by the window, l3. Roman matron (perhaps the elder Faustina) ; 64. M. Aurelius.
VII. Room of thb Dovks , so called from the *Mosaic on the right wall : Doves on a Fountain-basin , found in Hadrian's Villa near Tibur (p. 375), copy of a celebrated work by Sosus of Perga- mum, mentioned by Pliny. Below it, a sarcophagus: 13. Prome- theus forming man , whom Minerva inspires with life, in a style showing the transition to the Christian period of art. Farther on, by the right wall, a mosaic with several masks. Under them : *37. Sarcophagus with Selene and Endymion. On the narrow wall are several fine Roman portrait-busts. By the left wall, in the 2nd window, 83. the Ilian Tablet^ a small relief in palombino , a soft kind of marble , with the destruction of Troy and flight of ^neas in the centre , and many other incidents from the legends of the Trojan war, explained by Greek inscriptions, probably designed for purposes of instruction, found near Bovillae. 83a. Fragment of
a representation of the shield oi \eA\\W.ft%, \\i?,QXv\i^d on the back
as the work of Theodoros, found iw i^*^^ iv%a.x ^. ^^rv^ ^^X^^W
torla on the Esquiline ; on tlie \)toa^ m^t^xv q1 xXv^ \siw\i\^ ^-t^
^i
The Capitol. ROME. IV. Ancient Rome. 221
seventy-five lines from Homer's description of the shield in Book XVIII. of the Iliad. 83b. Fragment of another representation of the same subject.
VIII. Room of Venus. Adjoining the gallery is the Venus Room, which contains the **Capitoline Venus ^ unquestionably the workmanship of a Greek chisel , and the most admirable of all the existing copies of the Aphrodite of Cnidus by Praxiteles (p. xxxii), the perfect type of feminine grace. The statue was found almost uninjured in a carefully walled-up niche between the Viminal and Quirinal. — Left , Leda with the swan , a mediocre work ; right, *Cupid and Psyche, found on the Aventine.
On the S. height of the Capitol, called the Monte Caprino (to which a flight of steps ascends to the right at the back of the Palace of the Conservatori, comp. p. 211), stands the so-called Casa Tarpeia with the Protestant hospital and the new German Archaeological Institute, erected in 1874-76 by Laspeyres, at the cost of the German government. In the garden (custodian, Monte Caprino 25) is shown the Rupe Tarpeia, or Tarpeian Rock. If this really be the rock from which the condemned used to be thrown by the ancient Romans, its height and abruptness must have been greatly diminished since that period ; and as, moreover, it is by no means certain that it was situated here, a visit to the spot may well be omitted. Ancient substructures of solid stone, which were dis- covered in the garden of the Pal. Caffarelli (p. 209) in 1866, be- long to the temple of the Capitoline Jupiter (p. 208).
The imposing ruins on which the Senatorial Palace has been erected (entrance by the gate in the Via del Campidoglio , comp. p. 211 ; we then enter the door to the right with the superscription 'Tabulario e Torre Capitolina' ; fee 50 pf.; rules as to admission the same as in the case of the Capitoline collections, p. 212) belonged to the ""Tabularinm , erected in B.C. 78 by the consul Q. Lutatius Catulus for the reception of the state archives, and resting on the massive substructures which surround the hill. It consisted of a fivefold series of vaults, the last of which opened towards the Forum in the form of a colonnade with half-columns in the Doric style, which are still visible. The vaults were used in the middle ages as a public salt magazine, and the stones have been much corroded by the action of the salt. From this point there is a beauti- ful *View of the Forum. The rooms contain architectural fragments from the neighbouring temples and other buildings, and a valuable collection of amphorae (lower floor) found on the Esquiline within the last few years. An ancient flight of steps, ivo^n ^%x^ T^■^\K^fc^^ descended hence to the Forum, wlieie, to \\vfe \eki\. <ii ^^ ^'^^ss.^^ ^"^ Vespasian, the archway where it issued ia obsetNCiiiL. ^xwa-VX^^ ^^^"^ nade we may ascend to the left tlitoxis^i t\ve ^^^^ tcaxV^^ ^^^-ws.
222 IV. Ancient Rome, ROME. Forum Roman
Capitolina' to the top (261 steps) of the Campanile of the I del Senatore (p. 211).
The Forum Bomannm.
(Comp. Sketch- Plan.)
In the most ancient times the Capitol and Palatine were arated hy a deep and marshy valley. The pavement hy the umn of Phocas lies 38 ft. ahove the level of the sea, and 2^ above the level of the Tiber, but was nevertheless frequently vaded by inundations. In consequence of the lowness of i valley , it was , as may well be supposed , a difficult and teii- task to raise the level and drain the marsh. For this purpose T' quinius Priscus, the fifth of the kings, is said to have constraci the Cloaea Maxima^ which still renders good service (p. 248); a several canalicolcLe , or tributary drains which fell into the mi channel, have recently been discovered. Tradition makes this h< low the scene of the conflict of the Romans under Romulus agaia— the Sabines under Titus Tatius after the rape of the Sabine womei After the hostile tribes were amalgamated into a single state, th( chose the Forum as its centre , and it was here that some of tl most famous scenes in the history of the Roman Republic wei^^ enacted. On the N. side (S. Adriano) lay the Curia Hostilia, (^^ council-hall , which is said to have been erected by King Tulla^^ Hostilius ; while on the S. side, at the foot of the Palatine, rose th ^ Temple of Vesta (S. Maria Liberatrice) , with its eternal fire , anc^ the Regia, or dwelling of the Pontifex Maximus, the president o^ the Roman hierarchy. The Comitium^ or open space in the centre, was the place where popular assemblies were wont to be held. The Forum was bounded by streets , the most important of which was the Sacra Via ascending to the Capitol. In the Forum and its en- virons building operations and various changes have been taking place at intervals for upwards of two thousand years, and it is there- fore not to be wondered at that a number of topographical questions regarding it are still unsolved, and that the imagination of scholars has indulged in the most extravagant flights with regard to tliis spot more than any other in Rome. It is, however, ascertained that the Forum extended from the foot of the Capitol , sloping downwards towards the E., although it has sometimes been erron- eously supposed that it extended from N. to S. The Basilica Julia marks the S. boundary of the Republican Forum, and the E. boundary was probably near the prolongation of the Via di San Lorenzo, as private houses only have been discovered beyond. Along the sides of the Forum were ranged the tabemae veteres and novae, or shops, which were originally occupied, "b^ "ViwttVets, ta\^ qIIv^t ctaf ts- ^en, and afterwards by moT\ey-c\vaTigeT% a,w^ %q\^«.\!kv>\\?>. \w^^\«i ^i»e of time anumberof temples, p\\V>\\c,'\>\v\\^\\v^%,m^^Q^vv^e^^.^
?; ?
MOSS palatini:
JFbrtifn Romanum. ROME. IV. Ancient Rome, 223
were erected here. Of those still existing the most ancient is the Career Mamertinus (p. 237), or well-house, situated on the slope of the Capitol, the foundation of which reaches back to the period of the kings. Soon after the temple of the Capitoline Jupiter (p. 208), were founded the Temples of Saturn (B.C. 491) and Castor and Pollux (484). The Temple of Concord (366) commemorates the termination of the protracted struggle between the patricians and the plebeians. At the period of the Samnite "War , which resulted in the exten- sion of Rome's supremacy over the whole of Italy, we are informed that the Forum underwent many embellishments. At last, how- ever, as it was only 150 yds. in length, its area became too confined for the important and multifarious business transacted within its precincts ; for it was not used for political and commercial pur- poses only, but for the celebration of the funerals of the nobility, for the gladiator combats which were introduced about the year 264, and on other public occasions. The first expedient for gaining space was the erection of basilicas, or quadrangular courts sur- rounded by colonnades, adjoining the Forum, with a view to draw off a portion of the traffic. In 184 Cato erected the Basilica Porcia on the N. side; in 179 followed the Basilica Emilia, and in 169 the Basilica Sempronia. The task was prosecuted with the utmost energy by CiESAR , who extended the Forum by the addition of the Forum Julium (pp. 237, 239), and appears to have projected a cut- ting through the hill which connected the Capitol with the Qui- rinal in order to facilitate communication with the new quarter which was rapidly springing up in the Campus Martins. He also restored the Curia Hostilia, and erected the spacious Basilica Julia on the S. side of the Forum. Augustus proceeded to carry out the plans of his uncle, and to that emperor is chiefly due the arrange- ment of the Forum which the present excavations are bringing to light. All the edifices of the Republic were restored by him and his successors , whose energetic building operations extended over the first four centuries of the Christian era. They thus endeav- oured, as it would appear, to compensate their subjects by ex- ternal magnificence for the loss of liberty they had sustained. Five new fora , constructed between the time of Cassar and that of Trajan, adjoined each other on the N. side of the old Forum, thus connecting the central point of the original city with the palatial buildings of the Campus Martins. By these new fora the Forum of the Republic would have been well nigh eclipsed, but for the glor- ious traditions connected with it, to commemorate which it was profusely adorned with gilded bronzes and rare marbles , with columns , triumphal arches , statues , and works of art , while its history was recorded by innumerable inscriptions.
These ancient buildings were restoted. lot \.\v^ \^a\. Native \^ '<>cv'^ x«55\se^ of King Tbeodoric, in the first half of ttie &\.\i Gftti\.\«i, vcv5s. N.>\^\^«^ "^^^ monument erected in the Fornm was t\ie Column oj Plxota* s ^ ISsrc-a.^**.^ 008, but the Tudenesa of the arcMlecture A\B\.\aci\.Vs \>e.VtV3^ ^•^«^ ^ ^
224 IV, Ancient Rome, ROME. Forum Romanwn,
taste of the period. As early indeed as the first half of the 6th cent, had begun the war of extermination waged by the Middle Aobs against paganism. An- cient temples were transformed into ch arches, sach as those of S. Giuseppe, S. Laca, S. Adriano, S. Lorenzo, SS. Cosma e Damiano, S. Francesca, and ' S. Maria Liberatrice. These were afterwards frequently altered and restored, while others of the same class have entirely disappeared. Interspersed with these churches were the towers and castles of the Roman nobility, erected among the ruins of the ancient buildings in the style best adapted for the prosecution of their perpetual feuds. In most cases, the dimensions of the monuments of antiquity, were far too vast to admit of their being used for mediaeval purposes, but another mode of utilising these immense masses of building materials readily suggested itself. Throughout a thousand years the edifices of ancient Rome were employed as quarries, from which churches and secular buildings alike derived their columns, their blocks of solid stone, and, owing to a still more destructive pro- ceeding, their supplies of lime also from the burning of marble. The fact that in the Basilica Julia alone there have been discovered lime-kilns and stone-masons'* yards at three different places will convey an idea of the vast quantity of marble, bearing valuable inscriptions and artistic enrichments, which must have been destroyed in this way ^ and it need hardly be observed that the bronzes of antiquity were still more eagerly appropriated in an age when metal of every kind was scarce. This accounts for the miser- ably small number of statues and inscriptions which modern excavations have yielded. After the systematic destruction of the Forum, its remains were gradually buried beneath the rubbish and debris of some four centuries, so that the ancient pavement is at places 40 ft. below the present level of the ground. Down to the 8th cent, the ancient level was unal- tered. In the 11th and 12th centuries the Forum was thickly covered with towers and fortress walls, which closed up the old streets, and when these were demolished about the year 1221, the ground appears for the first time to have been covered with an accumulation of rubbish. Fresh deposits were afterwards made when the new buildings on the neigh- bouring heights were in course of erection. This was particularly the case in 1536, when Paul III. constructed a triumphal street from the Porta S. Sebastiano through the arches of Constantine and Titus, and around the N. side of the Capitol (on which occasion the new approaches to the latter were formed, p. 208). He caused 200 houses between the arches of Titus and Severus to be demolished, and he constructed on their site the piazza as it stood until recently. The large buildings erect- ed by Sixtus V. probably also contributed to the raising of the level of the ground.
In the middle ages, and down to the present day, the Forum was popularly known as the Campo Vaccino. Its desolate area was covered with the teams of buH'aloes and oxen of the peasantry, and smiths and carpenters established their workshops around it, while a few isolated columns, protruding from the rubbish, alone formed a reminiscence of its departed glory. And thus it remained until the 19th century. As early as 1519 Raphael had indeed formed a plan for restoring the ancient city, and especially the Forum, by means of extensive excavations^ and during his lifetime, and subsequently, particularly in 1546-47, the work was begun in the neighbourhood of the temple of Castor and Faustina. The object in view, however, being merely the discovery of monuments and works of art, the excavations were soon filled up again, and in the 17th and 18th centuries were entirely discontinued. At length, during the present century, the plan was revived by the modern spirit of investigation. In 1803 the arch of Severus, in 1813 the column of Phocas, and in 1816-19 the Clivus Capitolinus with its temples, were disinterred under the super- intendence of Carlo Fea. In 1835, and during the republic in 1848, part of the Basilica Julia was excavated by Canina^ but from that year down to 1871 the work was discontinued. The lta\V«kU ^ovwi\meut resumed the excavations again with considerable energy *, aoi^ Yi-j \.\\fcaft \«.%V. o^et^VV^w^ the Basilica, the femples of Castor, Cwaat, akudLNaa\.«., \.\i<i kVewnn'^ ^\»^ ^nd a great part of the neighbouring stxeelB Axa^Nft \>^^^ \>xoxv^\A \.o W^XA.^
Fof\im Bomanum. ROME. IV. Anaient Rome. 225
and an admirable cine to the arrangements of the whole locality has thus been obtained. The excavations are carried on under the superintendence of Senator Fiorelli, but serious obstacles are presented to the work by the ' growing requirements of modem business. When the demolition of the houses between S. Adriano and S. Lorenzo is effected, the undertaking, which was planned and begun when the Renaissance was at its zenith and has since been so frequently resumed, will be finally and satisfactorily completed, and the most memorable spot in the history of Europe will at length be fully brought to light and purged of the unseemly accumu- lations of rubbish heaped upon it by the neglect of centuries.
The Entrance to the excavations (open in summer 6-12 and 3-7, in winter from 8 till dusk; no fee) adjoins the Temple of Castor, near S. Maria Liberatrice (comp. the Plan). The part of the Forum next the Capitol, containing the Colonnade of the Twelve Gods and the temples of Vespasian and Concordia, is now enclosed by a r.ailing and is best viewed from above. The street uniting the Via Bonella and Via della Con- solazione is generally the scene of a busy traffic.
Descending from the piazza of the Capitol through the Via del Campidoglio to the right, past the Senatorial Palace (comp. p. 211), we enjoy from the lower end another good *SuavBY of the Fobuh. To the left, below us, lie the temple of Saturn , to which the eight unfluted columns belong, the three columns of the temple of Vespa- sian, and the arch of Septimius Severus. Farther off, partly hidden by the columns of the temple of Saturn, are the column of Phocas, the great Basilica, the three columns of the temple of Castor, and the bare walls of the temples of Vesta and Caesar. Beyond these, to the left, are the temple of Faustina, now converted into a church, and the circular temple of Romulus with the church of SS. Cosma e Damiano, opposite which are the remains of numerous brick shops and houses ; then the huge arches of the basilica of Constantine, the Colosseum , the arch of Titus , and to the right the ruins and gar- dens of the Palatine.
The first building below the Tabularium (p. 221) , in the angle formed with it by the street , is the Colonnade of the Twelve Oods (deorum eonaentium), whose images were erected here in A.D. 367 by Vettius Agorius PtaBtextatus, the praefectus urbis, and one of the principal champions of expiring paganism. In 1858 the ruin was much modernised. The chambers in the colonnade on the side next the Temple of Vespasian are generally but erroneously called the Schola Xantha (a meeting-place of scribes and notaries).
To the right of the Colonnade of the Twelve Gods the Tabula- rium is adjoined by the Ruin of the Three Columns, or * Temple of YeBpasian, erected under Domitian, and restored by Septimius Severus. The inscription ran thus : ^Divo Vespasiano Augusto 8e- natus populusque Romanus ; imperatores Caesares Severus et Antoni- nus Pii Felices Augusti restituerfunt)/ A part of the last word only is preserved. The columns and entablature display excellent work- manship. In front the temple had 6 columns, 49 ft•l^\%\v.^^^^.^^^\'L^- thick at the base. An egress of the Tabu\wv\3Lni^.'>*'lVs ^Jsxwcw^g^ the back of the ceUa has evidently been \>\xT\t u^. Fartber od, to the right, and witti its '\>iv.«iWi ^"^^ '^^^^^'^'^^ Bajwmkbs. Itady U. lOth Bditton. ^^
226 IV. Ancient Rome. ROME. Forwn Bomanum.
is the Temple of Concordia, founded in B.C. 366 by M. Furius Camillus, and rebuilt on a larger scale by Tiberius, B.C. 7. It was dedicated to Concord to commemorate the termination of the pro- tracted struggle between the patricians and plebeians. The CtUa of this temple differed from the usual type in having its longer axis (130 ft.) at right angles to the longer axis of the temple ; it is 82 ft. wide. The N. part of the cella is concealed by the ascent to Aracoeli. A broad flight of steps ascended to the Pronao8^ which lay 20 ft. above the level of the street and was 88 ft. long and 46 ft. wide.- The interior of the temple was frequently used in early times for meetings of the Senate, and after the restoration of Tiberius it seems to have served chiefly for the exhibition of works of art.
The Sacra Via^ or 'Holy "Way', forming the chief line of com- munication between the Capitol and the Forum , passed in front of the buildings just named. The ancient pavement is still well pre- served near the Temple of Saturn (see p. 227) and at some other points .
In order to continue our examination of the Forum we now pro- ceed to the entrance at S. Maria Liberatrice (p. 226), where a flight of wooden steps descends to the Temple of Castor. The view from this point, reinforced by a reference to the Plan, will help the visitor to understand the arrangement of the Forum.
The *Temple of Castor and Follnz, generally called the Temple of Castor (jEdes Castoris or Castorum), was dedicated to the twin gods out of gratitude for the aid which enabled the Romans to defeat the Latins at the battle of Lake Regillus in B.C. 496, and in- augurated in 484. It was afterwards rebuilt by Tiberius and re- consecrated in A.D. 6. This was one of the most famous temples of the Republic, and was often used for meetings of the senate. The remains consist of the basement and a piece of the stylobate on the
E. side , with three splendid columns of Parian marble.
The basement of the cella rises to a height of 22 ft., and was ap- proached by a flight of 18 steps, with two lateral flights, of which that on the S.E. side only is preserved. The building was mainly constructed of concrete, which was faced with blocks of tufa, and around these were placed the blocks of travertine which supported the enclosing colonnade. These blocks, however, as well as the steps on the W. side, have entirely disappeared (although the impression made by them on the concrete is still visible), and the width of the building has thus been diminished by about one half. On the E. side stands a fragment of the Sttlobate, with three columns of Parian marble, which are among the finest of the kind now existing (height 46 ft., diameter 5 ft.). The Corinthian capitals and the architrave are both in a very superior style of workmanship. The temple had eight columns in front and probably thirteen on each side. Remains of the mosaic pavement of the Cella are still to be seen, lyin{!c about 3 ft. below the level of the portico and the surroundingjcolonnade. This peculiarity was probably occasioned by the alterations made by Tiberius.
Between the Temple of the'Dioscuri and the Basilica Julia runs tAe Vicus TuscuSf a busy street lea^Vn^ to Wv^ Velabrum and the cattle-market on the river (p. *i4S").
The *BaaiJica Julia was founded \)^ C»aw ^\\V ^ V\^^ \.q e^x^^^^
FORO ROMANO
Scala IrlOOO
•4 -i
Forum R(manum. ROME. IV. Ancient Rome. 227
the Fornm; it was inaugurated in B.C. 46, after the battle ofThap- sus, though still unfinished. Augustus extended it, but did not witness its completion, as it was destroyed by a fire. The building was again twice injured by fire towards the end of the 3rd century. It was restored several times, the last being in A. D. 377. The building is mentioned in history for the last time in the 7th cent. , and it was probably destroyed in the 8th. After several partial ex- cavations, it was entirely extricated in 1871 and 1882-83.
The Gbound Plan of the basilica is a rectangle, about ill yds. long and 53 yds. wide. A flight of six, and at places nine, steps ascended to the basilica from the street. Along the four sides were double aisles which enclosed a Gbntbal Space, about 90 yds. by 17 yds. , paved with variegated African and Phrygian marble, and separated from the aisles by iron railings. The greater part of the pavement has been restored, a few fragments of the original only having been preserved. The sittings of the tribunal of the Gentumviri, in four different sections, took place here. The Aisles were paved with white marble, on which are still seen a number of circles, and occasionally writing, scratched on the surface by visitors. These were used in playing a game resembling draughts, to which the ancient Romans were as devoted as the modern. The aisles were separated by a triple row of Coldmus , of which nothing but the bases remain *, the blocks of which they consisted were used in building the Pal. Giraud in the Borgo (p. 276) and others. The brick pillars have been reconstructed, partly with the original materials. On the W. side the remains are somewhat more important, owing to the fact that a mediecval church was built in this part of the basilica. Here, on the side next the street, still stand marble pillars adorned with Doric pilasters, while at the back, facing the Gonsolazione, are lofty walls of tuffstone and travertine. Steps ascended here to the upper story.
The main arm of the Cloaca Maxima^ discovered in 1872, runs under the E. end of the Basilica Julia.
The Vicu8 Jugarius (street of the yoke-makers) led between the Temple of Saturn and the Basilica to the Tiber. Between the Rostra and the Basilica the Sacra Via was spanned by the Triumphal Arch of Tiberius , erected in A.D. 16 to commemorate the defeat of the Germanic tribes and the recovery of the Roman insignia lost at the battle of the Teutoburgian Forest. Its remains were scattered in 1850 on the construction of a modern street, which, however, has since been Itself demolished.
The ^Temple of Saturn, of which eight granite columns are still standing on a high basement, was consecrated by the consuls Sem- pronius and Minucius, B. G. 497, and restored by Munatius Plancus (B.C. 44?). From the earliest times it was the seat of thejErarium Publicum^ or public treasury. The inscription, Senaius populusque Romanus incendio consumptum restituit, refers to a later restoration, undertaken hastily and without taste. Of the lofty flight of steps by which the portico was approached there are now but scanty traces.
In front of the Temple of Saturn is a piece of excellent road- paving, contrasting markedly with the rest of the paving in tha F<\- nim, which is carelessly laid and of & laAfe ^ctvQ^. ^Hk. XJwfe QXvoma Capitolinusj or road ascending to thft 0«^\to\^ iv«w ^'Jk ^^^'J^s^ ^"^ Severus, are the remains of the Umbilicus T3Tbi* B.owoa^ ^^ S5^««s.
228 IV. Ancient Borne, ROME. Forum Eomanum,
centre of the city and empire. Traces have also been found of the Milliarium Aureum^ or central milestone of the roads ladiating from Rome, erected by Augustus in B.C. 28.
Over the Sacra Via rises the *Txiiimp]ial Arch of Septimiiui Severus, 75 ft. in height, 82 ft. in breadth, with three passages over the N. branch of the Sacra Via. It was erected in honour of the em- peror and his sons Garacalla and Geta in A.D. 203, to commemorate their victories over the Parthians, Arabians, and Adiabeni, and was surmounted by a brazen chariot with six horses, on which stood Seve- rus, crowned by Victory. Garacalla afterwards erased the name of his brother Geta, whom he had murdered. The gap thus made was
filled by an addition to the titles of Garacalla and his father.
AboYe the arches are figures of Victory; at the sides, crowded scenes from the wars of the emperor. Side next the Forum : (1.)) Raising of the siege of Nisihis in the Parthian war ; (r.), Treaty with Armenia, Siege of Atra. Side next the Capitol: (r.). Siege and capture of Babylon; (1.)) Grossing of the Euphrates and Tigris, Conquest of Ctesiphon and Seleucia. On the bases of the columns. Captive barbarians. -All these figures are in the degraded style of the sculpture of that period. In the middle ages the arch was temporarily converted by the ruling powers into a kind of castle , and was deeply imbedded in rubbish , but it was unearthed by Pius VII. in 1803.
Passing through the arch and turning to the right, we see be- fore us the massive stone remains of the Bostrai or orators' tribune, erected by Julius GsBsar. This tribune consisted of an extensive raised platform, about 80 ft. long and 40 ft. wide, adorned vnth statues and tablets, and giving the orator room to walk up and down during his speech. It has been aptly compared to the preaching
stages in some of the Roman and Neapolitan churches.
The original tribune derived the name of Rostra from the iron prows of the war-ships of Antinm with which it was adorned after the capture of that town in B.C. 338. Its position cannot now be definitely fixed, but was certainly nearer the Curia (S. Adriano). Csesar transferred it to the end of the Forum in the course of his extensive building operations. The holes in which the iron prows were fastened are still visible in the massive blocks of hewn stone.
The Rostra naturally faced the Forum proper, the space reserved for public assemblies. Most of this area is still covered with houses, but the S.W. corner, paved with slabs of limestone, is open to view. Anciently it extended to the church of S. Adriano (p. 238), occu- pying the site of the Curia, or hall of the Senate. Between S. Adriano and the temple of Faustina lay the Basilica Emilia , the site of which is also covered with modern houses.
Opposite the Rostra, on a rude substructure of blocks of tufa,
occupying part of the place used by the popular meetings, rises the
latest monument of antiquity in the Forum, the ^Column of Fhoeas,
54 ft. in height, which was erected in 608 in honour of the tyrant
J^hocas of the Eastern Empire, by the exarch Smaragdus, having
been taken by him from some older \)u\.\d\iv^.l\.>K%% formerly crowned
witA a gilded statue of Phocas. TMs coYwmii, -vVvtV \ov^% ^axnis^
*6e distinctive mark of the Eorum ^B^xoTi'a ^u^im^X^s^ <i.Q\^^saxL^\Ssv
Jbfum Romanum. ROME. IV. Ancient Rome. 229
& buried base'}, was at length disinterred in 1813 at the cost of the Duchess of Devonshire.
Among the monuments now standing on the pavement of the Forum, the first place in point of artistic execution and preservation is taken by a marble railing adorned with two admirable re- liefs (^^Anaglypha'^, These were found in 1872 incorporated in the foundations of a mediaeval building. They probably formed part of the decoration of the balustrade of the steps ascending to the Rostra. They represent events that took place in the Forum it- self, and their architectural backgrounds are of great assistance in determining its appearance in antiquity.
The FiBST Relief (next the Capitol) alludes to Trajan's 'Alimenta', or institution for poor children: on the right is the emperor, in front of him is Italy, holding a child by the hand (destroyed) , and another in her arms to which Trajan hands a Hessera\ or ticket; on the left is a magistrate with his lictors, proclaiming his edict from the rostra. In the background are a Triumphal Arch (perhaps that of Augustus, which stood down to the 9th cent, near the church of S. Martina), the Curia (with its five Corinthian columns), the Basilica Emilia, the Ficus Ruminalis (or fig-tree under which the she-wolf reposed) , and the statue of Marsyas (which stood at the lower end of the Forum, near the Temple of Castor). AH these were in or near the N.E. part of the Forum. — The Second Relief represents the remission of arrears of taxes, the records of which are being set on fire in Trajan's presence. In the background are the buildings on the N. and W. sides of the Forum: the Temple of Concordia (with eight Corinthian columns), an arch (perhaps of the Ta- bularium), the Temple of Saturn (with eight Ionic columns), and the Ba- silica Julia. Marsyas and the fig-tree also again occur. On the inner sides are a wild boar, a ram, and a bull, the victims sacrificed at the public celebration of the Suovetaurilia.
The subjoined Views of the N. and W. Sides op the Forum are taken from a point in front of the Anaglypha. At the top are reconstruc- tions of the ancient appearance of the Forum , and below its present ap- pearance. In the former the flutings of the columns have been omitted for the sake of clearness.
In the middle of the square are the remains of a large pedestal, probably of the equestrian statue of an emperor. The eight square pedestals of brick, which adjoin the Forum on the side next the S. branch of the Sacra Via, were formerly lined with marble and pro- bably bore granite columns (fragments of which lie scattered about) surmounted with statues. The hasty construction points to a late origin, perhaps in the reign of Constantine.
On the E. side of the Forum, and facing the Capitol, is situated the Temple of Csesar, near which GsBsar had erected a new orator- ical tribune. It was from this tribune, at the funeral of the murdered dictator on 19th or 20th March, B.C. 44, that Mark An- tony pronounced the celebrated oration which wrought so power- fully on the passions of the excited populace. A funeral pyre was hastily improvised, and the unparalleled honour accorded to the illustrious deceased of being burned in view of the isaft«t ^^<jxRi^ shrines of the city. A column with t\ie iivftctVg^^Ti ''\%s.<w^^-^ ^^i*:?cs5^ was afterwards erected here to commemoxsAfe ^^ ^^eoX. ^n^^^"^*^^^ erected this temple in honour of 'Di^ua 3\i\Va%' > Vsa ^^ev*^^^ ^^'^
230 JV. Ancient Rome. ROME. . Atrium Vesta.
and adoptive father, and dedicated it to him in B.C. 29, aftei the battle of Actium. At the same time he adorned the tribune with the prows of the captured Egyptian yessels.
The foundation of the sabstrnctarea of the temple, consisting of concrete, were discovered in 1872, but their covering of solid stone has been removed. In front of the temple there are the remains of a plat- form, still partly paved with slabs of stone, which is believed to have been the above-mentioned tribune or Rostra od 2>tvt JuliL Its present form appears to have resulted from subsequent alterations.
Between the Temple of Gssar and the Temple of Castor and Pollux the remains of a Triumphal Arch of Augustus were recently found. This arch spanned the Sacra Via and formed the architectural termination of the Forum.
Farther on, to the S.E. of the Temple of Castor, near the slopes of the Palatine, lies a group of buildings connected with one of the most venerable cults of Rome, that of Yesta. The circular erection of tufa belonged to the celebrated Temple of Vesta, in which the sacred fire was kept alight by the Vestal Virgins. Numerous fragments of its marble ornamentation strew the ground. The work- manship of these is somewhat careless , dating apparently from the restoration of the temple in the 3rd century of our era. — A small and well-preserved JEdieula, or shrine for the image of a god, erected according to the inscription by the Senate and People of Rome, was found behind the temple in 1882.
Adjoining the iEdicula are a few steps and a side-entrance leading to the *Atriiim VeBtee, or Palace of the Vestal Virgins, excavated in 1883-84. The extant ruins are of carefully constructed brick- work, which, however, has almost entirely lost its marble facing. They date from the imperial period, probably from the 2nd cent, of our era. The whole building falls into three divisions : a rect- angular colonnaded court, corresponding to the Atrium in private houses ; the dwelling-rooms of the Vestals, grouped round a lofty square apartment, resembling the ordinary Tablinum; and the
kitchen and offices to the right, behind the Atrium.
The Court, 224 ft. long and 75 ft. wide, is the most extensive part of the building. It was surrounded by a two-storied arcade, with columns of veined green cipollino marble below and red breccia corallina above. The middle of the court was probably occupied by fountains and flower- beds, in order to make it as pleasant as possible for the Vestals, who were confined to their palace like the inmates of a nunnery. The court was also adorned with statues of the Head Vestals ( Virgines Vestales Maxitnae)^ of which eleven are still preserved in whole or in part, some showing excellent workmanship. The intervention of the Vestal Virgins was often very effective in procuring appointments to official and even military posts, and the inscriptions on the bases of some of the statues show that they were erected by grateful relatives and other recipients of such favours. The names (Numisia aiaximilla, Terentia Flavola, Flavia Publicia, Coelia CJaudiana, Terentia RuflUa) belong to the 3rd and 4th cent. (201-364 A. D.). At the inner end of the court is a marble-lined cistern for the reception of rain-water, as a venerable precept ol l^e-Vt cajW. loxWda the priestesses /o U3e water conveyed through aTl\f\c\a.\ c"\is.T«i«\%.
The second diviaion of tlie palace coTxaVaVa ol \Vfe Ti'w^VLvs.^v 'S.^sis*.^, la the naiddle is a lofty square room a,\)^Toa»<i^^^ \>^ a^^\j^^ ^^ ^*«^ ^^^
88. Coamae Damiano. ROME. IV. Ancient Rome. 231
of it are three doors giving access to what are supposed to be the cells of the six priestesses. There were other apartments in the upper floor, of which, however, a part only, including several bath-rooms, has been
S reserved. A wooden staircase ascends from one of the apartments on the . side. Here also is an exit leading to the Ifova Via, which diverged from the Sacra Via at the Arch of Titus (p. 244).
The third group of rooms, behind the Atrium, to the right, were used for Domestic Pukposbs. A mill, a kitchen, and several storerooms may be here observed.
We now return to the Temple of Vesta and continue our walk along the Sacra Via.
Between the temples ofYesta and Faustina are a few fragments of the marble walls of the Regia, or official quarters of the Pontifex Maximus. The Fasti preserved in the Capitol (see p. 215) were found here. At the Regia the Sacra Via was spanned by the Arch of the Fabii, erected in B.C. 120 by Q.FabiusMaximus, the conqueror of the Allobrogi , and forming the S.E. boundary of the Forum. A few scattered fragments of its stone-facing and vaulting have been discovered, and may now be seen opposite SS. Cosma e Damiano. The exact site of the arch cannot be identified.
Farther on in the Sacra Via, on a base 16 ft. above the street and formerly reached by a flight of steps, is the '''Temple of Faustina, of which the portico (with ten columns, six of which form the facade) and part of the cella are still standing. It was dedicated by An- toninus in 141 to his wife, the elder Faustina, and re-dedicated to that emperor himself after his death. The first line of the inscrip- * tion , Divo Antonmo et divae Faustinae ex S.C.y was then added. In the interior of the temple is the church of 8. Lorenzo in Miranda,
The portico was excavated in 1807 and 1810. The columns are of cipoUino, or marble of Euboea, and are 46 ft. in height. The cella is of peperine, the marble incrustation of which has entirely disappeared. — The year of the foundation of the church is unknown, and the earliest record of it dates from 1377. The facade was erected in 16CK3. The entrance is at present in the Via di S. Lorenzo in Miranda, on the S.E. side.
A hill, named the Velia In ancient times, connects the Palatine and Esquiline, its highest point being marked by the Arch of Titus (97 ft.; p. 233). The 8acra Via ascends gradually towards the S.E., and soon reaches —
* 88. Cosma e Damiano (PI. II, 20, 5 -, entrance in the Via di Miranda), built by Felix IV. (526-30), .having been incorporated with an ancient circular temple erected by the Emp. Maxentius to his son Romulus, and sometimes erroneously called a temple of the Penates. Owing to the dampness of the soil, Urban VIII. raised the level of the pavement so much in 1633 , that an upper and a lower church were formed.
The Lower Chubch, which retains its old bronze doors with their an- tique lock, contains the tomb of SS. Cosmas, Damianus^ and l£^Vvs.^ Vkx^ ^- cient altar, remains of an ancient pavemenX., wi^ ^OTj^'^Voa.VVs^^'^ "a.vs«»!^N said to have been called forth by St. ¥e\\x. vcv\sx-
Upfbb Chvros. On the arch of t\ie <iYioVt M^^HsvNSt^'^Vri^i^^^'xxxrW^^N- esUng *Jfo0aiet of the 6th cent, the perioeL oi i\ife ioM\i^«t% \jct>asw^^^^'^
232 JV. Ancient Rome, ROME. Basilica of Constantine,
beantifnl of their kind at Rome (see p. xlvi), but freely restored about 1660 (best light towards evening). Those on the arch, which has been shortened during a restoration, represent the Lamb with the Book with seven seals, according to Revelations iv. \ adjoining these the seven candlesticks , four angels, and two of the symbols (angel and eagle) of the Evangelists. The arms with wreaths, below, belonged to two prophets. In the tribune: Christ, to whom the saints Ciosmas and Damianus are conducted by Peter and Paul; on the left side St. Felix with the church (new), on the right St. Theodorus. Beneath , Christ as the Lamb , towards whom the twelve lambs (Apostles) turn.
At the back of the church were found the remains of an ancient plan of Rome, other fragments of which were discovered in 1867-68 and in 1882 (see p. 217). The ancient wall to which the plan was affixed belonged to the Templum Bcurae UrbiSy an edifice erected by Vespasian in A.D. 78 and restored by Septimius Severus, which seems to have been used as a repository for the archives of the censor, municipal plans, registra- tion lists, etc.
We next reach, on the left, the three colossal arches, of the *Ba- silioa of Constantine (PI. II, 20, 23) , erected by Maxentius, but afterwards altered by his conqueror Constantine. The entrance ori- ginally faced the Colosseum, but afterwards the Sacra Via. It was a basilica of three halls, with vaulting of vast span, which has served as a model to modern architects, as in the case of St. Peter's, where the nave- vaulting is of the same width.
The Ground Plan is rectangular in form, about 100 yds. long and 88 yds. wide. The principal apse, opposite the entrance from the Colos- seum, has lately been extricated from rubbish, but is only partly preserved. After the opening of the second entrance on the side next the Palatine, ' a second apse was added. The tunnel vaxdting of the S. aisle has been preserved^ width 66 ft., depth 54 ft., height 78 ft. The span of the nave was about 80 ft. ; its height 112 ft., and its width 66 ft. In front of the central pillars stood eight huge Corinthian columns of white marble ; the only one now existing stands in front of S. Maria Maggiore (p. 176). The entrance facing the Sacra Via was formerly adorned with columns of red porphyry, some of the shafts of which have been re-erected.
The traveller should not omit to ascend to the summit for the sake of the magnificent ^"-''Panobama of ancient Rome which it commands. As, however, the Via in Miranda is now inaccessible from the Forum, we must make a detour to reach the roof^ perhaps the best plan is to ascend on the way back from the Colosseum. Those who wish also to visit the interior follow the road between the side of S. Francesca Romana and the high garden-wall, and opposite the Colosseum turn sharply to the left and descend the Via del Colosseo. At the corner here is No. 61, a home for poor girls (visitors ring; i/a fr.), from the garden of which we ascend a light of steps. A window adjoining the stairs affords the best view of Colosseum, to the left of which are the Thermae of Titus on the £s- quiline^ to the right the circular S. Stefano^ nearer, SB. Giovanni e Paolo with the new dome, both on the Ceelius. Beyond the Colosseum the Alban, and to the left the Sabine Mts. To the S. tlie Palatine with the ruins of the imperial palaces and two monasteries, and the opposite bank of the Tiber with the Villa Pamphilj. Towards the W. the Capitol ^ to the right of it, between the domes of two churches, Trajan''8 Column is visible; above the latter Monte Mario*, farther to the right the Torre di Nerone and the Quirinal.
Adjoining the basilica of Constantine, and partly occupying the site of a temple of Venus and Roma (^see ^.*)3>'i'^, \s> >iXi& OK»xQAi.Qf — S, Fr&ncescsL Bomana (PI. II, 1?i\ cciTvU\mw?,\\v^\»Tft\4Ql¥ta\v- ffesea de' Ponziani^ who died in 1440 md ^^^ c,^tvqw\%^^ \w VcSS^
Arch of Titus, ROME. IV, Ancient Rome. 233
(festival, 9th March). It occupies the site of a much older church,
mentioned as 8, Maria Antiqua as early as the 8th cent., which was
afterwards repeatedly altered. The most extensive restoration was
carried out by Honorius III. about 1216, after a fire. In the later
middle ages it was called 8. Maria Nova. The facade, by Carlo
LombardOf was added about 1612.
Interior. On the right, 2nd Chapel: (r.) Monument of Card. Vulcani (d. 1322) and that of the papsJ commandant and general Antonio Kido (d. 1475). 3rd Chapel: Miracles of St. Benedict, altar-piece by Subleyras. In the Tbibuhx mosaics of the 12th cent, (lately restored) : in the centre Madonna, (1.) SS. John and James, (r.) Peter and Andrew. Over the high-altar an ancient Madonna, traditionally attributed to St. Luke, which is said alone to have escaped destruction in the conflagration. To the right of the apse : monument of Gregory XI., who transferred the papal residence from Avignon to Rome (d. 1378), with a relief by Olivieri. Here on the right, built into the wall, are two stones on which Peter and Paul are said to have knelt when they prayed for the punishment of Simon Magus. In the Confessio a group of the saints with an angel , by Meli. Under the tribune (closed) is the tomb of the saint, and over the altar a marble relief by Bernini. — Sacbistt. On the left wall a Madonna with four saints , by Sinibaldo Jbij a pupil of Perugino, 1624.
Adjoining the church, on the summit of the Velia (p. 231) and at the foot of the Palatine, rises the * Triumphal Arch of litUB, commemorating the defeat of the Jews (A.D. 70), and dedicated to him under his successor Domitian in 81, as the inscription on the side next the Colosseum records : 8enatit3 populusque Romanus divo Tito divi Vespasiani filio Vespaaiano Augusta . The arch is embel- lished with fine *Reliefs (p. xxxvii).
Outbids : On the same side as the inscription is a sacrificial procession on the frieze. Iksidb : Titus crowned by Victory in a quadriga driven by Roma; opposite, the triumphal procession with the captive Jews, table with the show-bread, and candlestick with seven branches. — In the middle ages the arch was used as a fortress by the Frangipani, and strengthened with battlements and new walls. When these were removed in 1822 under Pius VII., the arch lost its support, and had to be recon- structed, as stated by the inscription on the other side. The central part, in marble, is therefore alone ancient ; the restored parts are of travertine.
The street descends past the remains of private houses to the Colosseum. [To the right diverges the Via S. Bonaventura, with the convent o{ 8. Bonaventura; the con vent- garden, open to gentle- men, contains a fine palm and commands a beautiful view.] On the left is the double apse of the Temple of Venus and Boma (PI. II, 20), erected by Hadrian from a plan by himself in A.D. 135, and restored after a fire by Maxentius in 307. This was one of the most superb temples in Rome. The gilded bronze tiles were removed to St. Peter's by Honorius I. in 626.
There were evidently two temples under the same roof, entered from the sides next the Colosseum and next the Capitol. The cellee were adjacent, so that there was a niche on each side of the central wall for the image of a god. The older portion, with a well-preserved *Apse^ ia built into the monastery of S. Francesca Roma.i[\»i Vs.«ft^%^'^'i^'^^ ^"^"^ occupied by the Directors of the Excavai\on^\ XXv^ o\\v«t \«;NS.N.«H*'KtL5i^ ^^'^ Colosaeam ia open. The vestibules ol t\ifc ce\\«fc \i».^ «».'sXi^ ^«^^ "^^^Ji^ ia front. Around each ran a colonnade ot tfciv Q.Q,\vjLTiiXL^ ^^- ^^^^..^Jk nh*s twenty &t the u'des (length 120 yds., wiAtlx tA^^^.V '^"^'^^ ^^x^^^^^
234 IV, Ancient Rome, ROME. The Colosseum,
enclosed by a second, of about 200 colamns, 180 yds. long, and 110 yds. wide, and projecting as far as the street, where it was supported by massive substructures. To this colonnade belonged the granite shafts scattered about here. The cellee were encrusted with the rarest marbles.
Descending hence towards the Colosseum, we leach the so-called Meta SudanSj the partly restored brick interior of a magnificent fountain erected here by Domitian. To the right we see the Arch of Constantine (p. 236). To the left (N.) we observe the remains of an extensive square Basis of masonry. Here once stood the gilded bronze Colossal Statue of Nero ^ as god of the sun, surrounded with rays, and about 117 ft. in height, executed by Zenodorusby order of the emperor himself, to grace the golden palace which he erected with lavish splendour after the burning of Rome in A.D. 64. The palace fell to decay soon after Nero's death in 68 (p. 133), and the statue was removed by Hadrian to this pedestal. In the space occupied by an artificial lake in the gardens of Nero , Vespasian founded the —
**Col08BeiiiiL (PI. n, 24), originally called the Amphitheatrum Flavium , the largest theatre, and one of the most imposing struc- tures in the world , completed by Titus in A. D. 80. It was in- augurated by gladiatorial combats , continued during 100 days, in which 5000 wild animals were killed , and naval contests were ex- hibited ; and it contained seats for 87,000 spectators. The building has been known since the 8th cent, under its present name, derived
probably from the colossal statue of Nero which once adorned it.
Having been injured by fire in the reign of Hacrinus, it was restored by Alexander Severus. In 248 the Emp. Philip here celebrated the 1000th anniversary of the foundation of Rome with magnificent games. In 405 gladiator-combats were abolished by Honorius as inconsistent with the pre- cepts of Christianity, but wild-beast fights were continued till the time of Theodoric the Great. In the Middle Ages the Colosseum was used by the Roman barons, especially the Frangipani, as a fortress. In 1312 the Anni- baldi were obliged to surrender it to Emp. Henry VII., who presented it to the Roman senate and people. In 1332 the Roman nobility again intro- duced bull-fights. After this period, however, the destruction of the Colos- seum began, and the stupendous pile began to be regarded as a kind of quarry. In the 15th cent. Paul II. here procured materials for the con- struction of the Pal. di S. Marco (di Venezia), Card. Kiario for the Can- celleria, and Paul lU. (1534-49) for the Palazzo Farnese. Sixtus V. pro- posed to establish a cloth-factory here, and Clement XI. actually used the building for the manufacture of saltpetre. Benedict XIV. (1740-58) was the first to protect the edifice from farther demolition by consecrating the interior to the Passion of Christ, referring to the frequency with which the blood of martyrs had flowed there ; and he erected small chapels within it, which were removed in 1874. The following popes, particularly Pius VII. and Leo XII., have averted the imminent danger of the fall of the ruins by the erection of huge buttresses. The steps in the interior were restored by Pius IX.
The Colosseum is constructed of blocks of travertine, originally
held together by iron cramps, and tufa and bricks have also been
used in the interior. The numerous holes were bored in the middle
as^es, foi the purpose of extracting the then very valuable iron.
According to the most trustworthy slatislVca t\vft ft-Llernal circum-
ference of the eiiiptical structme mfta^Miesyi^^^^., Qxw^xVi ^w^^-
tliiTd of a mile, the long diametei "My y^V^., ^\v«i a\vQTX«t \n^ >i^^..
The Colosseum. ROME. IV. Ancient Rome. 235
the arena 93 yds. by 58 yds., and the height 156 ft. Above the arena rise the tiers of seats, intersected by steps and passages, most of which are now in ruins and only partly accessible.
The exterior of the still preserved N.E. portion, on the side next the Esquiline , consists of four stories, the three first being formed by arcades, the pillars of which are adorned with half-columns of the Doric, Ionic, and Corinthian order in the 1st, 2nd, and 3rd stories respectively. A wall with windows between Corinthian pilasters forms the 4th story. Statues were placed in the arcades of the 2nd and 3rd stories, as appears from the representations on ancient coins. At the ends of the diameters are the four triple Pbincipal Entbancbs, those next to the Esquiline and Caelius being destined for the emperor, the others for the solemn proces- sion before the beginning of the games, and for the introduction of the animals and machinery. On the side next the Esquiline are seen traces of the stucco-decorations, which were used as models by Giovanni daUdine, the pupil of Raphael. The arcades of the lowest story served as entrances for the spectators, and were furnished vrith numbers up to Ixxvi (Nos. xxlii to liv still exist) , in order to in- dicate the staircases to the different seats. Below, on the exterior, are two rows of arcades; inside a massive substructure for the seats. Every fourth arch contains a staircase.
Part of the Tiebs op Seats is still distinguishable ; the foremost, called the Podium , was destined for the emperor, the senators, and the Vestal Virgins. The emperor occupied a raised seat, called the Pulvinar, and the others had seats of honour. Above the Podium rose three other classes of seats, the first of which was allotted to the knights. The humbler spectators occupied the last division , in a colonnade , on the roof of which were stationed sailors of the im- perial fleet for the purpose of stretching sail-cloth over the whole amphitheatre to exclude the glare of sun. Apertures are still seen in the external coping, with corbels below them , for the support of the masts to which the necessary ropes were attached.
Under the Abbna, and adjacent to the foundations of the inner wall , were chambers and dens for the wild beasts. More towards the centre were found a number of walls, pillars, and arches, partly required for the support of the arena , and partly connected with the theatrical apparatus employed in some of the performances. Since 1874 one half of the arena has been disclosed by excavations. The precise uses of the various chambers are not yet ascertained.
Although one-third only of the gigantic structure remains, the ruins are still stupendously impressive. An architect of last century estimated the value of the materials still existing at V/2 million scudi, which according to the present value of money would be ecx^i- valent to at least half a million pounds stetWw^. IV'b ^^Q-^^'svixsiLXsa.^ ever been a Bymhol of the greatneaa oi^om^, wv^ ^uw-s^tv^^Nsv'Osw'^ 8th cent, to a prophetic saying of the '5\igtimft*. —
236 IV. Ancient Rome, ROME. Arch of ConatanUne,
'While stands the Colosseum, Rome shall stand,
When falls the Colosseum) Rome shall fall.
And when Rome falls, with it shall fall the World I'
The Upper Stobies should he visited hy those who desire to obtain a distinct ides of the character of the structure (custodian found at the entrance next to the Palatine^ gratuities forbidden). We ascend a new stone staircase to the first story. Of the three arcades here we follow the innermost, which affords a surrey of the interior. Over the entrance from the Palatine a modern staircase of 48 steps ascends to the 2nd, and then to the left to a projection in the 3rd story. The *View from the restored balustrade to the right in the 4th story, to which 55 more steps ascend, is still more extensive. It embraces the Cselius with S. Stefano Botondo and SS. Giovanni e Paolo; farther off, the Aventine with S. Balbina, in the background S. Paolo Fuori; nearer, to the right, the Pyramid of Gestius; to the right the Palatine, with the arches of the Aqua Claudia.
The Colosseum is profoundly impressive by Moonlight, or when illuminated (e.ff.y by Bengal lights ; comp. p. HZl). The traveller should avail himself of a fine moonlight night for the purpose. Visitors may enter the arena at any hour of the night, but a special permesso of the Kinistry is necessary for access to the tiers of seats. The Flora found among the ruins of the Colosseum once comprised 420 species, which were collected by an English botanist, but most of them have disappeared.
To the S.W. of the Colosseum, between the Caelius and Pala- tine, spanning the Via Triumphalis which here joined the Sacra Yia, stands the —
^Triumphal Arch of Constantine (PI. n, 24), the best-preserved structure of the kind in Rome, erected after the victory over Maxen- tius at Saxa Rubra, near the Ponte MoUe, in 311, when Constantine declared himself in favour of Christianity. The inscription runs thus : Imp. Caes. Fl. Constantino Maximo pio felici Augusto Senatus Po- pulusque RomanuSj quod instinctu divinitatis mentis magnitudine cum exercitu sua tam de tyranno quam de omni ejus factione uno tempore justis rem publicam ultus est armis arcum triumphis insignem dicavit. The arch has three passages. The greater part of the orna- mentation and the admirable *Sculpturbs were brought from an arch of Trajan which stood at the entrance to Trajan's Forum, contrast- ing strongly with the rude additions of the time of Constantine.
From the Arch opTbajan: Above, the captive Dacians (ancient; but one of them, and the heads and hands of the others, are new). Reliefs (facing the Colosseum, to the left): 1. Trajan's entry into Rome; to the right of it, 2. Prolongation of the Via Appia; 3. Trajan causing poor children to be educated; 4. Trajan condemning a barbarian. On the other side, to the left : 5. Trajan crowning the Parthian king Parthamas- pates; 6. Soldiers bringing two barbarians before Trajan; 7. Trajan addressing the army; 8. IVajan sacrificing. The eight Medallions below these reliefs represent sacrifices and hunting-scenes ; on the narrow sides two battles with the Dacians; below the central arch, the vanquished imploring pardon, and Trajan crowned by Victory. — The marked con- trast between the two different periods of art is exhibited by the smaller reliefs inserted between the medallions, representing the achievements of Constantine in war and in peace. In 1804 Pius VII. caused the arch to be thoroughly excavated. In the 10th cent, it was converted into a castle, and afterwards belonged to the Frangipaui.
On the opposite side, a few lumped ^^c^a \.Q\\i^^.^. 'iWXv^ Colosseum, in the Via Labicana, fList gatfe to VXi^ \fei\. ^\ifewR.fe >iXv^
Thermae of Titus. ROME. IV. Ancient Rome. 237
Via della Polveriera ascends to the left between walls in 5 min. to S. Pietro in Vincoli, p. 182), are situated on tlie Esquiline the • —
♦ThermaB of Titus (PI. II, 26 ; adm., see p. 124) ; visitors should be careful not to enter these ruins in a heated condition. Maecenas once had a villa here, which was afterwards incorporated with the golden palace of Nero. On the site of the latter, in A.D. 80, Titus hastily erected his sumptuous Thermae, which were altered and enlarged by Domitian, Trajan, and others. The Thermae themselves, though still nearly entire in the 16th cent., have now almost vanish- ed ; some fragments of them are scattered over the vineyards be- tween 3the Via Labicana and the Via S. Pietro in Vincoli. The small part now accessible, excavated in 1813, belongs almost wholly
to Nero's building.
The nine long vaulted parallel passages first entered belong to the building of Titus and formed together the substructure of a large semi- circular Exedra, such as is found at the Thermee of Diocletian, Caracalla (p. 255), and others. Nero^s buildings form an angle of 45** with the axis of the Thermse. A suite of seven rooms is first entered here ; to the left, near that in the centre, are remains of a spring. The special purpose of these rooms, which seem to have had no connection with the Thermee, cannot be definitely settled. Their chief interest lies in the beautiful mural paintings, which served as models for Giovanni da Udine and Ra- phael in the decoration of the loggie. The custodian points out the spot where the Laocoon is said to have been found, but this famous group was really found at the Sette Sale (p. 181).
Fora of the Emperors. Academy of St. Luke.
In the plain to the N.E. of the Forum of the Republic lay the Fora of the Emperors , which were erected rather as monuments to their founders and ornaments to the city than for political purposes, and were chiefly used for judicial proceedings. The chief edifice in these fora was always a temple. The Forum Julium , the first of the kind , was begun by Caesar and completed by Augustus ; the second was built by Augustus. A third, in front of the Templum Sacrae Urbis (p. 232), was constructed by Vespasian. Between this forum and the first two lay the Forum Transitorium (see p. 239), to the N. of which was that of Trajan (p. 240), the most magnificent of all.
We begin our inspection at the N. corner of the Forum Romanum, where the Via delV Arco di Settimio Severo (p. 211), descending from the Capitol, unites with the Via di Marforio (p. 163).
Here, in the Via di Marforio, lies the small church of S. Giu- seppe de' Faleynami (PI. II, 20, 5), which is built over the Career Mamertinus, one of the most ancient structures in Rome (entr. from the church ; light supplied by the sacristan, ^2 ^0* "^^^^ ^^^ ori- ginally built over a well, named Tullianumj and thence traditionally attributed to Servius Tullius, and it was &ftei^%.i^%"^^^^^'a»^"^'^^s»'^^-
It consists of two chambers, on© "beVow Wi^^ c^Wvet^ ^1 ^«t^ -vblOnk^ coDBtmction. The upper is an IrregnlaT c\ua.Ai\Vij.\.eT^\.,N^^i^<:>a'^^^^?^'^^r^^ once Adjoined by other similar chambeta. Xiv Vu^cxVe^^o^v ^^ >X A^t^A. records a restoration , probably at tlie \>e%\iiii\ii% ot ^2^^ ^tsx^««v^^ ^
238 IV. Ancient Rome, ROME. Accademia di 8. Luca.
The lower chamber, which was originally accessible only through a hole in the ceiling, la 19 ft. long, 10 ft. wide, and 6V2 ft. high. The vaulting is formed by the gradual projection of the side-walls until they meet. It contains a spring, which, according to the legend, St. Peter, who was imprisoned here under Nero, miraculously caused to flow in order to baptise his jailors. The building has therefore been named S. Pietro in Carcere since the 15th century. In this dungeon perished Jugurtha (after having been deprived of food for six days), Vercingetorix, and other con- quered enemies. Sallust, in recording the execution of Catiline''s confede- rates, describes the prison thus: — *E8t in carcere locus, quodTullianum appellatur, circiter duodecim pedes humi depressus. Eum miniunt undique parietes atque insuper camera lapideis fornicibus vincta; sed incultu te- nebris odore foeda atque terribilis ejus facies est.** (In the prison is a chamber named the Tullianum, about 12 ft. below the surface of the ground. This is surrounded by walls and covered by a vaulted stone roof; but its appearance is repulsive and terrible on account of the neglect, darkness, and smell.)
A little to the E. the Via Bonella reaches the Forum. At the end of it, to the right and left, are the churches of S. Adriano and SS. Martina eLuca, both erected on the sites of ancient build- ings. 88. Martina e Luca (PI. 11, 20, i) consists of an upper and lower church, the latter of very ancient origin, and the former erected in the 18th cent, by Pietro da Cortona. — 8. Adriano, with its unadorned facade, was erected by Honorius I. in the 7th cent, and afterwards restored. It occupies the site of the Curia Hostilia, which was subsequently re-erected under the name of Curia Julia by CaBsar and Augustus, and was used as an assembly-hall by the senate (comp. p. 227).
No. 44, Via Bonella, adjoining SS. Martina e Luca, is the — Accademia di S.Luca (PI. II, 20), a school of art founded in 1577, and re-organised in 1874. The first director was Federigo Zucchero. The picture-gallery of the Academy (adm., see p. 122), a second- rate collection, contains few works of importance.
We ascend the staircase, into the walls of which are built a few casts from Trajan's Column (disfigured with whitewash). On the first land- ing is the entrance to the collection of the competitive works of the pupils (closed): KesseVs Discus-thrower reposing, in plaster; Christ on the Mt. of Olives, drawing by L. Seitz; reliefs by Thorvaldsen and Canova; Ganymede watering the eagle, by Thorvaldsen, and several casts from the antique. We ascend another staircase, and ring at the entrance to the — Picture Gallery (V2 fr.). A small Antk-Chamber (with engravings, etc.) leads to the I. Saloon, lighted from above. Entrance-wall: 1. Early Flemish School, Descent from the Cross. 2. Carlo MarattOy Madonna; on the back of this picture there is a *Copy, by Marc Antonio, of the first design of Raphael's Transfiguration (figures nude ; original supposed to have been lost), 3. Rubens, Venus crowned by the Graces \ 10. Van Dyek, Madonna. — End-Wall : 21, 24. Jos. Vernet^ Sea-pieces. — Wall facing the entrance: 31. Berchem^ The Campagna; 36. Mytens, Admiral Kortenaar (1638); 39. P. Veronese^ Toilette of Venus; 40. Qtmli^ Birth of John the Baptist; 153. Giulio Ro- mano ^ Copy of Raphael's Galatea in the Farnesina; 43. Guido Reni^ Cu- pid. — Short wall: 52. J. Vernet, Searpiece. — The saloon is adjoined on one side by a Room, containing modern works, most of them painted in competition for academical prizes. To the right of this room is the Biblio- TBCA Barti, containing 15,000 voVa., t\i\fe?L^ Tfe\^\-vci% 1q art., presented to the Academy in 1881 by A. Sarti, t\ie arc\i\\.ec\.. — 'Yq XX^.^ ^^\. \^ ^ '$»^k\a. Room, with portraits of artists , iTvcludim^ N\T%vcv\«k \.€t>Tw\v ^>5vSk. kiNsj,sX\R.w Kaufmann (to the left of tlie eutta^uce^.
I
Forum of Nerva. ROME. IV. Ancient Rome. 239
II. Saloon. 81. SpagnoUtto ^ St. Jerome disputing with the scholars; 79. Titian^ Discovery of the guilt of Callisto, inferior to the other mytho- logical pictures of this master •, *78. Raphael, Boy as garland-bearer, being a relic of a fresco in the Vatican, sawn out of the wall, and freely
. retouched ; 77. Ouereino , Venus and Cupid (al fresco) ; 73. J/ter Titian, Tribute-money (original in Dresden); 194. Salv. Rosa^ Concert of cats; 61. After Titian , St. Jerome ; 59. Titian (?) , Vanitas ; 57. Early Flemish School^ Madonna.
III. Saloon. To the right, 91. Poussin, Bacchic dance; 103. Gnido Cagnaccif Lucretia, an admirable work of this master, a painter of no great note belonging to the school of Guido Reni; 107. Paolo YeronesB, Susanna; 1()8; Pellegrini, Hebe; 109. Palma Veeehio. Susanna. — Opposite the entrance, 116. Ouido Reni, Bacchus and Ariadne ; 122. Albani, Madonna. — Long wall : 1S3. Guido Reniy Fortuna.
The two small rooms adjoining Saloons II. and III. contain nothing of moment.
To the N.W. of 88. Martina e Luca and the Academy lay the Fonun of Csesar or Forum Julium, the centre of which was occupied by a Temple of Venus Oenetrix. Some remains of the massive enclosing wall , of tufa and travertine, may be seen in the court of No. 18, Via delle Marmorelle.
Beyond the intersecting Via Alessandrina (see p. 240), the Via Bonella is terminated towards the N. by an ancient wall with a gate- way. On the inner side of the latter, to the left, are three hand- some and lofty *Gorinthian columns with entablature, which belonged to one of the sides of the Temple of Mats Vltor in the Fomm of AtLgnstns (PI. II, 20). The forum was enclosed by a lofty *Wall of peperino blocks (a grey volcanic rock), part of wliich, about 160 yds. long , is seen near the temple , and still better by passing through the gateway (Arco de' Pantani). This wall was adjoined by the back of a temple erected by Augustus in B. C. 2, in consequence of a vow which he made during his war against Caesar's murderers. The forum is now occupied by the nunnery of the Annunziata. The original level is about 16 ft. below the surface. This locality was a swamp (*pantano') in the 16th cent., whence the modern name.
The Arco de' Pantani leads to the Via di Tor dt' Conti, so named from a fortified tower erected to the S.E. of the Arco de* Pantani by Marchionne of Arezzo in the pontificate of Innocent III., who was a member of the Roman family of Conti. The greater part of the tower was carried away at the beginning of the 17th century.
We proceed to the right silong the outside of a massive wall and then turn to the right into the Via delta CroceBianca, which crosses the site of the Pomm of Nerva, founded by Domitian and completed by Nerva , sometimes called the Forum Transitorium from having been intersected by an important street. Here stood a temple of Minerva, taken down by Paul V. in order to obtain marble for the decoration of the Fontana Paolina on the Janiculus, and a small temple of Janus. Remains of the external walls exist in the so-called *Colonnacce, two half-buried Corinthian columns, with entablature enriched with reliefs (representing the practice of the ait%.^^^v5\ss!^^ etc. , which were specially protected "bv t^ife %o^^fe?>^\ ^a.^X.'s* ^"^'Osv^ess*. in the collection of the Fieacli Academy, ^. V^^^v ^^^'b*^^^ >^ an attic with a ilCnerva. This foagnieiit, bV^u^X.^^ ^^ ^^ ^^\.«^'feft.^^^ss^
240 ly, Andmlt Borne. ROMS. Trajan's Column.
of the Via Alessandrina and Via della Gioce Bianca, at the E. cor- ner (PI. lU 20), is well calcnlated to afford an Idea of the former grandeur of the stmctnre.
The busy Via Aleasandfina leads hence, crossing the Via Bo- nella and the site of the Fomm of Angnstiis (see p. 239), to the Piazza del Fobo Tkajano (PI. 11, 20, 19).
The *Fonim of Tn^An^ which adjoined the Fomm of Augustus, was an aggregate of magnlfloent edifices, and is said to have been designed by Apollodorus of Damascus (111-114). By means of a huge cutting between the Gapitol and the Quirinal, Trajan effected a convenient communication between the Fora of the ancient city and the Campus Martins (pp. 228, 132). His Forum must have meas' ured about 220 yds. in width , and was probably of still greater length ; and it was considered the most magnificent in Rome.
AnunianTia (16, 10) tlras describes it on the oeeasion of the visit of the Emp. Oonstantine in 366: — 'Yemm cum ad Trajani forum venisset, singnlarem snb omni caelo Btraetnram, ut opinamur, etiam naminum adMnsione mirabUem, haerebat adtonitua per giganteos conteztns circnm- ferens mentem nee relatu effabilea nee mrsna mortalibns adpetendo8\ According to a legend of the 7th cent., Gregory the Great, while admiring the ancient splendour of the forum one day, and saddened by the thought that 80 just and benignant a monarch as its founder should be condem- ned to everlasting perdition, succeeded by his prayers in obtaining the release of Trajan s soul from purgatory. In the 10th cent, this forum lay in ruins, and the church of 8. Nicolao had been erected by the column. This was succeeded by other churches. In 1587 Sixtus V. crowned the column with a bronze statue of St. Peter. At length, in 1812-14, the French government caused two nunneries and other buildings to be de- molished, and thus partly brought to light the centre of the forum.
The total arrangement consisted of four parts, reckoned from N. to S. : the Forum proper, the Basilica, the Libraries (with Trajan's Oolumn in the court), and the Temple. Hitherto only the second and third , and these but partially , have been excavated. The Forum adjoined that of Augustus ; the principal entrance, dignified by a triumphal arch, lay near the modem Via del Priorato. Part of the semicircular wall which bounded it on the E. may be seen in the court of No. 6, Via di Gampo Garleo ; it consists of two stories, the chambers in the lower having probably been used as shops.
In the part already excavated (about 120 by 50 yds.) are seen the foundations of four rows of columns, belonging to the five-hailed Basilica Vlpia, which lay with its sides towards the end of the pre- sent piazza. The central hall was 27 yds., and the whole building 61 yds. in width (these dimensions are about the same as those of S. Paolo Fuori, p. 362). The pavement consisted of slabs of rare marble. It is uncertain whether the remains of granite columns which have been found and erected here are in their original po- sitions.
On the N. side of the basilica rises **Trajan'i Column, con- etruoted entirely of marble, the shatt ot wVA^S. \s ^11 1\.. h\^h^ and tie whole, including the pedestal au^ atsteaft, V^l 1\..\ ^wsw^\«t i/ ft. below, and 10 ft. at the top. Ktoxwadi >^^ «wi\«sBa. TXi»& ^
r.
The Palatine, ROME. IV. Ancient Rome, 241
spiial band, 3 ft. wide and 660 ft. long, coyered with admirable *Rblib7B ftom Trajan's war with the Dacians, comprising, besides animals, machines, etc., upwards of 2500 human figures (2-21/2 ft. high). (Comp. p. xxxyil ; see also the cast of the reliefs in the Lateran, p. 272.) Beneath this monument Trajan was interred, and on the summit stood his statue, now replaced by that of St. Peter. In the interior a staircase of 184 steps ascends to the top (keys kept by the custodian of Trajan's Forum and in the 'Ufficio Tecnico', Via in Miranda 1 D). The height of the column at the same time indi- cates how much of the Qnirinaland Gapitoline had to be levelled in or- der to make room for the buildings : ^ad declarandum quants alti- tudinis mens et loous tantis operibus sit egestus', as the inscription, dating from 114, records. The depth of earth removed amounted to 100 ancient Roman feet (97 Engl. ft.). The column was surrounded on three sides by a two-storied gallery, from which the upper re- liefs could be conveniently viewed. The foundations of this may still be traced. Adjacent, to the right and left of the column, were a Greek and a Latin library. More to the N., between the two chnrches, lay the temple of Trajan, bnilt by Hadrian and dedicated to his adoptive father.
On the N. side of the piazza are two churches. That on the right, del Nome di Maria, was erected in 1683 after the liberation of Vienna from the Turks , and restored in 1862. That on the left . is 8. Maria di Loreto , begun by Ant. da Sangallo Junr, in 1507 ; in the 2nd chapel on the right, a statue of St. Susanna by Fiam^ mingo; over the high-altar a picture of the school of Perugino.
The Palatine.
(Comp. Sketch-Plan.)
The Palatine Hill, situated on the S. side of the Forum, rises in the form of an irregular quadrangle. Like the Gapitoline Hill it consisted originally of two summits of almost equal height (S. Bonaventura to the S., 168 ft.; Farnese Gardens to the N., 165 ft.) separated by a saddle ; the building operations have, how- ever, materially altered its appearance. In ancient times it was bounded on the N. side, towards the Capitol, by the Yelabrum and the Forum Boarium (p. 248); on the W., towards the Aventine, by the Circus Maximus (p. 250) ; on the S., towards the CsbIIus, by the Via Triumphalis and the Via Appia (now Via di S. Gre- gorio). The Palatine was the original site and the centre of the embryo mistress of the world , the Roma Quadrata, fragments of whose walls have been brought to light at several places. Tradition places on this hill the dwellings of its heroes Evandei^ F^v^%<?i&\s^s^^ and Romulus; and a reminiscence oi t\i.ftin."^%.%^t««k«t."^^^^'5J^'^'^ a very late period by a numbei oi ancient Xatcl^^^ «aac ^^ess^ss^^ The orator HortenBiuBf CatiUne, Cieeio , «.w^\A% \^XX.<6?t c^vssv^H^^^ Bakdskeb. Italy U, 10th Edition, '^^
2A2 IV. Ancient Borne, ROME. The Palatine.
tribune Glodius , and other celebrated men of the republican pe- riod possessed bouses bere. Augustus was bom on the Palatine, and after the battle of Actium be transferred bis residence to tbis ancient seat of the kings. His palace, the Domus Augiutana, lay below the Villa Mills, near the Circus Maximus ; and adjoining it were a large temple of Apollo erected by him and the Greek and Latin library which is so highly extolled in Boman literature. The Emp. Tiberius built a palace on the N. side of the hill, per- haps near the house in which he was bom (see p. 244). The Palatine did not afford scope enough for the senseless extravagance of Nero , who built himself the Golden House, extending from the Palatine to the Esquiline (p. 132). The emperors of the Flavian dynasty once more transferred the imperial residence to the Pala- tine. Vespasian began andDomitian completed the splendid palace called the Bomus Flavia (p. 244), which lay in the saddle between the two summits, resting mainly on artificial foundations, and connected the buildings of Augustus on the one side with those of Tiberius and Caligula on the other. The Stadium (p. 246) was erected at a later period, perhaps by Hadrian. Septimius Severus extended the Flavian palace by erecting the Septizonium, an edifloe seven stories high , at the S.W. angle of the hill , to improve the view from the Via Appia ; part of this building was still standing in the 16th cent., but it was at length removed by Sixtus V. The Palatium participated in the general decline of the city. It was Inhabited by Odoacer and Theodoric , but from the 10th cent, on- wards the ruins were occupied by monasteries, fortified towers, and gardens.
The first important excavations, directed by Bianchini^ took place in 1726 in the Orti Farnesiani, or Farneie Qardens^ which were laid out by Paul III. and covered the whole of the N.E. part of the hill. The Emp. of Russia began another series of excavations in the N.W. corner in 18^, but handed over the ground to the city in 1867. A systematic excavation, under the able superintendence of the architect Corrun. Pieiro Rosa, was begun in 1861, when Xapoleon III. bought the Famese Gardens, and has been continued by the Italian government, which acquired the gardens in 1870. Many interesting topographical discoveries have been made, although as yet few works of art have been found.
The excavations are open to the public daily (comp. p. 123). The following account of them refers mainly to the best preserved remains, which may be visited in about 2-3 hrs.; but many other interesting points may be added. The imposing character of the ruins, coupled with the beau- tiful and varied views commanded by the Palatine, renders them well worthy of repeated visits. The streets, temples, houses, and palaces arc all indicated by notices, with references to ancient authorities^ but the identity of many of the localities is doubtful, and the names assigned tu them arc often merely conjectural. — Permission to sketch and take mea- surements is given at the 'Ufficio Tecnico della Direzione Generale delle AntichitV (Via in Miranda I D).
The present entrance is in the Via S. Teodoro (PI. II, 21), and j'a marked Ingresso I, in the plan at p. 241 *, but it is intended to transfer it to the N, of S. TeodoTO l^p. *24i •, 'IngTwao li: \\\ \X\^ PJajiJ, Turning to the right on entering , ^e oViaeiN^ VXv^ \vL\^fe^\.
TU Palatine. ROME. IV. Ancient Borne. 243
existing fragment of the ancient wall of Roma Quadrata (p. 241), constructed of blocks of tufa placed alternately length and breadth- wise, without mortar. It was originally 40-48 ft. in height, but is now 13 ft. only. Behind it is a grotto, supposed to be the Luper- cal in which the she-wolf sought refuge when driven from the twins by the shepherds. A flight of steps ascended from the grotto to the plateau of the hill. Farther on we pass an altar of travertine, with an ancient inscription (^sei deo sei deivae 8acrum\ etc.), dedicated to an unknown God, who had foretold the invasion of the Gauls in B. C. 390 (*Aju8 Locutius'). We then begin the following round.
From the present entrance ('Ingresso I.') we ascend by the zigzag path to the left, at last by a flight of steps. At the top we turn to the left. The first building, of which only the substructures and steps remain , is believed to be the temple of Jupiter Victor, erected in consequence of a vow made by Fabius Maximus at the Battle of Sentinum , B. C. 295. It is approached by 26 steps in five flights. A round pedestal with an inscription, on the 4th landing, was a votive offering of Domitius Calvinus, who triumphed over Spain in B.C. 36; the upper half has been destroyed. At the top of the steps we reach the nearly square substructure of the temple, the great age of which is Indicated by the stumps of peperino columns, once covered with stucco.
Farther on , in the direction of the Capitol , we observe considerable remains of squared stone buildings of very ancient appearance. A flight of steps iScalae Cadf), hewn in the rock and defended by a wall and gate, descends to the Circus Maximus. — The large temple with the lofty square substructure is generally described, though on insufficient evidence, as the Au{/uraioHum, or place where the auspices were consulted. Others take it for the Ttmple of Victoria.
We next reach a ♦Private Honse, known as the House of Livia
(Domus Liviae), which is recognisable by its modern roof. This
house, excavated in 1869, the only one of the kind in the midst of
the palaces of the emperors, is believed to have been the house of
Tiberius Claudius Nero, the father of Tiberius, to which his mother
Livia also retired after the death of Augustus, to marry whom she
had divorced her first husband. The entrance is at the E. corner.
A flight of six steps descends to the mosaic pavement of the vaulted Vbstibuluk, whence we enter a quadrangular Coubt, originally covered, adjoining which are three chambers opposite the entrance. The ''JUural Paintings here will bear comparison with the finest of those discovered at Pompeii. The subject of the first on the right in the Central Room is lo guarded by Argus, while Mercury approaches to release her ; the second re- presents street-scenes ^ on the wall opposite the entrance are Polyphemus and Galatea. The central pictures represent large windows whence a view of my- thological scenes is obtained. The admirable perspective is best observed in the picture of Qalatea when seen Arom the entrance of the Atrium. The two smaller sacrificial scenes in the comers above afford a good exA.\&.\\& csk'l^^av. ancient kind of picture, which like the m(i^\«\«\ ^Va.t-VcV^X.-^Oa.^ ^^^xSiA.^ci'ei closed \)j two folding shutters or wings. 'B'j \.\ie \ft^\ 'W^XV ^t^ \«^^'e^ "^^w^^v pipes with inacripUons from which the liialorj oi ^Vva ^^'^^'^^v^'^^^^^'Cv- gathered. The wtdlt of the Room on TBKB.iauT w<i «.^v>T\^ft«^ vr^vv^ tsv*«s»
244 jy, An^UnU Kome. BOMB. The PdlaUne,
cent *Garlanda of flowm aad firoiii, from wUeh maaks and ottwr Baeeba- naliaa objects depend between the columnfl} the walla of the Book oh the Lkft are ^Tided into brown sevens edeed with red and grem, above which are light arabeaquea between winged flgnrea on a white ground. Ad- joining the right side of the court is the TxioLnncrx, or dining-room, re- cognisable by the inscription, with walls painted bright red. The two large central paintings represent landscapes, that on the right the attributes of Diana (large indented crown, stag^ and wild boards heads). On the en- trance-wall are two glass vases with fruits. — At the back of the house are the unpretending Ovnom (bedrooms, storerooms, etc.).
We now retrace our steps to the entrance of the house, torn to the left , and ascend by a small wooden staircase to the remains of the Palace of liberiai) the site of which is now covered with gar- dens. A fine view is obtained of the Capitol, the valley of the Ye- labrmn, and the Yions Tnscns. The N. spur, where there is now a small plantation of o&ks, commands an excellent Tiew of the Forum and the BasUlca of Oonstantlne. It was from near this spot that the mad Caligula caused a bridge to be thrown over the Forum to the Capitol, in order to facilitate his intercourse with the Capitoline Ju- piter, whose representative on earth he pretended to be. The im- perial buildings here completely covered an andent paved street,
perhaps the Clivut Victoriae. A flight of steps descends to the street A covered passage ( Orj/ptoportieuiOf to the a.E. of the House of Livia, has remains of ancient stucco ornamentation. This is supposed to have been the scene of the murder of OaUghla. Various architectural and sculptural fragments are exposed to view here.
Traversing the pleasure-grounds at the back of the former Casino of the Famese gardens, we reach the Palatium, or Palaee, the chief building on the hill. Augustus himself resided on this spot, but the sumptuous palace (Domus Flaviajj to which the extant remains belonged, probably owed its existence to his successors of the 1st and 2nd centuries of the present era. A street led from the Arch of Titus to the Area Palatiiy an open space, whence a magnificent flight of steps ascended to the main entrance.
On the Area Palatii were the scanty remains of several buildings, the names of which carry us back to the most ancient days of Rome. Among these is the temple of J«pHer Stator , the foundation of which tradition ascribes to Romulus, and which was situated near the Porta Mugionis. Below us in the foreground, near the inscription ^-Roma Quadrata^y are some remains of the wall of this, the most ancient city, constructed of regularly-hewn blocks of tufa.
The extant remains of the Palatium belong entirely to the re- ception and state apartments of the palace and include no part of the private rooms of the emperors. The arrangement of the rooms shows little resemblance to that of an ordinary Roman dwelling- house, such as those of Pompeii. The domestic is replaced by the grandiose.
From the vestibule open three large rooms. The one in the middle, Jknown as the Tablinum , was the Aula Regia, or throne-room, in which the emperor granted audiences. T\A& enLleiv&vi^lvall^ 39 yds. hy49yd8., with its large semicircuVat at^%e 'v\^Odl N?*a wfc\s:\}\^^Vj the throne, and its six nlchefl, alteinatoVj io\m^ Mi^ ^^jaax^, owv-
The Faiatlne. ROME. IV. Aneleni Borne. 245
taining the non empty pedeeCils, wse origiosllr entirely coTered; bat an adequate Ides of ita magiii^cenM can bardly now be formed, ae it has been deprived of its decorated ceiling, while the walla have lost theii marble covering, the niches tlieir eolumns, and the pedealala their coloasal flsn™» (now in Parmsl,
The room adjoining the Tablinnm on the E. containa a small square altar in marble with flgures of the Otniua Familiarii and the Larei. Xlie former staade in front with cOTcred head ; the latter are represented at the nldea in the conventional style of Pompeian waiki of the kind, with boots, a short 'chiton', a 'rhyton' or drinking-horn in the raised hand, and a 'sitnU' or pititiiBr in the other. Thia hsa caused the room to be enoneouBty named the Larariiim, or cbapel of the Lara or houaehotd gods. Behind are the remains of a stall- case aacending to an nppei Hoor.
To the W. of the Tsblinnm lies the Basilica, where the emperor adminiatered Jnstico. The Eemiclrcular tribune was separated from the space for lltiganta by • marble screen, a fragment of which atill Etinds. This apace was flanked on each aide by a narrow nolonnade. The unfluted rolumna were adorned with bronze ornaments, the holes for fastening nhicb are atiU visible.
To the 3.W. of the tablinum ia the Perislylium, two-thirda of which only haya been excavated {one-third on the S. side being covered by the court of the Villa Mills, now a nuiineryX a Urge square garden, f)8 yde. wide, originally surrounded by a colonnade. Its imposing dimensions and a few ttacoa of its marble covering fgiallo anticoj now alone witneaa to its ancient msgniUcence. The open space in the centre was doubtless occupied by fountains, trees, and Qowera.
HiniDg tracs'g of alucca decoralioila lind p»inllney^ Tbeso bolODged to a
■ Opening on the periatyle along ita entire width was the TrlcU- nium, or dlning-hall (Joait CoenatioJ, whence the diners could en- joy a view of the fountains and trees in the garden. In the semi- circular apse on the W. wall moat of the original marble and por- phyry covering of the pavement still exists. The remaina of the pavement and covering of the wall on the N.W, side are more scanty. — Adjacent to the latter ia the JVyrnpAneum, or 'inside gar- den' tor the hot season, containing an elliptical basin, in the centre of which rises a fountain covered with partly-preserved marble slabs, and once used as a stand for plants.
The other sroalier ohambers, extending along the N. aide of the palace, are less interesting, and their purposes are not yet aacei- tained. The same may be said of those aAioiKvo?, ■ftft\>«Jt. o\ 'Sos. dinlng-hall on the S. W. We first etvtet a ColnivnoAt , ■w'*h *>"^ '^t_^ polltno columns (two entire, the otheiB in. lia^mBTte"^- ^/^"^^b-i' obulned, tbtoagb the broken pavenient, ot ftiii o^i'."*^*^^*'^'*
246 IV. Amelma Sonu. BOME. The PakObu.
whlcli the emperon built. Farther on are two other rooms, with aemieirciilar tamdiiatloiis and niehet in the waDf , which are erron- eondy termed the Aecademia and BiUioUea,
We now return towanla the main entranee and tnm to the left at the first bend. This road connects the palaces on the S. side of the hill with those already deseribed. To the left is the S. facade of the palace of Angnstni, including % larige 'exedra' in the form of % flat arch, on the side next the (Xreus Bfaximus. Into this is built the gardener's house below tiie Villa Mills, tiie beautiftil cypresses of which peep down firom above. Beyond the house we ascend a wooden staircase to an open spaee, bounded on the £. and S. by impos- ing ruins. These belong to palaces which mainly owed their exist«ice to the later emperors, particnlariy to SepUmhu 8everu»j after a great fire in 191. The excavations begun here by Pius IX. have unearthed many ot the lower chambers of these palaces and earlier buildings. The irregularity of the arrangement makes it impossible to determine the uses of the different rooms exoept in a few cases.
Turning to tiie left, we reaoh the Btad1u», which separated the buildings oi Septimius Sererus tmm the old palace of Augustus (DomiM Augtutana, the site of which is now again coTcied up; to ihe N.E. lies the oouTent of S. BonaTontura, p. 233, and to onr left rise the white convent-walls of the Yilla Mills). Although not mentioned by any known author , there is no doubt that this was the stadium , or race-course. The length , 185 mMres (625 Roman or 607 Engl, ft.), is precisely that of the stadium. The oblong space originally occupied by the stadium was enclosed by a colonnade, consisting of pillars of masonry encrusted witii marble, with half- columns in front of them ; while it was divided into two parallel courses by means of a wall running down the middle. In the centre the colonnade was adtjolned by three chambers of the time of Hadrian, covered by the imposing apse of a later edifice. The tiiird of these still shows traces of mural paintings and mosaic pavement. In the large central chamber the beginning of the vaulted ceiling is distinctly traceable. Brick-stamps bearing the name of Theodoric have been found , and in the time of the later empire the original arrangement seems to have been entirely altered. Tho spaces be- tween the columns of the portico were walled up vnth brick and tufa and the whole E. part of the buildings , between the apse and S. Bonaventura , was separated from the rest. In the middle of the plateau is a marble base with figures of deities. Some of the numerous architectural fragments show fairly good workmanship.
Ascending towards the S. from the E. end of the Stadium, and
passing the back of the apse, the lofty proportions and coffered vault-
//7^ of which should be observed, we reach the remains of the Severus
JPaJmce itself. Kooms with beatliig-ap^9ii«.t^% «.ii\\)^^&v% \^vt« been
recognised here, but tbe general plan \b "u^it d^w. ^vi^^^\»%\i^-
tween iDsignitct^nt ruins, we Teac\i a poVivt aftoT^xi^ ^ %«iKi\n\K« ^1
IV. Anaimt Home. 247
ftmETOUnd S. OrofnriD, Hnd above it B. aiefimo Rotondo ud Ibi oe* eu- lao of Ibe VilU UkMbI. Btlll futiier to fha ri^ht appear Oie miu of (be ThormK nt Caricnlli (tho twu Iowktj Iffijond, id the Isn, beloi^ to Ui8 Portu B. eehBBlinniO, (.nil S. Balbina wilt il9 laftj lower; f.rlhor off 8. Btb*., wllb 1(> two-iloriod vosUbnle, ind sHU mora dlilint lh« Pyramid of 0«>- tluB, sod ip the CampBgaaS. Paolo Fuori lellurai then Uie AvenUns trilh iti tbnie cburch^e) on (he Hope the nhltB tgmbibMieB of tbe jBwUh liurlal-
utSt. Peter'a.
We lecrass Ihe bi dgs a d des end to tbe right by a modern BtalrcaBe (60 eteis") on the S e de of the hilt to tbe open spice mentioned at p. 346 sdjo nlng tha apse. Instead of pasalng tbs gardener's house we ow doa e d to a serios of ehamberB on tbe W, slope of the Palatine below the verandah ol the Villa Mills. These belonged to the —
FmdagDginm, or school for tbe imperial elaves, who, like those of all tbe Healthier Romans, received a careful ednoation. A portico of granite columns, one of which etiil reiuaina, with a marble eiitabU- tnre now supported by pillars of mseouty, lay in front of these apart- menta. The walla are covered irith names, aentencea, and akelches (graffiti, done with the itllus, or ancient substitute far a pen), show- ing the boyish proclivities of the pupils. The well-kiiowii caricature of the OmciSed, now in the Mdsgo Kircheriano fp, 1D6}, was found here. These scrawls, one of which is 'Corinthna exit de psdigflglo', furnished the doe to the nse and to the ancient nauie of this bonding.
On UiB left wall ol the Thud Rooh la Ihs sketch of a mill dnran by
dirJI liii'. The agan at a Homan solilicr is also scratched on Ihia wall.
lettAii, both ertch ajid tiomao. — On eacA aide oi the central semicir- cular chamber with a aquar<3 niche Ilea a small irregolarlv-sbapcd chamber-, that on Iba right la adorned wllb mural palntlnga (yurlona, etc,). Proceeding in the same direction we soon reich the exit.
Velnbram ajid Fornm Boariiim. The dBop-Bunken and awampy valley separating tha N. slope of the Palatine from tbe Oapitol farmed the important link between ! the Fnmm and the Tiber. It was inhabited even under the kings, J and was known in anolent tiroes aa the Vfcua Tumim (eomp. j p. 2361. The direction of its main street wia vat^ utraVj *ia ^mm, 1 as that of the modern Via 8. Tuodoio. Iw Oi\s aWwit. , 'o^s&a*'- '^ ' ebtirvb of S. Maria LibeTatriee{V\.\\,1^., a.wV\vewas*vR4o'\.*.^'^^j^ briok building, now generally beW to \«i lAie tenv?!* o\ '^
J
248 IV. Ani^eni Bme, BOME. VOahrum.
AuffU8tU9. Considerably lower the remains of an old dLnzch (Si» Sil- vester in Laetijf with 9tKL cent, paintings, haTe been fonnd. Farther to the left, a little back from the street, is the low-lying round chnrch of 8. Teodoro (H. n, 2i ; open on Frid. till 9 a.m. ; festival, 9th Not.). It it flrst mentioned in the time of Gregory ihe Great, and probably occupies the site of a temple. In the interior is a Christ- ian mosaic of the 7th century. — A litfie beyond S. Teodoro the street divides. We descend to the right to the ancient YELABBim , a quarter prolonged towards the Forum by the Yicus Tuscus (p. 247), and towards the river by the Forum Boarium.
To the right is fL Oiiirgio In Yelabro (PL H, 21 ; generaUy closed ; visitors knock at the door to the left, behind the Arcus Ar- gentariorum; festivals, 20th Jan. and 23rd Apr.), founded in the 4th cent., re-erected by Leo n. in 682 and dedicated to SS. George and Sebastian, and subsequently often restored. The portico, ac- cording to the metrical inscription , dates from one of these resto- rations. (In the middle ages the word Yelabrum was altered to 'velum aureum'.) The interior is a basilica with aisles, 16 antique columns, and an old canopy (p. xlvii). The frescoes of Giotto (?) which are said to have once adorned the tribuna have been painted over.
Adjacent to the church is the small Amh of ike Money-changers (Areue ArgenUuiorum ; PI. n, 21, 1), which, according to the in- scription, was erected by the money-changers and merchants of the Forum Boarium in honour of Septimius Severus and his wife and sons. The sadly damaged sculptures represent victims and sacrifi- cial utensils. Farther on is the so-called *Janu8 Quadxifrons (^Areo di Qiano; PI. II, 21), an arched passage with four facades, of the later imperial age , and supposed to have been erected in honour of Constantine the Great. Above it once rose a second story.
From this point to the Tiber stretched the extensive Forum Boarium, or cattle-market, a very important centre of business.
Proceeding through the low brick archways opposite the Arcus Argentarius , and passing a mill , we reach the Cloaca ITaxima (PL II, 18), constructed by the Tarquinii for the drainage of the Forum and the adjacent low ground. It is the earliest known application of the arch in Rome , and has defied the vicissitudes of more than 2000 years. Two-thirds of the depth are now filled up. A basin was formed here, into which springs were conducted to produce a current through the Cloaca. In the mill (25 c.) is seen the continuation of the Cloaca towards the Forum, and from the Ponte Rotto its influx into the Tiber. The Cloaca is constructed of peperino with occasional layers of travertine, and at the mouth of peperino entirely.
Following the street beyond the arch of Janus, and turning to thelettf we reach the Piazza Bocoa della Ye&ita, which partly coincides with the Forum Boarium *, in tke C6iv\2t« \& «. to^iLUtain erected /d J 71 6 after BvuaeeherCs design C^groxi^ ol Ti\Vim\ii HwoXXx^, To the left, at the foot of the AvenUne, \a i^^ t\i»x<iV qI —
Bound Temple. ROME. IV. Ancient Rome. 249
*8.1[axia in Cosmedin (PI. II, 18), sometimes called Boeca deUa Verith from the ancient moath of a fountain to the left in the por- tico, into which, according to a medisval belief, the ancient Romans thrnst their right hands when taking an oath. The church occupies the site of a temple, perhaps the Temple of Fortune founded by King Servius(?), ten columns of which are built into the walls (three on the left side, the others in the front wall). The nave also is borne by twenty ancient columns. The edifice, which is said to date from the 3rd cent., was rebuilt in the 8th by Hadrian I., who erected the beautiful campanile (p. xlviii) , and it has since been frequently restored. It derives the name 4n Gosmedin' from a square at Con- stantinople, having originally belonged to a Greek brotherhood,
and it is also known as 8. Maria in Sehola Oraeea,
Interiob. The beaatiful opus Alexandrinum of the pavement merits inspection. In the nave are preserved remains of the ancient choir \ on the right and left are two handsome ambones and a candelabrum for Easter ceremonies. Canopy of the high-altar by Deodatus (13th cent.). In the apse a handsome episcopal throne of the same period, and an old Madonna. The sacristy contains a mosaic (Adoration of the Magi), originally pre- sented to St. Peter's by John VII. in 706. The venerable crypt is borne by four columns of granite and two of marble.
The Viadella Salara (see p. 251) runs hence to the S., towards the Porta S. Paolo.
On the opposite bank of the Tiber, not far from the church, stands a small and picturesque *Boimd Temple (Hercules Victor ? Mater MattUa ?) , formerly called a Temple of Vesta (now 8. Maria del Sole ot 8. 8tefano delle Carrozze; PI. II, 18), consisting of twenty Corinthian columns , covered by a poor wooden roof. The ancient entablature and roof and one of the columns next to the river have disappeared.
A new railway-bridge, connecting the Piazza Bocca della VerltJt with Trastevere and ending at the Lungarina (p. 331), is to be finished in 1890.
To the N. of this (accessible at present from the Via di Ponte Rotto only) is a second small and well-preserved * Temple (con- verted in 880 into the church of 8. Maria Egiziaed)^ dating, as its style seems to indicate, from the close of the Republic. It is an Ionic pseudoperipteros, with 4 columns at each end, and 7 on each side; but those of the portico, which is now built up, were alone detached, the others being merely decorative half-columns. The edifice is built of tufa, with the projecting and sculptured parts of travertine, the whole overlaid with stucco. Its designation is un- ascertained, and there is no authority for assigning it to Fortuna Vi- rilis. The interior is uninteresting.
On the other side of the cross-street is the picturesque * House of Crescentius (PI. II, 18, 3) , or Casa di Blonsi^ ^^ ^\ "PxVaX.^^ ^ -^^^ it is commonly called , constructed, of "\)i\cJ^ -^^Xsk. ^ «vxv.^c^'»^ -sAxsicf-- tare of antique fragments. On tlie aieife , N\;i. ^^'^'^^^^^'^^J.^^^., inscription recorda that Hhis loftv \io\ia© "^%.a «t^<J^»^ ^"^ ^^"^
lU
250 IV, Anckni Borne. ROME. FonU Rotto,
son of Crescens , not from moti-ves of ambition , but as a leminis- oence of the ancient glory of Rome*. The Crescentii weie the most powerful noble family in Rome at the close of the 10th cent., but the house, the oldest existing specimen of mediaeval domestic archi- tecture, is not earlier than the 11th or 12th cent. (comp. p. xlvii). The building was originally much larger, and was intended to com- mand the bridge over the Tiber. — The ancient bridge which here crossed the Tiber was the Pons JSmiliusj buUt in B. C. 181. Its position exposed it to frequent injury from inundations. After fre- quent restorations, the two arches next the left bank fell in 1598, and the bridge was never rebuilt; hence its present name, Ponte Rotto. In 1853 a chain-bridge was thrown across the gap, but this has again been removed, the above-mentioned railway-bridge sup- plying its place.
In the adjacent Via di Boeea delta Verith^ to the left, standing back, is the church of 8. Nicola in Caxoere (PI. II, 17), recently restored, containing, on the outer walls and in the interior, ancient columns which appear to have belonged to three different temples, including those of Spea and Juno Sospita. Visitors may descend and examine the foundations of these temples , which have been excavated (sacristan with light 1/2 ^^0- — "^^^ ^^* ^^ Bocca della Yeritli ends on the N. at the Piasaa Montanara (p. 203).
If, in proceeding from the Fomm throngh the Via di 8. Teodoro, we leave the Janus Quadrifrons (p. 248) on the right, we soon reach, in the Via de"* Fenili, at the corner, the church of S. Anastasia (PI. II, 21) mentioned as early as 499, frequently restored, and finally modernised during last century. By the buttresses of the interior the ancient columns are still standing. In the left aisle is the monument of Card. Angelo Mai. Below the church are ancient structures belonging to the Circus Maximus, and still earlier remains of the walls of Roma Quadrata.
The Via i>k* Oerghi runs between the Palatine and Aventine, where, as its name suggests, was situated the Circus Maximus , which was origi- nally instituted by the kings , afterwards extended by Caisar and furnished with stone seats, and lastly more highly decorated by the emperors. In the time of Pliny it was capable of containing 2G0,000 spectators , and after subsequent extensions the number of places was increased to 385,000. The last race which took place here was under the auspices of King Totila in 549, at a time when the city was to a great extent in ruins. In the centre ran a spina^ or longitudinal wall which connected the metae, or goals, and determined the length of the course. With a few trifling ex- ceptions, the walls of the circus have entirely disappeared-, but its form is distinctly traceable from a higher point, such as the Palatine. The Jewish cemetery lies within the Circus, at the base of the Aventine (entr. from the Via deir Orto degli Ebrei, to the left of the Via di S. Sabina).
The Aventine. Monte Testaooio.
The Aventine (150 ft.), anciently the principal seat of the Ro- man Plebs, and afterwards densely peopled, is now occupied by mon- asteries and vineyards only. Like t\ie \i\\\^ Iq Wv^ ¥1. of the city, ^owever, it will soon be covered w\t\i t\vft \vo\Jl%^% ol ^ii«^ Q^\\«x\Kt, At the base of the hill is thoPi3ii.i.^ ^occ«. ^^\\ti.N«tVCik.V^.'>^^
The Aventine. ROME, IV. Aneienl Snme. 251
wlloli we quit by the Via dblla Sai.aba [PI. n, 18), coEtinnedby the VtA.Diti.iAMiiLMoaiTA(Pl.IlI, 18). TothaleftjbayondS. Maris in Cosmedin, a street divBreea from tha Via della Silara to S. Prisra (j). 254}. About 2min. firtlier, at tbe small Chaptl of St. Anno, a BEnond street lUvorges, leading to the churcIieB mentioned at pp. 352, 2B3. The Via della Matmorata nsachea the Tiber In 6 rain, from the PiaizB Bocca della Veriti, Skirting the river Ibr abont 2 min., we enjoy to the it^ht a pleasing relTospeot of the Capitol; opposite Ilea the harbonr of Ripa Ownde, in front the large Oapiilo dl S. Miirlele (p. 332). We nest learii tha Mabmobata (Pl, III, 18, 15), the landing-placa and dep6t of the unwrought marble of Carrara.
The street, here gaiierally known as Via m Porta S. Paoio (PI. m, 17), now leaves the river and leads towards the Porta B. Paolo. The forroer Prttti del Pbpoio flomiino, between the atreet and the riier , are now occnpied by a new qaarter of ugly tenement booses.
After 6 mln. the road from the churchea on the Aventlne de- scends frum the left (p. 263). Just beyond this the street is crossed by the ViaGaj.-vani, leadingon the left to 8. Saha, S. Prisca (p. 254), and the Circus Maiiraus (p. 250), and on the right to the river, Mte. Tustaceio, and the Protestant Cemetery.
The •Hcmte Taatooido fPI. Ill, 13) li an Isolated monnd, 115 ft. in height, rising above the Tiber, and conslRting, as the name indicates, entirely of broken pottery. It is formed of tha large earthenware Jars (^alnphone) from Spain and Africa which were unpaFked at the neighbouring Emporium. The hill Is now honeycombed with cellars, in some of which wine is sold, bnt it is now leas frequented than formerly. — The sommit, marked by a wooden cross, commands a migniScent Tanobaka : —
of Tlvoll iipp»r!L Palenlrlna. Aftor t. deprosaioa, i.boTe wbteta aome of Ihs Valsrlan Uln. iihd, fnllow the Alhan Hts.: on lUe biKtreaa fartliast £. Ii Culonna, btfond It Eiucstl, higher up Rocca dl Papa, H. Oits wltH ila monietBr;, belDn il Harinn.&niU; la the right Culal Oandolfa. In Ihe broad OampaBna <ire Ibe urches of tho Aqua CUiulia and the
Halfway between the Via di Porta S. Paolo and Mte. ToataMio, on tho left, is an iron gate mwked S. P. Q. H., passing through which we reach the Protestant Cemetery and the Pyramid of Ceatlus. The Protestuit CemetsTy (PI. lU, IC) is open from 7 a.m. till dusk (custodian 30 c.). The older buryins-ground, adjoining the Py- ramid of Cesttns, Is now disused. In 1625 the present batuA.- ground was set apart for this purpose. It \4 i ieWae&*YA, Tv»;&.t geoOy iotrards the city-wall, alTotiling pleawttfe -^'le-fl'-, w* ^■"^^sft- by lo/ty cypresses, where numerous EngXiab, Rasalan, sad othet visitors to Rome aTc iirtcTte.&..
252 IV. Ancient Rome. ROME. Pyramid of Cestius,
Amongst many illustrioas names the eye will fall with interest npon that of the poet Shelley (d. 1822), 'cor cordimn'', whose ashes were buried here (near the npper, or Eastern, wall). His remains were burned in the bay of Spezia, where they were washed ashore; his heart, the only part not consumed by the flames, is now at Boscombe in England. The tomb- stone of John Keats (d. 1821), who also rests here, bears the melancholy inscription, *Here lies one whose name was writ in water\ The graves of J. A. Carstens (d. 1798), the painter (in the old cemetery), John Gibson (d. 1866), the sculptor, and several other artists may also be recognized.
The ♦Pyramid of CestinB (PI. Ill, 16), originally in the Via Ostiensls , but enclosed by Anrelian within the city-wall , is the tomb of Calus Cestius , who died before B. C. 12. The Egyptian pyramidal form was not unfrequently adopted by the Romans in their tombs. That of Gestins is bnilt of brick and cohered with marble
blocks; height 116 ft., length of each side of the base 98 ft.
According to the principal Inscription on the E. and W. sides ('C. Cestius L. F. Pob. Epulo. Pr. Tr. PI. VII. vir Epulonum'), the deceased was prsetor, tribune of the people, and member of the college of Septemviri Epulones, or priests who superintended the solemn sacrificial banquets. The inscription on the E. side below records that the monument was erected in 330 days under the supervision of L. Pontius Mela and the freedman Pothus. Alexander VII. caused the deeply imbedded monument to be extricated in 1660, when the two columns of white marble and the colossal bronze foot now in the Palazzo dei Conservatori (p. 211), were found. According to the inscription on the pedestal, the foot appears to have belonged to a colossal statue of Oestius. — The Vault (19 ft. long, 13 ft. wide, and 16 ft. high) was originally accessible by ladders only. The present entrance was made by order of Alexander VII. (key kept by the custodian of the Protestant cemetery). The vaulting shows traces of painting.
The Porta 8. Paolo j immediately to the E. of the Pyramid of Cestius , is the ancient Porta Ostiensis. — Hence to the Basilica of 8. Paolo Fuori, see p. 352.
The second road ascending from the Via Salara to the left, 200 paces to the S. of the Piazza Bocca della VeritJi (comp. p. 248), leads to the three Churches on the Aventine (S. Sabina, S. Alessio, S. Maria Aventina), situated close together immediately above the river.
*S. Sabina (PI. Ill, 18), which probably occupies the site of a temple, was erected in 425, in the pontificate of Coelestine I., by Petrus, an lUyrian priest, and restored in the 13th, 15th, and 16th centuries. Honorius III. presented the church, along with the old papal palace adjoining it, to St. Dominic, who made it the head- quarters of his ()rder. It is usually entered by a side-door; if closed, visitors ring at the door to the left, and proceed through the mon- astery to the old portico, now closed, and the principal portal. The doors are adorned with scriptural scenes carved in wood (5th cent, ?). The Interior (comp. p. xlvi), with its twenty-four ancient Corinthian columns of Parian marble and open roof, has retained the character of an early basilica almost unimpaired. — Entrance -Wall: Over the door, an ancient * Mosaic (5th cent.); inscription with the name of the founder; on the left a figure emblematical oi 1\\g Ecclcsia ex Circumcisione (Jewish Christiana), on the right that of the "FiCclfeftA^ ftx Gi^xiVW^Ma V^s^wVA^s. CVvriatians). — JVxrjB. On the pavement in the cexvlrft Va VXxfe Iotol^ o^ '^\ww\c\ ^"a-lA-vsvot-K^ principal of the Dominican order (d. i^OCT), aAoxxiftei vi\\:cl Tcvc^%^\t. — K.\. s>sv%, Grid of the Right Aisle, in tlie ChapeV ol SV. T>om\\\vt\x?., W^ A\^^vi\v\i»
IV. Aneirnl Rome. 253
,aii. Ml ^Ur-piecD by Staso- I. xiifl uiiierjialDlJDga (by Itie lueetitri
Tha smsll garden of ibe formei Domlniean MoTvuUry, adjoining the chmeh, contsiiiB au utd oian^e-trae iniA to have been planted l»jr Si, Dominic The handBome ololalerB (p. slvi), with ICS small cotamas, and the large garden fflne view] belong to a Military Hospital and are generally InaoceaBlble.
B, AlBBBiD [PI. Ill, iS) ia an anciect church with an entrancB- conrt. The date of ita foundation is unhnown , but It was re-conae- ciated by Qonoriaa III, after tlie recovery of the relics of the saint In 1217. In 1426 it came into the posEesBioH of the Order of St, Jerome. In the neighhonring monaBtery a blind asylam (IsttttUo de' Ciccki} haa been eatabliahed. We enter the fore-oonrt, and, if tha chu[<!h U closed, ring at the door on the left ('/l ''0'
Tbfl IHTEHIOR was madernlied JD tTSU, and again rscantly. ThI V. Mile coDlains a well and s woodeo tlBlrcaie belonging to lbs hoaie of tlie
adorned wltb mosaic In Ihe choir are, nccurding lo' the inicHpUon, the AamaUpiazzala next reached, vhere the route to Porta S. Paolo (p. 252) tnroB to the loft. The brown door No. 40, to the right in tblB piama , with the arms of the Grand Master of the Knights of Malta above It, contains the celebrated •Kkt-kols through which St. Peter's is seen at the end of the prinoipal avenue of the garden. [Viaitora admitted to the garden on Wed. and Sat., 9 till dusk; riugO B, Hula ATentina, also called del Priorato (PI. Ill , 16), be- longs to the Maltese Order, which celebrates Its periodical featitali here. This chnrch, founded at a, very remote petiod, belonged for two centuries to the Templars, vrhose symbols are still extant; it was restored by Pina V., and remodelled by the Grand Prior Card, Qlov, Batl. Itezzonico froro plans by Plraneai in 1765.
To the right of Iho cnlranca Is an ancient sarcophagns, c '■'-'■ ""
repnsenled
(bead anHDlsbed], aurrouDdcd Hj Minerva and Iha Hosea, la ad; tlia remains at a Bishop Splnelli were aflarwarda placed In n sUlue of Plraneai (d. ITK), and the mODBmenta of neveral uieioMcn of the Haltane Order: Ocsnd Vaster BU. CaracclolD <d. 1395); Oio. Dledo, Grand Prior of Venlee aad nepbew of Pope Kngene ni. ; the 'balUia' Bart. Carafa, Sergio Seripsudo, and olhere of tba IStb century. The third recess lo tbc left contains a rffmatkabls muble rcliqnaiy of tbo 13th cent., roughly wrought after the palUtn vl an anHqne funeral-um. Adjoining the church is the Ytlla Ms.oistbai.b, or rasideuce of the Grand Masters of the Maltese Order. The 2nd floor contains a large saloon, hniig with pnrtraita of all the grand - masters (74) &Dm Fiater Oerhardua (1113] down to the present Grand Matter Oesohl. Several relics connected with tha Order are also preserved here. The upper floor commands a pieturesque 'Vibw of Rome, the Campagna, and the mottiitainB. — The gatdea, ^\vvO,\. tm^s^^'* one of the flnaat palm-trees in Rome, aHmia a. ktoIAbi ■^siiks'^-
Tie afcove-named road to tUe Porta a.¥ao\<:i4e6eft'ft4*^^^^'*' lo the main roail (p. 251 ),
254 IV. Ancient Borne. ROME. Via Appia.
The YiA Galyani (see p. 251) leads to the left through the depression between the N. and S. summits of the Aventine and in 5 min. reaches (left) a *Fragment of the old Servian Wcdly about 30 ft. high and 100 ft. long. Like the wall mentioned at p. 243, it consists of large blocks of tufa, laid alternately lengthwise and crosswise. The neighbouring arch is of much more recent date. The remains show that the wall was quite out of use and built over in the later days of the Republic.
A little farther on the Via S. Prisca (left) and the Via di San Saba (right) diverge to the churches of these names.
8. Frisca (PI. Ill, 21 ; usually closed), a very ancient church, but modernised in the 17th cent., perhaps occupies the site of the temple of Diana belonging to the Latin League , and founded by Servius TuUius. The old columns have been built into the walls. — About 10 min. farther on the street unites with the Via S. Sabina, which passes the church of that name (p. 252).
8. Saba (PI. Ill, 20), another church of great antiquity, was almost entirely rebuilt in 1465. To the left in the portico is an an- cient sarcophagus with a representation of a wedding and Juno Pionuba. The interior contains 14 columns, some of granite, others of marble, with mutilated capitals; the walls of the nave show traces of paintings. The church belongs to the Collegium German- icum, and is most easily seen on Thurs. afternoons. Festival, 5th Dec.
The Via Appia within the City.
Thermae of Caracalla. Tomb of the Scipios. Columbaria.
From the Arch of Constantine (p. 236) we follow the Via di S. Gregoeig towards the S., leading between the Palatine and Cajlius. On the right we observe the handsome palm of the convent of S. Bonaventura on the Palatine (p. 24G), and the arches of the Aqua Claudia (p. 247). After 5 min. S. Gregorio (p. 258) lies on the left, beyond which the Via de' Cerchi (p. 250) diverges to the right. Near the point where the Via S. Gregorio unites with the Via di Porta S. Sebastiano (PI. Ill, 24, 26) , was anciently situated the Porta Capena, or Capuan Gate , whence the Via Appia issued. We follow the Via di Porta S. Sebastiano to the left.
After 5 min., at the end of the avenue which runs parallel with the street on the right, a road ascends on the right to the church of S. Balbina (PI. Ill, 23), situated on the slope of the Aventine , perhaps on the site of an ancient temple, and consecrated by Gregory the Great. The roof is still open, but the church is modernised and destitute of ornament. It contains a relief (Crucifixion) by Mino da Fiesole and a monument by Johannes Cosma$. Festival, Slst March. (Visitors ring at the gate on the right of the church.) The adjacent building is a Reformatory for young criminals. The old tower commands a fine *View. — On the way back to iAe road we also obtain a pleasing vie%v of the Palatine to the left, and of /Ae CeeJJus, with the Villa. Mattel (p. Wi) anA. S. Stefauo Rotondo.
After following the Via di Porta is. Seba«.X\a.uo lot ^<i\i\.^\vi^.^NRvi obtain a view to the left of the Villa Mattel, to ^VlviXvtV^^'x^ ^0\«;
yta Appin.
ROME. IV. Anrient Rome. 255
Hole di S. Sisto diverges to iba left. The roail Intra croisea the turbid Btreamlet Marrann, beyontl 'whivli, to the riii;ht, the Via Antonlna leads to the |^'^/4 M. from the Arch of Gonstantine]) roins of the —
'ThermEB of Caiaoalla, oi Aiitoninianae (Tl. Ill, 23 j &dm,, lee p. 124). They were begun in 2i2 by Caraealla, extended by BeUo- gabaiui, &nd completed by Alex. Stverua, uid they couM accomiuo- diite 1600 bathers at once. The magnificence of tlieae baths wu impar»lleled. Nomerona fltatnee, including the Fatneae Bnli, Hectulea, and Flora at Naples, mosaics, etc., have been fnnnd here; irhlle tliB walla, bare as they now are, and notwithstanding the de- strnetion of the roof, still best testimony to the technical perfection of the alructuie. Tbe establishment was q^uadrangiilar tn foim, BUr- ronnded by a wall, end had iti portlooea, caoa-ooursB, etc. ; length 2i0rds., width 124 yda.; total area of groonds 360 yds. In length, by &s many in breadth. In the time of tho Emperors the act of tak- ing a bath had beconie a higlily luxurious and elaborate piocess, the chief steps in iihiuh were as follows : Hrat, a hot'air bath in the so-called Tepidartum; second, a hut- water bilh in (he Caldarium; next, a cold plunge in the Frigldarium or J^eina; and Anally, the 'rubbing down' or 'shampooing tn the drying room. The three
.miiiwiTimimnnuiiiTniiBniniBiinniiiiM
256 IV, Ancient Borne. ROME. Via Appia.
principal rooms, in the main axis of the building, have been identi- fied, but the names of the others are somewhat arbitrary.
Wc first enter in a straight direction a spacious oblong, once sur- rounded by columns (PerUtyle)^ and containing scanty remains of mosaic pavement. In the middle of the long wall, where the well is now, pro- jected a semicircular Exedra. We then enter the Tepidarium^ a large room formerly Covered with a slightly vaulted roof} in the comers are four basins for luke-warm water balSs. — To the left lies the Frigidarium^ a large unroofed room, with a swimming-basin. — To the right is the (kUdarium, a circular chamber with very thick walls, the vaulting of which has fallen in. The heating apparatus and hot-air pipes have recently been discovered here. A small uight of steps within one of the piers to the right affords a good survey of the ground-plan. — The smaller rooms are arranged symmetrically on both sides of the three principal chambers. In the second (SJ Peristyle (where most of the Mosaic of the Gladiators in the Lateran was discovered) are exhibited architectural and sculptural fragments, and the remains of a mosaic pavement with sea-monsters. — Outside these rooms were spaces for gymnastic exercises , libraries , and gardens. Opposite the Galdarium, outside the W. wall, are distinct traces of a Btadium for foot-races. Other remains of the Thermee are scattered throughout the neighbouring vineyards.
Returning to the Via di Porta S. Sebastiano , we next reach an arboretum (Semenzaio Comunale) on the left; then, a little beyond it, on the right, the ancient church of 8S. Kereo ed Achilleo (PI. Ill, 23, 26 ; open in the morning), on the site of a temple of Isis, rebuilt by Leo III. about 800, and again by Card. Baronius at the end of the 16th century. Festival, 12th May.
The Intbbiob exhibits the characteristics of an early basilica. At the end of the nave is an ambo on the left^ supposed to be of great age, brought from S. Silvestro in Gapite; opposite is a marble candelabrum for the £aster-candles, of the 15th century. Above the arch of the tribune are fragments of a mosaic of the time of Leo III. : Transfiguration, with Moses and Ellas, in front the kneeling Apostles, on the right the Annunciation, on the left the Madonna enthroned (comp. p. xlvi).
The opposite church of 8. Siato, restored by Benedict XIII. , is uninteresting. The monastery was dedicated to St. Dominic by Ho- norius III. — The Via della Ferratella then diverges to the left to the Lateran (p. 265). — On the right, a little farther on, is S. Gesareo (PI. Ill, 26; open on Sun. and festival mornings), a small but curious church, mentioned by Gregory the Great, and finally restored by Clement VIII.
Intbbiob. In the centre of the anterior portion of the church are two altars, of the close of the 16th cent. ; at the farther end. to the left, the old pulpit with sculptures •, Christ as the Lamb, the symools of the Apostles, and sphinxes^ opposite, a modem candelabrum with ancient basis. The inlaid screen of the Pbesbttebium, and the decorations of the High Altar are mediaeval. The tribune contains an ancient episcopal throne.
The piazza in front of the church is adorned with an antique
column. The ancient Via Latina , which traversed the valley of the
Sacco and terminated at Capua, diverges here to the left. The old
Porta Latina (PI. Ill, 28), 5 min. from S. Cesareo , was closed
Jn 1808. — Near it, to the left, beyond the old monastery, is the
cAarch of S. Giovanni a Porta Latina ^\. HI, 29^, which was
modernised by restorations in 15^^, iu \fei'^, wv^ Okv^^^ \i^ ^^\^.
J^Asponi in 1686. It contains foni antiqyve ccAximm \w vVt ^^t\.\^^
within the City, ROME. IF. Ancient Rome. 257
and ten in the interior. — To the right, nearer the gate, is an
octagonal chapel of 1609 (perhaps designed by Bramante), named
8. Oiovanni in Oleo from the legend that St. John was thrown
into a cauldron of hoiling oil at this spot, but having come out
unhurt was then set at liberty.
Farther on in the Via di Porta S. Sebastiano, on the left by the
cypress, in the Vigna No. 13 (formerly Vigna Sassi), is the famous
Tomb of the Soipios (PI. Ill, 25, 28 ; open 10-3 , uninteresting,
candles required, 1/2 ^r.), discovered in 1780, but now containing a
model only of the ancient sarcophagus of peperino, which Pius Vn.
caused to be removed with the fragments of the others to the Vatican
(see p. 311).
This sarcophagus once contained the remains of L. Cornelius Scipio Barbatus^ Consul in B. G. 298, the eldest member of the family buried here. The bones of the hero, which were found in good preservation, were interred at Padua by Quirini, a Venetian, in order to withdraw them from the gaze of the curious. Here, too, were interred the son of Scipio Barbatus, Consul in 259, many of ihe younger Scipios, the poet EnniuSy and several members of other families and freedmen. The tomb was ori- ginally above the surface of the earth, with a lofty threshold ; the interior was supported by walls hewn in the solid tufa-rock. It was probably injured, or at least altered, during the imperial age, when freedmen were interred here ; and as it has since been to some extent modernised, it is hardly worthy of a visit. Various modem alterations have increased the difficulty of realising its original arrangement.
The adjacent Vigna Codini, No. 14, contains three *GoIiimbaria in excellent preservation (1 fr.). These Columbaria are subterranean tombs capable of containing a great number of cinerary urns, and derive their name from the resemblance of the niches in which the urns stood to pigeon-holes. They date from the Imperial age, and were generally constructed by several persons in common, or as a matter of speculation, and each recess could be purchased or Inherited.
Two of these structures are very similar; steep steps descend into a square vault, the walls of which contain the niches (eolumhariay locuK). The low stone benches (podia) round the vault also contain cinerary urns. The vaulting of the larger building, in which there are more than 600 urns, is borne by a massive painted pier, also utilised for loculi. The names of the deceased were inscribed over or under the niches on plaster or marble tablets, on which their mode of acquisition of the spot and other remarks were occasionally added. Each niche contained 2, or more rarely 1, 3, or 4 ollae^ or cinerary urns. The nature of the decorations depended of course on the means and taste of the family. The smaller building, according to the inscriptions, was built in A. D. 10 for the Slaves and Freedmen of Marcella^ niece of Augustus. The third columbarium (ad- mission generally denied; additional fee), discovered in 1853, consists of three vaulted passages, the walls of which contain rectangular niches of various sizes, some of them formerly adorned with rare marbles and stucco.
There is another structure of the same kind in the same vigna as the tomb of the Scipios (formerly Vigna Sassi, see above), to the E., near the chapel of S. Giovanni in Oleo (see above). This columbarium, with interesting decorations in stucco and colours, is the so-called Torrib of the Freedmen of Octavia. A staircase , partly modern , deac^\v^% \» "*. ^s^'t^^'6» decorated with plaster , below wMcli ia «i citiet^wrj -vv-^ti. ^«VOa. ^^^J^^ ^^ mosaic. The tomh is vaulted ; on the Ti%"^l \a wv v^%fe -wvNXv ^^^^^J^^sv wreaths snd Victories. The key is \Lept \>7 t\i% cwa\.^^A»«v ol ^a^^ '^^ (apply at the old Vigna Sassi).
Babdxkbb. IteJy II. IQth Edition. '^
258 IV. Ancient Rome, ROME. 8, Oregorio Magno,
Immediately witWn the Porta S. Sebastiano (IY4 M. from the Arch of Gonstantine) is the Areh of Drasns, a sadly -mutilated monument, which was probably erected in honour of Claudius Drusus Germanicus, B.C. 8. It is constructed of travertine-blocks, partly covered with marble , and still possesses two marble columns on the side towards the gate. It terminated in a pediment, until Caracalla, for the supply of his baths, conducted an aqueduct over it, the brick remains of which seriously mar the effect.
The marble blocks of the Porta 8. Sebastiano (PI. HI , 28), formerly Porta Appia , seem to have been taken from ancient build- ings. The gate is surmounted by mediaeval towers and pinnacles.
With regard to the Via Appia withoat the city, see p. 348 ; the Cata- combs of Callistus, V-Ja M. from the gate, see p. 361.
The Cselins.
This once densely-peopled hill (165 ft.) is now deserted, like the Palatine and Aventine.
Starting from the Arch of Gonstantine (p. 236), and following the ViA'Di S. Gbeoobio (comp. p. 254) , or the public walks above it to the left, we reach the Piazza di 8. Oregorio. A lofty flight of steps ascends hence to the right to S. Oregorio Hagno (PI. Ill, 24), on the site of the house of St. Gregory's father, dedicated by that pope in 575 to St. Andrew, and afterwards by Gregory II . to his first namesake. In 1633 it was restored by Card. Borghese, the steps, colonnade, portico, and facade being designed by Giov. Bait. 8oria. Its reconstruction was begun in 1725. Festival, 12th March.
Entrance Codrt, embellished with Ionic pilasters. Under the colon- nade in front of the entrance : left, monument of the Guidiccioni of 1643, but with sculptures of the 15th cent. \ right, ^Monument of the two brothers Bonsi of the close of the 15th century. — Interior, with sixteen ancient columns. Over the High Altar: St. Andrew, altar-piece by Balestra. At the end of the Right Aisle: *St. Gregory, altar-piece by S. Badalocchi C?). Below it a *Predella: the Archangel Michael with the apostles and other saints, attributed to L. Signorelli. Here to the right is a small Chamber preserved from the house of St. Gregory, containing a handsome ancient *Chair of marble and relics of the saint. Opposite, from the left aisle, the Cap. Salviati is entered. In front of the altar, on the right, an ancient and highly revered Madonna, which is said to have addressed St. Gregory^ left, a *Ciborium of the 15th cent., disfigured by regilding.
The sacristan (V2 fr.) now shows three *Chapels detached from the
church , and connected by a colonnade. A fragment of the Servian wall,
partly covered with remains of other walls, is observed here. To the right,
Chapel of St. Silvia, mother of Gregory, with her statue by Cordieri;
above it, in the vaulting of the niche, a fresco by Quido Reni^ greatly
damaged. — In the centre the Chapel of St. Andrew. Over the altar :
Madonna with SS. Andrew and Gregory, painted on the wall in oils by
Roncalli. On the right, Martyrdom of St. Andrew (a copy in the Lateran,
p. 272), Domenichino ; on the left, *St. Andrew, on the way to the place of
execution, beholding the cross. Outdo Rent; two pictures once extravagantly
admired. — To the left the Chapel of St. Barbara, with a sitting statue
of 8t. Qregory in marble, said to have been. \je?,\Mv by Michael Angelo^ com-
pJeted by Cordieri. In the centre a DQarbXft taJoVft -wvNXv wv\aq^% l^tX.^ "k\.
which SU Gregory is said to have enieTiame^ \.v?fc\Ne. ^oot ^exaoxA ^^Sc^,
According to the legend, an angel one day appevwceei -atv^I loxm^^ «. VXivtVfe^tiSsi,
88, Oiovanni e Paolo, ROME. IV. Ancient Rome. 259
"We now ascend to the N., between remains of old walls, to —
SB. Oiovanni e Paolo (PI. II, 24), a small chuich in the form of a Greek cross, with a conspicuous dome, which has existed since the 5th century. The portico, mosaic-pavement in the interior, and architecture of the apse are of the 12th century. The whole build- ing, as the inscription records, was sumptuously restored by Cardi- nal Howard in 1880. According to the legend the house of the two saints, who were beheaded in the reign of Julian the Apostate, stood on this spot. In 1887 some interesting remains of an ancient ♦Dwelling were found here, with Pagan and Christian mural paint- ings (e.g, the Martyrdom of the saints). Frescoes of the 12th cent. (Christ with the Archangels, St. John, and St. Paul) were also dis- covered. The entrance is at the end of the S. aisle (sacristan, with light, Y2 fr*)' — The adjoining Monastery belongs to the Passionists.
"We now ascend the street flanked by walls, and reach the Arch of the ConsuU DolabeUa and 8ilanu8 (PI. Ill, 27), constructed of travertine in A. D. 10, and apparently belonging to an aqueduct.
Near this, on the right. No. 8, is the portal of an old hospital which once belonged to the small church of 8. Tommaso in Formis (PI. Ill, 24, 27), situated behind it.
The interesting mosaic-medallion, above tlie door, representing Christ between a black and a white slave, was executed in the 13th cent, by two masters of the Cosmas family, and is an allusion to the order of Trin- itarians founded in 1198 for the purpose of ransoming Christian slaves.
To the left is the street descending to the Colosseum (jp. 234). On the right lies the oblong Piazza dblla Navioblla (PL III, 27) with a double row of trees , so called from the small marble boat copied by order of Leo X. from the ancient original formerly in the portico of the church.
The church of S. Maria in Donmioa» or delta Navicella, one of
the oldest deaneries of Rome, was rebuilt by Paschalis I. in 817, to
which era the columns of the nave and tribune belong ; the portico,
erected by Leo X., is said to have been designed by Raphael.
Interior. The Nave rests on eighteen fine columns of granite ; above, below the ceiling, is a frieze painted by Oiulio Romano and Perino del Vaga (in grisaille; genii and lions in arabesques), afterwards retouched. The arch of ttie Tbibunb rests on two columns of porphyry; the mosaics date from the 9th cent., but were freely restored under Clement XI.; above the arch, Christ between two angels and the apostles, below are two saints; in the vaulting, the Madonna and Child imparting blessings, on each side angels, Paschalis I. kissing her foot ; beneath all the figures spring forth flowers. — The church is open on the 2nd Sunday of Lent only ; at other times visitors ring at the door marked 'Custode'*, adjoining the church on the right.
Adjoining the church is the entrance to the *Villa Mattel (PI. ni, 24; adm., see p. 124), founded in 1582, the property of M. V. Hoffmann, and recently restored (Villa Caelimontana). It con- tains few antiquities, but the grounds are wotth.^ q1 -^k-^V^^N "^i«*. Oratorio di 8. Filippo Neri commands a ^\,TvY\ii%T\e^ ^"^ '^'^ t«^c»s> ^^ Rome and the Alban Mts. ,5^^
Opposite 8, Maria in Dommca, \)Tit tio\. ^cA^es.^^^^ ^^^
260 JF. Ancient Rome. ROME. 8, CUmenU.
Piazza della Navicella, rises S. Stefano Rotondo. We follow the Via di 8. Stefano to the left, pass through, the first green door on the right, and ring a bell to the right under the porch.
S. Stefano Botondo (PI. m, 27) is very interesting on account of its construction, and, though greatly diminished in extent, is the largest circular church in existence. It was erected at the close of the 5th cent, hy Simplicius, and afterwards gorgeously decorated with marble and mosaics. It then fell to decay, but was restored by Nicholas Y. In the original edifice, the diameter of which was 70 yds., the present external wall formed the central row of col- umns, while another lower wall, decorated with pilasters, 11 yds. distant, and still traceable round the church, formed the circum- ference. The church thus consisted of three concentric rings, inter- sected by two transepts. Nicholas V. shut out the external wall, and filled up the spaces between the central columns with masonry, with the exception of a few projecting chapels. The roof is rudely constructed of wood. The old entrance was on the E. side. In the present portico , erected by Nicholas , on the right, is the ancient episcopal throne , from which Gregory the Great delivered one of his homilies. Festival, 26th December.
Intbsiob. To the left of the entrance, an altar-niche with mosaic of the 7th cent. ; farther on, to the left, a chapel with (I.) a fine monument of the beginning of the 16th centary. Most of the fifty-six columns are of granite, a few of marble. Fearful scenes of martyrdom on the lateral walls, by Tern- pesta and Pomarancio (much retouched). In the centre a canopy of wood. The dome is borne by two lofty columns of granite and two pillars.
Beyond the church the Via di S. Stefano (PI. II, 27) leads past a new military hospital (to the left, on the site of the Villa Casali^ and extensive fragments of an ancient aqueduct in 5 min. to the vicinity of the Lateran (p. 267).
S. Clemente. The Lateran.
From the Colosseum (p. 234 ; PI. II, 24) several streets run to- wards the S.E. : to the left the Via Labicana towards the Thermae of Titus (p. 237), to the right the Via de' Quattro Santi to SS. Quattro Coronati (p. 264), joining the following street near the Lateran ; and lastly, between these, the Via di S. Giovanni in Lateeano (Y2 M. long) to the Piazza of the Lateran and the Porta S. Giovanni. The latter street leads in 5 min. to a small piazza, where on the left rises —
*S. Clemente (PI. II, 27 ; side-entrance from the street generally
open ; if not, visitors ring at the principal door under the portico),
one of the best-preserved basilfcas of Rome, where recent excavations
owing to the praiseworthy exertions of Prior Mullooly have yielded
some very interesting results. Below the present church, three dif-
ferent layers of masonry have been brought to light, the first being
ofearly-ChTistianiy the second of imperiaV, Mv^^\i^ \«V\\^ QiT^\\^\\^^\i
origin. The Christian basilica (^now t\ie \ov?fei tVux^iV^ \s TSi^\vM\Qvx^^
IV. Andtnt Eomc. 261
TTTTTTTTTTTTTTTT
262 IV, Ancient Borne. ROME. 8. Clemente,
of Robert Guiscard into Rome, and in 1108 Paschalis n. erected on its ruins the present npper church, with which he incorporated sev- eral ornaments of the lower, such as the choir and the ambones. The upper church was also frequently restored , and finally with con- siderable taste by Clement XI. , who however added the unsuitable ceiling. St. Clement (91-100), according to Roman tradition, was the third successor of St. Peter, and suffered martyrdom in the Black Sea. This church, which stands on the traditional site of his house, gives a title to a cardinal, and belongs to Irish Dominicans.
From the principal gate in the Via di S. Clemente, we first en- ter the Atrium, surrounded by a colonnade and paved with frag- ments of marble (giallo and verde antico), and beyond it the *Upfbb Chu&oh, consisting of nave and aisles, but, like all genuine ba- silicas, without a transept. Comp. p. xlv.
Interior. The Nays with its flat ceiling is separated from the aisles by sixteen antique columns, and contains the ^Screen of the choir and the Ambones from the lower church, with the monogram of Pope John YIII. (key kept by the sacristan). The Canopy with four columns of pa- vonazzetto dates from the time of Paschalis U. (p. zlvii). — In the Tbibuns is an ancient episcopal throne, restored in 1106. Mosaics (p. xlviii) of the tribune of the 12th century. On the rood-arch in the centre: Bust of Christ with the Symbols of the Four Evangelists , (1.) SS. Paul and Lawrence, below them Isaiah, lower down the city of Bethlehem, (r.) SS. Peter and Clement, below them Jeremiah, lower down the city of Jerusalem. On the vaulting: Christ on the Cross, with John and Mary surrounded by luxuriant wreaths, below which are the thirteen lambs. On the wall of the apse, Christ and the apostles, restored by means of painting only. — Ou the walls by the tribune, monuments of the close of the 15th century. The chapel to the right of the Canopy is elaborately adorned with fres- coes by Novelli of scenes from the lives of SS. Cyril and Methodius, exe- cuted in 1886 at the expense of Abp. Strossmayr. In the adjoining chapel in the apse, at the end of the Right Aisle, is a statue of John the Baptist by Bimone di Oiov. Qhini (comp. p. 90). — To the left of the principal en- trance, the Cappella della Passiokb with ^Frescoes of the beginning of the 15th cent., the earliest authenticated work of Masaecio (b. 1401), who went from Florence to Borne about 1417 5 they were painted by order of Gabriel Condulmer, Cardinal of S. Clemente, and afterwards Pope Eugene IV., and shuw indications of the immaturity of the artist. On the arch over the entrance the Annunciation. To the left, near the entrance, St. Christopher. On the wall behind the altar a Crucifixion^ on the left, scenes from the life of St. Catharine: above, she refuses to worship a heathen idol^ she teaches the king''s daughters in prison; below, she disputes before Maxentius with the doctors (best of the series); an angel destroys the wheels on which she was to be broken; her execution. The paintings on the window-wall, greatly damaged, probably referred to St. Clement.
As above mentioned (p. 260), and as the annexed plan and
sections show, there exist below the present church several stiU
older strata of masonry. Lowest of all, and forming a right angle,
are two massive walls, constructed of blocks of stone quarried on
the Caelius itself (No. I. in the ground-plan and in the section).
As the stones are more carefully hewn and jointed than those of the
Servian wall, these substructures cannot be dated farther back than
tAe republican epoch. Above t\\ese a-ie ie,i[ia.m"3» q1 ^Q^tmanship
of the imperial era, executed in ttie '^iv^ cewl. a.^\.^x ^\vt\%\.^^,W.
Jfi the ground-plan and in t^e sectioiv •, s^^ ^\?,q^.'X^'^. X^^^^
8, aemente. ROME. IV. Ancient Rome. 263
these foundations in the 4th cent, was erected the Christian basilica ■which now forms the •Lowbh Chuboh (No. III. in the ground-plan and in the section) , the altar of which stood at the point marked a in the section. This seems to have heen a much grander edifice than the church afterwards superimposed, its nave having been as broad as that of the upper church and one of its aisles put together (see ground-plan), and the lower apse was accordingly wider than the upper. During the construction of the upper church the lower was entirely covered up, and the two churches were never in use at the same time. The lower was again rendered accessible in 1855, and is shown by the sacristan, who provides a light (V2~l ^^0- In order, however, to obtain a distinct idea of the original struc- ture, which has been considerably marred by alterations, the visitor should visit it on 23rd Nov., ist Feb., or on the second Monday in Lent, on which days the lower church is illuminated ; even on these days, however, the visitor should carry his own candle for the in- spection of details. The entrance is from the sacristy of the upper church (in the right aisle) , on the walls of which are hung copies of the frescoes in the lower church , and plans comparing the upper
with the lower part of the edifice.
A broad marble staircase, with inscriptions on the walls from the time of Pope Damasus, descends to the Vestibule in which the nave and aisles of the lower church terminate. The aisles alone have remained in their original condition, while in the nave additions of three distinct periods are observable. The newest are the buttresses constructed during the recent excavations for the support of the upper church, and recognisable by their whitewash. The older additions consist of the wall between the columns of the right aisle , and the lateral wall on the right , both built on the occasion of the erection of the upper church, the former for the sup- port of the external wall above, Uie latter to sustain the right row of columns above. The most ancient alterations were made at a period when the lower church was still in use, and consist of masonry built round the columns of the left aisle, adorned, like the outer walls, with frescoes, some of which are in excellent preservation.
The ^Fbescobs date from different periods, extending over seven cent- uries. We begin with the Vestibule. Immediately to the left by the stair- case is a female head with a halo, believed by De Rossi to date from the 5th century. — Farther on, under the first arch on the left, ^'Christ blessing in the Greek mode, with first, middle, and little finger extended, between the archangels Micha and Gabriel and SS. Andrew (1.) and Clement (r.). Be- fore him kneel SS. Cyril and Methodius (9th or 10th cent.). The figures in this, as well as in the following scenes, have their names attached. — Opposite (on the right), a Mother finds at the altar of St. Clement her child who had been swallowed up by the sea and thrown on shore a year later. Under it the family of the donor grouped round the medallion-portrait of St. Clement. To the right is the dedication : Ego Beno de Rapixa pro amore dei et bead dementis pingere feci (11th cent.). — On the right, farther on, the Transference of the relics of St. Cyril from the Vatican to S. Clemente in the reign of Pope l^icholas, with the dedication : Ego Maria Macellaria pro timore Dei et remedio anime mee haec pingere feci. — At the end of the vestibule on the right is the entrance to the —
Left Aisle. Over th« door of the latter are three bwlV3-\>^"^'^"«^'^J»- frescoes, of which that in the centre appeaxa to TftpT^feT»X>iX^^'t«i«vi&'»N."*iCv«^^-^ child. Two only of the frescoes at ib© ©uA. oi \,\v\^ ^\«\«i ^^^ ^^^"^^"^"^^SS^^x OB the posterior wall in the corner , St. CytV\ \>fctoT«i ^f^^f^"^^^ on the lAterAl wall, a Youth baptised \)7 St. "tt.ft\3aft^V>^* V\^wa. ^^^^ ♦>
264 IF. AncierU Rome. ROME. SS, Quattro Coronati.
The Nave is now entered through the arch in the right wall. Here, immediately to the left, is a *'Fresco in three sections, one above the other. Half of the uppermost, the Enthronement of St. Clement, is destroyed. That in the centre represents St. Clement celebrating mass; on the right Theodora converted to Christianity and her husband Sisinius struck with blindness \ the smaller figures on the left are those of the donor Beno and his wife. Below it is also the dedicatory inscription : Ego Beno de Rapiza cum Maria uxore mea, etc. The lowest represents Sisinius causing a column to be bound instead of St. Clement (11th cent.). The lateral surfaces of this pier are also adorned with frescoes (1. St. Anthony, Daniel in the lions'* den ; r. St. Egidius, St. Blasius), but the adjoining wall prevents them from being seen. Farther on towards the vestibule, on the same wall, is another and larger ^Fresco in three sections. The highest, now half obliterated, represents Christ between Michael and St. Clement (1.), and Gabriel and Nicholas (r.). In the centre are three scenes from the life of St. Alexius, placed one above the other as is the case with scenes on Roman sarcophagi : a. Alexius returns unrecognised to Borne as a hermit ; b. Pope Boniface I. blesses the dying man; c. The betrothed of St. Alexius recognises his corpse. The lowest of the three frescoes is of a decorative character with flowers and birds. — At the end of this wall are three scenes from the life of Christ. Next to them, on the wall of the vestibule, on the right, the Crucifixion, on the left, the Assumption. Over the latter, Christ borne by four angels ; at the comers St. Vitus (r.) and Leo IV. (1.) with the inscription S. Dom. Leo I V. P. P. Ro. , and the square nimbus with which living persons were usually represented (9th cent.).
The frescoes of the external wall of the Bight Aisle are almost obliterated. A niche here contains a group of Mary with Jesus. On the arch above, Christ (beardless), with figures of angels and saints on each side.
Below the apse are the remains of Buildings of the Imperial Age (No. II., marked black, in the plan), built of brick. The first of the three adjoining chambers is enriched with stucco. The next is an ante- chamber to a Chapel of Mithras^ in which, rather singularly, a statue of the Good Shepherd was found. These chambers are damp and partly filled with water. A staircase descends to them at the end of the right aisle.
A transverse street opposite to S. Clemente leads to the Via dk' QuATTEO Santi, which then ascends to the left to the church of —
SS. Quattro Coronati (PI. II, 27 ; entrance by the gate of the Ospizio di Orfane), dedicated to SS. Severus, Severianus, Carpo- phorus, and Victorinus, who suffered martyrdom under Diocletian. Five sculptors, who met with a similar fate for refusing to make images of heathen gods, are also revered here, and this is accord- ingly a favourite church with the 'scarpellini', or stone-masons, to whom the chapel of S. Silvestro belongs. The date of the foun- dation is very remote, and the materials were probably partly ob- tained from some ancient structure. After its destruction by Robert Guiscard, it was rebuilt by Paschalis II. in 1111, restored under Martin V. by Card. Alph. Carillo, and afterwards partly modernised.
The church now has two Entkance-Coubts (keys in the lirst, V^ fr.),
a peculiarity owing to the diminution of its size on one of the rcsturations,
probably by Paschalis II. It originally extended over the whole of the
second court, and its former breadth is indicated by the ancient columns
in the walls of this court. The disproportionate size of the tribune in the
interior is thus accounted for. — On the right, under the corridor in
front of the entrance to the second court, is the Cap. di S. Silvestro^ co n-
secrated under Innocent IV. in 1246, with valuable, though unattractive an-
cJent paintinga from the life of Constanlme, \\i XYvft ^i^ivalm^ s>\.^\fe. — The In-
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wiih tasteless frescoes by Giovanni da S. Giotcmni. — Yg^Vvn^X.^VXv^on.
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Baptistery, ROME. IV, Ancient Rome. 265
To the right , farther on in the Via S. Giovanni (p. 260) , is a large Hospital for Women , with the obstetric clinical department of the Sapienza. The Via S. Giovanni ends at the —
Piazza di S. Giovanni in Latebano (PI. II, 30), the buildings in which were erected by Sixtus V., except the new houses to the left, at the S. end of the Via Merulana (p. 181). In the S.W. comer is the baptistery of 8, Giovanni in Fonte (see below), in the 8.E. angle the transept-facade of 8. Giovanni in Laterano (see be- low), and on the E. the Lateran Palace with the museum (p. 267).
In the centre rises an Obelisk of red granite, originally erected by King Thothmosis III. (B.C. 1597-60) in front of the temple of the Sun at Thebes, and brought by Constantius to the Circus Maximus in 357. In 1587 it was discovered there in three pieces, and in 1588 was erected by Sixtus V. on its present site. This is the largest obelisk in existence, being 104 ft. in height, or with the pedestal 153 ft., and about 600 tons in weight.
We first visit the octagonal * Baptistery, II Battistero, or 8, Giovanni in Fonte (PI. II, 30), where, according to a Roman tra- dition, Constantine the Great was baptised by Pope Sylvester in 324 (his baptism, in fact, taking place in 337, shortly before his death). Sixtus III. (d. 440) is regarded as the true founder. This was long the only baptistery at Rome , and afforded a model for all later buildings of the kind. In 461 Pope Hilarius added to the bap- tistery the Oratories of St, John and John the Baptist on the E. and W. sides respectively, and about the year 640 John IV. added the Oratory of 8. Venanzio, adjoining that of St. John. LeoX. roofed the
baptistery with lead, and his successors decorated and modernised it. From the piazza we at once enter the precincts of the Baptistkby itself (PI. a). It is divided into a central space and surrounding passage by eight large columns of porphyry with an antique architrave in marble, which are said to have been presented by Constantine. In the centre is the font in green basalt. The frescoes are by A. 8aec^%^ Maratta^ and others. — Adjacent, to the right, is the Obatobt of John thk Baptist (PL 6), con- taining a statue of the saint in bronze by L. Valadier^ executed in 1772 (after Donatello), and placed between two columns of serpentine. The bronze doors , presented by Hilarius , are said to have been brought from the Thermee of Caracalla. — On the left, opposite this oratory, is the O&atobt OF St. John (PL c), with bronze doors of 1196, and adorned with ^'Mosaics (5th cent.) representing birds and flowers on a golden ground. The statue of the saint, between two alabaster columns, is by Landini (d. 1594). — A third door leads into the square Oratobio di S. Vbmamzio (PL d), with elaborate mosaics of the middle of the 7th century. — The fourth door, oppo- site to the entrance from Uie piazza, opens on the Pobtico di S. Vsnamzio (PL e), formerly the vestibule of the Baptistery, as the chief entrance was originally on this side. In 1154 the portico was converted into two chapels. The apse to the left is enriched with handsome Mosaic of the 5th cent., consisting of gold arabesques on a blue ground. Over the door to the Baptistery is a Crucifixion, a relief in marble, of 1194. — The outer door of the portico is adorned with two ancient columns of \jox^Yc^vj N^S&v'Csi&vt architrave, built into the wall here by Sixlua \\\. W \ftaA.% ^^ x^^fe Oowtv^ which was recently restored at the same Ume «b% VSaa t\ia\t q!^'?s.^^'=»"^'*^*^ in Laterano. ^
The basilica of *3. Oiovaimi in lAtettoio ^\. ^^. ^^^ '^^^^
CPWN.-
266 IV. Ancient Borne. ROME. 8. Giovanni in LaUrano,
nium urbia et orbis ecclesiarum mater et caput\ was the piincipal church of Rome after the time of Constantine the Great (p. 135). The emperor presented Pope Sylvester with a large palace, which had hitherto belonged to the wealthy family of the Laterani, and fitted up a church within it. It was called the Bcuiliea Constantiniana after its founder, and sometimes 8. Salvatoris, or Aula Dei, as being a second Zion, and gradually became privileged to grant the most ample indulgences. It was overthrown by an earthquake in 896, but was re-erected by Sergius HI. (904-911), and dedicated to John the Baptist. In 1308 it was burned down, but was restored by Clement Y. , and decorated with paintings by Giotto. A second fire destroyed the church in 1360, after which it was rebuilt by Ur- ban IV. and Gregory XI. It was again altered by Martin V. (1430), EogenelV., and Alexander VI., and modernised by Pius IV. (1560), by the alterations of F, Borromini (1650), and by the facade of A, Qalilei (1734). Quite lately the church has been enlarged by an extension of the tribuna and choir. — Five important Councils have l&een held in this church, vi«. those of 1123, 1139, 1179, 1215, and 1512.
The P&iNCiPAL FAgADE, by Galilei, is turned to the E., abutting on the Piazza di Porta S. Giovanni (p. 265). With its portico (33 ft. deep and 196 ft. long) and the open loggia above it, it is one of the best of this description in Rome. From the loggia the Pope used to pronounce his benediction on Ascension Day. Of the five entrances the Porta Santa is walled up and is opened only in the year of jubilee. The central entrance has two bronze doors adorned with garlaudSj etc. To the left is an ancient statue of Constantine the Great, found in his Thermae.
The Fa^de of the 8, Transept, looking on the Piazza di S.
Giovanni in Laterano (p. 265), is also adorned with a portico,
added by Sixtus V. The caps of the small campanili, standing far
apart, were added by Pius IV. The vestibule below , to the right,
contains a bronze statue of Henri IV. of France, by Nic. Cordieri
(PI. 12).
Interior. The Nave (426 ft. in length), flanked by double aisles, is borne by
twelve pillars, the work of JSforromini, partly enclosing the ancient columns.
In the niches are the Twelve Apostles, of the school of Bernini ■, reliefs by
Algardi. Over these are the figures of twelve prophets. The ^Celling, said
to have been designed by Michael Angela^ is more probably by Oiacomo delta
Porta. The richly inlaid pavement dates from the time of Martin V. On the
right and left at the end of the nave are the only two ancient granite columns
now visible. Below, in front of the Conftssio^ is the 'Monument of Pope
Martin V. (d. 1431), in bronze, by Simone di Qiov. Ghini (p. 90). — In the
centre of the Tkansept , which is raised by four steps , is the "Canopy^
a beautiful work of 1367, lately restored, with paintings by Barna da
Siena, dating from 1390, but freely restored. It contains numerous relics,
including, it is Mid, the heads of SS. Peter and Paul. Below it is the high-
aJlar (altare papale), at which the pope ox & substitute named by him
alone read mass , containing a wooden ia.b\e irom Vtvft c^\aR.Qim\j* v^klch is
said to have been ased as an altar by St. VeVet. T\i«i Xx^xv^^^x. n^^ ^^%\«tvt^
f^der Clement VIIL by Oiac. deila Aria ^^kft^ «^^^ ;i.^oTTv^<i >«A\i lx^%^v^%..
LaUrm, ROME. IV. Ancient Borne, 267
Here to the right are two ' fine columns of giallo antico. Adjoining the organ is the monument of the philologist Laurentius Valla (d. 1465) , a canon of this church. To the left is the great Altar of the Sacrament. with four ancient columns of gilded bronze, which belonged to the original basilica. — The chapel to the left of the choir (PI. 6) contains a portrait of Martin V. by Seip. Oaeiano^ and an altar-piece by the Cav. cTArpino. Garred choir-stalls by Qirol. Rinaldi,
The walls and floor of the Ghoib, which has recently been enlarged, are covered with slabs of polished marble. To the right and left are three balconies with gilded railings. The ancient Apse^ moved back at the ex- tension of the choir, contains precious mosaics by Jacobus Torriti (p. xliz ; 1290; or perhaps older works restored by him), representing the Saviour enveloped in clouds ;- below, at the sides of a cross, (1.) the Virgin, at whose feet Ificholas IV. kneels, SS. Francis , Peter , and Paul , and (r.) John the Baptist and SS. John, Andrew, and Anthony. — The Ambulatosy is em- bellished on each side with mosaic tablets, the subjects of which relate to the construction of the church, statues of Peter and Paul, of the 10th cent., and a fine marble sanctuary of about 1600. Adjoining the last is the Ta- bula Magna Lateranensis^ or list of relics. — Adjoining the ambulatory is the Sacsisty, the inner bronze doors of which date from 1196. It contains the monument of Fulvius Ursinus, a canon of this church (d. 1600); an ^Annunciation by Marcello Venusii after a drawing by Michael Angelo; a statue of John the Baptist in wood by Donatello; cartoon oi RaphaeVs Ma- donna di Gasa d'Alba (original at St. Petersburg).
Aisles. At the back of the first pillar on the right in the nave (PI. 10), *Boniface VIII. between two cardinals proclaiming the first jubilee (1300), by Qiotto. On the Bight: The 2nd chapel (PI. 8) belongs to the Torlonia family, and is richly decorated with marble and gilding; over the altar, ^Descent from the Gross, a marble relief by Tenercmi (a custodian opens this and other chapels, V2 ^^•)' ^he 3rd chapel (PI. 9), belonging to the Massimi, constructed by Qiac. delta Porta^ contains the Crucifixion, an altar-piece by Sermoneta. Farther on in the right aisle, the monument (PI. 11) of Card. Guissano (d. 1287) and that of Card. Ban. Famese, by Vignola (at the back of the last pier of the nave). — On the Left : The *lst chapel, that of S. Andrea Gorsini (PI. 1), designed by Oalilei in 1734, contains four ancient columns and a large vessel of porphyry from the portico of the Pantheon, in front of the bronze figure of Glement XII. (Gorsini, d. 1740) ; the walls sumptuously inlaid with precious stones. Below the chapel is the burial- vault of the Gorsini, with a *Piet& by Antonio Montauti {1).
The sacristan conducts visitors from the last chapel of the TS. aisle into the interesting '^Monastebt Godbt (^Ghiostro'*), constructed in the 13th cent, by Vassallettus (comp. p. 354), with numerous small spiral and in- laid columns (p. xlvii), at present undergoing restoration. Various frag- ments from the old church are deposited in the passages. The monastery was founded at the end of the 6th cent, by Benedictines from Mte. Gasino.
Adjoining S. Giovanni in Laterano, on the N., is the — Palazzo del Laterano (PI. II, 30), to which, together with the Vatican and Castel Gandolfo, the privilege of exterritoriality was secured by a law of 13th May, 1871. This was the residence of the popes from the time of Constantino down to the migration to Avignon. The old palace was much larger than the present, and included the Sancta Sanctorum Chapel (j>. 272). After a great fire in 1308 it lay in ruins, but these were removed, and the new palace erected by Domenico Fontana, by order of Sixtus V. in 1586. As it remained unoccupied, it was converted by Inno<ieivt "SAX.. \ss^r» "wv orphan -asylum in 1693. In 184^ Gie^ox-^ 'XTiTV. -^^x. ^^^^ '^'^ palace for the heathen and Ckxistian Mi\i^V!i^x^ft^ ^«^ ^V^sfe. "^is^^ Vatican and C&pitoline museuma no lou^fex a.^Qit^^^ vft^^'^^n ^^
268 IV, Andent Rome, ROME. Lateran.
named it the ^Mnsenm Gregoxianum Lateranense (adm. daily, except holidays, 9-3). The entrance is by the portal in the piazza opposite the obelisk (p. 265); visitors ring on the right in the passage. Compare ground-plan, p. 265.
On the ground-floor is the so-called *Miueo Frofano, a collection of ancient sculptures, including several admirable works. There is no catalogue, but the custodian (%-! fr.) is well informed. A sdentiflc German catalogue was published by Benndorf and Schone at Leipsic in 1867.
We begin on the right, under the arcades of the entrance-wing.
I. Boom. Entrance-wall : 8. Relief of the Abduction of Helen; 10. Tomb-relief (warrior's farewell); 11. Priest of the oracle of Do- dona (fountain-relief). Left wall : 13. Two pugilists, named Dares and Entellus (in relief); 15. Bust of Marcus Aurelius ; 20. Trajan (head restored by Thorvaldsen) accompanied by senators (relief from Trajan's Forum) ; in front of the last, 19. Statuette of Ne- mesis ; 26. Nymph suckling a child, perhaps the infant Pan, in relief. Right wall : 40. Sarcophagus-reliefs (p. xlii) of Mars and Rhea Silvia (the latter being a likeness of the deceased woman), Diana and Endymion, and Adonis (Nos. 40, 49, 53). In the centre a mosaic with pugilists, from the Therms of Garacalla (see 1st floor, p. 271). — II. Room : interesting architectural fragments, especially from the Forum of Trajan. Fragments of a •Frieze in the centre of the walls of the entrance, the egress, and that on the right merit inspection. — III. Room: by the entrance-wall; 255. Statue of iEs- culapius. Right wall: 256. •Antinous (p. xxxvii; head new), found at Ostia. Wall of egress : *258. Child's sarcophagus with scenes of pugilism. In the window several handsome feet of tables. — IV. Room : on the entrance- wall, 278. •Medea with the daughters of Peleus, a Greek relief; 291. Statue of Germanicus. Right wall : 319. *Statue of Mars. Wall of egress : 348. Replica of the reposing satyr of Praxiteles (p. xxxii). On a cippus : 352. *Bust of the youthful Tiberius. In the centre a beautiful basin of lumacchella (a kind of shell-marble).
We now cross the passage to the —
V. Room. Right wall: 394. Roman portrait-bust; 396, 405. Hermae of Pan; Muse; 407. *Cinerary urn with the head of Me- dusa and representation of a cock-fight. In the centre: 391. Sa- crifice of Mithras ; 399. Stag of basalt ; 406. Cow. — VI. Room: collection of sculptures from Cervetri, the ancient Caere. Entrance- wall : left, 427. Circular altar with Pan and two dancing Horae ; on it, 428. Colossal portrait - head (perhaps Augustus); right, 433. Statue of an emperor, head new. Right wall : 434. Draped statue; 435, 437. Colossal sitting figures of Tiberius and Claudius, between them, A3Q. The younger Agn.^^\i\tJ.\ 4^. Toga statue Cperhapa the elder Drusus). Wall oi eg;te«%-. 4^^. ^\.?wX.\i^^ ^^ ^^ «^- peror (perhapa the younger Diuswa)-, 444. li\i%x. ol^^\\%^3^^. ^^
LaUran. ROME. IV. Ancient Rome. 269
front of it : 442. Relief with representation of the deities of three Etruscan cities (Vetulonia , Volci , Tarquinii). On the pillar be- tween the windows : 445. Female portrait-statue (perhaps Dru- silla). In the centre, 447, 450. Two sleeping Silens (from a foun- tain) ; 448. Altar with representation of sacrifice. — VII. Room, On the right : 462. *Dancing Satyr, found near S. Lucia in Selce, possihly from a group hy Myron : Marsyas endeavouring to pick up the flutes thrown away by Athene , and staggering backwards on the appearance of the goddess (p. xxxi; arms new). By the door : 465. (r.) Head of Paris (?); 468. (l.) Barbarian monarch. Left wall: Apollo. Opposite the entrance: 476. **8ophocl€s, one of the most beautiful ancient portrait-statues in existence, found at Ter- racina in 1838. ^In the statue of the poet the sculptor has en- deavoured to produce a type of perfect manhood, to pourtray the self-reliance of genius and the unruffled dignity of manly beauty ; and he has accomplished his object by the general grandeur of his design, the easy attitude and noble symmetry of the figure, and the expressive attitude of the head ; while the broad and lofty forehead, the gentle and imaginative eye, the firm cheek, and the earnest but benevolent mouth complete the picture of a man who has attained the zenith of human excellence and happiness' (Benndorf & Schone). — VIII. Room : Entrance-wall : left, 487. Relief of a poet, with masks, and a Muse ; right, 494. Sarcophagus with the Calydonian Hunt; above, 496. Small head of a sleeping nymph. Left wall : 517. Meleager slain by Apollo. In the centre : 534. *Statue of Poseidon, found at Porto. — IX. Room, containing num- erous architectural fragments brought to light by the excavations in the Forum and the Via Appia. Wall of egress , to the left by the door : 630. Small head of Victory. In the centre : 656. Triangular *Ara with Bacchanalian dances. — X. Room : chiefly sculptures from the tombs of the Haterii , on the Via Labicana near Cento- cell e. Entrance- wall : 675, 677. Portrait-busts ; between them, 676. Relief of a large tomb, with powerful lifting-machine adjacent. Right wall : 691. Relief of the laying-out of a dead woman, sur- rounded by mourners. Wall of egress: 729. Relief with represen- tation of Roman buildings, among which the Colosseum is distin- guishable. Above it, 721. Relief with Mercury (broken), Ceres, Pluto, and Proserpine. In the centre : 740. Cupid on a dolphin.
We next cross a second passage to the —
XI. Room. The sculptures are chiefly from the tombs on the Via Latina (p. 346). Entrance-wall : to the left, 743. Sleeping nymph, from a fountain; to the right, 751. Bacchanalian sarco- phagus ; 752, 757. Hermae of Liber and Libera. Right wall : several hermae of the bearded Bacchus ; 768. Ephesian Diana ;j 7^Q. S>w5fi- phagus with Adonis. Wall of egreaa: TCX, ^w^o^^^ajg^^V^Jfi^^^^^^^^N 783, Greek ^omb-rellef (farewell-sceuft^. In. ^«v ^«viJci^\'WL.^'«t"^^ aarcopbagua with triumphal piooessioii ot^^^i^^*- — "XSV.^'^^^-
270 IV, AneUnt Borne. ROME. Lateran.
Entrance-wall : fl.) 793. Youthful Hercules (perhaps with portrait- features) ; (r.) 799. *Sarcophagus with the story of Orestes (death of iEgistheus, etc.). 808. Head of Augustus. 807. *Boy with a hunch of grapes. In the comer : 810. Herma of a Satyr. Wall of egress: 813. *Sarcophagus with the destruction of the Children of Niohe. In the centre, 831. Fine circular altar from Veii, an imitation of the Puteal Libonis in the Roman Forum. — XIII. Room. Entrance-wall: 842. Relief of a Titan fighting; several marble *anteflxaB' (facing-tiles), with representations of the Palladium ; 846. *Portrait-statue of 0. Gselius Satuminus. Wall of egress: 868. Relief, Pylades supporting the exhausted Orestes. In the centre : 882. Oval sarcophagus of P. Oacilius Yallianus, with the repre- sentation of a funeral-banquet. Then, *886. Three-sided Cande- labrum-stand with Pluto, Neptune, and Persephone. — XIY, Room. Entrance-wall: 890. (r.) Small group in relief, possibly Orpheus and Eurydice. Left wall : 909. Unfinished statue of por- phyry. Opposite the entrance : 902. Statue of a captive barbarian, unfinished, interesting on account of the marks of measurement made by the sculptor. Adjacent, 895. Sarcophagus of L. Annius Octavius, with representation of bread making ; adjacent is the in- scription : — Evasi, effugi, Spes et Fortuna valete ! Nil mihi vovis^ cum est , ludificate alios. By the right wall , 892. *Mo8aic with re- presentation of the pavement of an unswept dining-room ('Opus Asarotum'), by Heraclitus , found on the Aventine in 1833. — XY. Room and the following are devoted to the yield of the new excavations at Ostia. In the glass-cabinets under the windows are lamps, terracottas, fragments of glass, ivory articles, etc. On the pillar, mosaic from a niche, with Silvanus ; on each side frag- ments of slabs of terracotta. Wall of egress : (1.) *975. Small female head, probably of a nymph ; 977. Tomb-relief of the Eques T. Fla- vius Yerus. — XYI. Room. On the right, lead pipes from ancient aqueducts. 1062-66. Pictures from a tomb near Ostia with scenes from the lower regions. In the centre: 1061. Recumbent figure of Atthis, found at Ostia in 1869 (p. 396), with the traces of gilding on the hair and the crescent; 1043. Bronze statuette of Yenus.
The Christian Museum and the Picture Oallery are on the first floor of the palace. The principal entrance to them is on the farther side of the court , to the right. If this entrance is closed, we ring, as mentioned at p. 268, in the entrance-passage, then, in the arcades to the right, ascend a staircase to the left, into the walls of which are built ancient Christian inscriptions , and knock at the door at the top (1/2 fr.)- Compare also Plan (p. 265).
The •Chbistian Musbum was founded by Pius IX. and arranged
by the Padre Marchi and the Commendatore de Rossi. We begin
oar description from the principal entrance.
In the Arst ha.ll a large sarcopb&gua^ aaa^ lo \>fe V\i«X oS. "^tc^Xsw^^ Vtv the wall three mosaica : that in the centre, CYmat^TJetet, ^.w^^^MXtx^m the lower church of 8t. Peter •, tbe two ot\xeT8 itom \\ie t«X.^OTCL\i^.
Lateran, ROME. IV. Ancient Rome. 271
In the lai^e Corbidob of the Staibcase a ^Collection of ancient Chris- tian sarcophagi , chiefly of the 4th and 5th centuries, with representations from the Old and New Testament. On the right, by the end-wall: two statues of the Good Shepherd ; large sarcophagus with reliefs of the Creation, Hlracle of the loaves , Raising of Lazarus, Adoration of the Magi , Daniel among the lions , Moses striking the rock for water, etc. On the staircase 00 1st sarcophagus , Miracle of Jonah ; 2nd. Christ's entry into Jerusalem. At the top: GO 4th. The Good Shepherd among vines, with genii gather- ing grapes, in allusion to the parables of the New Testament. There are also : the Denial of Peter, the Healing of the lame man , and that of the blind man, the Sacrifice of Isaac , the Men in the fiery furnace \ then, farther on, a medieeval canopy and an interesting sarcophagus with scenes from the Passion. Above, on the wall of the staircase, the manger and adoration of the Magi. Below, translation of Elijah. Above, on the end-wall, sitting "^Figure of St. Hippolytus , upper part modem , from the catacombs near S. Lorenzo Fuori le if ura ; on the chair a Greek inscription recording the saint's achievements and an Easter-table. Comp. pp. xlii, xliv, 356-363. — The door on the left leads to the upper arcades, where the door opposite leads to the rooms with the copies of the Catacomb paintings ; to the right is the entrance to the room with the large mosaic.
The posterior walls of the three open Abcades present & selection of * Ancient Christian Inscriptions^ systematically arranged by De Rossi, an invaluable aid to the student of Christian archeeology. They are distributed according to arches thus: i-iii. Elegies on martyrs, etc., of the age of Da- masus I. (366-384)-, iv-vii. Dated inscripUons (238-567)5 viii, ix. Inscrip- tions of doctrinal importance ; x. Bishops, presbyters, deacons ; xi, xii. Other illustrious personages ; xiii. Relations, friends, etc. ; xiv-xvi. Symbolic and other records; xvii and follg. Simple epitaphs from various catacombs.
From the first arcade we pass to the right into a room (PI. A), on the floor of which is the large ^Mosaic with 28 pugilists, found in the Thermee of Caracalla in 1S24, bearing obvious indications of the decline of the art. The original arrangement of this mosaic, which has been freely restored and supplemented, is shown in the drawings on the walls.
The Collection of Pictures contains a few ancient mosaics, several good pictures of Italian masters, chiefly of the 15tli and 16th cent., and copies of pictures from the catacombs. A le-arrange-
ment of the pictures is imminent.
Rook I. (PI. a), adjoining Room A, contains dilapidated frescoes from S. Agnese Fuori le Mura.
Room II. (PI. B). In the middle: Mosaic^ found near the Pal. Sora, not far from the Ponte S. Angelo. Entrance-wall : Fra Filippo Lippiy Coronation of the Virgin; Benozzo Qozzoli^ St. Thomas receiving the girdle from the Virgin, with ♦Predella (resembling Fra Angelico in style). Left wall: An- tonio da Murano, Altar-piece (1464). *C. Crivelli, Madonna (1482), Madonna with saints (altar-piece; 1481). Exit-wall: Cola delV Amatrice^ Assumption (1515) and SS. Lawrence, Benedict, and Agnes (the latter credited to Signorelli). Between the windows: *St. Jerome, by Oiov. Santi, the father of Raphael*
Room III. (PI. O- Entrance-wall : And. del Sarto^ Holy Family ; Fr. Fran- eia, Annunciation. Left wall : Cesar e da Sesto , Baptism of Christ. Exit- wall: Copies of Raphael; Venetian School, Entombment. — Between the windows : Oiulio Romano^ Stoning of Stephen, a cartoon.
Room IY. (PI. D). Entrance-wiJl : Madonna, by an unknown master ; "^Madonna with John the Baptist and St. Jerome, by Marco Palmezzano of Forli, a pupil of Melozzo (p. 89; 1510). Left wall: Sasso/errato, Sixtus V. Adjacent, two pieces of modern tapestry from pictures by Fra Bartolom- meo. Exit-wall: *'Marco Palmezzano, Madonna with SS. Lawrence., Jahxv the Baptist, Peter, Francis, Anthony the Abbot^ vck4 \^Q\fi\x)\<^ V^SSSt^.
Room V. (PI. E). To the left, Daniels da VoUcrra^ Ti^^^oX Jt^^ '^ Croaa, a rough sketch in colours (the ftniaheCi ixe^eR-Q \& Vsx ^^J^^^^qv*, Monti, p. IdO); Cap. tTArpino, Anmmclaaon. To \\xft xvJgoN.- CaY«^'^^^^'*^ Sapper at EmmanSj Christ with the tribuXe-moTie^ .
272 IV, Ancient Rome, ROME. Scala Santa,
Booii yi. (PI. F). Entrance- wall : Ouercino, Assumption^ Van DyckO)^ Portrait. Left wall : Large copy in oils of a fresco by Domeniehino^ the Mar- t3rrdom of St. Andrew, original in S. Gregorio (p. 258). Between ^e win- dows: CSirist and Thomas, cartoon by Camuecini.
Bogus Or and H contain large copies in oil, some of them made for the mosaics in St. Peter's. In the last room (t) are some plaster-casts from the antique. — Another room on the same floor, opened by the custodian on application , contains casts by Peitrich of Dresden representing scenes from the life of the "S. American Indians.
The N. side of the Piazza di S. Giovanni in Laterano, opposite the Museum, is occupied by the new buildings on the site of the Villa Massimi. Between the Via Ariosto and the Via Tasso, which begin here, lies the Casino Massimi (not visible from the piazza), the only relic of the villa. Three rooms in this are adorned with Frescoes from the great Italian poets, painted for Prince GamHlo Mas- simi in 1821-28 by German artists.
The entrance to the Oasino is in the Via Ariosto; but admission is not now granted except on special introduction. The central room is adorned with scenes from Ariosto''s 'Orlando Furioso' by Jul, Sehnorr. The room on the right contains scenes from Dante, originally undertaken by Cornelius, but carried out after his removal to Munich by Ph. Veit (ceil- ing-paintings) and A. Koch (walls). The scenes from Tasso^s 'Jerusalem Delivered'', in the room to the left, are by Overbeck and Ftihrich.
Opposite the N.E. comer of the Lateran is the edifice contain- ing the Soala Santa, a flight of twenty-eight marble steps from the palace of Pilate at Jerusalem, which our Saviour is said to have once ascended. They were brought to Rome in 326 by the Empress Helena, and may only be ascended on the knees. They are now protected with a covering of wood. The two adjoining flights are for the descent. At the foot of the steps are two marble groups by Giacometti, Christ and Judas, and Christ before Pontius
Pilate.
At the top of the steps is the Sancta Sanctorum chapel (not accessible), formerly the private chapel of the popes, and the only part of the old La- teran palace now preserved. It was erected in 1278 by a member of the Cosmas family for Nicholas III., and contains a Christ in mosaic in the 9th cent, style, another painted on wood, attributed to St. Luke, and other relics. — The portico towards the piazza was erected by Sixtus V.
To the E. of the Scala Santa is a tribune erected by Bene- dict XIV. , with copies of the ancient Mosaics from the Triclinium of Leo III. , or principal dining-room of the ancient palace. These co- pies are from drawings of the 8th century. The originals were destroyed in the pontificate of Clement XII. Their subject is the union of spiritual and temporal power effected by Charlemagne. In the centre, Christ sending out his disciples; on the left, Christ enthroned delivers the keys to Pope Sylvester and the banner to the Emp. Constantine ; on the right, St. Peter presenting the papal
stole' to Leo and the banner to Charlemagne.
At the top of the road ascending to the left is the entrance to the
Villa Wolkonakj (PI. II, 32 ; adm. on Wed. and Sat. by permesso to be
obtained from the consul). The tasteM ^^toxuida are intersected by the
^^tfa Claudia^ novr almost wholly enclosed. \)7 Tsio^«.tTv\i>a5\^va5i^. k.l«w
&Dcient tombs and sculptured fragmenla arc pteaftT^^^ Vti \\i.«k %vt^«o..
Opposite the tribuna with tlie momc^ eiA-^u^ ^^ vi%.^\wi^
The Borgo. ROME. V, Right Bank. 273
Piazza di Pobta S. Giovanni (PI. II, 33), towards whicli S. Gio- vanni in Laterano faces. The piazza contains several modern build- ings. — A dusty street leads hence to the right past unattractive modern edifices to (5 min.) S. Croce in Gemsalemme (p. 181).
The Porta 8, Oiovanni, named after the church, was erected in 1574, taking the place of the ancient Porta Asinaria^ now built up, which stood a little to the right. Route to the Gampagna, see p. 346.
The road skirting the town-wall to the left, outside the gate, brings U8 in 7 min. to the Amphitheatrum Oastrense (PI. II, 36), the only struc- ture of the kind in Borne with the exception of the Colosseum. The building itself and the Corinthian capitals and other decorations are of burned brick. The longer diameter of the amphitheatre is 67 yds. The interior (uninteresting) is entered by. the gate near S. Croce in Geru- salemme. — Hence to the Porta Maggiore (p. 180), 12 minutes.
V. Quarters of the Oity on the Right Bank.
On the right bank of the Tiber are situated two distinct quar- ters : towards the N. the Borgo, or quarter of the Vatican ; and farther S., Trastevere, They are connected by means of the Lungara street.
The Borgo.
The Vatican Hill (206 ft.), with the plain lying beyond it, which is notorious for its malaria, was never reckoned as part of the city in ancient times, and was not enclosed within Aurelian's wall. It was once covered with the gardens of the emperors. Caligula constructed a Circus here and embellished it with a large obelisk. This circus was the scene of the races instituted by Nero and of his revolting cruelties to unoffending Christians in the year 65. (*Pereuntibus addlta ludibria, ut ferarum tergis contecti laniatu canum Interirent, aut crucibus adflxi , aut flammandi, atque ubi defecisset dies, in usum nooturni luminis urerentur.' Tacitus, xv, 44.) On the ruins of the ancient walls thus hallowed by the first great martyrdoms at Rome sprang up the Church of St. Peter, in the immediate neigh- bourhood of which paganism maintained its footing with greater obstinacy than in any other part of the city. Not far from the church was situated a highly-revered shrine of Cybelef'itfaicr Dcum Magna Idaea), the monuments in whose honour are proved by inscriptions to extend down to the year 390. Another circumstance which tend- ed to shape the future of this part of the city was the erection by Hadrian of his gigantic Tomb on the bank of the river. This mon- ument was afterwards converted into a tete-de-pont, but at what date is uncertain. In 537 It effectually repelled the attacks of the Goths, and since that period it has constituted the citadel of Rome^ commonly called the Castle of S. Angelo, oiit\v^^^«»^^^«^sjftt.^\^"^«5^'2«^ the mastery over the city has always depen^^^. ktwiw^xX^'^^^S^^^'^'^^ of St. Peter sprang up a number of cYia^eV*, ^^^'^^'^^^^'^^^'SvS\^ and bospitalB, and in the pontificate o^ S^wmacK'w.* V^^"" Babdbker. Italy II. lOtb Edition. ^'^
274 F. Bight Bank. ROME. The Borgo.
papal palace also. Foreign pilgrims soon began to establish settle- ments here, named aeholae, or borghi, of which in the 8th cent, four are mentioned in history, vis. those of the Saxons (u e. English), the Frisians, the Lombards , and the Franks , who in time of war formed separate companies of soldiers. In order to protect the whole of this region against the predatory incursions of the Saracens, Leo IV, surrounded it , in 848-52 , with a wall 40 ft. in height, and thus became the founder of the Civitas Leonina named after him. This quarter of the city was repeatedly destroyed during the con- flicts of the middle ages, as on the occasion of the retreat of Henry Y . before Robert Guiscard in 1085, and when the Castle of S. Angelo was destroyed by the Romans in 1379. A new era in the history of the Borgo began with the return of the popes from Avignon ; streets gradually sprang up ; and the walls were considerably extended. Eugene IV. And Sixius IV. were particularly active in developing the Borgo, and it attained the height of its prosperity in the ponti- ficate of Julius II. and Leo X. at the beginning of the 16th cen- tury. The papal court, however, was unable permanently to attract the business of the city to its neighbourhood, and a sparse and poor population , engaged in the humbler branches of trade , now lives beneath the shadow of the most famous church and the most im- posing palace in Christendom. Down to the pontificate of Sixtus V. the Borgo belonged to the popes, and lay without the bounds of the municipal jurisdiction ; but that pope incorporated it with the city as a '14th Rione', and in the plebiscite of 2nd Oct., 1870, the in- habitants of the Borgo declared their desire that it should continue to form an integral part of Rome.
The principal channel of communication with the Vatican quar- ter is afforded by the Fonte S. Angelo (PI. I, 10), which consisted originally of seven arches, but now has five only, one next the land on each side being built up. It was erected by Hadrian to connect his tomb with the city in A.D. 136, and named after him Pons /Elius> At the beginning of the bridge, on the site of two old chapels, Cle- ment VII. erected statues of St. Peter by Lorenzetto^ and St. Paul by Paolo Romano. The ten colossal statues of angels , formerly much admired , were executed from Bernini a designs in 1688, and testify to the low ebb of plastic taste at that period (p. lix). (The two angels in S.Andrea delle Fratte, p. 151, were also destined for the bridge.) The bridge commands a pleasing view of the Pincio with the Villa Medici. — At low water, to the left, are visible some re- mains of the piers of the ancient Pons Triumphalis, over which the triumphal processions of victorious emperors entered the city.
The bridge leads direct to the Castello S, Angelo (Pi. 1 , 10), which was originally the tomb erected by Hadrian for himself and his successors (Moles Hadrianx)^ aftei the exatm^\& ol the mausoleum of Augustus, the tomb of Caecilia MeteVU, etc. IV. ^^^ wixs^^X^v^^Nxv ^39 by AntoninuB Pins. On a substtuclwie , W^: ^^^. ^^w^^^, ^^^
CasteUo 8, Angelo. ROME. V. Right Bank. 275
concealed \>y rubbish, arose a cylinder of travertine, 80 yds. in diameter, encrusted with marble, of which covering no trace now remains ; and around the margin of the top stood numerous statues in marble. The cylinder was probably surmounted by another of smaller dimensions, on which a colossal statue of Hadrian was placed. The head in the Sala Rotonda of the Vatican (p. 306) is supposed to havebelonged to this statue. The total height was about 165 ft. From Hadrian to Caracalla (d. 217) all the emperors and their families were interred here. When the Goths under Vitiges besieged Rome in 537, the tomb was converted into a fortress, and the statues on the summit were hurled down on the besiegers. At the end of the same century, Gregory the Great, while conducting a procession to pray for the cessation of the plague then raging, 'beheld the Archangel Michael sheathing his sword' above the Castello S. Angelo, in commemoration of which Boniface IV. erected the chapel of 8, Angelo inter Nubes on the summit. This was afterwards replaced by the marble statue of an angel by Montelupo (now on the staircase in the interior), and in 1740 by the present bronze statue by Verschaffelt. From 923 onwards the edifice was always used by the party in power as a stronghold for the purpose of overawing the citizens. In 1379 it was almost entirely destroyed by the Romans. From the time of Boniface IX. down- wards the castle was held by the popes, and in 1527 Clement VH. sustained a terrible siege here, on which occasion Benvenuto Cellini asserted he had thence shot the Conn^table de Bourbon. The out- works were constructed by Urban V., and about 1500 the covered passage leading from the Vatican to the castle was added. In 1822 the interior was fre6d from rubbish. The fort was newly for- tified by Pius IX. Entrance by the sentinel's post, to the right of the bridge.
Permessi, see p. 123 (fee Vs'l fi^O* I' is important to arrive ptincta- ally at the hour named in the permesso, for visitors who arrive later must immediately join the soldier who acts as guide, and have therefore only a hasty glimpse of what the more punctual members of the party have already inspected. Visitors beginning about 11 a.m. have an opportunity of watching the reception of the midday signal and the firing of the J2 o'clock gun.
The ancient entrance is seen in the court, opposite the bridge. A passage gradually ascended thence, winding round the walls in the in- terior, and then diverging from them to the Tomb Chambes in the centre, which is now reached partly by other approaches. This was the last resting-place of Hadrian and his family, and still contains four niches for the urns. These are now empty ', but a sarcophagous of porphyry, the lid of which is now used as a font in St. Peter's (p. ^4), is said to have been found here. The visitor is also shown several gloomy dungeons in which Beatrice Cenci, Cellini, Gagliostro, and others are said to have been incarcerated •, former apartments of the popes ; and a saloon with frescoes by Raphael's pupil Perino del Vaga. Fine view of St. Peter's from the summit, and of the passage connecting the castle with the Vatican.
A new quay leads to the right from the ervliwv^ft ol ^^^"?w'?Ji\fc ^"^ S. Angelo to the new quarter springing xx^g oxv Wife "PtoXV A,\ CoaXeN^-^^^ a congeries of long and regular tows oi UstfeVfe^^ iQ\ss.-^\ss^"i ^'^^^^\.t2» Some public buildings, including a \a.is^ ^^^^ <il ^^-^ •> ^
276 V. Right Batik. ROME. Palazzo Giraud,
be erected here. At the N. end are the extensive new Barracks of the Carabinieri.
The Castle of S. Angelo is adjoined by the Piazza Pia (PL 1, 10), for some time named the Tiazza del Plebiscite'. Four streets here diverge to the W. : in the centre, to the left and right of the foun- tain, are the streets called the Borgo Vecchio and the Borgo Nuovo; to the left, by the river, the Borgo 8. Spirito ; to the right the Borgo S. Angelo.
The usual route to the Vatican is by the Borgo Nuovo. To the right in this street is the church of 8. Maria Traspontina (PI. I, 7, 5), erected in 1566. Farther on, to the right, in the small Piazza Scossa Cavalli, is the handsome ^Palazzo Giraud (PI. 4) , the pro- perty of Prince Torlonia, erected by Ant. Montecavallo in 1603-6, from designs by Bramante (p. li), for Card. Adriano da Corneto ; the poor portal dates from the 18th century.
To the right in the Borgo Nuovo, farther on (Nos. 101-105), is the Pal, Bicciardij built for Giac. da Brescia, the physician of Leo X., from a design by Bald. Peruzzi(?). We then proceed straight to the Piazza Rustioucci (PI. I, 7 ; 88 yds. long) , forming a kind of en- 1 trance-court to St. Peter's. Raphael's house, designed by Bramante, which stood on the right, near the Pal. Accoramhoni (PI. 2), was re- moved when the piazza was enlarged.
The BoBGO S. Spibito, Issuing from the Piazza Pia, terminates as the Borgo 8. Michele under the colonnades of the piazza of St. Peter. To the left in this street, by the river, is the spacious Ospe- dale di 8. 8pirHo (PI. I, 7). The building, with its striking octagon- al dome , dates from the time of Sixtus IV. and is one of the most important examples of the early Renaissance in Rome. The insti- tution was founded by Innocent III. and embraces a hospital, a lu- natic-asylum, a foundling-institution (shovm 2-4 p.m. ; permesso at the office on the first floor, or in the library), a home for girls, a refuge for the aged and infirm, and a valuable medical library (8-12). The three departments first mentioned can accommodate 1000, 500, and 3000 inmates respectively. The Military Hospital is on the op- posite side of the street. The 'borgo', or settlement, of the 'Saxons' or English once lay here (comp. p. 274).
Farther on , to the left , is the church of ^S. Spirito in Sassia (Pl.i2), ascribed to Antonio da Sangallo the Younger, under Paul III.; the facade was added by Mascherino under Sixtus V. It belongs to the adjoining hospital and contains nothing noteworthy, except a bronze ciborium, ascribed to Palladio, over the altar. The brick campanile, vdthits corner-pilasters, is described by Burckhardt as ^perhaps, in its virile simplicity, the noblest tower of the early Renaissance'.
To the left, at the end of a side-street, rises the Porta 8. Spi- rito, whence the Vij^ della Lungara leads to Trastevere (see p. 327).
Near the colonnades, ou l\ie x\s\it, V* S. l-.oteu%o m l?v%tV\iML% (PL 1 01 a church of early oiVgm, xe^iu\\\*mV'o^^S qw \Xv^ \fe\\. 'v^ \Xv^
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small church of 8. Michele in Sassia, formerly the church of the Fri- sians, rebuilt last century, with the tomb of the artist Raphael Mengs.
The **Piazza di S. Pietro is a square preceded hy an elliptical space which is enclosed by the imposing colonnades of Bernini (length to the portico of the church, 370 yds. ; greatest breadth 260 yds.). Each of the colonnades, which were erected in 1667, con- tains four series of columns of the Doric order. Three covered pas- sages, the central of which has space for two carriages abreast, are formed by 284 columns and 88 buttresses. On the roofs are placed 162 statues of saints in Berninfs style. The cost of the construction amounted to 850,000 scudi (184,000 i.); the pavement, laid by Be- nedict XIII. , alone cost 88,000 scudi. The efiFect is striking, and the piazza forms a fitting approach to the largest church in the world.
The great Obelisk in the centre of the piazza, which is destitute of hieroglyphics , was brought from Heliopolis to Rome by Caligula and placed in the Vatican Circus, and is the only monument of the
kind at Rome which has never been overthrown.
Under Sixtus V. in 1586 this huge monument, estimated by Fontana to weigh about 500 tons, was removed on rollers from its original position, and on iOth Sept. erected under the superintendence of Domenico Fontana on its present site. Representations of this extremely difficult undertaking are frequently seen. It is related that Fontana in the construction of his apparatus had omitted to allow for the tension of the ropes produced by the enormous weight , and that at the most critical momen*^^ , although silence was imposed on the bystanders under pain of death, one of the 800 work- men , the sailor Bresca of S. Remo, shouted : ^Acqua alle funi !* (water on the ropes) , thus solving the difficulty. As a reward, his relations (of Bor- dighera near S. Remo) were granted the privilege of providing the palm- branches for St. Peter's on Palm Sunday.
On the pavement round the obelisk is placed an Indicator of the points of the compass. At the sides are two handsome *Jbuntoms, 45 ft. in height, the one next the Vatican erected by Maderna, the other under Innocent XT. On each side, between the obelisk and the fountains , is a round slab of stone indicating the centres of the radii of the colonnades, each series of which appears thence as one. At the sides of the steps leading to the portico of St. Peter's, formerly stood the statues of SS. Peter and Paul which are now at the entrance to the Sacristy (p. 284), and were replaced under Pius IX. by works of De Fabris and Tadolini.
To the right , at the end of the colonnades , is the Portone di Bronzo, the entrance to the Vatican, where the Swiss guard is sta- tioned (see pp. 124, 286).
**St. Peter's (S. Pietro in Vaticano).
The Church of 8t» Peter, like S. Giovanni in Laterano, S. Paolo, S. Croce, S. Agnese, and S. Lorenzo, is said to have been founded by the Emp. Constantine at the request of Pope S^jl^jesleft 1. XX.-^*^^ erected in the form of a basilica with na^e, ^o\i\>Vfc ^\^^'5>^ ^^xv^'c^'?^- sept, on the site of the circus of ^eto, ^YiCiX^ ^X..^'^'^^^ "^^C^^ %X\ Iiarc suffered martyrdom, and it contained t\ie \>t«.-l«vv ^v^^^^v^"^^^
278 V, Right Bank, ROME. 8. Pietro
the apostle. The church was approached by an entrance-court with colonnades and was surrounded with smaller churches, chapels, and monasteries. The interior was sumptuously decorated with gold, mosaics, and marble. At Christmas, in the year 800, Charlemagne received here the Roman imperial crown from the hands of Leo III., and numerous emperors and popes were subsequently crowned here. In the course of time the edifice had at length become so damaged that Nicholas V. (p. xlix) determined on its reconstruction, and in 1450 began the posterior tribune, from the design of the Florentine Bernardino Rossellino. According to this, the church was to have the form of a Latin cross (i.e., with one arm longer than the others), and the ohoir was to be rounded internally, and to form half of a hexagon externally. The proportions were so adjusted that the choir and the transept completely enclosed the corresponding parts of the old church. The walls had risen to a height of 4-5 ft. only when it was interrupted by the death of the pope.
The work was not resumed till 50 years later, when a new impulse was given to the undertaking by the idea of Julius II, to erect a monument to himself during his own lifetime fp. li), for which, as there was no sufficient room in the church, it was proposed to add a chapel. For this proposal was next substituted another, that the church itself should be altered, and that the beginning of Rossellino^s building should be utilised ; but this last suggestion was afterwards abandoned as being likely to interfere with the independence of the work , and it was at length resolved to erect an entirely new edifice. The tradition, that Julius II. had invited numbers of architects , including Oiuliano da Sangallo , to submit designs, and that Bbamantb was the successful competitor, is probably true. The numbers of sketches and designs preserved in the collection of drawings in the Ufflzi at Florence testify to the enthusiasm and zeal with which the various masters entered into the lists, and particularly to the assiduity with which Bramante revised, corrected, and perfected his designs. His aim seems to have been to crown a substructure like the Basilica of Constantine (p. 232) with a superstructure like the Pantheon. He intended the new church to be in the form of a Greek cross covered with gigantic domes, with rounded choir and transept , and an aisle adjoining each of the dome pillars and ending in small cupolas at the corners, while the entrances were to be in tlie axes of these aisles , opening outwards in the form of tunnel-vaulted porches. The foundation- stone was laid on 18th April, 1506, in the presence of 35 cardinals, under the choir-pillar of St. Veronica (No. 4 on the large plan).
This plan, which had the merit of majestic simplicity, was, it is well known, not adhered to. The year preceding Bramante's death fd. 1514), ^/w//anodaiS^ariyaUo(d.i6i^y a.tv^^\VXv\i\mRaipftaciand i^a Giocondo da Vero'm.{<^, 1515), veie ei\Uvx^\.fe^ V\>;X^ W\^ ^\y§erv\\- ^ndence of the work. The great age ot t^e ^i%X. wv^^^^^^ ^"^^^^^ w\\^V^
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early death of Raphael (d. 1520), were unfavourable to the work, and the original plan was much altered , the masters being divided be- tween the Greek and Latin form of cross. The next directors of the work were Antonio da Sangalh the Younger (appointed in 1518), Bal-
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dassare Peruzzi of Siena (1520), and Michael Anoelo (1546), who distinguished himself by rejecting the innovations of Ant. da San- gallo, and rescuing Bramante^s ground-plan. He strengthened the pillars of the dome, simplified the form of the aisles, and planned a porch borne by ten columns, and terminating in a pediment, but this last part of his design was afterwards abandoned. Michael Angelo was most fortunate with his construction of tha daxs^fc, "^^
The original of the above plan (so far as aVia^e^^n ^\%\i^^> ^ ^vamwrA.^ ^rcA ei pii., is preserved in the collection o? atCi\i!v\.^VAVtiX ^twnv«^^* the UMzi at Florence (No, 3).
Vtt
280 V. Right Bank. ROME. S. Pietro
completed the drum of the dome, and left behind him drawings and models for the completion of the work up to the lantern, a task which was executed by Qiacomo della Porta and Carlo Fontana. Notwithstanding the vastness of its dimensions, the dome presents a marvellously airy and symmetrical appearance.
After the death of Michael Angelo (d. 1564) the building of the church was continued by Vignola, Pirro Ligorio, and Oiacomo della Porta. In 1606 the church was completed with the exception of the facade , when Paul V. introduced an unfortunate alteration. Con- trary to the plan of Bramante and Michael Angelo, he caused the nave to be lengthened, and the present weak and unsuitable facade to be erected by Carlo Madema. Lastly Bernini (after 1626) finish- ed the building in a most unsuitable way. He designed two campa- nili to be erected on each side of the church, but the only one which was built had to be removed owing to the insecurity of the foun- dation. A fine effect is produced by the double colonnades erected in front, also by Bernini, in the pontificate of Alexander VII.
The new church was consecrated by Pope Urban VIII., on 18th Nov. 1626, on the 1300th anniversary of the day on which St. Syl- vester is said to have consecrated the original edifice. By the end of the 17th cent, the cost of building St. Peter's had amounted to upwards of 47 million scudi (nearly 10,000,000^.), and the present expense of its maintenance is about 7500i. per annum. The new sacristy, erected by Pius VI., cost 900,000 sc. (about 180,000^.).
The result of these various vicissitudes is that St. Peter's is the largest and most imposing, if not the most beautiful church in the world; its area is about 18,000 sq. yds., while that of the cathedral at Milan is 10,000, St. Paul's at London 9350, St. Sophia at Con- stantinople 8150, and Cologne Cathedral 7400 sq. yds.
The measurements are variously stated by different authorities, but the following are approximately accurate. Lenj^th of the interior 205 yds., or including the walls 213 yds. ; length of St. Paul's in London 170 yds. ; cathedral at Florence 163 yds.; cathedral at Milan 148 yds.; S. Paolo Fuori le Mura 139 yds. ; St. Sophia at Constantinople 118 yds. — Accord- ing to the measurements of Carlo Fontana, the total length of St. Peter's, including the portico, is 232 yds.; height of nave 150 ft.; breadth of nave in front 29 yds., and at the back, behind the tribune 26 yds.; length of transept inside 150 yds. — The Dome , from the pavement to the summit of the lantern, is 403 ft. in height, to the summit of the cross 435 ft.; its diameter is 138ft., or about 5 ft. less than that of the Pantheon. The church contains 29 altars, in addition to the high- altar, and 148 columns.
The FA9ADB, with 8 columns, 4 pilasters, and 6 semi-pilasters of the Corinthian order, is 123 yds. long and 165 ft. high. It is sur- mounted by a balustrade with statues of the Saviour and apostles, 19 ft. high. The inscription records that it was erected by Paul V. (Borgbese) in 1612. Over the central of the five entrances is the Loggia in which the new pope used to \)e cio^nw^^., ^.ud whence he imparted his benediction at Eastei to t\\e coiv?,Qwt?,fe \w \>\^ ^\^ui.^ C^iscontinucd since the Italian occupaliou, wm^. ^. V>SS>^.
khVatieano. ROBIE. V, Right Bank. 281
The PoETioo, the celling of which, is magnificently decorated
in stncco, is 78 yds. in length, 14Y2 In width, and 66 ft. in height.
At the ends are equestrian statues : on the right, Constantine the
Great by BerrUnij on the left, Charlemagne by Comacchini. At the
entrances are antique columns of pavonazzetto and African marble. Over the interior of the central external entrance is *St. Peter on the flea, termed ^La Ifavicella\ a mosaic after Oiotto^ formerly in the entrance-conrt of the earlier church , unfortunately considerably altered by Marcello Provemale and Fr. Beretta. A copy of the original is preserv- ed in S. Maria della Concezione in the Piazza Barberini (p. 172). — Of the five doors of the church that on the extreme right is called the PoBTA Saitta, indicated by a cross , and is only opened in the years of jubilee (every 25 years ^ but the last celebration was in 1825). The great Central Entkance is closed by the brazen 'Doors which Eugene I'V . caused to be executed in 1447 by Ant. Filarete and Simone (p. 1) after the model of those of S. Giovanni at Florence. The Christian subjects represented on them contrast strangely with those on the surrounding arabesques, such as Phrixus and Hella on the ram, Europa on the bull, Ganymede carried oflf by the eagle, etc. — The portico unfortunately detracts greatly from the effect of the whole, and, even when the specta- tor is at some distance off, it conceals a considerable part of the cylin- der of the dome. The effect which Michael Angelo intended the dome itself to produce cannot be appreciated except from a considerable distance.
While the exterior of St. Peter's is open to criticism, the **In- TEBioB,, notwithstanding its meretricious enrichments (sculptures by Bernini and his contemporaries, coloured marble incrustation of the walls, and niches formed in the principal pillars by the same master) is strikingly impressive ; and the effect is produced not so much by the vastness, as by the harmony and symmetry of its pro- portions. The finest features, such as the great breadth of the three arms of the cross, the four great dome-pillars, the arcades below the dome, and the diameter of the latter, are all due to Bramantt, to
whom the coffering of the tunnel-vaulting must also be ascribed.
Interior. On the pavement of the Kave, close to the central door, is a round slab of porphyry on which the emperors were formerly crowned, and beyond it are stones on which are inscribed the length of several other large churches (see above; half obliterated). On each side, as far as the doine, are four pillars with Corinthian pilasters; above these a rich entablature, which bears the arches extending from pillar to pillar and the goi^eoasly coffered and gilded 'Vaulting of the ceiling. The niches of the pillars here and in the other parts of the church contain mediocre statues of the founders of various orders. The pavement, like the walls, consists entirely of coloured marble, inlaid from designs by Q. della Porta and Bernini. — By the fourth pillar to the right is the sitting ""Statue of St. Peter in bronze, on a throne of white marble beneath a canopy, a work of the 13th cent. (?), brought by Paul V. from the monastery of S. Martino. The right foot is almost entirely worn away by the kisses of devotees; in front of it two laxge candelabra. Above is a mosaic portrait of Pius IX. , commemorating the 25th anniversary of his accession to the papal see, 16th June, 1871.
The magnificent and plainly decorated Dome rests on four huge but- tresses, 234 It. in circumference, the niches in the lower parts of which are occupied by statues, 16 ft. in height, of (r.) St. Longinus (2) by fi«r- nini and St. Helena (3) by Bolgi, (1.) St. Veromc«. VN'^ X^i MottiKS. iMaS>.^6Jv.. Kx^- drew (5) by Duquesnoy; above them are t\ie io\a Xci^'S^Vfc ^i 'fi*Jct:vD:^.^ ^*i^'«^ the greatest relics are exhibited on high feaUv^^ft , oxi vjXvviJcL ^^'^^^s>^6s. loggie may be entered by none but the c&noxia ol &V. 'Pei^^t'*. ^^"^ oSvorsk^ Bre four mosaics of the Evangelists aCier \Aie Ca«. dT Asr&^two ^ ^^
282 V. Right Bank. ROME. 8. Pietro
dimenBioiis. The frieze bears the inscription in mosaic on a blue ground : Tu es Petrus et super hanc peiram aedificabo ecelesiam meam et tibi dabo elaves regni caelorum. The sixteen ribs of the vaulting of the dome are decorated with gilded stucco*, between them are four series of mosaics. In the lowest the Saviour, the Virgin, and the Apostles. On a level with the lantern, God the Father, by Mareello Provenxale^ after Cav. d'Arpino.
Beneath the dome rises the imposing, but tasteless bronze CANOPr (*BaI- dacchino'*) borne by four richly gilded spiral columns, constructed in 1633 under Pope Urban VHI., from designs by Bernini^ of the metal taken from the Pantheon (p. 193). It is 95 ft. in height, including the cross , and weighs about 93 tons. Under the canopy is the High Altar, consecrated in 1591, where the pope only reads mass on high festivals. It stands immediately over the T<ymJb of St. Peter. The Gonfessio, constructed by C. Madema under Paul V. , is surrounded by 89 ever-burning lamps. The descent to it is by a double flight of marble steps. Doors of gQded bronze, dating from the earlier church, close the niche which contains the sarcophagus of the apostle. Between the steps is the * Statue (6) of Pius VL in the attitude of prayer, by Canova^ 1822.
The nave is continued beyond the dome, and terminates in the Tbibdne, containing the mediocre bronze Cathedra Petri of Bernini^ which encloses the ancient wooden episcopal chair of St. Peter. On the right (7) is the monument of Urban VIII. (d. 1644) by Bernini; on the left (8) *that of Paul III. (d. 1549) by Ougl. delta Porta , probably under the supervision of Michael Angelo. Above is the figure of the pope pronouncing his bene- diction; beneath on the right Prudence, on the left Justice. The names of the bishops and prelates who on 8th Dec, 1854, accepted the new dogma of the immaculate conception of the Vii^n were engraved by order of Pius IX.
Having traversed the nave and surveyed the stupendous dimensions of the fabric, we now proceed to examine the aisles and transepts. St. Peter^s contains but few pictures ; those formerly here, some of which are now in the Vatican Gallery, are replaced by copies in mosaic.
Bight Aisle. Over the 'jubilee-door' St. Peter in mosaic (9), placed here by Clement X. in the year of jubilee 1675. The (Ist) Chapel della PietI (10) contains a celebrated *'^PietH by Michael Angelo. executed in 1498 at the instance of the French Cardinal Jean de Villiers ae la Grolaie. This mas- terpiece was produced under the direct influence of classic art, and the depth and truth of the conception are mirrored in the exquisite finish of the execution. Neither the grief of the Mother nor tbe eff'ect of death on the Son detracts from the ideal beauty imparted to them by the artist. This chapel also contains, to the left, a large early-Christian sarcophagus, in which, according to the inscription, Junius Bassus, prefect of the city (d. 395), was buried. It was discovered in 1595 during the rebuilding of St. Peter''s. To the right is a column which tradition affirms to have been brought from the Temple at Jerusalem, and which served Bernini as a model for the twisted pillars of tbe Baldacchino. — Adjacent, to the right under the arch, is the monument (11) of Leo XII., erected by Gregory XVI., by De Fabris; to the left, cenotaph (12) and bronze relief-portrait of Christina of Sweden, daughter of Gustavus Adolphus, and a convert to the Romish faith. The 2nd altar (13) is adorned with the Martyrdom of St. Se- bastian after Domeniehino. Under the next arches are the monuments of (r.) Innocent XII. by FHl. Valle (14), and (1.) the Countess Matilda of Tuscia (d. 1115) by Bernini (15), executed by order of Urban VIII. who had transferred her remains from Mantua hither. On the right the (3rd) Chapel of the Holt Sacrament (16) , closed by an iron gate , contains an altar-piece by Pietro da Cortona; right, the finely executed *Monuraent (17) of Sixtus IV. (d. 1484) in bronze, by Ant. Pollajuolo (1493). Julius II. (of the della Rovere family, like Sixtus) , who was the first to resume the construction of the church after Nicholas V. , is also interred here. Under the next arch : right . the monument (18) of Gregory XIII. , the rectifier of the calendar (d. 1586), bjr Camillo Husconi; left, the plain sarcopYiagws 0^ ^^ ^Te-^w^XlV. Oppo- site, over the alter by the principal buUteaa , \a V\\«, C.otjv\iv>\\>:\qvi q\ ^\.. Jerome (20), after Domeniehino (original in ttie\a.\,\c;vTi>^. Cixv \V^ t^^\^ "Ccv^ Gbegorian CuAPEi. (21) , erected under Gtc^orj ^m. Itom W.^ ^^.^x^t. ^\
in Vaticano. ROME. V. Right Bank. 283
Michciel Angela ^ at a cost of 80,000 scudi; here to the right is the ^Monu- ment (22) of Gregory XVI. (d. 1846), by Amid (1854); below it a relief, representing the dissemination of Christianity. Above the altar is the ""Madonna del Soccorso (23), from the old church of St. Peter, dating from about 1118; under it is the tomb of St. Gregory of Nazianzus (d. 390). Under the following arch : right, the tomb (24) of Benedict XIV. ; left, altar (25) with the mass of St. Basilius, after Subleyras.
The Sight Tbansept was used by the (Ecumenical Council for its meetings in 1870. By the tribune, three altars with pictures by Caroselli (26), Va- lentin (27), and Poussin (28), representing the Martyrdom of St. Erasmus.
PBOLONGATION OF BiOHT AiSLE. TJndcr the arch : right, ^Monument (29) of Clement XIII. (Rezzonico of Venice, d. 1769), by Canova; figure of the pope and the two lions worthy of inspection ; left, altar of the Kavicella (30) with Christ and Peter on the sea, after Lanfranco. Bight, the Chafsl of thb Abohanoel Michael (31), the ^Archangel, after Ouido Reni; in a straight direction, Burial of St. Petronella (32), after Quercino. Under the Qeft) fol- lowing arch: right, monument (33) of Clement X.; Raising of Tabitha by Peter, after Costanzi. — We now pass the principal tribune, and enter the — W. Division of Left Aisle. Immediately on the right is the monument (34) of Alexander VIU. (Ottoboni of Venice , d. 1691) , by Arrigo di S. Martino; left, Healing of the lame man by Peter and John (35), after Mancini; farther on .right, the altar (36) of Leo I. with a marble relief by Algardi (about 1650) , representing the Retreat of Attila. Facing the visitor is the Cappella dblla Colomna (37), containing a highly revered ^Madonna from a pillar of the older church. Beneath the altar an ancient Christian sarcophagus (38), with Christ and the apostles in front, containing the remains of Leo II. (d. 683), Leo lU. (d. 816), and Leo IV. (d. 855). Turning hence to the left, we first perceive on the right, over the small door (of egress), the unattractive monument (39) of Alex. VII. (d. 1667) by Bernini. Opposite is an altar (40) with an oil-painting (on slate) by Fr. Fannt, Punishment of Simon Magus. The Left Tbansept, with its tribune and three altars, is next entered. It contains confessionals for eleven dififerent languages, as the inscriptions indicate. By the pillar of S. Veronica, below the statue of S. Juliana, is an elevated seat, whence on high festivals the grand-penitentiary dispenses absolution. Over the first altar on the right, St. Thomas (41), by Camuccini; in front of that in the centre, the tomb (42) of the great composer Palestrina (1520-94), whose works are still performed in St. Peter's; altar-piece, Crucifixion of Peter, after O'titdo Reni; left, St. Francis (43), Biier Domenichino. The portal to the right under the following arch (44) leads to the Sacristy; above it the monument of Pius VUI. by Tenerani. To the left (48), Death of Ananias and Sapphira, after Roncalli. From this point the effect of the dome, tribune, and transept collectively is best appreciated. Then the Clementine Chapel (45), erected by Clement VIII. (1592-1605): below the altar (46) on the right reposes Gregory I., the Great (690-604); altar- piece after Andr. Sacchi; ft^cing us, the ^Monument (47) of Pius VII. (d.l823), by Thorvaldsen. — We now turn to the left, and perceive below the arch, on the left , the mosaic copy of Raphael's Transfiguration (49) , four times the size of the original. — Opposite, to the right, begins the —
Left Aisle. Here, under the arch on the right, the monument (50) of Leo XI. (d. 1606) by Algardi^ with a relief of the recantation of Henry fv. of France; left, monument (51) of Innocent XI. (d. 1689) by C. Maraita, with relief of the delivery of Vienna by King John Sobieski. The large Choib Chapel (52), gorgeously decorated by Delia Porta with stucco and gilding, contains the tombstone of Clement IX. (d. 1721) and two organs. Here on Sundays cere- monies accompanied by beautiful musical performances frequently take place ; ladies only admitted when provided with black dress and veil , gentlemen also in black (evening-dress). — Beneath the arch, to the right over the door, is the tomb in which the most recently deceased po^a x^sAsi. -n^xj^JX Nia& completion of his tomb and monument elaevjWxft^ Yvixs.\X^. V?s..^SS^^sc^ here tiUJuly 12tb, 1881, when liia \)oa.Y vi«.a ttwv^letr^^ \ft |- \^^?^g^ FuoH le Jfura (see p. 344). To the left, \.\i^ *l&o\vx>s^^\. ^ SU x^5e=^^. ^tyin.(d. 1482), by Ant. and Pietro PollajuoXo. '^;^^:^^ut ^^^^'^^ M »Iiar 0i) with the Puriacation of tAic NVt^Vx^, ^X\«^^ Kowo.t^'^^^
284 V. Right Bank. ROME. 8. Pietro
the arch to the right, over the door which leads to the dome, the eye of the English traveller will rest with interest upon the monument (55) of Maria Clementina Sobieski (d. 1735 at Rome), wife of Charles Edward, the young Pretender, and to the left the tomb (56) of the last of the Stuarts, by Canova (1819), with busts of ^Jamies UL* and his sons Charles Edward, and Henry, better known as Cardinal York. In the last chapel (57) on the right is a font consisting of the cover of a sarcophagus from the mausoleum of Har drian (p. 275). Over the altar, Baptism of Christ, after Maratta.
The Sacristy (entrance by the grey marble portal, ground-plan
44; visited most conveniently 9-1 1 a.m.), erected in 1775 by Pius
YI. from designs of C. MarchUmne , consists of three chapels in a
corridor adorned with ancient columns and inscriptions.
At the entrance the statues of (r.) St. Peter and (1.) St. Paul, executed under Pius II. by Mmo del RegnOy and formei^ly in the Piazza of St. Peter. The central chapel, Saobbstia Comune (58), octagonal in form, is em- bellishe'd with eight columns of bigio from the villa of Hadrian at Tibur. A guide (Vz fr-) is found here to show the others. Left, the Saobestia dei Canonici (59), with the Cap. dei Canonici, altar-piece by Francesco Penni (Madonna with SS. Anna, Peter, and Paul), opposite to which is a * Ma- donna and Child by Oiulio Romano. Adjacent is the —
Stanza Capitolabb (60), containing •Pictures from the old Confessio, by Oiotto'. Christ with a cardinal; Crucifixion of Peter, a good example of Giotto''s dramatic power; Martyrdom of St. Paul; on the back, Peter enthroned; SS. Andrew, John, Paul, and James; on the predella (by the window). Madonna and Apostles. This work alone would entitle Oiotto to be regarded as the founder of a new school of painting. This Stanza also contains fragments of the •Frescoes by Melozzo da Forli from the for- mer dome of SS. Apostoli (angels with musical instruments and several heads of apostles). On the right, the —
Saobestia de' Bbnefiziati (61) , with an altar-piece by Mutiano^ the Delivery of the Keys. Contiguous is the Tbeasubt (62) of St. Peter^'s, containing jewels, candelabra by Benvenuto Cellini and Michael Angelo^ the dalmatica worn by Charlemagne at bis coronation, etc. — Over the sacristy are the Abchives of St. Peter's with ancient MSS. , e.g. Life of St. George, with miniatures by Oiotto; also a few classical authors. The treasury and archives are seldom shown.
The Sagrb Gbottb Vaticane (or crypt), consisting of passages
with chapels and altars beneath the pavement of the present church,
also deserve a visit. The so-called 'Grotte Vecchie' are only shown
by special permission of the Pope (which lady-visitors require in the
case of the others also). For admission to the 'Grotte Nuove' apply
at the sacristy (fee 1/2 ^^O* Entrance, see ground-plan, a.
The Grotte Nuove, situated under the dome, consist of a corridor in
the form of a horseshoe, which encloses the Confessio. In the four great
buttresses which support the nave, steps descend to as many Chapels:
a. St. Veronica, k. St. Helena, i. St. Longinas, d. St. Andrew. — In the
Chapel of S. Mabia de Porticu (6), to the right by the entrance, is St.
Matthew, on the left, St. John, both from the tomb of Nicholas V. (d. 1455) ;
over the altar a Madonna by Simone Memmiy from the colonnade of the old
church, much injured. Outside the chapel, on the right, a mosaic: Christ
between SS. Peter and Paul, from the tomb of Emp. Otho II. — In the
Chapel of S. M. Pkeonantidm (c), at the entrance, the two SS. James,
from the tomb of Nicholas V.; half-figure of Boniface VIII.; angels in
mosaic, after Oiotto. Here, and throughout the whole corridor, are pre-
aerved numeroua reliefs of the 15th cent, from the tombs of the popes;
among tliem^ on the right, a Madonna w\U\ SI. V^lw a.Q.d St. Paul (A) by
Jifmo da I^iesole. Beliefs from the tomb oiPauWl.-. \\o'^fe,Ya.\\\v.,Q.\\;j.V\V^,
And the Last /adgment. On the left, by l\ie a\Ae% ol VXv^ ciwVT;4.w»:-«. V'a vvvi
Confessio, marble ^Beliefs (m) of tlie marlyTeLom oi S^.YeV^T ».xv^V;s.xv\,^x^m
in Vaticano. ROME. V. Right Bank. 285
the tombstone of Siztus VI. The Confessio, or Shrine of SS. Peter and Paul, in the centre of the circular passage, is richly decorated with gold, jewels, etc. Over the altar, which was consecrated in 1122, are two an- cient pictures of St. Peter and St. Paul. The sarcophagus of St. Peter (formerly in the catacombs on the Via Appia, then in the Lateran) has been preserved here since the 15th century.
The Grotte Vecohie are about 147 ft. long and 57 ft. wide. The pave- ment was originally that of the ancient church, and lies 11 ft. below that of the present church. These vaults contain the tombs of many popes and princes. In e. those of Nicholas I. (d. 867), Gregory V. (d. 999), and Emp. Otho II. (d. at Rome, 983). At the end of /. that of Alexander VI. (d. 1503). In g. those of Hadrian IV. (Nicholas Breakspeare, the only English pope, d. 1159), an old sarcophagus in granite^ Pius II. (JSneas Sylvius Piccolomini, d. 1464), an early-Christian sarcophagus-, Pius III. (d. 1503), Boniface VIII. (d. 1303), Nicholas V. (Thomas of Sarzana, d. 1455), and Paul II. (d. 1471), these four by Mine da Fiesole; Urban VI. (d. 1389)', Marcellus II. (d. 1555), in an early- Christian sarcophagus Cardinal Fonseca (d. 1422).
For the *Ascbnt op the Dome (daily 8-11 a.m.) a permesso is required, and may be obtained in the *Rev. Fabbrica di S. Pietro', Via deila Sagrestia 8 (first floor). Visitors knock at the door in the left aisle (PI. 55). Eight flights of easy steps, 142 in all, ascend to the roof. The walls bear memorial-tablets of royal personages who have performed the ascent. On the roof a number of domes and small structures are seen, some of which serve as dwellings for the workmen and custodians.
One of the eight octagonal chambers in the piers which support the dome contains a ** Model of the church by Michael Angela and his pre- decessor Ant. da Sangallo, for admission to which a permesso of the 'Rev. Fabbrica di St. Pietro' (see above), obtainable by special recommenda- tion only, must be procured; here, too, a -model of the ancient throne of St. Peter is preserved.
The Dome rises 308 ft. above the roof, and is 630 ft. in circum- ference. The visitor will observe the huge hoops of iron by which the dome was strengthened in the 18th cent., when threatening fissures had begun to appear. The gallery within the dome affords a striking view of the interior. An easy staircase ascends between the outer and inner dome to the *Lantemj which commands a view of the whole church and its environs. A narrow iron staircase, ad- mitting one person only at a time, ascends to the copper ball on the summit, which can contain 16 persons, but affords no view.
Ascending by St. Peter's, to the left beyond the colonnades (way to the Vatican gallery of statues, see p. 304, and Plan, p. 276), we reach, on the left near the sacristy, the Cimetero del Tedeschiy the most ancient Christian burial-ground, instituted by Constantine, and filled with earth from Mt. Calvary. In 1779 it was granted to the Germans by Pius VI. Adjacent is the church of S. Maria della Pieth in Campo Santo (PI. I, 4, 4), ad30itdii%^\ARjft.\"&^'^^'B«sv«».
and Flemish refuge for pilgrims.
Near it is situated the Palace of the SS. Oftl^xo, ^^^^"^^^5^ now a barrack. That tribunal was estaUiaVift^ ^^ Yb^W'lXi'^ >2^
286 7. Right Bank, ROME. The Vatican.
by the advice of Card. Caraffa, afterwards Pope Paul IV. , and this edifice was assigned to it by Hns Y.
The Vatican.
The Vatican Palace, the largest in the world, was originally a dwelling-house for the popes, erected by Symmachus (p. 273) near the anterior court of the old church of St. Peter, and afterwards gradually extended. Charlemagne is believed once to have resided here. This building having fallen to decay during the tumults of the following centuries , Eugene III. erected a palace near St. Peter s, which was greatly enlarged by Nicholas III. The Vatican did not, however, become the usual residence of the popes until after their return from Avignon, when the Lateran was deserted. After the death of Gregory XI. the first conclave was held in the Vati- can in 1378, which resulted in the schism. In 1410 John XXIII. constructed the rx)vered passage to the castle of S. Angelo. In 1450 Nicholas V. (p. xlix), with a view to render the Vatican the most imposing palace in the world , determined to unite in it all the government-offices and residences of the cardinals. The small portion completed by him, afterwards occupied by Alexander VI. and named Tot di Borgia, was extended by subsequent popes. In 1473 the Siatine Chapel was erected by SixtusIV., and about 1490 the Belve- dere, or garden-house, by Innocent VIII. Bramante, under Julius II. , united the latter with the palace by means of a great court, which under Sixtus V. was divided by the erection of the library into two parts, the anterior court and the Giardino della Pigna. The Loggie round the Cortiie di S. Damaso were also constructed by Bramante. In 1534 Paul III. founded the Pauline Chapel, and Sixtus V. the Library and the present residence of the popes, which last was com- pleted by Clement VIII. (1592-1605). Urban VIII. erected the Scala Regia from Bernini's design , Pius VII. the Braccio Nuovo for the sculptures, Gregory XVI. the Etruscan Museum, and Pius IX. closed the fourth side of the Cortiie di S. Damaso by covering and reconstructing the great staircase which leads from the arcades of the piazza into the court. The palace now possesses 20 courts, and is said to comprise 1 1,000 (?) halls, chapels, saloons, and private apartments. By far the greater number of these are occupied by collections and show rooms, a comparatively small part of the build- ing being set apart for the papal court. A law passed on 13th May, 1871, secures to the Vatican, the Lateran, and the papal villa at Castel Gandolfo the privilege of exterritoriality.
The Principal Entrance to the Vatican (^Portone di Bronzo)
is at the end of the right colonnade of the Piazza of St. Peter.
Within the gate visitors apply to the Swiss guard (comp, p. 124),
and are conducted to the MaggioT^oma.Vi \ci i^teAN^ their per-
messo. The steps (Scala Pia) , origvivaW'S \xuwiMet«i^, \i\^N. i4\Xfcx^\
^y Piu8 IX. , lead to the Coutile t>i S>. T>k.iilk%o , ti q.q\«x. ^V\^V
The Vatican. ROME. Y, Right Bank. 287
derives its name from the fountain of St. Damasus erected here by Innocent X., and sometimes called Cortile delle Loggie from the Loggie of Bramante (p. lii) by which it is bounded on three sides. On the right is the wing occupied by the Pope. On the left a door with the inscription Adito alia Biblioteca ed al Museo (now available for readers in the library only ; collection of antiquities, see p. 304). The loggie on the first floor are embellished with paintings by Gio- vanni da Udine (freely but judiciously retouched), those on the
second floor by Raphael (p. 299).
The visitor should be well provided with 50 c. notes and copper money, as fees are exacted from him at a dozen different places (in each depart- ment V* f'-» frequent visitors 25 c). The ciceroni who proffer their ser- vices at the entrance are generally ignorant and importunate.
Apartments not usually shown at present are enclosed within square brackets in the following description.
A. Paintings.
CappeUa Sistina. Raphael's Stanze and Loggie. Picture Oallery*
(Comp. Han, p. 289.)
Permesso, see p. 124. The name of each department where it is shown is deleted by the custodian. Catalogue of the picture-galleries and deco- rative paintings by the Conservatore Ereole Mcusi, in Ital. 2 fr., Engl. 4 fr., abridgment in French 2 fr.
We pass the Portone di Bronzo (see above) with the Swiss guard and proceed to the Scala Regia, a magnificent flight of steps, con- structed by Ant, da Sangallo the Younger, and restored by Bernini under Alexander VII. , covered with tunnel-vaulting borne by Roman columns. We mount these steps and pass through a door to the Stair^ case on the Right, which ascends to the first floor, where we are ad- mitted by a side-entrance to the Sistine Chapel (see below), indicated by an inscription. On the second floor are Raphael's Stanze and Loggie (p. 292), and on the third the picture-gallery (p. 301).
**Caffblla Sistina. Sala Regia. Sala Ducale.
Caffblla Paolina.
The ♦* Sistine Cliapel was erected under Sixtus IV. by Baccio Pintelli (?) in 1473; length 133 ft., width 45 ft., six windows on each side above. Beautifully decorated marble screens enclose the space set apart for religious solemnities. The lower part of the walls was formerly hung with Raphael's t^estry (p. 303) on the occasion of festivals, while the upper part., with the exception of the wall of the altar, is decorated with interesting frescoes by Florentine masters of the Idth ceqt. (p. xlix ; best light in the morning).
These Frescoes represent parallel scenes from the life of Christ (right) and Moses (left), beginning at the altar, and meeting on the entrance- wall. Left: 1. (by the altar) PcrugiivQ^^^'iw^^VNSisO^^^ wife Zipporah journeying to Egypt, Z\^^qtl?^i j^Vx^svixsv^^'^'^^^'^'^^V^ (Bometimea attributed to Luca SignoTclU, Q^^^^^^"^^^^^^^^ to Pinturicchioy, •2. Sandto Botticelli, Uo*^^ >kO\^^^^^^
288 V. Right Bank. ROME. The Vatican.
driTes the shepherds from the well, kneels before the buming bnsh ; 3. Cosimo RoaseUi, Pharaoh's des traction in the Red Sea ; 4. Cos. Rosselliy Moses receives the Law on Mt. Sinai, Adoration of the calf; 0. 8. Botticelli, Destmction of the company of Korah, and that of the sons of Aaron ; 6. Luca SignoreUi, Moses as a law- giver, Investiture of Aaron, Mourning over the body of Moses, with boldly drawn male figures. — Adjoining the latter, on the en- trance-wall: Salviatij Contest of the Archangel Michael for the body of Moses, now entirely repainted. — Right: 1. Perugino^ Baptism of Christ; 2. 8. Botticellij Christ's Temptation (vigorous and finely individualised) ; ♦S. Dam. Qhirlandajo, Vocation of Peter and Andrew, completed about 1484, in a dignified and severe mon- umental style ; 4. C. Rosselli, Sermon on the Mount, Cure of the leper ; *5. Perugino (who, according to Vasari, was assisted by Bar- tol, delta Qattd), Christ giving the keys to Peter, one of the master's finest monumental works , in spite of defects in the composition ; 6.*C. Ro8selli, Last Supper. — On the entrance- wall : Resurrection of Christ , originally by 2>. OhirlandajOy renewed by Arrigo Fiam- mingo. — On the pillars between the windows 28 popes by 8. Botti- celli, not easily distinguishable. — The place of honour at the altar, before Michael Angelo painted his Last Judgment (p. 291), was occupied by three other frescoes by Perugino: the Finding of Moses, Coronation of the Virgin, and Adoration of the Magi.
The **CBiLiNa (p. lii; mirrors provided by the custodian) was begun by Michael Angelo on 10th May, 1508, and, as proved by existing documents, completed in the autumn of 1512 (although the master's biographers have stated that he executed the work *in 22 months'). Whether the ceiling of the Sistine Chapel, or the Stanze of Raphael are to be regarded as the culminating effort of modern art, has long been a subject of controversy. The merit of uni- formity of thought and compactness of composition must be awarded to the ceiling-painting , and these attributes are the more worthy of admiration, as the subjects of the whole series had not been agreed upon from the outset. The pictorial enrichment of the ceiling was at first to be limited to the figures of the Twelve Apostles, but Michael Angelo, perceiving the poverty of the de- sign, prevailed on the pope to allow him to extend it. In order to connect the different scenes, Michael Angelo invented an imagi- native structure with columns, pillars, and cornices in bronze and marble, which rises from the walls, and encloses in the middle of the ceiling (which is vaulted, with a flat surface in the middle) nine sections of different sizes. The lifelike figures which step forth from the architectural members, some of them in their nAtuT&l colour J and others of a bronze tint, impart to the back- gronnd snch animation and sigiiiftcaJiGe, ai^ \.ci ie,Tv^ct \t «.n. admir- ^ble introduction to the large centtaV ^VcImt^^. \\.\%V«i^^wx^^ spectator will become fully a^aie oi t\ve \m^0T\.%.Tv^^ \.q ^^ij\tv\.^t ^X.
V. Eiffht Bank. 289
a lUotDUgii Ac<|Uaiutauco witli ucHtectanl doBign*, tnd o( the ex-
tiiDt to wMuL Mlchtiel Angela availed himBelfoCancb icqaainMnee.
A deacription ofjtlic'GBNTKUi ScBtraa, may be given neuly In
290 V. Right Bank. ROME. The Vatican.
tlie words of Aseanio Condivi, a pupil of Michael Angelo, who in 1553 wrote the mastei's life before the death of the latter. — *In the Ist Section of the ceiling (reckoned from the altar), which is one of the smaller ones, you ebserve in the air God Almighty, who with the motion of his arms separates light from darkness. — In the 2nd Section he creates the two great lights of the world, his outstretched right hand touching the sun, and the left the moon. Around him are several angels, one of whom (to the left) hides his face, and presses close to the Creator, as if to screen himself from the baneful influence (dazzling light) of the moon. In the same section God is again represented as engaged in creating the herbs and plants on the earth. He is pourtrayed with such art, that wherever you turn he appears to follow you, showing his whole back down to the soles of his feet, — a very excellent work, proving what can be done by foreshortening. — In the 3rd Section God the Lord appears in the air surrounded with angels, regarding the waters, and commanding them to bring forth all those kinds of animals which that element nourishes. — In the 4th Section the creation of man is represented, and God is seen with outstretched arm and hand, as if prescribing to Adam what to do, and what to abstain from. With his other arm he encloses a group of angels (the figure immediately behind the shoulder of the Father bears distinctly female features, and it is a not improbable conjecture that the master meant here to represent the uncreated Eve). — In the 5th Section God draws from Adam's side the woman, who with folded hands stretched out towards God, bows herself with a sweet expression, so that it seems she is thanking him, and that he is blessing her. — In the 6th Section the Demon, in human form from the waist upwards, and otherwise a serpent, coils himself round a tree; he converses with Adam and Eve, whom he persuades to disobey their Creator, and hands the forbidden fruit to the woman. In the second part of the section you see the pair, driven out by the angel, fleeing terrified and sad from the face of God, — In the 7th Section the sacrifice of Abel and Cain (or rather Noah's thank- offering) is represented. — In the 8th Section is seen the Flood, with Noah's Ark on the water at a distance, and a few persons clinging to it in hopes of saving themselves. Nearer is a boat crowded with people, which, owing to its undue load, and to the numbers of violent shocks of waves, is already shipping water, and threatening to sink, and it is indeed a strange thing to see the human race perishing so miserably in the waves. Still nearer the eye appears above the water the top of a mountain, where a number of men and women have sought refuge as if on an island ; they show different emotions, but they all cower, miserable and terrified, under a tent stretched over a tree, to %\ieiU^i tkem&elves from the excessive rain. And in this scene t\i6 wxaX\i oiQiQ^\& T«^T^^«^\fc^ 'til ffreat art, for he sends uipon tViem W^^iUYvx^^-i, ^^\.ct^^ «^^
The Vatican. ROME. V. Right Bank. 291
Btorms. There Ib also another monntain-top on the right side with a group of people on it in similar distress, but it would take too long to describe each one of them. — In the 9th Section^ the last, is narrated the story of Noah, who, when lying drunken and naked on the ground, is mocked by his son Ham, but is being covered by Shem and Japheth'.
On the lower part of the vaulting are the ♦*Prophbts and Sibyls in earnest contemplation, surrounded by angels and genii. To the left of the altar : 1. Jeremiah, in a profound reverie ; 2. Per- sian Sibyl, reading ; 3. Ezekiel , with half-opened scroll ; 4. Ery- thraean Sibyl , sitting by an open book ; 5. Joel, reading a scroll ; 6. fover the door) Zacharias, turning the leaves of a book ; 7. Del- phian Sibyl, with an open scroll ; 8. Isaiah, his arm resting on a book, absorbed by divine inspiration ; 9. Cumaean Sibyl, opening a book; 10. Daniel, writing; 11. Libyan Sibyl, grasping an open book ; 12. (above the Last Judgment) Jonah, sitting under the gourd. 'All these are truly wonderful', says Condivi, 'both owing to the attitudes, and to the ornamentation, and the variety of the drapery. But most wonderful of all is the prophet Jonah who sits at the top of the vaulting. His body is foreshortened towards the inside, to- wards the part nearest the beholder's eye, while the legs project outside, in the more distant part : a marvellous work, for so great is the skill of Michael Angelo in foreshortening and perspective'.
In the pointed arches and lunettes of the vaulting are the an- cestors of the Saviour in calm expectation. In the four comer- arches : on the altar-wall, right; the Israelites in the wilderness with the brazen serpent ; left, king Ahasuerus, Esther, and Haman. On the entrance-wall, left, David and Goliath, right, Judith.
Nearly 30 years later than this ceiling Michael Angelo painted on the altar- wall the **La8T Judgmbnt, 64 ft. in width, completed under Paul HI. in 1541. Careful and repeated study alone will enable the spectator to appreciate the details of this vast com- position, which is unfortunately blackened by the smoke of cen- turies, and unfavourably lighted. To fathom the religious views and artistic designs of the talented master is a still more difficult task. On the right of the figure of Christ as Judge hover the saints drawn back by devils and supported by angels, on his left the sin- ners in vain strive to ascend ; above are two groups of angels with the Cross, the column at which Christ was scourged, and the other instruments of his passion ; in the centre Christ and the Virgin, surrounded by apostles and saints ; below the rising dead is hell, according to Dante's conception, with the boatman Charon and the judge Minos, whose face is a portrait of Biagio of Cesena, master of the ceremonies to Paul HI., who had ^ieti^va^^ ^^ "^^R^:^««» ^"^ account of the nudity of the figures. Pa.Tv\\N ,, ^Va <i«vs.\.^\sv^"^^^^ the deBtruetion of the picture on tMa accoutiX., ^^•'^'^^"^^^^^^^^vfl^ BteAd, to cause some of the fisuies to "be* '^ax^'l ^tw^e*^^^
292 7. Bight Bank, ROME. The Vatican.
da Volterra, Clement Xn. caused this piocess to be extended to the other flgnres by Stefano Po%zi, whereby, as may be imagined, the picture was far from being improved.
Most of the solemnities at which the Pope officiates in person take place in the Sistine Chapel (see pp. 120, 121).
Adjacent to the Sistine Chapel on the E. is the Sala Begia* which is shown by the custodians of the Sistine Chapel on special request. It was built by Ant. da SangaUo the Younger , as an en- trance hall to the Sistine Chapel, and was originally destined for the reception of foreign ambassadors. The cornicings of the ceiling are by Perino del Vaga, and those over the doors by Dan. da Volterra.
The mediocre Fbbscobs of Vasarif SalviiUit and the Zttccari^ represent, according to the titles inscribed below them : on the window-wall, to the right , scenes from the Xight of St. Bartholomew (the inscription 8trage$ HugenoUorum^ etc., which was once under them, has been obliterated). On the wall opposite uie entrance, the door in which leads to the Sistine, the Alliance of the Spanish and Venetians with Paul V., Battle of Lepanto in 1571 ; on the end-wall , Gregory VII. absolving the Emp. Henry iV. (door to the Pauline) , Conquest of Tunis. On the entrance- wall , Gregory XI. returning from Avignon, Alexander in. absolving Fred. Barbarossa.
The Sala Bucale, which adjoins the Sala Regia, constructed by Bernini^ is decorated with frescoes and landscapes by Bril.
From the Sala Regia a door to the left , with the inscription ^Paulus III. P. M.\ leads into the Pauline Chapel (Cappella Pao- Una) J built in 1540 by Antonio da SangaUo the Younyer for Paul m. Here also are two frescoes by Michael Angelo , painted by him at a very advanced age : on the left, the Conversion of St. Paul , on the right, the Crucifixion of St. Peter. The other pictures are by Lor. Sabbatini and F. Zuccaro^ the statues in the corners by P. Bresciano. The chapel is used on the first Sunday in Advent for the QuaranV Ore, or exposition of the host during 40 hrs., when, as well as on Holy Thursday, it is brilliantly illuminated.
Rafhabl's **Stanzb and **Loggib. ♦Cappella Niccolina (di S. Lobbnzo). **Picturb Galleey. Raphael's Tapestry.
(Comp. the Ground- Plan, p. 289.) We follow the staircase mentioned at p. 287 , passing the pre- sent entrance to the Sistine Chapel , and ascend thence to the right 63 steps, to the second floor, where we knock at the white door, through which Raphael's Stanze and Loggie at present are entered from the back. Sticks and umbrellas are left at the door. — In front and to the right are two rooms with indifferent modern pictures, chiefly representing scenes from the lives of persons canonised by Pius IX. The room to the right also contains a picture representing the Relief of Vienna in 1683 by John Sobieski, by MatejkOy presented by Poles. We traverse that to the right, and then a saloon, the Sala deir Immacolataf decorated by Podesti, \i^ oi^et qI^\»&IX.^ with frescoes relatiDg to the doctrine ol tl^e \mm^cvi\^\.fe ^Qw^e^'Cxovs. ^\ the Virgin, promulgated on 8th Dec, i^ti^ ^com^. ^. ^^-
The VrAlean. ROME. 7. Bight Ban*. 293
1
Tha door in \ Btiaight direction leads to tbe flist of —
"napliMri Stanae. The fteacoes eie(^Dted by Raphatl in 1508 -1620 ill tha papal apartments {Staa%e gr Camtre) of tbe Vatican, by order of the Fopas Jnlius n. and Leo X. , are unquestionably the foiamoet among the creations ot tha maatet and are rivalled by no modem norks of ait in existence except the ceiling-paintings in the Cappetla Sistina [p. 237). The woTk, ho-werer, In its entire giandeiiT bad not been planned, nor the task coiamitted to Raphael from the ontset. JnUns U. originally inteDded these rooms to be decorated io a moch simplei style, and he enirastcd the task to Peragino, Bodoma, and other painters of Umbria and Siena. Among these wu the young Raphael, nho had probably bean intioduoed by Peragino, and who after the completion of the first frescoes beeama BO prominent among his fellows, that the work was then entrnstedto him exctoiiTely. Raphael did not, however, live to complete bis task, and it was Snlshed by his pnpils. The earliest pictures in the first and second stanza only are by Raphael's hand. Foi each of these paintings he teoeived 1200 gold sondl (nearly 600(.). They were seriously injured during the plundering of Rome in lb27, but were restored by Carlo Maratia order Clement XI. (comp. also p. llii, and the Plan, p. '1891.
I. Stanni dell' Ineeadio, wbich we enter first, is tbe third in cbronologioal order. The frescoes were completed In 1617, but only the Incendio del Borgo was actually eiecnled by Raphael ; the others were painted from his designs and under his sopeivision. — Tbe ceUtng-paintingg (angels and saints) are by Femgino ; those on the walls represent scenes from the reigns of Leo III. and Loo IV.
Over the window : 1. Oath os Lbd III., sworn by him in pre- sence of Charlemagne (with the gold chain, his back turned to the spectator), in order to eiculpate himself from the accusations brought against him, by Perino del Vaga.
To the right of this, on the on trance- w all : 2. VloioaY op Lro IV. UTBB THB Sabacbhe AT OsTiA, Biecutod by Giov. du Vdine. The pope is represented as Leo X., accompanied by Card. Julius de' Modici (Clement VII.), Card. Bibhiena, and others. Below : Feidinand the Catholic, and the Emp. Lothaire.
3. Ihcendio ubi. Bokgo, conflagration of tha Borgo, whence the
The apparently ungrateful task of painting a miracle has been executed so happily by the genius of Raphael, that he has pre- lented us with what wonid be termed in modern language ■ mag- nificent genre picluto. The traditional incident, . — the extinguish- ing of a fire which had broken ont in the Borgo, or Vatican quarter, bjr the sign of the cross made hy Pope Leo IV. (9tli «iW.."S^^ '^* Loggia of Si. Peter's — is pUoeiui Ae ^noV^wmJi. '^'^^^T'^j^ gionad exhibits the tertoie dI a toQ64KtB.ft>Ki, 'Sae' '^'^^.i««il paopIaWsara themBolvesand.theiimo-^s.Woa,*.^*-*^^^^'*'^ *
294 7. RigU Bank. ROME. The Vatican.
condition especially of the mothers and other women. We are then transported to the heroic age, by a gronp in the left corner, repre- senting the aged Anchises on the back of ^neas, the classical de- riTation of which justifies the powerful delineation of the limbs. The Incendio is unquestionably the most popular picture of the series, and is well adapted to illustrate the superiority of Raphael's art to that of a later period. The antiquarian will also scan with interest the facade of the old church of St. Peter, represented here as it still existed in Raphael's time.
Below : Godfrey de Bouillon and Aistulf.
4. CoBOMATioN OF Gha&lemaonb in the old Church of St. Pe- ter. Leo m. has the features of Leo X., and the emperor those of Francis I. of France. Below : Charlemagne.
n. Stanza della Segnatnra, so named from the fact that the papal indulgences were signed here. The frescoes in this apartment, begun by Raphael in 1508, at the age of 25, were the first works of the master in the Vatican. They were completed in 1511. The sections of the vaulting of the apartment had already been arranged by Sodoma. On the four circular and quadrangular spaces Raphael painted allegorical figures and Biblical and mythological scenes, which in connection with the paintings in the large lunettes are symbolical of the four principal spheres of intellectual life.
Ceiling Paintings. 1. Thbology (divinarum rerum notitia), a figure among clouds, in the left hand a book, with the right pointing downwards to the heavenly vision in the Disputa beneath; ad- jacent, the Fall of man ; 2. Pobtbt (numine afflatur), crowned with laurels, seated on a marble throne with book and lyre ; adjoining it, the Flaying of Marsyas; 3. Philosophy (causarum cognitio), with diadem, two books (natural and moral science) and a robe emblematical of the four elements; adjoining it, the Study of the heavenly bodies; 4. Justice (jus suum unicuique tribuit), with crown, sword, and balance ; adjacent, Solomon's Judgment.
Mural Paintings. Under the Theology : 1. The Disputa. This name continues to be applied to this painting, although it is based on a misunderstanding and error. The scene represented is not a dispute about the doctrine of transubstantiation, as commonly sup- posed, the monstrance with the host on the altar being merely in- tended as a clue to the nature of the subject, and as a symbol of the church. The scene is rather to be defined as the Glorification of the Christian Faith. The congregation gathered round the altar, full of religious emotion, and burning with enthusiasm, see heaven open, disclosing Christ with the heroes of the faith grouped around him. The composition thus consists of two halves, the upper and the lower, whereby not only the heavenward direction of the reli- S'J'ouB sentiment is clearly indicated, \)ut a. definite basis for its formal expreeaion is also obtained. livt\iek\iT?Y^^^aja*^*v^^VTvax enthroned, attended by the Madoiiiia wid t\ift \»»v^\:\*\.\ iXi^^^Vwsv
The VcaUan, ROME. 7. Right Batik. 295
hoyeis the half-figure of God the Father ; and below him is the symbol of the Holy Spirit, at whose side are two angels holding the books of the gospel. A choir of angels forms the background, and angels likewise bear the clouds, on which, a little lower down, the heroes of the Old and New Testament are sitting. These last are arranged alternately, and the heroes of the Old Testament at the same time represent the epochs of the world. To the left of the spectator sit St, Feter^ Adam, St. John the Evangelisty David, St, Lawrence, and a half- concealed personage from the Old Testament (a prophet ?) ; on the right, St. Paul, Abraham, St. James, Moses, St. Stephen, and lastly an armed hero of the Old Testament. — In the Lower Halp the four Fathers of the Church, sitting next to the altar, constitute the historical foundation of the picture ; to the left St. Gregory and St, Jerome; on the right St, Augustine and St, Ambrose, From a very early period attempts have been made to attach historical names to the other figures, which are supposed to be portraits of theologians. Yasari states that they represent SS. Domenicus and Francis, Thomas Aquinas, Bonayentura, Scotus, and Nicholas of Lira. The figure in the antique costume beside St. Ambrose, stretching his right hand towards heaven, has been identified with Petrus Lombardus, the monk behind St. Augustine with Thomas Aquinas, the cardinal with Bonaventura, and the two popes with Anadetus and Innocent III, These, however, are mere conjectures ; and as Raphael has clothed these figures in an ideal costume, he seems to desire chietly to emphasize their purely human psychological traits of character. The artist has also shown his in- dependence by introducing several of his contemporaries. To the extreme left, in the background, is Fra Angelico da Fiesole, on the right side is the laurel-crowned profile of Dante, and, separated from him by an old man, appears the head of Savonarola,
In the space below the picture (added by Perirho del Vaga under Paul lU.), from left to right: Heathen sacrifice; St. Augustine finding a child attempting to exhaust the sea ; the Gum^ean Sibyl shovring the Madonna to Augustus ; allegorical figure of the ap- prehension of divine things.
Under the Poetry : 2. The Pabnassus (to the right of the Dis- puta). — This composition is the most perspicuous of the whole series. The spectator will not fail to appreciate the poetical life and exalted sentiment which pervade the picture, while the im- pression it conveys is at the same time exceedingly pleasing. Ra- phael has shown consummate skill in adapting his work to the un- favourable character of the space to be covered. ApoUo sits under laurels playing the violin. This instrument was not chosen by Ra- phael from ignorance or for the purpose of paying ^ <yi\so5kVeaaKoi^\si Giacomo Sansecondo, a famous vio\miat ol WiaX ^etv^^^ ^s^ ^"^ "^^^ Bole ground that the motion of tlieTiaTid. f^^ekTftfe^ \ft>^^a>. '^^^^^^'^^ playing the violin than the lyie. Axoim^ K^oWo «.«k ^^^^'^
296 7. Right Bank. ROME. The Vatican.
nine Muses^ forming witli Mm a compact central gronp. The im- posing figure of the blind singer, on the left, next arrests onr at- tention. The tnnes of the god have so inspired him, that he begins to sing. Near him are Dante and Virgil, In the foremost gronp Petrarch and Sappho are recognisable, and the front figures in the opposite gronp are called Pindar and Horace, The personages be- hind are eyidently contemporaries of Raphael, whose names cannot now be ascertained. — Below, in grisaille : left, Alexander the Great canses the poems of Homer to be placed in the graye of Achilles; right, Angnstns prevents the bnming of Virgil's iEneid. Under the Philosophy : 3. The so-called School op Athbns (a name not originally applied to the work), the companion to the Dispnta, not only in point of situation, but with respect to its subject likewise. There we are introduced to a congregation of believers, here to an Assembly of Scholars, The scene is not divided between heaven and earth, as in the case of the Dispnta, but is confined to earth alone; while at the same time, as in the Disputa, a gradation of knowledge, from the imperfect empirical to the per- fect and universal, is suggested. A flight of steps leads to an open colonnade, crowned with a dome at the back (supposed to have been designed by Bramante), which forms the most admirable temple of knowledge ever created. Apollo, Minerva, and numerous gods adorn the niches. Plato and Aristotle^ the princes in the realm of thought, whom the Renaissance especially revered, surrounded by a numerous train, approach the steps which descend to the foreground, where, in contrast to the pure philosophers, is a crowd of representatives of the empirical sciences, of geometry, arith- metic, astronomy, and music. Such are the two main contrasts presented by the picture, and with them are combined a gradual raising of the sentiments and aspirations from mere mechanical learning and teaching, copying, meditating, and disputing, to the glorious revelation of the truth, as embodied in the 'divine Plato*. To these general features Raphael imparted the warmth of life and individuality by interweaving with the scene a number of ancient Greek and other personages, in conformity with the pre- valent aims of his contemporaries, who were enthusiastic admirers of the antique. He by no means intended, as has been supposed, to give a complete picture of the development of Greek philosophy, but he merely introduced various popular characters of antiquity, with a view to direct the spectator's imagination into the proper channel, and, as it were, to localise a scene which would otherwise have been too general and abstract. Besides Plato and Aristotle, the masks of the bald Socrates, and of Diogenes lying on the steps, are nzzznis takable. Ptolemy (who from having been mistaken for one of tie kings of that name is furnished w\t\i «. ctO'^wY wvd Zoroaster with the glohe in the foremost giOTip oiv \\i% tl^^., «^ ^^v\i t^- ^ognised. The names of the other flgnie^ «fe mcttVj Q.wv\«i^\.^TvX,
The Vatican. ROME. V. Right Bank. 297
The bearded old man in the comer to the left, in profile, is sup- posed to be Zeno, the Stoic; the yine- wreathed flgnre beside him, holding a book, is perhaps Epicurus or Democritus, The Oriental, who bends over the writing Pythagoras^ is Averrhoes (or, perhaps, Hermes Trismegistus'), By the base of a column sits EmpedocleSy who is also looking towards the tablet of Pythagoras. The figure resting his foot on a block of marble is either Anaxagoras or Xeno- craies. Lastly, the isolated figure in the foreground, terminating the group to the left, is supposed to be Heraclitus. In the Socrates group above is a youthful warrior, representing either Aleihiades or Xenophon, and the figure behind the warrior, beckoning to Socrates . is said to be Chrysippus. No clue , however , has yet been discovered to the names of the figures in the corresponding group to the right, in the upper part of the picture. Raphael has introduced several of his contemporaries into this picture also. Thus, the handsome youth in the foremost group to the left, bears the features of Francesco Maria della Rovere^ Duke of Urbino ; the geometer with the compasses is the portrait of Bramante ; and the youth bending forward with outstretched arms is Duke Frederick II, of Mantua. We are also introduced to the master himself, who enters the assembly from the right, accompanied by his teacher Perugino.
Below this picture, in different shades of brown, by Perino del Vaga (from left to right) : Allegorical figure of Philosophy ; Magi- clans conversing about the heavenly bodies ; Siege of Syracuse ; Death of Archimedes.
Under the Justice: 4. Over the window the three cardinal virtues : Prudence with double visage looking to the future and the past ; right. Moderation ; left. Strength. Below, at the side of the window, the administration of ecclesiastical and secular law ; right, Gregory IX. (with the features of Julius II.) presenting the Decretals to a jurist (surrounded by numerous portraits ; to the left in front Card, de' Medici, afterwards Leo X.). Below (by Perino del Vaga) : Moses brings the tables of the Law to the Israelites ; left, Justinian entrusts the Roman Code to Tribonian. In the space beneath : Solon's address to the Athenian people (?).
m. Stanza d'Eliodoro» the frescoes of which were painted in 1511-14, almost wholly by Raphael's own hand. The advance of the master in technical freedom and precision is easily recognisable in the execution of these paintings.
On the ceiling are four scenes from the Old Testament, prob- ably by Qiul. Romano^ but sadly damaged: Jehovah appears to Noah, Jacob's Vision, Moses at the burning bush, Sacrifice of Isaac.
The Mural Paintings, from the first of -vYii^Jft. ^'i laaNsi^-^^'fc^ rives its name, represent the triumph wv^ ^\n\t^^ ^T^Xfc^'^'sjvw ^^^^^ cbnichy in connection with the age of t\vfe -wwVOi^^ ^^^^^^^ivivss^ tbe elevation ofLeoX. Below tlie Mosea : i.^XBA.cJvs^ws^^'*-^^
298 7. Bight Bank, ROME. The Vatican,
OF Heliodobus from the Temple at Jeiusalem by a heavenly horse- man (Maccab. ii, 3), being an allnsion to the deliyerance of the States of the Ghnich from theii enemies. On the right Heliodorus lies on the ground ; one of his companions attempts to defend him- self, a second shouts, a third is securing his booty ; in the back- ground the high-priest Onias praying ; to the left in the foreground women and children, and Pope Julius II. on his throne (the fore- most of the two chair-bearers is the engraver Marcantonio Rai- mondi). This composition is remarkable for its vigour of expression.
Below the Sacrifice of Isaac : 2. The Mass of Bolsbna. An un- believing priest is convinced of the truth of the doctrine of tran- substantiation by the bleeding of the host (comp. p. 66), a miracle which is said to have taken place at Bolsena in 1263 ; below are women and children ; opposite the priest, Julius II. kneeling with calm equanimity ; the wrathful cardinal is Riario (founder of the Gancelleria). This work is probably the most perfect of Raphael's frescoes with respect to execution.
Below Noah: 3. Attila bbfulseu fbom Rome by Leo I., in allusion to the expulsion of the French firom Italy after the battle of Novara in 1513. The pope, with the features of Leo X. , is seated on a white mule, around him cardinals and attendants on horse- back, above him St. Peter and St. Paul enveloped in a brilliant light, and visible only to Attila and his Huns, who are struck with terror at the apparition. To the right of this —
Below Jacob's Vision : 4. The Libebation op Pbtbb, in three sections. Over the window Peter in the dungeon sleeping between the watchmen and awakened by the angel ; right, he is conducted away ; left, the watchmen awake.
Under the pictures are painted eleven Caryatides and four HermaB in grisaille. They are symbolical of a life of peace, and bear the distinct impress of Raphael's inventive genius^ notwith- standing considerable restoration. The paintings in different shades of brown between these, of similar import with the large figures, have been still more freely retouched.
lY. Sala di Costantino. The pictures of this saloon were -executed under Clement VII. (Giulio de' Medici), after Raphael's death, by Oiulio Romano f aided by Francesco Penni and Raffaello dal Colle. It has been supposed that the allegorical figures of Comitas and Justice, in oil, and not 'al fresco' like the rest of the work, were painted by Raphael's own hand ; but it appears, from letters of Fra Sebastiano del Piombo (who took an interest in the work after Raphael's death) to Michael Angelo, that one figure only was painted in oil by Ra- phael's pupils, and that the objects to be depicted were not finally agreed upon at the time of Raphael's death, or, at least, that they underwent many changes during tYieii fe^ftQ.w\.\QYv. ¥qc some of the pictures, however, particularly ioi t\ie ^aXX\ek qI ^Q\\%x.^\\\:\\va, ^\fc- liminary sketches had been made \)^ Uve•\^*^ft^^^'^^^^'^^•
Tke Vatican. ROME. V, Right Bank. 299
On the long wall : 1. Battlb of Gonstantinb against Maxentius at Ponte MoUe, theemperoiadyancingyictoiioasly, behind Mm flags with the cross, Maxentins sinking in the riyei (p. 337), flight and defeat on all sides, painted hy 0, Romano. This fine composition is full of expression and yigonr, bnt the colouring is less success- ful. — On the left side of the picture Sylvester I. between Faith and Religion ; on the right Urban I. between *Ju8tice and Charity.
2. Baptism of Gonstantinb by Sylvester I. (with the features of Clement VII.) in the baptistery of the Lateran, by Francesco Penni. To the left of this: Damasus I. between Prudence and Peace ; right, Leo I. between Innocence and Truth.
3. (on the window-wall) Romb psbsentbd by Gonstantinb to Sylvbstbb I., by l^a^ae^to dalCoUe; left, Sylvester with Fortitude, right, Gregory Vn. (?) with Power (?).
4. Gonstantinb^s Audbbss to his warriors regarding the vic- torious omen of the cross, designed by Raphael (?), and executed by 0. Romano, who added the dwarf (perhaps Gradasso Berettai of Norcia, dwarf of Card. Hippolytus de' Medici) and several other figures. — On the left, St. Peter between the Church and Eternity, right Clement I. between Moderation and *Urbanity. — The scenes below are from the life of Constantino, designed by G. Romano.
The Cbilinq, completed under Sixtus V., is adorned with an allegory of the triumph of Christianity over paganism. In the pendentives are Italian landscapes, with corresponding allegorical figures in the lunettes.
One of the custodians of this saloon (1/2 ^r-) shows the neigh- bouring *Cappella di Kiccold V. , erected by Nicholas V. and deco- rated by Fra Angelico da Fiesole in 1447 with frescoes from the life of SS. Lawrence and Stephen. They are one of the last and finest works of that master, but were buried in oblivion until restored under Gregory XIII. and Pius VII.
The Uppbb Series represents scenes from the life of St. Stephen : 1. (to the right of the door) Stephen consecrated deacon by Peter ^ 2. He distri- butes alms as deacon; 3. He preaches; 4. He is brought hetore the coun- cil at Jerusalem; 5. He is dragged away to his martyrdom; 6. His death by stoning. — Below, in the same order, scenes from the life of St. Lawrence : 1. (Consecrated deacon by Sixtus II. ; 2. Sixtus (with the features of Nicho- las V. ?) gives him treasures for distribution among the poor ; 3. Distribution of the same ; 4. The saint is condemned by the emperor ; 5. His martyrdom. Also on the wall below : 1. St. Bonaventura, r. St. Johannes Ghrysostomus. In the vaulting: 1. St. Augustine, r. St. Gregory. On the lower part of the right wall: 1. St. Athanasius, r. St. Thomas Aquinas. On the vaulting: 1. St. Leo, r. St. Ambrose. On the ceiling the Four Evangelists. Though thus in immediate proximity to the boundless energy of Kichael Angelo and the lovely forms of Raphael, the frescoes of the Cappella Niccolina yet hold their ground in virtue of their air of perfect devotion, calm contem- plative worship, and prayerful mood. The contrast, in fact, heightens the effect of Fra Angelico's work.
♦♦Eaphael's Loggie. Leaving t\ift ^a\a ^\CiQ%\a.w\Ks\ft, "^'^T^'^ ceed to the second floor of the loggie Tw\jie\i eiic^^?.^ ^^'^ ^^^^«. ^"^ S. Damaao (comp. ground-plan, p. "i&^i), i}fsft^ . V?^^'^ "^
300 y. Right Bank . ROME. The Vatican.
which was embellished with stncco mouldings, painted enrichments, and ceiling-paintings, from designs by Raphael and under his super- intendence, by Giulio RomajiOj Oiovanni da Vdine, and others of his pupils. The hall was originally open, and the paintings have there- fore suffered seriously from exposure to the air, but since 1813 they have been protected by windows of glass. The stucco work and the painted ornamentation are by Oiov. da Udine, and its style has mani- festly been Influenced by the antique works of the kind which had been found a short time previously in the Thermae of Titus (p. 237). Amongst the ceiling-paintings after RaphaePs designs those in the first vault are by Qiulio Romano^ the others by Franc. Pennt, Per- ino del Vaga^ Polidoro da Caravaggio^ and others. Each of the 13 sec- tions of the vaulting contains four quadrangular frescoes, which are together known as ^Raphael's Bible' . All these compositions dis- play rare fertility of invention and gracefulness of treatment (20 c.
to the custodian who opens the door).
Cbiliko PAiKTiircH3. The first twelve vaults contain scenes from the Old, and the thirteenth scenes from the New Testament. We begin to the right of the principal approach, i. e. the side opposite the present en- trance. Staircase: I. (over the door) 1. Separation of light from darkness ; 2. Separation of land from sea; 3. Creation of the sun and moon; 4. Crea- tion of the animals. — II. 4. Creation of Eve •, 1. The Fall : 2. Banishment from Paradise \ 3. Adam and Eve working (destroyed). — m. 1. IToah building the ark *, 2. Deluge ; 3. Egress from the ark (destroyed) ; 4. Xoah's sacrifice. — IV. 1. Abraham and Melchisedek ; 3. God promises Abraham posterity \
2. Abraham and the three angels ; 4. Lot's flight from Sodom. — V. 1. God appears to Isaac ; 3. Abimelech sees Isaac caressing Rebecca ; 2. Isaac blesses Jacob ; 4. Esau and Isaac. — VI. 1. Jacob's vision of the ladder ; 2. Jacob and Rachel at the well ; 3. Jacob upbraids Laban for having given him Leah (destroyed) ; 4. Jacob on his journey. — VII. 1. Joseph relates his dream to his brethren; 2. Joseph is sold*, 3. Joseph and Potiphar's wife; 4. Joseph inteiT)rets Pharaoh's dream. — VIII. 1. Finding of Moses ; 2. Moses at the burning bush ; 3. Destruction of Pharaoh in the Red Sea ; 4. Moses strikes the rock for water. — IX. 1. Moses receiving the tables of the Law •, 2. Adoration of the golden calf, Moses breaks the tables; 3. Moses kneels before the pillar of cloud ; 4. Moses shows the tables of the Law to the people. — X. 1. The Israelites crossing the Jordan; 2. Fall of Jericho;
3. Joshua bids the sun stand still during the battle with the Ammonites;
4. Joshua and Eleazar dividing Palestine among the twelve tribes. — XI. 1. Samuel anoints David; 2. David and Goliath; 4. David's triumph over the Syrians; 3. David sees Bathsheba. — XII. 1. Zadok anoints Solomon; 2. Solomon's Judgment ; 4. The Queen of Sheba ; 3. Building of the Temple (destroyed). — XIII. 1. Adoration of the Shepherds (destroyed); 2. The wise men Irom the East; 3. Baptism of Christ; 4. Last Supper.
Stdcco Modldingb. Among these should be particularly noticed the charming small reliefs in the arches of the windows of the first section. Here to the left, above, is perceived Raphael, sitting and drawing, with a grinder of colours below him. Lower down are a number of his pupils busied in executing their master's designs , and below them Fama, who proclaims the celebrity of the work. On the right an old bricklayer is seen at work, and there is a similar figure in the right curve of the 2nd window, both apparently portraits. The whole affords a charming picture of the JJfe and habits of the artists during the execution of the work.
The decoration of the two otVieT miv^-^ oi t^e loggie of this story, with stucco work by Marco da Facnia wv\ Pau\ ScVw., %xv\ pa intingB by artists of the 16tli and MX'C^ teivl. , \* N%rj Voie^^x \fc SXv^
The Vatican. ROME. V, Bight Bank. 301
above described works of Raphael's period. — Immediately to the left, in tbe N. (first) wing, is tbe approach to the picture-gallery ; we ascend the stairs, and at the top ring at the door on the left.
The *• Picture Gallery of the Vatican was founded by Pius VII. by collecting the pictures restored by the French in 1815, most of which had been taken from churches, and by adding others. With the Borghese Gallery, this is the most important collection in Rome, being inferior to that gallery, and to other great Roman private col- lections in the number of its works alone, while surpassing them in selectness. — Permesso, see p. 124 (fee V2 ^^0- T^® pictures are not numbered, but are furnished with notices of the subjects and the names of the artists. Catalogue, see p. 287.
I. Room. On the left : Ouercino^ John the Baptist ; Leonardo da Vinci, St. Jerome, dead-colouring, in shades of brown, evidently a study of strong perspective, probably painted about 1480-83; *Baphaelj Annunciation, Adoration of the Magi, Presentation in the Temple, predelle to the Coronation of Mary in the 3rd Room ; Angel, da FiesolCj Scenes from the life of St. Nicholas of Bari ; Ouercino, Christ and Thomas; Oiov. Bellini, M. Magdalene anointing the wounds of the Dead Christ , painted in Mantegna's school, about 1470-80 ; Francia, Madonna with St. Jerome ; MurUlo, Martyrdom of St. Peter Arbues; Benozzo Oozzoli(f), Miracles of St. Hyacinth. — Window-wall : Carlo Crivelli, Dead Christ with Mary, St. John, and Magdalene ; Oarofalo, Madonna with SS. Joseph and Catharine. — On the entrance- wall : Murillo, Adoration of the Shepherds; Mth- rillo, Nuptials of the infant Christ with St. Catharine (p. 34) ; Peru- gino, SS. Benedict, Scholastica, andPlacidus; *Fra Angelico, Small Madonna with angels on a gold ground ; *BonifaciOj Madonna with St. John and St. Catharine, and St. Peter and St. Paul (fine colour- ing). — Exit- wall: *Baphael, Faith, Hope, and Charity, three charming female figures , predella of the Entombment in the Pal. Borghese, in grisaille (1507).
II. Room. On the right : *DomenichinOf Communion of St. Je- rome, one of his best works (1614). — Opposite the window: **Baphael, Madonna of Foligno, 1512 ; in the background the town of Foligno, into which a bomb falls ; to the right, below, St. Je- rome recommends to the Madonna Sigismondo Conti, secretary of Julius U., who ordered the painting for S. Maria in Aracosli, whence it was transferred to S. Anna delle Contesse in Foligno in 1565 (comp. p. 210) ; to the left St. Francis of Assisi, and John the Bap- tist. ^In its striking vigour, the lifelike individuality of its portraits, and the powerful and delicately -blended colouring the Madonna of Foligno far surpasses all Raphael's earlier oil-paintings'. The trans- ference of the picture from wood to canvas, effected a.t Pw.V^^\ft^\iss2^ the picture had been carried during t\ift ^wa ^il ^^'^e^^Js^^^ss^^'^s^^ necessitated a Uttie restoration. — ♦•Rapluiel, TV^'1^«».^'J^^^'^^'^^
his last great work, painted foi Card. OixjAio d^' ^<6^«^\>^-^w«
302 V, Bight Bank. ROME. The Vatican,
Clement VII.), and preseiTsd down to 1797 in S. Pietro in Mon- torio. The npper part is by Raphael's own hand: Christ hovering between Moses and Elias ; Peter, James, and John prostrate on the ground, dazzled by the light. The flgnres, to the left, in an attitude of adoration, are St. Lawrence and St. Stephen. The lower half (much darkened by age), where the other disciples are being re- quested to heal the possessed boy, was partly executed by Raphael's pupils.
in. Rook. On the entrance- wall : * Titian^ 'Madonna of 8. Niccold de' Frari', completed in 1523, and carried in 1770 to Rome, where the rounded upper part of the picture was cut off. The ener- getic fidelity of the colouring, the dignity of the design and details, and the lofty gravity of the whole composition renders this one of the most important works of the master's middle period. Ouereino, St. Margaret of Cortona. — Right long- wall : SpagnolettOy Martyrdom of St. Lawrence ; Ouercino , M. Magdalene ; Bern. Pinturieehio, Coronation of the Yirgin , painted for the church delle Fratte at Perugia, about 1500 ; below are the Apostles, St. Francis, St. Bona- ventura, and three Franciscans. Then, Resurrection, probably paint- ed by Baphael when a youth , from a design of his master P^rti- gino ; the sleeping soldier to the right is said to be Raphael's own portrait, the one fleeing to the left that of Perugino. Coronation of the Virgin , designed by Baphael for the monastery of S. Maria di Monte Luce near Perugia, the upper half painted by Q. BomanOy the lower by Francesco Penni (il Fattore) in 1525 ; Lo Spagna, Adoration of the infant Christ (formerly in La Spineta near Todi) ; *Baphael, Coronation of the Virgin, painted in 1503 in Perugino's school, for S. Francesco at Perugia ; *Perugino, Madonna on a throne with Laurentius, Ludovicus, Herculanus, and Constantius, the guardian saints of Perugia, painted in 1496 ; Sassoferrato, Madonna. — End-wall : *CaravaggiOj Entombment, one of the ablest works of the Naturalistic School. — Window-wall: ^Titian, Portrait of Nice. Marcello, Doge of Venice (1473-74), not painted from nature, but full of individuality , and a good specimen of the ugliness which at once repels and attracts the spectator. Niccolb Alunno, Crucifixion of Christ and Coronation of the Virgin, two large paintings in several sections. Between these : *Melozzo da Forli^ Fresco from the former library of the Vatican, representing SixtusIV. the donor, with Card. Giul. della Rovere (Julius II.) and his nephew Pietro Riario; be- fore him kneels Platina, prefect of the library.
IV. Room. Entrance- wall : Valentin , Martyrdom of Processus
and Martinianus; Outdo Bent, Crucifixion of St. Peter; N. Poussin,
Martyrdom of St. Erasmus. — Right wall : F. Baroccio , Annun-
ciation; A, Sacchi, Mass of Gregory the Great (there are mosaic
copies of these three pictures in St. l?eVei^«r^\ Batocclo^ St. Michel-
I'na. — Window- wall: *Moretto, ^^^oivivft. m^V^'^. ^etoc^^ vccv^
BArtbolomew; Paolo Fcroncsc, Vision oi ^t,^ft\eim', CorrtgqVo VJ^^
The Vatican. . ROME. V. Right Bank. 303
Ghiist in a nimbus. — Left wall: Outdo Reni, Madonna, with SS. Thomas and Jerome below ; A. Sacehiy St. Romuald.
Among the tieasnies of the Vatican , in the domain of painting, mast also be reckoned *Baplia6rB Tapestry, exhibited in the Oal- leria degli Arassi , adjoining the Gallerie dei Gandelabri (see PI., p. 314), and now accessible, without special permesso, to ^sitors to the collections of antiquities. The tapestry was executed from car- toons drawn by Raphael in 1515 and 1516, seven of which were pur- chased in Flanders by Charles I. of England, and are now exhibited In the South Kensington Museum. These designs, derived from the history of the New Testament, are among the most admirable of the great master's works. Each piece of tapestry, wrought at Brussels (not, as formerly supposed, at Arras, the cradle of the handicraft) with great skill in wool, silk, and gold , when complete cost about 7001. They were originally intended to cover the lower and un- painted part of the walls in the Sistine Chapel. They are now sadly damaged and faded, especially in the flesh tints. During the siege of Rome in 1527 the tapestry was carried off and seriously injured, but was restored to Julius III. in 1533. In 1798 it fell into the hands of the French, and was sold to a Genoese Jew, from whom it was repurchased by Pius VII. in 1808. The numerous other copies in tapestry of these cartoons , of which the oldest are in Berlin and others in Dresden, Paris, and Vienna, testify to the widespread admiration which they excited.
The Mabginal Sosnbs in bronze-colour partly represent scenes from the life of Leo X. when Cardinal de^ Medici. The decorations and ara- besques which surround the principal designs are chiefly by Raphael's pupU Giovanni da Udine. The following are the Psincipai. Scenes. l»t Section: to the left, *1. The people of Lystra about to offer sacrifice to Paul and Barnabas \ ^2. Paul preaching ; "^S. St. Peter receiving the keys ; *A. Death of Ananias ; to the right , *5. Conversion of St. Paul ; %. St. Peter healing the lame man in the Temple ; ^. Miraculous Draught of fishes. — 2nd Sec- tion: to the left, 8. Christ appearing to Mary Magdalene; 9. The supper at Emmaus ; 10. Presentation of Christ in the Temple \ 11. Adoration of the Shepherds; 12. Ascension; 13. Adoration of the Magi; to the right, ^14. Massacre of the Innocents, on three pieces of tapestry ; 15. 'Feed my lambs\ — 3rd Section: to the left, 16. Resurrection ; 17. Descent of the Holy Ghost; to the right, *18. Stoning of Stephen; 19. Religion between Justice and Mercy; ^. Paul in prison at Philippi; 21. Elymas struck with blindness; '^22. Coronation of the Virgin. Those indicated with asterisks are from the cartoons of Raphael; the others may have been executed from small sketches by the same master, but the designs used by the tapestry-workers are believed to have been drawn by Flemish- artists. The pieces of fine early-Flemish tapestry at the end of the first and the beginning of the second section are much superior in technical workmanship to Italian tapes- try. The best are the Madonna and Child and several scenes from the Passion.
The gallery of the tapestry is adjoined by the OaUeria Oeo-
graficaj a corridor 160 yds. long, with maps dftsl%\vei^\s^ 'Cwei^^-
minican Ignazio Dante j and executed. 'b7'\i\a\stQ\iXi«t AjtvVw^\.o \s»5^'«.
Gregory Xm. in 1580; ceiUng-paintlnga \>^ Tem-pwla ^^^ ^^Os^'bw.n
alao A number of undent busts, some oi tl^eiiv N^^iXi\«i-
304 V. Bight Bank. ROME. The Vatican.
B. AntiqnitieB.
Mu8€0 Pio-Clementino, Museo Chiaramonti. Braccio Nuovo. Egyp'
tian Museum, Etruscan Museum. (Comp. Plan^ pp. 306 ^ 307.)
Pjbbmbsso, see p. 121. Gatalogub by Ereole JIfttssi, 4 fr. (abridgment in English, French, or Italian, 2 fr.)«
The Vatican Gollbotion op ANxiaxTinEs , tlie finest in the world, was begun by the Popes Julius II., Leo X., Clement VII., and Paul m. in the Belvedere , which was erected by Bramante under Julius II. and commauds a magnificent Yiew of Rome. Here, for example, were preserved the Torso of Hercules, the Apollo Belve- dere, and the Laocoon. Clement XIV. (Ganganelli, d. 1774) de- termined to Institute a more extensive collection , in consequence of which the Museo Pio-Clementino arose under him and his suc- cessor Pius VI. The museum was arranged by the celebrated £. Q. Visconti. It was despoiled of its costliest treasures by the French in 1797, but most of these were restored to Pius VII. in 1816 after the Treaty of Paris. Pius VII. extended the collection by adding to it the Museo Chiaramonti , and in 1821 the Braccio Nuovo ; and Gregory XVI. added the Egyptian and the Etruscan Museum.
The Entbancb is on the W. side of the palace, not far from the N.W. comer. Approaching from the Borgo, we cross the Piazza S. Pietro, proceed to the left great flight of steps of St. Peter's through the passage under the portico, walk round the whole of St. Peter's, of the dimensions of which we thus obtain an excellent idea (comp. also plan, p. 278), and then, between the Vatican Gardens (closed) and the palace, reach the gate under the Sala della Biga. (This point may be reached by carriage ; so that it is not necessary for visitors to alight in the Piazza of St. Peter, as the drivers sometimes pretend.) We ring at the gate, give up our per- messo, and ascend to the Sala a Croce Greca, described below. (The glass-door opposite the staircase leads to the Library ^ p. 319.)
**MusBO Pio-Clbmbntino. *Musbo Chiaramonti. *Bbacoio Nuovo.
The **MaBeo Fio-Clementiiio, the real nucleus of the Vatican collection, contains several of the most celebrated antiques. It is divided into 11 departments, denoted by Roman numerals. The main entrance was formerly from the Museo Chiaramonti (p. 311), and the numbering of the scijlptures still begins there. According to the present arrangements, as already said, we first enter the —
I. Sala a Croce Oreca, constructed by Simmietti^ under Pius VI. ,
in the form of a Greek cross. On the floor are three ancient mosaics.
In the centre a head of Pallas, found in 1741 in the Villa Rufflnella,
jjear Prascatl. By the steps, between the two sphinxes, *Flower-
basket from Roma Vecchia(p. SbOy M.t\vft enti^iwie to the follow-
ing room (Sala, Rotonda, p. 306>. BaccWa. ^ ek\iei^>i^^^^fi wvxws^^x-
ate the more important Bculptuiea*. bb^. k.\3L^\i%\.\x^\ b^^« ^^^>^^^
The VaUcan. ROME. V, Rigid Bank. 305
Verus. 566. Large sarcophagus in porphyry, of Constantia, daughter of Gonstantine the Great, from her tomb, afterwards the church of S. Costanza, near S. AgneseQ). 342) ; it is adorned with vintage-scenes (perhaps in illusion to the Vineyard of the Lord). 567. Priestess of Ceres ; 569. Clio ; 570. The elder Faustina ; *574. Venus, perhaps a copy of the Cnidian Venus of Praxiteles (p. xxxii), drapery of metal modern ; 578, 579. Egyptian Sphinxes ; left, 581. Trajan ; 582. Apollo Citharcsdus, restored as a Muse ; 589. Sarcophagus of St. Helena, mother of Constantino, from her tomb near Torre Pignattara(p. 345), transferred to the Lateran by Hadrian IV., and thence to the Va- tican by Pius VI. ; 592. Augustus. By the stairs : to the right, 600. Recumbent river- god, said to have been restored by Michael Angelo (opposite the entrance to the Egyptian Museum, p. 316).
We now ascend the staircase (with 20 antique columns from PraBneste), leading to the right to the —
n. Sala deUa Biga, a circular hall with a cupola.
In the centre: *628. Biga, or two-horse chariot, from which the saloon derives its name. The body of the chariot, richly adorned with leaves, which was used for centuries as an episcopal throne in S. Marco, and a part of the right horse are alone ancient. •608. Bearded Bacchus,, inscribed *Sardanapallos' ; *610. Effeminate Bacchus; 611. Combatant, in the head resembling Alcibiades, and iu position a figure of the group of Harmodius and Aristogeiton at Naples ; *612. Draped statue, from the Palazzo Giustiniani in Venice ; 614. Apollo CitharoBdus; *615. Discobolus, of the Attic school, perhaps after Alcamenes; 616. Portrait-statue of Phocion, Epami- nondas, or Aristomenes (?). *618. Discobolus of Myron (p. xxxi); the original was of bronze ; head modern, and inaccnrately replaced ; it should have been turned to the side, as the excellent replica in the Pal. Lancelotti (p. 190) shows. 619. Charioteer; 621. Sar- cophagus-relief, race of Pelops and QEnomaus; 622. Small Diana.
TurniTig to the right on leaving the Sala della Biga, straight iu front of the staircase, we reach the —
III. Galleria del Candelabri, a corridor 110 yds. in length, divided into 6 sections. The ceiling-paintings , by L, Seitz (1883- 86), consist partly of incidents in the reign of Leo XIII. and partly of allegorical scenes (Apotheosis of St. Thomas Aquinas ; Arts and Sciences under the protection of the church). The handsome marble pavement is quite new.
Section I., to the right and left of the entrance: 2, 66. Birds* nests and children-, to the right, "19. Boy in a stooping posture, as if reaching after scattered nuts or the like^ 31 (to the right) and 35 (to the left), Cande- labra from Otricoli, the former with a satyr, Silenus, and a Bacchante, the latter with Apollo, Harsyas , and the Scythian ; to the left, 46. Head of a youthful satyr; 5^. Sleeping satyr, in green basalt. — Section II: to the right , 74. Fountain-figure of Pan, removing a thorn. {totOL NJaa ^«ciViN. ^ a satyr; 81. Diana of Bphesns, from B&dTVMi'*a NV;\»b\ \a V^^ -^kSgoX > ^* 8&TCopbBguB, with the murder of iKglslUeua ^li^ C\^Vwix«i<a»V.^*''^^ J^^^rf'^vcs OS (to the right) and OT (to the left), Caivde\itoT%. Itom i^. ^^^^^^fl^ocv^s. the left, iOi. Ganymede and the eagle, to t\x«i \el\., V\a, ^«.^«-^^^^'^'**
Bakdrkrr. Italy II. loth Edition. ^^
306 V, Right Bank.
ROME.
The Vatican.
of Protesilans and Laodameia; 117, 119. Boys with water-vessels (foontain- flgares); *113a. Ganymede carried off by the eagle, copy of a celebrated work by Leoehares. — Ssotiom III.: to the right, Mosaics of dead fish, dates, etc.: 134u. Circular rim of a fountain (puteal), with Bacchanalian scenes; 134b. Modem work of the same kind. Between the last two, archaic figure of a god, on a basis bearing a dedicatory inscription by Semo Sancus ; 136. Sitting statuette of Sophocles ; to the left, 140. Socrates \ to the left, 141, 158. Bacchus with the panther; 148. Satyr with the infant Bacchus. — Seotiok IV. : 157 (to the right) and 319 (to the left), Candelabra from S. Costansa; to the right, 163. Draped statue of a Roman matron; to
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V. Riyht Dank. 307
L deily of AntiDch^ 1J5T. CuidQlBbtim&, :Dg inn inpoa fuercolea, ApollO, Dlanyaun): ISO- Oan- cMc dnnse, from Siplei, a plMier-oiut of the oriilaftl :, igi. Boy wllh B eoose-, 301. Sircnphuai, wlUi tUs we. MarcBUm (!), nephew of Augustaai 310. MarWe 1 dBnMS. — aEOTios v.; to thB rigbt, "533. FbibbIb 'aVillB; tolliBilgbl, 331. CandBUbrum. HilhMlBBm, d ApoJla, ttoJa Otricall) lo IhB left. 310. Stg - "- —
308 V, Bight Bank, ROME. The Vatican.
cophagns, with Diana and Endymion; to the right, 257. Ganymede; to the lett, 264. One of Niobe's children ; to the left, 269. Sarcophagus, with the rape of the daughters of Lencippus by the Dioscnri. Upon the last, statue of a fighting Gaul , from the trophy of King Attains on the Acro- polis at Athens CP- xxxiu). — The next gallery contains the Tapestry of Raphael, p. 303.
We now descend and return to the Sala a Croce Greca, and pass througli it (comp. ground-plan, p. 307) to the —
lY. Sala Botonda, erected under Pius YI. hy Simonetli^ after the model of the Pantheon. The floor contains an admirable ^Mosaic, found in 1780 in the ThermaB at Otricoli, with Nereids, Tritons: Centaurs, and masks. In the centre a magnificent basin of porphyry from the Baths of Diocletian. On the right and left of the entrancee 554. Julia Domna, wife of Septimius Severus; 553. Plotina, wif, of Trajan. Then , to the left , 6b^. Juno SoapiUif from Lanuvium (p. 382), copy of an ancient Latin image made in the age of the Antonines; 551. Claudius; 550. Statue of Claudius as Jupiter, found in 1865 at Civitit LaTinia, the ancient Lanuvium (p. 382) ; 549. Jupiter Serapis ; 548. Nerva, on the pedestal a fine relief, but of doubtful meaning ; 547. Sea-god, found near Pozzuoli, perhaps a personification of the Bay of Naples or the Mediterranean Sea , the ornaments of leaves and fruits indicating the riches of the shores ; *546. So-called Barberini Juno ; 545. Bust of Antinous; 544. Her- cules, colossal statue in gilded bronze (12 ft. in height), found in 1864 in the foundations of the Pal. Righetti, near the theatre of Pompey (p. 205) ; 543. Colossal head of Hadrian, from that em- peror's mausoleum [Castello S. Angelo ; comp. p. 275) ; *542. Female statue restored as Ceres; 541. Faustina, wife of Antoninus Pius. 540. Antinous as Bacchus, from Hadrian's Praenestine villa (p. 384; * Antinous Braschi'); the unchiselled state of the body seems to in- dicate that the statue was originally draped, perhaps with metal; the present drapery, however, is modem. **53y. Bust of Zeus from Otricoli, the finest and most celebrated extant, formerly regarded as a faithful reproduction of the Zeus of Phidias, whereas, according to modern crlties, the head is a modification of the Lysippus type. Then, 556, Pertinax ; 555. Genius of Augustus. — In the spaces between the above sculptures are a number of excellent Greek por- trait-heads, removed from the next room: 510. Alcibiades; 512. Sleeping Epimenides ; 514. Socrates; 518. Themistocles ( ?) ; 519. Zeno, the Eleatic; 521. Euripides. Opposite: 498. Epicurus; 500. Zeno, the Stoic; 502. .Eschines, the orator; 506. Demos- thenes; 507. Antisthenes, the Cynic; 509. Metrodorus, the Epicu- rean. At the entrance to the next room : 537, 538. Tragedy, Co- medy, two hermsB from Hadrian's Villa. — In the passage to the next room : 533. Minerva ; 535. Mnemosyne, mother of the Muses. We next enter the —
V. Sala delle Muse. We fttat eutei a.\i Anle-Eoom: V^VO^^'v^'^-v^ . ^ericlea; 624. Sappho (?); 52.3. AapaL^ia^^o-c^W^^t^^^^^'^^^^^^^
The Vatican. ROME. V. Right Bank. 309
InBcrlption on the base. Right: 531. Periander of Corinth; 530. Lycargns (?) ; 528. Bias, the misanthrope of the Seven Wise Men.
The magnificent Sala itself, also constructed by 8imonetti under Pius VI., is octagonal in form, covered -with a dome, and adorned with sixteen columns of Carrara marble. It derives its name from the statues of the Muses preserved here, which, with the exception of Nos. 504, 520, were found with the Apollo at Tivoli in 1774. In the centre of the right wall : *516. Apollo Musagetes, in a long robe, with an air of poetic rapture, standing on an altar with a representation of the Lares. To the right of the Apollo: 515. CaMiop« (Muse of epic poetry); 511. Tcrp«icAorc (dancing) ; to the left, 517. Erato (erotic poetry) ; 520. Euterpe (music). Then, on the other side: 499. Afe^owene (tragedy) ; 503. TAaiia (comedy) ; 504. Urania (astronomy); 505. Clio (history); 508. Polyhymnia (higher lyric poetry).
Ante-Room on the other side, forming also the ante-room of the Sala degli Animali : (right) 494. Greek portrait-herma ; 495. Bac- chus in female attire ; 496. Herma of Hesiod. Above : 493. Relief of the birth of Bacchus. Left side : 492. Herma of Sophocles, the only one authenticated by an inscription (mutilated); 491. Silenus; 490. Herma of Diogenes. Above: 489. Dance of the Corybantes.
VI. Sala degli Animali, containing a number of animal-pieces in white and coloured marble, most of them modem or freely restored ; a great part of the floor is paved with ancient mosaics.
This hall is divided into two sections by means of fonr granite columns, which form a passage from the Sala delle Muse into the court of the Belvedere (p. 309). To the Right: 194. Sow and littery 202. Colossal camel's head as the aperture of a fountain *, 206. Hercules with Geryon ; 210. Diana, badly restored ; 213. Hercules and Cerberus \ 220. Bacchanalian genius on a lion^ 228. Triton carrying off a nymph. Below , on an oval sarcophagus -cover, triumphal procession of Bacchus*, 232. Minotaur.
To THE Left : 116. Two greyhounds playing ; i34a, i25a. Mosaics from Hadrian's Villa ; 124. Sacrifice to Mithras ; 134. Hercules with the slain Ne- mean lion \ 137. Hercules slaying Diomedcs ; 138. Centaur with a Cupid on his back. (Adjacent is the entrance to the Galleria delle Statue, see be- low.) 139. Commodus on horseback (Bernini's model for the statue of Con- stantino in the Portico of St. Peter's) ; 161. Sheep sacrificed on the altar ; 153. Small group of a goat-herd and his goats; 157. (in the next window) Relief of a cow and calf.
VII. Galleria delle Statue, originally a summer-house of Innocent VIII. , and converted into a museum by Clement XIV. and Pius VI. The lunettes contain remains of paintings by Pinturicehio. — To the right of the entrance : 248. Clodius Albinus , the oppo- nent of Septimius Severus. The statue stands on an interesting cippus of travertine (found in 1777 not far from the mausoleum of Augustus, near S. Carlo al Corso), which marked the spot where the body of Caius, son of Germanicus, was burned. *250. Eros of Praxiteles (*iZ Oenio del Vatieano\ p. xxxll"^, fcyvit^w^w.^^^^iM^^^S^'^ on the Via Labicana ; on the back are tta.tei^ q1 ^\x\%^\ *^^^^^*^^
249. BeUef, attributed to Mich. Angclo: CiQ«vmQ\. *2^^^^%^?^^ 2dL So-called Doryphorus; *^3. Tiiton, xr^^ct ^«X. ^^s^'^ -> ^
310 V. Bight Bank. ROME. The Vatican,
neai TiToli ; 255. Paris, copied from a fine original ; 256. Yoathfol Hercules ; 257. Diana (relief) ; 258. Bacchus ; 259. Figure with male torso, probably Apollo, incorrectly restored as Pallas (so- called Minerva Pacifera) with the olive-branch ; 260. Greek tomb- relief ; *261. Mourning Penelope, an imitation of the more ancient style, on the pedestal a relief of Bacchus and Ariadne ; 263. Relief of a female figure in a quadriga; 264. Apollo 8aurocUmu9y lying in wait for a lizard , after a bronze statue by Praxiteles ; *265. Anna- zofhy from the Villa Mattel ; 267. Drunken satyr ; 268. Juno, from theTherm» of Otricoli; 269. Relief, Jason and Medea (?); 270. Urania, from Tivoli, freely restored; ♦271. and 390. (one on each side of the arch which leads into the room of the busts) Poaidippua and Menander, two admirable portrait-statues of these comic dra- matists, in Pentelic marble, perhaps original works of Cephisodotus^ son of Praxiteles (p. xxxii), from the theatre at Athens, found at Rome under Sixtus Y. near S. Lorenzo in Panispema, where they were long revered as saints. — The visitor may conveniently quit this gallery here and inspect that of the busts (see below).
Window-wall, beyond the Menander : 392. Septimius Severus ; 393. Girl imploring protection, erroneously regarded as a Dido, the original in the Pal. Barberini (p. 171); 394. Neptune Verospi; 395. Apollo Githarcedus, archaic ; 396. Wounded Adonis (the hand, of which there are traces was probably that of a Cupid dressing the wound); 397. Reclining Bacchus from the Villa of Hadrian; 398. Macrinus, successor of Caracalla. In front of it, in the centre, a large alabaster basin , found near SS. Apostoli. 399. iEsculapius and Hygieia, from Palestrina; 400. Euterpe; 401. Mutilated pair from the group of Niobe (p. xxxli), a son and a daughter, found, like the Florentine statues , near the Lateran ; 405. Nymph ; 406. Replica of the Satyr of Praxiteles. — In the window-niche : 421 . Cinerary urn of oriental alabaster, found with the travertine cippi placed under the statues numbered 248, 408, 410, 417, and 420 ; it once contained the remains of a member of the Imperial Julian family. End-wall : *414. Sleeping Ariadne, formerly taken for Cleopatra, found in the reign of Julius II. ; below it, ♦Sarco- phagus with battle of the giants, resembling the Pergamenian Ara. At the sides: *412, 413. The Barberini Candelabra^ the largest and finest in existence , found in Hadrian's villa ; on each three reliefs, (1.) Jupiter, Juno, Mercury, and (r.) Mars, Minerva, and Venus. 416. Relief of the forsaken Ariadne, similar in expres- sion to the large statue; 417. Mercury; 420. Lucius Verus.
Vm. Hall of the Busts, in four sections. We begin on the
right. I. Section. Above, 173. Head of Hadrian; 278. Nero as
Apollo Citharoedus, with laurel-wreath ; 281. Augustus, with chaplet
of ears of corn. Below, 290. CaiacaU^. — 11. ^.\iQve, *298. Zeus Se-
rapis, in basalt. Below, 303. Apo\\o\*^^1.^^X.\iXTi,^'^'^A^\^v^'^VV.
£^ead of Menelaus. from the gxou^ oi^^iiv<i\m& -nVOa. ^^\«i^^ ^V
The Vatican. ROME. V. Bight Bank. d\i
Patroclus (or Ajax with the body of Achilles), found in 1772 in the Villa of Hadrian, a duplicate of the Pasquino group (see p. 201) ; *384b. Legs of the body by the window of the first section ; 346. Hercules. — III. Above, 313, 314. Masks; 315, 316. Satyrs. In the central niche : *ZeuB, formerly in the Pal. Verospi. To the left above, 329. Barbarian; below, 338. Hermes (lioles for the wings near the head). — IV. In the niche : 352. Woman praying, a so- called PietJt; under it an interesting sarcophagus, adorned with Prometheus and the Fates, perhaps of Christian workmanship ; to the left, below, 357. Antinous; 363. Hera, a poor replica of that by Polycletus. — In Section I., below, 376. Head of Pallas from the Castle of St. Angelo; 382, 384. Anatomical representations , in marble. In the centre, Candelabrum with three female figures. By the entrance, r. *388. Roman man and woman , tomb-relief (Nie- buhr's favourite group, copied on his tomb at Bonn by Ranch).
IX. Oabinetto delle Majoherey so-called from the ^Mosaic on the floor, adorned with masks, etc., found in Hadrian's Villa in 1780 (usually closed; apply to custodian of the Galleria delle Statue; 20 c). On the right of the entrance : *425. Dancing girl, in Pen- telic marble, found at Naples; Relief, called the apotheosis of Hadrian ; 427. Stooping Venus In the bath j 429. Venus Genetrix. — Wall opposite the entrance : Four reliefs of the exploits of Her- cules ; 432. Satyr in rosso antico , replica in the CapitoUne ; 435. Venus drying her hair. — Window-wall : at the first window. Bath- ing-chair, at the second. Vase , both of rosso antico ; between the windows, Venus, resembling No. 435. — In the window: Relief of Bacchanalian procession. — Entrance- wall : 442. Apollo. — A door (which the custodian opens if desired) leads hence to the LoooiA ScoFBBTA. whlch commauds a charming view of Mte. Mario and SoraUe to the left, and the Sabine Mts. to the right.
We now return to the Sala degli Animali, and enter the (left) —
X. Cortile del Belyedere (comp. ground-plan, p. 307), an oc- tagonal court constructed by Bramanie, but afterwards altered. It is surrounded by arcades, in the corners of which are four apartments containing several of the most important works in the collection. The entrance is flanked with two ^Molossian Hounds. In the centre is a fountain with ancient embouchure ; above the arcades are eight ancient masks, and by the wall eight sarcophagi and sixteen statues.
The First Corner Cabinet on the right as we enter from the Sala degli Animali contains : **74. The famous group of Laocoon^ with his two sons , strangled by serpents by command of the offended Apollo. According to Pliny, it was executed by the three Rhodians Agesander, Polydorus, and AthenodoruSj and was placed in the palace of Titus. It was discovered under Julius II. m 1^Q>^ ^^^as. the Sette Sale (p. 182), and was termed \>'? 'ML\Odl«»<^ Kxv"sy^^ ^ ^^s^act- rel of&H\ The work (in Pentelic mai\>\e, \)ut tloI ^i ^i. ^^"^^^^tS^ ia admirably pregerved, with tlie exce^\.\ciw ^^ ^^ \Xv\»^ ^^'i^
312 y, BigMBank, BOME. Tke Vaikan.
amis, which hare been ineorreetly lestoied by Giov. da MfmUfrBoii. Owini^ to the delieaey of the workmaiuhip , the dramatic soBpense of the moment, and the profoundly expressiTe attitodes of tiie heads, especially that of the father, this ^roap forms the grandest re- presentative of the Rhodian school of art (p. xxtIt). — Then, in the Arcade : 79. Relief of Hercules with Telephus, and Bacchus leaning on a Satyr; 80. Sarcophagas with Gapids; 81. Sacrificial procession after a victory. In the niche: *85. Hygieia ; 88. Roma, accompanying a victorions emperor, probably relief &om a triomphal arch.
Second Comer Cabinet. **92. ApoUo Belvedere, found at the end of the loth cent, near Porto d'Anzio, the ancient Antinm. Ac- cording to the most recent interpretation, the god, whose left band has been restored, originally held in it, not the bow, bnt the »gis fas has been discovered from comparison with a bronze at St. Peters- burg), with which he is supposed to be in the act of striking terror into the Celts who have dared to attack his sanctnary of Delphi. (Comp. 'Childe Harold's Pilgrimage*, Canto iy, line 161.) On the left: 94. Relief, Women leading a bnll to the sacrifice (the left half entirely modem). — Then, in the Arcade : 27. Reliefs with Satyrs and griffins, once forming a trapezophoms (support of a table). 28. Large sarcophagus with dancing satyrs and Bacchantes, found in 1777 while the foundations for the sacristy of St. Peters were being laid; 30. Sleeping nymph, a fouiitain-flgure. Two baths of black and green basalt.
Third Comer Cabinet. Perseus, and two Pugilists, by Canova, formerly much overrated. — In the Arcade: (right) In the small nichos : 34. Mercury ; 35. Minerva. Then, 37. Sarcophaffiis with Bacchus and Ariadne InNaxos; to the right, 38. Relief of Diana and Ceres contending with the Titans and Giants, found in the Villa Mattei; to the left, 44. So-called Ara Casali, with reliefi relating to the origin of Rome; 49. Sarcophagus with battle of Amazons, in the centre Achilles and Pentliesilea , bearing the features of the deceased (p. xlii).
Fourth Corner Cabinet. *r)3. Mercury, formerly regarded as an Antinous ; 1. 55. Relief of a procession of priests of Isis. — Then in the Arcade: fright) 61. Sarcophagus with Nereids with the arms of Achilles ; on it the *Torso of a Nereid. — We next enter the —
XI. Vestibnle of the Belvedere (comp. ground-plan, p. 307), forming an approach to the Mnseo Pio-Clementino, which was formerly entered in this direction. The first section of it is the —
Atrio Rotondo. In the centre a *Basin of marble (pavonaz-
zetto). To the left, under No. 7, is a cippus with relief of a Dia-
dumonus , or youth placing a fillet round his head , which conveys
an Idea of the famous statue of Polycletus (p. xxxi). On the bal-
eony ia an aueient *Vane, foun^ m \n^ w^^t vVv^Goloaaeum. —
To the left is the —
Atbio j>bl Mklbagko. In tA\c toivU^i «.*^U\,uvi Ql^«\^^.%«t^ ^\
The Vatican. ROME. V. Right Bank. 313
the imperial period , found ahont 1500 outside the Porta Portese. Left, 21. Colossal bust of Trajan ; above it a late relief, showing the decline of art. — We now return through the AtrioRotondo to the —
At&io Quadbato. In the centre of the first hall is the celebrated *Torso of Hercules, executed, according to the inscription, by ApoUoniua of Athens, who probably lived in the 1st cent. B.C. ; it was found in the 16th cent, near the theatre of Pompey (p. 205). *In their admiration of the torso, which has been extolled by Winckelmann in one of his famous odes, all critics are agreed ; but many conflicting opinions have been expressed regarding the action intended to be pourtrayed. Formerly it was usually supposed that Hercules had been grouped with a figure standing in ftront of him (perhaps Hebe or Auge) ; another conjecture was that he stood alone, leaning on a staff grasped with both hands on his left side ; while the most recent view is that he was playing on the lyre'. — Oppo- site the window is the ^Sarcophagus of L. Com. Scipio BarhatuSf great-grandfather of the illustrious Africanus, and consul B.C. 298, of peperine-stone, with a remarkable inscription in Saturnine verse, recording his virtues and achievements; it was found in 1780 in the tomb of the Scipios on the Via Appia (see p. 257), at the same time as that of his son L. Corn. Scipio, consul B. C. 259, and that of P. Com. Scipio (son of Africanus), fiamen dialis, whose inscriptions are built into the surrounding walls. The bust on the sarcophagus has been groundlessly regarded as the poet Ennius.
We next enter (comp. ground-plan, p. 306) the —
*]faBeo Cliiaramonti) arranged in one half of a corridor 22 ft. wide and 310 yds. long, which is divided by pilasters into thirty sections numbered with Roman numerals. The museum contains 300 sculptures in marble, many of them small and fragmentary.
[The door to the right leads to the Oiardino della Figna, to which vis- itors are not now admitted, containing numerous fragments of statues and reliefs. In the middle is a huge antique column, surmounted by a bronze statue of St. Peter, erected here in 1886 to commemorate the Council of 1870. On the right are a colossal Pine-eone^ the work of a certain P. Cincius Salvius, which was placed in the middle ages in the fore-court of old St. Peter''s Church, and the pedestal of the column in honour of Antoninus Pius, which stood near Monte Gitorio, adorned with the Apotheosis of Antoninus and Faustina and processions of warriors. On the left is a colossal portrait- head in marble. — ^11 Boscareccio*, or the larger Garden of the Yatican, which was formerly sometimes visited hence, but is now closed to the public, extends from the Belvedere to the walls of the Leonine city , and is beautifully laid out in the Italian style. To the left of the entrance, at the base of an eminence planted with trees, stands the Casino del Pttpa^ built by PiiTO Ligorio in 1560, a garden-house richly decorated with sculp- tures, mosaics, and pictures.]
As the entrance was formerly at the other end, our enumeration now begins with Section XXX. Left: 733. Recumbent Hercules (freely restored). — XXIX. Left: 704. Ul^ftftft^ \^.wv^ycv% ^^ ^0^^\. to Polyphemus; 698. Cicero, from Tloma"^re^^\i^^.^ ^^'^•^'^'^^'^'^ bead of the young Bacchus. — XXTIU. lielX.-. ^'^^. ^'''^''^^aXX' of Antoninus Pius, from Hadrian's WWa at TvioVl. — "?X>l vv.
314 V. Right Bank, . ROME. The Vatican.
655. Narcissus (erroneously restored) ; above , * 644. Relief, dan- cing women. — XXVI. Left: 636. Hercules and Telephus. — XXV. Left: *607. Head of Neptune in Pentelic marble, from Ostia. — XXrV. Right: 591. Claudius; left, 589. Mercury; 588. Bacchus with a satyr; 587. Ganymede. — XXIH. Left: 563. Por- trait-bust; above, 550. Square marble slab, with a shield of Medusa ;n the centre. — XXII. Right : 547. Isis ; left, 544. Silenus. — XXI. Left: *513 A. Head of Venus in Greek marble, found in the Baths of Diocletian; 512. Marlus (?) ; 510 A. Cato Major (?).— XX. Right: 497. Representation of a mill; *498. Drowsy spinster; left, *495. Bow-bending Cupid ; *494. Tiberius, a colossal sitting figure, found in 1796 at Pipemo ; 493. Portrait-statue of a boy. — XIX. *729. Torso of an archaic Penelope in a sitting posture , of finer workmanship than the better preserved statue in the Galleria delle Statue. — XVHI. Left: 450. Mercury; right, 453. Hero, restored as an emperor, with Victoria. — XVII. Right: 441. Al- cibiades(?); left, 422. Demosthenes; 420. Head of Vulcan ; 418. Julia, daughter of Augustus (?); *416. Bust of the young Au- gustus. — XVI. Left: 401. Augustus, 400. Tiberius sitting, both from Veii. — XV. Right: 392. Hadrian; left, ♦372A. Greek relief with fragment of a rider ; 369. Portrait-head ; above , 360. Archaic relief, representing three draped Graces, a copy of a very famous antique work by Socrates (p. xxxviii), fragments of which were found in the Acropolis at Athens. — XIV. Left: 354. Minerva; 353. Nymph ; right, 355, 357. Women of the family of the Rutilii, found at Tusculum ; 356. Captured barbarian. — XIII. Right : 338. Boy from a group of talus-players ; left , above, 300. Fragment of a shield with four Amazons, being a copy of the shield of Athene Par- thenosby Phidias. — XII. Left: 294. Hercules, found in 1802, re- stored by Canova ; 295. Torso, replica of the Hermes of Praxiteles ; right, 296, 297. Athletes ; 298. Bacchus. — XI. Right : 285. Apollo with the hind , in imitation of the archaic style ; 287. Fisher-boy ; left, 263, 259. Fine portrait-heads; 255. Jupiter Serapis; 254. Venus. — X. Right: 244. Colossal mask of Oceanus, used to adorn a fountain; 245. Polyhymnia; left, 241. Nymph with the in- fant Zeus at her breast. — IX. Right: *229. Two heads of Silenus as a double herma ; under it, 230. Large cippus, Night with Death and Sleep (?); left, 197. Head of Roma (eyes modern), found at the ancient Laurentum; above, 186. Greek equestrian relief. — VIII. Right: 179. Sarcophagus of C. Julius Euhodus and Metilia Acte, with representation of the myth of Alcestis; 181. Hecate; under it, *182. Ara of Pentelic marble, with Venus and Baccha- nalian representations; left, **176. Daughter of Niobe (p. xxxii), headless, found, at Tivoli, an admirable Greek work. — VII. Right, J 66. Archaic Apollo ; left, 144. BeaiiVc^ YS«.gq\vw% -^ i^Qve ^ 130. Frag- went of a relief, badly executed, \iv\V v?\l\v a.w\\\\,eife^\A\\%x^^T^'6fc\\- tatJon of the Sun and Moon as leaiieis qI&ouU. — ^\. V^'v\.\ \DrL,
The Vatican. ROME. V. Right Bank. 315
Diana; 121. OUo; 120. So-called Vestal, from Hadrian's ViUa. —
V. Right: 107. Julius Caesar (?). — IV. Left: 63. Minerva. — m.
Right: 55. Torso of Hebe; left, 29. Head of a female faun; 28.
Head of a wounded Amazon. — H. Left : 16, 14. Muses. — I.
Right: 13. Winter, from the sarcophagus of P. iElius Verus; left, 6.
Autumn, also from a sarcophagus ; above, 2. Apollo sitting, a relief.
— To the right is the entrance to the Braccio Nuovo (see below). [The S. half of the corridor, separated from the Huseo Chiaramonti by a railing, contains the Gallebia Lapidabia, which is not now open to the public. It contains a collection of more than 5000 heathen and early Christian inscriptions, made by Clement XIV. and Pius VI., and extended by Pius VII.; they were arranged and built into the walls under the direction of Qaetano Marini^ the learned founder of the modem science of Latin epigraphy. The gallery also contains ancient cippi, sarcophagi, and statues.]
The * Braccio I^'uoyo, which we next visit (see ground- plan), was constructed by Rafael Stem under Paul VH. in 1821. This saloon, roofed with tunnel vaulting, and lighted from above, is 77 yds. long and 8^/2 yds. wide, and is embellished with fourteen ancient columns of cipollino , giallo antico, alabaster, and Egyptian granite. It contains 40 statues and about 80 busts. — Right : No. *5. Caryatid e , supposed to be one of those executed by Diogenes for the Pantheon, restored by Thorvaldsen ; 8. Commodus in hunting- costume with spear; 9. Barbarian head; 11. Silenus with the infant Bacchus ; *14. Augustua^ found in 1863 near Prima Porta in the villa of Livia , one of the best statues of the emperor, bearing distinct traces of painting (p. xxxviii). In front of it, on the ground, a mosaic from Tor-Marancia , Ulysses with Nereids and Scylla ; 17. Statue of a physician (perhaps Antonius Musa, celebrated for his cure of Augustus) , under the form of iEsculapius ; 20. So- called Nerva (head modern); *23. So-called Pudicitia, from the Villa Mattel , head and right hand new ; 24. So-called Pollux , in coloured marble; 26. Titus, found with the statue of his daughter Julia (No. Ill, opposite) near the Lateran in 1828; 27. Medusa (also Nos. 40, 93, 110 ; the last in plaster) from Hadrian's temple of Venus and Roma; 31. Priestess of Isis ; 32, 33. Satyrs sitting; 39. (in the centre) beautiful black vase of basalt, with masks, etc. ; 41. Apollo Citharcedus, found in 1885 at Marino ; 44. Wounded Amazon; 47. Caryatide; 48. Trajan; 50. Diana beholding the sleeping Endymion; 53. Euripides; 60. So-called Sulla; *62. De- mosthenes , found near the ancient Tusculum. Standing alone : **67. Apoxyomenos (scraper) , an athlete cleaning his right arm with a scraping-iron , after Lysippus (p. xxxiii) , found at Traste- vere in 1849. — Then, by the second long wall : *71. Mourning Amazon , apparently after an older work of the best period , per- haps by Polycletus (p. xxxi) , arms and feet restored by Thorvald- sen; 81. Hadrian; 83. Juno, erroneously restot^^^'a»^'«»%»V>Ri»»5^ new); 86. Fortuna with coTnucopia aii^TQL^^ct, Itq^s.^^^^'^n^'^^ So-called Heaiod. ♦109. Colossal Gfoup of IKemU, '«'^^'':;^?^^^'^^ sixteen playing children , emblematic ol t\i^ «vtA.'^«vi wi>sv\.%
316 V. Bight Bank, ROME. The Vatican,
the mer rises ; at the hack and sides of the plinth a humorons re- presentation of a hattle of the pygmies with crocodiles and hippo- potami , fonnd near S. Maria sopra Minerva in the time of Leo X. (p. xxxiv^. In the semicircnlar space behind it, on the right : *94. Fignre of Spes, erroneonsly restored as Proserpine ; 97A. Mark An- tony ; 97, 99, 101, 103, 105. Athletes; 106. Bust of the triumvir Lepidus. On the ground in this semicircle (behind the Nile) is a mosaic with the Ephesian Diana, from Poggio Mirteto. By the long wall, farther on : 111. Julia, daughter of Titus (see No. 26); ♦112. Head of Juno (the so-called Juno Pentini) ; *114. So-called Jtfi- nerva Medica , or Pallas Giustiniani (the family to whom it form- erly belonged), in Parian marble; 117. Claudius; *120. Satyr JB«- posing^ after a celebrated work of Praxiteles (p. xxxii ; a better copy in the Capitoline Museum) ; 123. Lucius Verus; *126. Athlete, re- cognised as a copy of the Doryphorus of Polycletus (p. xxxi) ; 129. Domitian ; *132. Mercury, restored by Canova (head ancient, but belonging to a different figure).
Egyptian Museum. ♦Etruscan Museum. Open on Thurs., 9-3. CJomp. Plan, p. 307.
The Egyptian Museum (Museo Egizio), the entrance to which is from the Sala a Croce Greca (p. 304), close to the steps, is below the Etruscan Museum, in the so-called Torre de' Venti. Pius VII. purchased the nucleus of the collection from Andrea Gaddi; and the museum was much extended by him and by Gregory XVI. It contains few objects of great interest, but may be visited for the sake of comparing Egyptian with Hellenic and Italian art (p. xl).
1st Room : Three coffins of mummies in green basalt, and two in painted wood. — 2nd R.: Statues, chiefly from Hadrian's villa at Tivoli, of Roman workmanship in the Egyptian style (p. xxxvii). ''Colossal statue of Anti- nous, the favourite of Hadrian, in white marble. The Nile, in black marble. Fine architectural fragments, found in the precincts of the Iseum, or temple of Isis, near 8. Maria sopra Minerva. — 3rd R. : "^Egyptian colossal statues : (1) Mother of Ramses (Sesostris) , in black granite , between (2) two lions of basalt, from the Thermee of Agrippa, which formerly long adorned the Fontana di Termini ; (3) by the exit-wall , in the centre : Ptolemy Phila- delphus , to the left of him , his Queen Arsinoe , in red granite (from the gardens of Sallust). — 4th R. : Statuettes , idols , and alabaster vases. — 5th R. : Mummies , sarcophagi. Eight statues of the goddess Pasht (Isis), from the ruins of Camac. — 6th R. : Small idols in vitreous paste. — 7th R. : Small bronzes, including a situla, or bucket-shaped vessel, used in the wor- ship of Isis. — 8th R. : Idols and ornaments \ scarabees (stones cut in the shape of beetles), etc. — 9th R. : Papyrus MSS. — 10th R. : Coptic inscrip- tions, hieroglyphics, cuneiform inscriptions. Small replica of the Nile in the Braccio Nuovo (p. 315). Model of a pyramid.
Ascending as indicated at p. 305 to the passage into which the
Sala della Biga and the Sala del Candelabri (p. 306) open, and
tnrnin^ to the left, up a few steps, we reach on the right the
entrance to the Etruscan Muaeum. — Couv^. Giouud-ijlan, p. 307.
The *MuBeo EtriiBOO-GregOTiaiiO, iouiv^e^ \i^ ^T^^wt^ ^^\. \w
^836, occupies twelve rooms on t^c w^^^x ^<i^^ ^^ ^"^^ '^^"^■^^ ^^
The Vatican, ROME. V, Right Bank. 317
Ventij aboTe the Egyptian Museum. It contains a number of anti- quities excavated chiefly in 1828-36 in the Etruscan cities Vulci, Toscaneila, andChlusi, consisting of statues, paintings, vases, golden ornaments, and various domestic utensils in bronze, all extremely in- teresting as a link in the history of Italian art , and affording some
insight into the habits of the almost pre-historic Etruscans (p. xl).
(To the left by the loggia, in the space before the door, is a relief of Medea \ right, by the door, another with a contest of Hercules.)
I. Room : Three sarcophagi of terracotta with lifesize figures of the deceased on the covers. On the walls numerous portrait-heads in terracotta, of peculiar formation. — The II. Boom is then entered to the right. One of the larger sarcophagi on the left is of travertine, adorned with an almost flat relief of a chariot with a bearded man and musicians, on which traces of painting are visible; numerous smaller cinerary urns, some of them of alabaster with mythological reliefs, from Chiusi and Volterra. — III. Room: In the centre a large sarcophagus of tufa with recumbent figure and reliefs of the murder of Clytemnestra , sacrifice of Iphigeneia, Eteocles and Polynices, Telephus and Orestes. Beyond this is a fine frieze in terracotta, discovered at Cervetri. In the comers are small and strange- looking cinerary urns in the form of houses and huts , found in the very ancient Italic (Latin) graves between Albano and Marino, some, it is said, under a layer of volcanic tufa. — IV. Room \ left wall, near the entrance, fine terracotta frieze from Cervetri j relief in stucco of Jupiter, Neptune, and Pluto. Terracottas; '^Mercury; in the comers, fragments of female figures with rich drapery, from Tivoli ; Hercules \ above, lid of an urn, with the dying Adonis, an interesting realistic work; on the wall to tile right, reliefs in stucco of Venus and Adonis; on the walls reliefs, cinerary urns, architectural fragments. By the window small terracottas.
The next four rooms contain the Collection of Vases (p. xl). These painted vessels were partly imported from Greece, partly manufactured in Btruria itself, where Vulci, Chiusi, Volterra, Bomarzo, etc.. are proved to have ex- celled in this branch of art. The Etruscans imitated the earlier Greek vases with black , as well as the later with red figures, often without a just ap- preciation of the subjects, and. with an obvious preference for tragic scenes, especially murders. An exhaustive examination of the details will be under- taken by the scientific only ; the most interesting objects only need be enu- merated here. — I. Room; Vases of the earliest style, with figures in black, some of them from Corinth; in the centre a very ancient vessel with re- presentations of animals. ^ II. Room: In the middle, Ajax with the body of Patroclus ; *Achilles and Ajax playing at draughts (with the name of the manufacturer ExeJneu), To the right of the window-wall are imitations of the prize-vases of the Panathensean Festival at Athens ; under the 2nd window, two basins with archaic Latin inscriptions. At the door, a vase (No. 70) with two men with oil-vessels and the inscriptions : '0 Father Zeus, would that I were rich', and: ^It is already full and even runs over'. — III. Room: Arched corridor. *i34. Hector parting from Priam and Hecuba. At the first window. Vase with three handles, with representations of a poet and six Muses. To the left, on the wall, a number of excellent vases with red figures, including •Si. Vase with admirably-drawn figure of "* Achilles, the pendant to which is effaced beyond recognition (Briseis?); 93. Minerva and Hercules (Vulci) ; 97. Apollo on a winged tripod. To the right, at the centre window, "103. Large vase, with whitiiih ground and coloured designs, re- presenting the delivery of the infant Bacchus to Silenus ; on the reverse, mu- sicians. In the niche to the left are large vases from S. Italy, with poly- chrome ornamentation in gold, white, and violet. Adjacent a humourous representation of Jupiter and Mercury's visit to Alcmene. Near tke ^.tlv^^ •*. vase with ancient fracture and repairs. — Tti^ W. "Buoois. <5.vyB\a2«Mi ijwXvtsfej^ collection of graceful and delicately painteflt ^o\A«k\a. '^^i^ ^afe^Vas^. ^^^^^^ amaU vases, some of them of irregular form. Oii^\x»^«XV ^"^^^^'S^^'^^^oSi. of paintings in a tomb at Vulci, shovdng thJitT&tt\LBca.TLVc\N^*A^^^^^>X^^ completely Helleniaed, Below, as the impexfecW^ATvWTV^^^fc^ ^^^
318 V. Right Bank. ROME. The Vatican,
appear to indicate, is a historical scene, an adventure of Mastama (Servias Tullius) and Cselius Vibenna, besides mythological representations (Cassan- dra, Achilles slaying the victim for the funeral sacrifice of Patroclus). The glass-cases contain ancient glass vessels, many of which are noticeable for their fine workmanship and colouring.
We now return to the sixth room, in order thence to reach the — IX. Room on the right, where Bronzes of every description, domestic uten- sils, weapons, ornaments , jewellery , etc., are arranged. By the wall to the right the statue of a warrior, with IJmbrian inscription, found at Todi in 1835. On the wall as far as the window , helmets , shields , mirrors with engraved designs. By the right window an oval *Gista of bronze from Yulci, with Amazon battles in embossed work, which when found contained articles of the female toilet. By the exit. Boy with a bird, in bronze.
Passing through a door on the right, we next enter the X. Boom, or CoBBiDOB, where water-pipes and several small bronzes are preserved.
[The XI. Room (sometimes closed) contains all kinds of vases (some of the most ancient of which are engraved with geometrical patterns), as well as copies of Tomb Fainting^ from Cometo and Vulci, invaluable in the study of early Italian art. The most ancient style (down to about B.C. 46()) is re- presented by the paintings on the narrow sides of the ssiloon (excepting the scene over the door), which somewhat resemble early-Greek designs, but are ruder and more destitute of expression. The next stage (after B.C. d50) is exemplified by the designs on the long walls, where the progress is traced which the Etruscans had made in the art of drawing and in their ideas of the human figure, under the influence of the Greeks; at the same time Etruscan peculiarities are observable, especially in the heads, which are all in profile. These paintings, like the preceding, also represent games and dances performed in honour of the dead. The third and fully-developed period is represented by the picture, over the door, of Pluto and Proserpine (the latter full-face), which may probably be regarded as coeval with those in the 8th room. For economy of space several rows of these paintings are here exhibited one above another, but in the tombs each wall was em- bellished with a single row only. It is interesting to observe the gradual expansion of the colour-scale. The visitor should also notice that the paintings were intended to be seen by an artificial light, and hence the garlands, plants, and bronzes are painted blue instead of green.]
We now return to the 9th room, where, immediately to the right, by the windows, is a glass-cabinet with votive objects, found at the mineral springs of Vicarello, near the Lago di Bracciano (p. 391; chiefly gold and silver goblets); bronze vessels, rings, polished stones. In the centre of the room a cabinet with objects excavated at Pompeii in presence of Pius IX. , in- cluding an equestrian *Relief in marble. The turning glass-cabinet in the centre contains golden "Ornaments ; in the upper section are arranged those found in 1836 in the tomb of the Regolini-Galassi at Cervetri (p. 393), in the lower similar objects from other Etruscan tombs. These show the great skill and taste in workmanship of this kind to which the splendour-loving Etrus- cans had attained, and the chains, wreaths, rings, etc., afford models which are rarely equalled by Roman jewellers of the present day (see Castellani, p. 117). Many of the objects, however, are not of Etruscan origin, but were manufactured for export in Phoenician or Carthaginian workshops, from Assyrian and Egyptian models. Of this kind are the three silver dishes plated with gold and adorned with embossed scenes in the upper part of the cabinet (resembling those of the Treasure of Prspneste, p. 157), and the gold ornaments to the right and left (breastplate, bracelets, etc.), with embossed ornamentation or line granulated work. Opposite the 2nd window is a bronze statuette of a boy with a bulla and Etruscan inscription. Then a brazier with tongs and poker. Opposite the 3rd window is a second, but less perfect cista, with engraving. By the wall a restored biga. Ad- Jacent a large arm in bronze, of admirable workmanship, found at Civita Vecchia along with the dolpMn'a laW \o \.\ifc t\^\v\. ^\ WaA \il\ga. and the spear on the wall behind-, all three fra^mftiiVa \ifc\oTi^ft^V>«.t^\^i%"5»N.^^\vt^ of an emperor in the guise of 15eT>lune. Bfc^o^^^ a. \iw%\. lA *. m^\v ^\A several mirrors with diigns. In ttie caaea, a^iv*^\ \>toTvi.^. ^^ V5s^^ Vwa>CB.
The Vatican, ROME. V. Right Bank. 319
wall : candelabra, kettles, shields. The four-wheeled censer and the brazen bed in front of it, both of great antiquity, were found in the above-men- tioned grave of the Kegolini-Galassi at Cervetri (ca. 600 B.C.). By the wall near the door: large bronze plates like shields, with heads in relief in the naiddle, used as decorations for the ceilings and doors of the graves. — In the XII. Room, on the left, is an imitation of an Etruscan tomb, with three burial recesses, vases^ etc.; at the entrance two lions from Vulci. The cabinet in the centre contains bronzes from Yeii; by the window small ornaments and objects in glass. Also several Chinese curiosities.
C. Library.
The Library and the Museum of Statuary may be conveniently visited in succession as they are open on the same days and at the same hours. Entbancb for readers in tiie Gortile di S. Damaso , for visitors by the glass-door at the bottom of the staircase to the Sala a Croce Greca (comp. p. 304; visitors knock). Comp. Plan, p. 276.
At a very early period the popes began to collect documents and thus gradually formed the Archives, which are mentioned for the first time under Damasus I. , and were preserved in the Lateran. After various losses, caused especially by the migration to Avignon, and frequent change of locality, the library is now finally established in the Vatican in eleven rooms, in addition to the great library- hall. Over the door is the inscription : Paulli Papae V. Archivium, The Archives comprise a large number of the most interesting and important documents, especially of the middle ages, registers of the papal acts, letters of the popes from Innocent III. down to Sixtus Y. in 2016 volumes, and correspondence with nuncios and foreign nations.
Besides this collection of documents, the popes possessed their private libraries. Nicholas Y. instituted a public Library, with
9000 vols., and appointed Giovanni Tortelli as the first librarian.
The library was neglected and dispersed by his successors. Sixtus IY. was the idrst to revive the institution; he assigned a locality under the Sistine Chapel for the collection, appointed Plaiina (1475) director , and set . apart definite revenues for its maintenance. Thus endowed, it increased stead- ily, and the allotted space became more and more inadequate to its require- ments, until in 1588 Sixtus V. caused the present magnificent edifice to be erected by Domenico Fontana^ intersecting the great court of Bramante. To this ever-increasing collection several considerable libraries have been added by purchase or donation, some of which are catalogued and preserved separately. In 1623 the Elector Maximilian presented to the Pope the Bibliotheca Pala- Una of Heidelbei^, when the town was taken in the Thirty Years' War; and in 1657 the Bibl. UrHnas^ founded by Duk^ Federigo da Montefeltro, in 1690 the B. ReginensiSy once the property of Queen Christina of Sweden, and in 1746 the B. Ottoboniana^ purchased by Alex. VIII. (Ottobuoni). were added. Most of the MSS. carried off by the French were restored in 1814.
The Yatican Library now contains upwards of 26,000 MSS., of which about 19,000 are Latin, 4000 Greek, and 2000 Oriental. Of the last a printed catalogue has been published (1756-59), and continued by Cardinal Mai. There are in all about 200,000 printed books, of which a catalogue has also been made. Ttv^ '^^m^x^-aS.^cv.- brarian is a cardinal, at present Pitra, '^Avo Vo. Qx^Nxi^n >svv^"^^'^'k%»'*» *^ repreaented by the under-libraiian, Abbalc Co%%a, ^w?^V^^ '^'^^^- dians. The use fulness of the Ubrary is c\Tc«m%tT\>D€i^^>^ VJaa^^
320 V. Bight Bank. ROME. The Vatican,
ous holidays on ^hich it is closed. It is not avaiable on more than 200 days in the year (from the middle of Nov. to the middle of June), and then only for 4 hrs. daily (8-12). Permission to use it is best obtained through the traveller's consul or by private letter of intro- duction, the applicant stating the branch of study contemplated.
Visitors first enter (by the glass-door, mentioned at p. S04, opposite the staircase leading to the Museum of Statuary) a long Gobkidob Delow the Galleria dei Candelabri, divided into several sections. — Section I: Museo Pro/ano: To the right, by the door: * Bronze Head of AugusUUy one of tiie finest extant portrait-busts of that emperor; left, on the table a small, finely executed head of Venus. The closed cabinets contain beautiful ancient and modern ornaments, etc. ; €.g. in the 2nd cabinet (left). Oriental bronses and articles in gold, hair found in an ancient tomb, etc. — At the entrance to the next room, or section, are two porphyry columns from the Thermee of Constantine, on each of which are carved the figures of two kings. — The frescoes of scenes from the lives of Pius VI. and Pius VII. possess little interest. — The following rooms contain the Bibliotheca Ottdboniana ^ the Bibliotheca Reffinensis^ and the MSS. of the Vatican library. — For the continuation of the corridor, see below.
We now turn to the left and enter the Gbeat Hall, 77 yds. long, 16 yds. wide, and 29 ft. high , supported by 6 buttresses , constructed by Fontana and paved with marble by Pius IX. (immediately to the left ia the entrance to the Archives). The paintings (of the 17th cent.) are in ba4 taste. By the walls and round the pillars are 46 small cabinets containing the MSS., the most celebrated of which are exhibited in glass-cases: cel- ebrated palimpsest of the Republic of Cicero, Dante with miniatures by Oiulio CloviOy the ritual of Card. Ottobuoni, breviary of King Matthlais Corvinus; MSS. of the Greek New Testament (5th cent.), of Virgil (5th cent.), and Terence (the so-called 'Bembinus', of the 4th cent.) ; also autographs of Petrarch and Tasso. Also a number of gifts presented to the popes : Sevres candelabrum presented by Napoleon I. to Pius VII. 5 a cross of malachite, from Prince Deniidoff-, two vases of Berlin porcelain, presented by Fred. William IV. \ vase of Sevres porcelain, presented by Charles IX. ; vase of Scottish granite, presented by the Duke of Northumberland to Card. Anto- nelli-^ font, in Sevres porcelain, in which the Prince Imperial (d. 1879) was baptised, presented by Napoleon III. to Pius IX. ; malachite vase, presented by Emp. Nicholas to Gregory XVI. ; three Sevres vases, a gift of Marshal MacMahon to Pius IX. ; large vase of oriental alabaster, presented by the Khedive Ibrahim Pasha of Egypt to Pius IX. ; vases of Berlin porcelain, presented by King William I. 01 Prussia, afterwards German Emperor i huge block of malachite, from the Grand-duke Constantine of Russia. — In the adjoining Reading Rooms are suspended the portraits of the cardinal-librar- ians, framed papyrus-scrolls, and a facsimile of the two columns from the Triopium of Herodes Atticus on the Via Appia , with an imitation of an- cient Attic characters, the originals of which are in Naples.
We now retrace our steps through the Great Hall to the Corridor^ the continuation of which is also divided into sections. The two first sections contain the MSS. of the Palatine and Urbino libraries. In the first, over the entrance, is represented the Interior of SS. Apostoli ; over the egress. Interior of the old church of St. Peter; in the second, over the entrance, the Erection of the Vatican Obelisk by Fontana (see p. 277); over the egress, St. Peter's, according to Mich. Angelo's design. In the third section, quattro- centists and oriental MSS. ; by the sides of the egress, two ancient portrait- statues, 1. the orator Arisiides, r. Lysias. — We next enter the —
Museum of Christian Antiquities (superintendent, Commendatore Oiov.
Batt. d« Rossi). Tlie 1st Room contains curiosities from the catacombs:
lamps, glasses, bottles, gems, statuettes, pictures, altar-pieces, crosses, etc.,
the most interesting of which are preserved under glass. Second case on
the right: several fine diptycbs and VT\pV\c\ia \tv vvorij. — TVve. 2nd Room,
tbe Stanza de' Papiri^ with ceiling-paiTvlm^a "b^ RapH. Me«q»^\» ^JJ^vjWV
documcDtB on papyrus of the 5th-ftth ccnl., tonwdi «.\, >^a.^«wcv«.. — "YVv^. ^^v
TAc Vatican. ROME. V. Right Bank. 321
cabinets of the 3rd Boom contain a large number of small pictures of the 13th-15th cent. , unfortunately not distinctly visible. On the wall of the egress , on the right, a Russian painted calendar in the form of a cross, of the 17th cent. ; next to it a large cross of rock-crystal, on which the Pas< sion is represented, by Valerio Vieentino^ presented by Pius IX. The hand- some carved priedieu of Pius IX. is of French workmanship. The adjoin- ing room, formerly the Chapsl of Piub V., adorned with frescoes by Oiorgio Vasari^ and containing a Cabinet of Coins (not shown) which was seriously pillaged in 1797 and 1849, contains a conspicuous work in stained glass , by M. H. Schmitz of Aix-la-Chapelle, representing Pius IX. in his papal robes. In this and the following room are also deposited the nu- merous richly-bound addresses which Pius IX. received in the course of his reign. — To the right in the third room is the entrance to a collection of —
Ancient Pictures. On the floor, ancient mosaics. On the right wall : Phsedra and Scylla; above, Ulysses and Circe*, then the so-called *Aldo- brandine Nuptials, one of the finest ancient pictures in existence, found in Rome in 1606; next to it, to the left, Wamor in armour, found at Ostia in 1868; above it, Ulysses encountering the Lsestrygones ; to the left, by a door. Ship being loaded, found at Ostia in 1867. By the window, oriental gold and silver trinkets and plate, presented by the Emperor of Siam to Pius IX., with his photograph. To the left and right of these : M yrrha and Pasiphae. By the long wall, farther on: the spies of Ulysses among the Leestrygones ; below, a chariot with Cupids; to the right, sacrificial procession in front of a statue of Artemis ; to the left, a boat mounted on a waggon. Then, Ulysses in the infernal regions; below it, an unknown female figure and *Canace. The six mythological figures of women celebrated for their misfortune in love are from Torre di Marancia. The represen- tations from the Odyssey were found on the Esquiline. — An adjacent cabinet contains a collection of Ancient Tile-stamps and Majolica, recently transferred from the papal villa at Castel Gondolfo.
The so-called ^Appartamenti Borgia, occupied by the printed books, and adorned with interesting paintings, are shown by special permesso only, to be obtained from Monsignor Ciecoliiiif one of the prefects of the library. We first enter the so-called To&be Boboia (p. 286), two small rooms, the first of which is adorned with ceiling-paintings by Oiovanni da Udine and Perino del Vaga. The paintings on the spandrils and the prophets and sybils in the lunettes are ascribed (probably wrongly) to Piniwicchio. In the second room are twelve apostles and propheto. The decorations in both rooms are much damaged. — We descend a few steps, and enter the Hall of the Libebal Abts: Astrologia (above the window), Gram- matica, Dialectica, Rhetorica, Geometrla, Arithmetica, "^Musica. — In the III. Room : on the rear-wall, St. Catharine*s disputation before the Em- peror Maximinus; on the entrance-wall , ^SS. Anthony the Abbot and Paul the Hermit in the Theban desert; Meeting of Mary and Elizabeth ; above the window, Martyrdom of St. Sebastian; on the exit-wall, Susanna, St. Barbara; on the ceiling. Legend of Osiris (the Apis bull is a reference to the arms of the Borgia faixdly). — IV. Room. On the rear-wall, Annun- ciation and Nativity; on the entrance-wall. Adoration of the Magi, Re- surrection; above the window. Ascension; on the exit-wall, Pentecost, *'Assumption of the Virgin. — The last large Saloon, containing Cabdinal Mai^s Libbabt, is adorned with paintings and stucco-work by Oiov. da Udine and Perino del Vaga, in bad preservation.
The Studio del MoscUeOf or Papal Manufactory of Mosaic , is under the gallery of the inscriptions ; entrance in the left angle of the farther side of the Oortile di S. Damaso (p. 286). Permessl ob- tained at the Segretaria, comp. p. 124. Numerous hax\d& %x^ employed here in copying celebrated pictxMfta lot Q)toSLT^^'a»^ %Xfc. ''V^wb material used is a kind of colouied. gVaaa , q1 'v\aR>a. \X\b^'^ '•j^ ^0,000 different shades, — The papaV ATmourij w\?i. >:>afc ^'^'^^ ^^"^ Baedeker. Italy II. IQth Edition. ^'^
322 V, RiglU Bank. .ROME. The Lungara.
Ztcca; now in the hands of goyemment} near the Vatican contain a few objects of interest, t,g. all the papal coins ftom the time of Hadrian I., and most of the dies since Martin Y.
The Lnngara.
The Borgo is connected with Trastevere by the Via dbi«la Lun- gara, %M. in length, constructed by Julins II. The Borgo is quitted by the Porta di 8. Spirito (PI. I, 7; p. 276), begun by Antonio da Sangallo the Younger, and occupying nearly the same site as the old Gate of the Saxons. — To the right, immediately to the S., the steep Salita di S. Onofrio, passing through the gate whi<^h closes the new Passeggiata, ascends in 5 min. to —
*S. Onofrio (PI. II, 7), on the slope of the Janiculum, erected about 1430 by Niceolb da Fovea Palena in honour of the Egyptian hermit Honuphrius ; adjoining it is a monastery of the order of St. Jerome. The church and monastery are preceded by a colonnade of eight col- umns ; in the lunettes are three frescoes from the life of St. Jerome by Domenichino (Baptism, Chastisement, Trance). If the church is
closed, visitors ring (r.) at the door of the monastery (Y2 fr*)*
Lbft Side. The 1st Chapel contains the tomb of the poet Torqoato Tassu, who died in this monastery in 1595; the monument was erected by Pius IX. in 1857, the statue is hy D« Fabris. In the 2nd chapel, the tomb- stone of the linguist Card. Mezzofanti (d. 1849). — RiaHT Side. The 2nd chapel contains a Madonna, altar-piece by Ann. Carracei. At the end of the right wall: monument of Archbp. Sacchi (d. 1505); in the lunette St. Anna teaching the Madonna to read, by Pinturicchio. The Tribune contains restored frescoes, the upper attributed to Peruzzi^ the lower to Pinturieehio^ probably both by Peruzzi.
The Monastery contains, in a passage on the first floor, a ** Ma- donna with the donor, a fresco by Leonardo da Vinci, which has unfortunately been much injured by retouching (the attitude of the raised arm of the child, for example, has been entirely spoiled). The cell is still shown in which Tasso resided, when about to receive the laurels on the Capitol, and in which he died, 25th April, 1590. It contains his bust in wax, taken from the cast of his face, his portrait (fresco by Balbi, 1864), autograph, etc. — The new Pas- seggiata Maryherita, described at p. 330, interse<*-ts the former con- vent-garden. On the hill-slope, to the left, near some cypresses, are the remains of an oak (destroyed by lightning in 1«H42), under which Tasso was in the habit of sitting. Admirable *View.
In the LxjxGAKA, on the left, is the Ospizio de' Pazzi (1*1. I, II, 7), a large lunatic asylum erected by Pius IX.
Farther on, to the left, is a chain-bridge (PI. II, 10; toll 5 c); on the opposite bank rises S. Giovanni dei Fiorentini (p. 207). Opposite the bridge, in the Lungara, is the extensive Palazzo Sal- viati (PI. II, 7), with a handsome court of the 10th cent. , now a ^Collegio Militare' (cadet academv^ The adjacent garden , con- verted in 1837 into a Botanical Garden ^n\?\\,ot% t\\\^ tjA. W^ «wvv.>\ door on theright), contains rare ai\d\)oa\\\-\U\\\.^^«i^ ^^^^^^^^^^'^-
The Lungara, ROME. V. Right Bank. 323
Farther on in the Lungara, about 3/^ M. from the Porta S. Spi- rit© and opposite the Pal. Gorsini (p. 324), is the —
** Villa Famesina (PL II, 11 ; adm., see p. 123), an exceedingly pleasing Renaissance edifice erected in 1506 by Bald, Peruzzi for the papal banker Agostino Chlgi , an enthusiastic admirer of art and ■ patron of Raphael (see pp. 147, 192). It became the property of the Farnese family in 1580, and now belongs to the ex-king of Naples. The garden, extending to the Tiber, has been greatly curtailed by the recent alterations made in the course of the river.
The ceiling of the principal room on the ground-floor, which is entered direct from the garden, was designed by Raphael (1518-20), and decorated by Oiulio Romano, Francesco Penni, and others of his pupils, with twelve illustrations of the ** Myth op Psychb, which are among the most charming creations of the master (comp. p. Ivi). The hall was originally open, but is now enclosed by windows for
the protection of the pictures.
The series of illustrations begins on the left end- wall , and is con- tinued on the wall opposite the entrance. Raphael adhered to the charm- ing fable of Apuleius, which may be briefly told as follows. A certain king has three daughters, of whom Psyche, the youngest, excites the jealousy of Venus by her beauty. The goddess accordingly directs her son Cupid to punish the princess by inspiring her with love for an unworthy individual (1). Cupid himself becomes enamoured of her, shows her to the Graces (2) , and carries her off (this is the best preserved of the paintings). He visits her by night only, warning her not to indulge in curiosity as to his appearance. Psyche, however, instigated by her envious sisters, dis- obeys the injunction. She lights a lamp, a drop of heated oil from which awakens her sleeping lover. Cupid upbraids her, and quits her in anger. Psyche wanders about, filled with despair. Meanwhile Venus has been in- formed of her son's attachment, imprisons him, and requests Juno and Ceres to aid her in seeking for Psyche , which both goddesses decline to do (3). She then drives in her dove-chariot to Jupiter (4), and begs him to grant her the assistance of Mercury (5). Her request is complied with, and Mercury flies forth to search for Psyche (6). Venus torments her in every conceivable manner, and imposes impossible tasks on her, which, how- ever, with the aid of friends she is enabled to perform. At length she is desired to bring a casket from the infernal regions (7), and even this, to the astonishment of Venus , she succeeds in accomplishing (8). Cupid, having at length escaped from his captivity, begs Jupiter to grant him Psyche; Jupiter kisses him (9), and commands Mercury to summon the gods to deliberate on the matter (ceiling-painting on the right). The messenger of the gods then conducts Psyche to Olympus (10), she becomes immortal, and the gods celebrate the nuptial-banquet (ceiling-painting on the left). In this fable Psyche obviously represents tiie human soul purified by passions and misfortunes, and thus fitted for the enjoyment of celestial happiness.
Below the spandrils, twelve Cupids with divine attributes. The gar- lands enclosing the different paintings are by Oiovanni da Udine. — The frescoes, having sufi'ered from exposure to the atmosphere , were retouched by Maratta. The blue ground , which was originally of a much warmer tint, as is apparent from the few portions still unfaded, was most seriousyl injured. The whole nevertheless produces a charming and brilliant effect owing to the indestructible beauty of the designs. The felicity with which the scenes have been adapted to tlie unfavourable spaces is also remarka.ble..
The smaller apartment adjoining t\ie -^xViitY^^VaJ^ ^ VvsvO^^***^ also once an open Loggia, contains a secoiv^ txtj^^^^^"'^ ^'^^'^^^^'^ ^^^^ Baphael, yrhich U no less chaxmine t\iaiv Ocv^ ^s^^^ ^<«V6'6>^
324 F. Bight Bank, ROME. The Lungara,
even far surpasses them in point of execntion: **Gai.atba, borne across the sea in a conch, and surrounded by Nymphs, Tritons, and Cupids, painted entirely by the master's own hand in 1514. The ^Celling of this room was decorated and painted by Baldaasare Peruzzi.
Ceiling -pictures: Perseus and Diana. The hexagonal spaces of the spandrils contain gods of the planets and mytholo^cal scenes. In the lunettes were afterwards added scenes from the Metamorphoses, the first Roman work of Seb. del Piorabo. The colossal head in the lunette on the left lateral wall is said to have been drawn by Michael Angela in charcoal, whilst waiting for Dan. da Vol terra who was also engaged here, but is more probably by Peruzzi. The painted stucco-work is very deceptive.
In the corner of the entrance wall, to the left of Cralatea, Seb. del Piombo painted the Polyphemus, afterwards almost entirely obliterated, and badly restored. — The landscapes are erroneously attributed to G. Poussin.
The restorations which the two rooms have recently undergone have only been partly successful.
The upper floor of the Farnesina, to which, however, visitors arc not admitted except by special introduction, also contains celebrated frescoea : the Marriage of Alexander with Roxana, and the Family of Darius before Alexander, by Sodoma (painted after 1520; p. Ivi).
Opposite is the "Palazzo Corsini (PI. II, 11), formerly the prop- erty of the Riarii , purchased by Clement XII. for his nephew Card. Neri Corsini in 1729, and altered by Fuga. In the 17th cent, it was occupied by Queen Christina of Sweden, who died here, 49th April, 1689. In 1884 the palace was purchased by government and as- signed to the Accademia de' Lincei, or Royal Academy of Science. A double staircase ascends from the principal portal to the 1st floor, where the Pictubb Gallbby is situated (adm., see p. 123). Among a great number of mediocre and inferior works are a few pictures of rare merit. Catalogues in each room.
1st Room. 1, 5. Bloemen (Orizzonie), Landscapes; 2, 4. Locatelli^ Land- scapes. This room also generally contains a small Holy Family by Bat- toni. By one of the walls a well-preserved ancient sarcophagus with sea- gods, from Porto d'Anzio.
2nd Room. 4. Bassano, Holy Family; 12. Eliz. Sirani^ Madonna in a glory -y 15. O. Poussin (?), Landscape •, 17, 19. Berchem (?) , Landscapes with cattle; 20. Lod. Carracciy Piet^. A "^Madonna by Carlo Dolci is also gener- ally here. On a table stands the *'Corsinian Vase in silver, with the Purifl- catiun of Orestes in chased work. On the walls, a number of ancient heads, some of them interesting. To the right is the —
3rd Room: 1. Ouercino^ Ecce Homo; *4, 5. Peters^ Sea-pieces; 9. Andrea del Sarto^ Madonna; il. Caravaggio^ Madonna; *23. Both^ Evening land- scape ; 26. Fra Bariolommeo, Madonna, resembling Raphael's Madonna Ca- nigiani ; 43, Saraceni^ Martyrdom of two saints ; 44. After Raphael^ Julius U. ; 50. After Titian^ Philip II. of Spain (original at Naples); 55. Dutch School^ Kitchen-scene; 63. Conca^ Adoration of the Magij 61. Vasari, Holy Family; 52. Saraceniy Vanity ; 84. Borgognone^ Cavalry skirmish ; 88. C. Dolci, Ecce Homo.
4th Room: 'll. Outdo Reni^ Herodias; 16. 0. Reni^ Madonna; 22. Ba- roccio, Christ and Mary Magdalene; 27. Lod. Carracci, Heads as studies; 35. Parmegqianino , Four heads ; Maratta, 40. Portrait of his daughter, 43. Madonna; 44. After DUrer^ Hare; 47. Poelemburg {1)^ Landscape with the judgment of Paris, after Raphael ; also eleven small pictures from military life, erroneously attributed to Callot. A-ncicivl ■ma.Tble chair with reliefs, found near the Lateran.
5th Room, in which Christina of SweAeiv Va aa.\^ VoV^n^ ^\^^-- ^^v^^^v decorationa of the fichool of the Zucc^ietV. 1, Perino del Vaqa.V^^^l^^^'^^N
Museo Torlonia. ROME. V, Right Bank. 325
12. Carlo Dolei^ St. Agnes; *14. Maratta^ Annunciation; 20. Lanfraneo^ Polyphemus and Ulyssea; 23. Franc. Albano, Uadonna; 44. Marc. Venuati^ Holy Family, designed by Michael Angelo ; 60. Balv. Rosa^ Card-players *, 51. ifare. Venusti (?), Sculptor. — In this room also is an ancient Mosaic^ repre- senting two restive oxen, with the plough and driver.
6th Boom, containing an interesting collection of portraits, most of which are worthy of notice : , *'43. Oerman Master (not Diirer) , Cardinal ; 19. Holbein (?), Portrait of a man, much retouched; '^20. 0. Romano^ Monsgr. Ghiberti-, *22. Rembrandt (?), Old woman; 23. Giorgione (?), Portrait of a man; 26. Spanish School, Portrait; *32. Van Dyck, Portrait; •34. Nativity of Mary, after Diirer's woodcut; 47. Rubens^ Portrait; 50. Titian^ Card. Alex. Farnese, freely retouched.
7th Room: ^13. O. Poussin, Landscape; 21. L. Giordano, Christ as a boy in the Temple ; '22, *23, *24. Fra Angtlico, Descent of the Holy Ghost, Last Judgment, Ascension; 80. is erroneously attributed to Titian; 31, 32. N. Poussin, Landscapes.
8th Boom: 6. Claude Lorrain (?), Landscape; '^. O. Poussin, Land- scape ; 10. Polidoro da Caravaggio, History of Niobe, design in the form of a frieze; 11. N. Poussin, Holy Family; 12. Ere. Orandi, St. George; 13. Ouido Reni, La Contemplazione ; *15, 21, 23. 0. Poussin, Landscapes; 24. Ouercino, St. Jerome; 25. Ribera, St. Jerome; *40. Murillo, Madonna. — The adjoining Cabinkt contains pictures of the older Florentine and Sienese schools, most of them of little value, and badly preserved. 23. Qher. Stamina, Madonna; 26. Spagna, Madonna.
9th Room : 2. Teniers, Interior of a stable ; 8. Lod. Carracei, Pietit, sketch of No. 20 in the 2nd B. ; 9. Velasqitez, Innocent X. (copy of the picture in the Pal. Doria, p. 169); •28, 29. Salv. Rosa, Battles; 30. Giorgione (?). Female heads; 3i5 Titian (?), Portrait; 49. Gherardesca da Siena, Madonna.
The Library of this palace (adm., see p. 116; entrance by the principal portal ; traverse the open corridor to the right, and ascend to the 1st floor), founded by Card. Neri Corsini, is one of the largest in Rome. It contains numerous MSS. and books of great value, and one of the most extensive collections of Engravings In the world.
The CofsmiG'arden now belongs to the municipality (see p. 330).
At the S. end of the Lungara stands the Mnseo Torlonia (en- trance Vicolo Corsini 5), containing the most extensive collection of antiquities in Rome after those at the Vatican and the Capitol (unfortunately closed at present). The collection , which includes objects of almost every epoch of Graeco-Roman art, consists chiefly of the contents of the former Galleria Giustiniani, of a number of works formerly in the Villa Albani, and of the yield of Prince Tor- Ionia's excavations at Porto and elsewhere. It occupies a series of parallel corridors and the adjoining rooms, and is divided into com- partments, distinguished by Roman numerals. Catalogue by P. E,
Visconti,
IsT CoBBiDOB (Comp. I-X). 4. Venus with the cestus; 19. Isis; 20. Bes, an Egytian deity ; "^24. Head of an athlete (in the style of Lysippus) ; 25. Athlete restored as Hercules (in the style of Polycletus) ; 30. Lysias (?) ; 33. Isocrates; 43. Herod Agrippa ; 44. Juba II. of Mauretania(?): 47. Venus Anadyomene; 49. Aristotle; ^50. Head of Hypnos, the god of sleep; 60. Leda and the swan.
2nd Cobridob (Comp. XJ-XX). "^64. Sitting figure of Livia, admirable in attitude and in the disposal of the drapery ^coxa^. \Ja». ^NaX-w^^'^-''^ and the Agrippina in the Capitolin© Muaeum^s <cS. ^«'^^^^^«^V^-J?5^^j'=, *67. Alcibiadesi 68. Latona with the twixia A.po\\o mv^^'^*'^'^^^^ ^^^^^n. as a hero, Btatuette; *T7. Sitting poxtrait-ft^ute oi «. TFromi«i.^ ^"^ Skia.'«w'5^«^ Greek work, perhaps representing 01ymp\«La , \Xv<i mo^'^^* '^^ ^^^
326 V, Right Bank, ROME. Mtueo Torlonia,
the Great (hend, etc., skilfully restored) j *82. So-called Philosopher of Buspoli; *86. Head of Hermes (in the style of Praxiteles); 91. Alexander the Great; 101. Nymph; 116. Two wrestling satyrs, an interesting example of the numerous skilful restorations in this collection, the only ancient parts being the body of one combatant and the head and a piece of the base of the other; 117. Statue of the orator Hortensius, found in his villa at Laurentum.
3sD CoRRiDOB (Comp. XII-XZX). 118. Caesar; "^IdS. Old fisherman, a very realistic work; 137. Muse; 141. Draped statue, restored as Kiooe; 146. Venus Euplcea (the goddess of navigation), -found at Porto; 150. Base of a candelabrum, with relief of the dancing Horee; 151, 157. Satyr and Hermaphrodite; 154. Telesphorus (the god of healing), in rosso antico; 161. Sophocles; 163. Homer; 164. Augustus, sitting figure.
4th Corridob (Comp. XXXI-XXXIII). 1U7. Fragment of a group, re- presenting Scylla devouring one of the companions of Ulysses (wrongly restored as Mile of Croton in combat with a wild animal); 173. Euterpe; 174. Cupid and Psyche. — We now return to Comp. XXX. and pass thence into the —
I. Room (Comp. XXXIV-XXXIX). •IBS. Minerva i 189. Tri«an, 192. Claudius, colossal busts; 202. Tiberius, statue; 228-236. The Muses; 237. Apollo Musagetes. — We now return to the right into the —
5th Corridor (Comp. XL-XLII). 240. Female draped statue, corres- ponding to Ko. 290 and restored as Niohe; 249. Claudius; 250. l^eptone. — From here we proceed in a straight direction into the —
II. Boom (Comp. XLIII). *'225. Germanicus, bronze statue found at Arci (the ancient Cures), in the Sabine Mts. ; 267. Caput Africse, with an elephant's head as helmet (used as an architectural ornament). — We now return through Comp. XLII into the —
6th Corridor (Comp. XLIV-XLVII). 290. Draped female statue (comp. No. 240 , above) , restored as Irene vdth the young Plutus , after the celebrated work of Cephisodotus (now in Munich); 294, 296. Heads of Me- dusa ; '^297. Large shallow vase with Bacchanalian scenes ; *298. Minerva (adjacent, casts of the Vatican and Capitoline Minervas).
7th Corridor (Comp. XLVIII-LI). 301. Melpomene in the costume of a tragic actress; 308. Marsyas; 309. Kneeling youth (perhaps Ganymede in combat with the eaple, or one of the children of Niobe), restored as a falling warrior ; 310. Youthful Nero.
8th Corridor (Comp. LII-LV). *232. Diadumenos, or youth binding a fillet on his brow; 343. Pompey.
9th Corridor (Comp. LVI-LIX). 355. Wrestler. — We now return to Comp. XL. To the right is Comp, LX. with portrait-busts of emperors and others. — To the left, the —
III. Room (Comp. LXI). 374. Silenus, a fountain-figure; 375. Aurora; *"377. Hercules with the apples of the Hesperides, a Greek relief; 379. Game-dealer, a large tomb-relief, with three verses of Virgil at the top (Aen. I, 607-609); 383. Shallow vase with reliefs of the labours of Her- cules. — The door in front leads to the —
IV. Room (Comp. LXII-LXIX). 387. Captive barbarian; 388. Hercules and Telcphus ; 389. Sleeping Ariadne; 392. Bacchus and Silenus; 395. Large sarcophagus with representation of a wedding; 397, 398. Antinous ; ■402. Plotina, wife of Trajan; 407. Antinous; 401, 404. Domitian; 406. Ptolemy Philadelphus; 402. Ceres; 414. Sarcophagus with reliefs of the different periods of life. — To the right, the —
Room of the Sarcophagi (Comp. LXX). 416. Triumph of Bacchus; 420, 422. Deeds of Hercules; 423. Apollo and Marsyas. In the middle, 426. Cupid in a chariot drawn by two boars (in black marble). — Comp. LXXI. 427. River-god, in black marble; 423. Roman tax-collecting; 430. Harbour of Ostia; 431. Ship, three reliefs found at Porto; 433. Tomb- relief in the Greek style; 434. River-god, in basalt. — To the right Camera degli Animali (Comp. LXXII). 438. Ram carrying Ulysses out of the cave of Polyphemus. — We now return through Comp. LXXI to Comp. LXXIJI. 459. Altd-relief, caWed "iledea. a.Tv(i. JaaoTv., but perhaps Hercules and the Hesperides. — We the^ p«^sa Wixoxx^ Cvixa.^.^. Na
Traatevere, ROMp:. V, Right Bank, 327
Comp. LXXIV. 463, 464. Apollo and Marsyas^ 466. Hermaphrodite; 467. Vase with marine deities. — To the right, C<mp. LXXV^ •470, 473, 476, *477, 480. Athletes. — We now return through Comp. LXXIV into the —
Boom op the Abguaic Sculptures (Comp. LXXVI). 481. Spes; 482. Priestess; 483. Diana of the Ephesians ; 486. Canephora (Caryatide) of sim- ilar type to those at the Villa Albani (p. 339). — **490. Vesta, formerly in the Giustiniani collection, possibly an original Greek work, from some temple of the goddess. ITo other extant example conveys so true an im- pression of the solemn dignity that distinguished the representations of the gods in the lofty period of Greek art (Friedrichs). — 498. Venus ; 501. Apollo; 503. Cybele. — We return through Comp. LXXIV to the —
Gallesy of Imperial Busts, arranged in chronological order. This series of busts, most of which have been identified with the aid of coins, is one of the richest collections of the kind. The following are specially interesting either for their excellence or their rarity : 514. Livia ; 515. Maecenas; 516. Agrippa^ 533. Galba; 545. Hadrian; 553, 558. Marcus Aurelius; 556. Lucius Verus; 569. Caracalla; 571. Geta; 588. Pupienus Maximus ; 611. Helena Fausta.
Numerous architectural fragments of all kinds have been built into the walls of the adjoining Court and Garden.
A little to the S. of the Mnseo Torlonla the Via della Lnngara is terminated by the Porta Settimiana (PL II, 11), a gate in the older wall of Trastevere. — The Via Oaribaldi and the Via de 8. Maria delta Scala begin here ; see pp. 328 and 331.
Trastevere.
The Janiculum (275 ft.) rises to a commanding height near the river, and was on that account chosen by the ancient kings of Rome as the site of a castle, which they connected with the city lying op- posite to it by a double wall. The hill was at length annexed to the city by Augustus as a 14th quarter, which he named the Regio Transtiberina, The banks of the Tiber here were bordered with handsome villas, but the quarter always retained the character of a suburb , and was much frequented by foreigners , particularly by Jews , who formed a community here down to the beginning of the 16th cent. (comp. p. 203). Trastevere is now inhabited almost ex- clusively by the working classes, among whom many wiell-built and handsome persons of both sexes will be observed. The inhabitants of Trastevere maintain that they are the most direct descendants of the ancient Romans , and their character and dialect differ in many respects from those of the citizens of other quarters.
Trastevere is connected with the city by four bridges, the most N. of which is the Fonte Sisto (PI. II, 11), constructed under Sixtus IV., in 1474, on the site of the Pons Valentinianij built in 366 A. D. by Symmachus, prefect of the city. The bridge affords a good view of the river and of the important works constructed to control the stream.
The frequent inundations of the Tiber, occasioned by the insignificant fall in the lower part of its course and by its sudden increase of volume after heavy rain in the mountain-homes of its numerous affluents (some- times multiplying it tenfold) have long been a source of anxiety to the citizens and authorities. After the great inundation of 1870.^ duxixLi^ -w^AsX^ the water rose 56 ft. above the otdmar-y vraAAt-ui'ditV «\ >^i.^ "^\"^'i^^».^ "<&.
328 V. Right Bank. ROME. TrasUvere.
commission was appointed by i;oyernment, to report on the posBibility of improvements. This body recommended a thorough purification and deepening of the channel, careful regulation of the drains emptying them- selves into the river, and the widening of the channel at certain specified points. The works began in 1876 with the widening of the channel opposite the Famesina and below the Ponte Sisto, and are now almost complete on the right bank as far as the Ponte Rotto (p. 250), though on the left and the lower part of the right bank much has still to be done.
To the right the Via di Ponte Sisto leads in 3 min. to the broad Via Gabibaldi (PI. II, 11, 12), a little on this side of the Porta Settimiana (see p. 327), by which we now ascend to the left. Af- ter 5 min. the street reaches a small piazza, whence, to the right, a steep road ascends direct to the Acqua Paola (see p. 329.) The road passes the new Spanish Academy, an institution resembling the French (p. 149), on the hill to the right, and ascends in windings to S. Pietro in Montorio, the Acqua Paola, Porta S. Pancrazio, and Villa Pamphilj. About 50 paces from the above-mentioned small piazza, beyond the memorial- tablet, a path to the right, flanked with oratories, and ascending in steps, also leads to the church.
S. Pietro in Montorio (PI. II, 12), erected in 1500 for Ferdinand and Isabella of Spain by Baccio Pintelli (?), on the spot where St. Peter is said to have suffered martyrdom, stands on the slope of the Janiculum, 197ft. above the tea- level. The campanile and tribune were almost entirely destroyed during the siege of 1849. If the church is closed, visitors ring at the door on the right (25-50 c).
Right Side. The *lst Chapel was decorated by Seh'.'del Piombo with fres- coes from Michael Angelo's drawings : Scourging of Christ (of which there is a small duplicate in the Gall. Borghese), adjoining which are St. Peter on the left and St. Francis on the right \ on the ceiling the Transfiguration \ on the exterior of the arch a proplict and sibyl. The 2nd Chapel (Coronation of Mary on the arch) was painted by pupils of Perugino. The altar-piece of the 5th Chapel, Conversion of St. Paul, is by Vcutari. — The High- Altar was once adorned by Raphael's Transfiguration (p. 301). — Left Side. The last chapel contains an altar-piece by Daniele da Volterra (?), Baptism of Christ \ in the 4th Chapel an Entombment by a Dutch master; in the 3rd, an altar- piece and ceiling, by pupils of Perugino; in the 2nd, sculptures of the school of Bernini ; in the 1st, St. Francis by 0. de' Vecchi. By the wall near the door, tomb of St. Julian, Abp. of Ragusa, by O. A. Dosio^ 1510.
In the court of the monastery rises the * Tempietto , a small cir- cular building with sixteen Doric columns, erected in 1502, from Bramante's designs , on the spot where the cross of St. Peter is supposed to have stood. A chapel in the interior contains a statue of St. Peter, and below it is a second chapel, with an opening in the floor indicating the spot which the cross is said to have occupied.
The piazza in front of the church commands a magnificent *Vikw of Rome and the environs, for the orientation of which this point is admirably adapted (comp. annexed Panorama, from which the omission of the unimportant new erections wi 1 be no disadvan- tage). The most important places are enumerated here from right to left. To the S. is the Tiber , w\v\cYv v* CTOs.^ed b^ the iron bridge of the railway to Civitk Yecchia-, \)e^o\\vi \\. XXve^ fe^\.»i\\^jAN^ \i^^\\\«ta. of S. Paolo Fuoii le Mura. Tlieu pait ol IV^ c\\.^-^k^\\, ^>^ ^^^^^^• ^^
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• *
Trastevere. ROME. V. Right Bank. 329
it the Monte Testaccio (adjoined by the new quarter to the S.W. of the Aventine), the pyramid of Cestius, and the Porta S. Paolo. The Tiber, which flows between us and Monte Testaccio, is not visible hence. On the Aventine rise the three churches of S. Maria del Priorato, S. Alessio, and S. Sabina. Beyond are the Alban Mts., with Mte. Cavo (3130 ft.) on the right, and Frascati on the left. On the Cselius, the Villa Mattel and S. Stefano Rotondo, above which, on the extreme spur of the Alban Mts., is Colonna; between this and the Sabine Mts., near Palestrina, the heights of the Abruzzi. Then the Palatine, with the ruins of the palaces of the emperors and the cypresses of the Villa Mills, above which rise the statues on the fa- cade of the Lateran. Next, the Colosseum, the three huge arches of the basilica of Constantine ; then the Capitol with the German Ar- chaeological Institute, the Pal. CafTarelli, the tower of the senatorial palace, parts of the facade of the Capitoline Museum, and of the church of Aracoeli ; the two domes with the campanile above these belong to S. Maria Maggiore on the Esquiline. The finely shaped, double- peaked mountain in the extreme distance is the Monte Velino (8165 ft.), which rises to the N. of the Lago di Fucino. Farther on, near the cypresses, the extensive royal palace on the Quirinal, in front of which, near a light-coloured dome, rises Trajan's column ; more towards the foreground the church del Gesd with its dome, beyond which is the M. Gennaro (4160 ft.). Then on the Pincio, the most N. of the Roman hills , the light Villa Medici, and to the right of it S. Trinitk de' Monti, rising with its two towers above the Piazza di Spagna. Nearer, not far from the Tiber, rises the Pal. Farnese with its open loggia. To the right of it, the spiral tower of the Sapienza ; farther to the right, part of the dome of the Pan- theon , concealed by the dome-church of S. Andrea della Valle, to the right of which the column of M. Aurelius in the Piazza Co- lonna is visible. Again to the left, on the height, are the wall and the Passeggiata of the Pincio with the two dome-churches of the Piazza del Popolo. Then, near the river, the Chiesa Nuova ; beyond it the indented outline of Soracte (2250 ft.). On this side of the Tiber rises the castle of S. Angelo; beyond it, the heights of Baccano. By the chain-bridge is the dome-covered church of S. Gio- vanni de' Fiorentini. Farther off, M. Mario with the Villa Mellini ; lastly, at the extreme angle to the left, rises the dome of St. Pe- ter's. In Trastevere, at the foot of the hill, is the church of S. Maria in Trastevere , the light-coloured campanile to the right of which belongs to S. Cecilia.
If we descend from S. Pietro in Montorio in a straight direction, traverse the Vicolo della Frusta to the right, and then the Via de' Fenili to the left, we reach the Piazza di S. Maria. (5. ?>^^\
The Via Garibaldi, which continues to a.^c,ftw^ ^^ V^ \i^>i^vA. S. Pietro in Montorio, leads in 1 m\\\. to <>Cie; fcji«^»- ^?^^^ (PJ, II, 12), the ancient Aqua Trajana, ^\i\c;V^«w% ^vi^^^fc^^^
330 V. Right Bank. ROME. Traatevere,
Lago dl Bracciano (p. 391), upwards of 30 M. distant. The aque- duct was restored by Fontana and Maderna in 1611 under Paul V., who decorated the great fountain with marble columns from the Temple of Minerva (p. 239). The granite columns were brought from the vestibule of the old church of St. Peter ; the massive basin was added by Innocent XII. — A monument to Garibaldi is to be erected in the new gardens to the left.
The Via Garibaldi leads on hence to the Porta 8. Panerazio and the Villa Doria-Pamphilj (see p. 365).
Immediately to the N. of the Acqua Paola is the entrance to the *PaBBegglata Margherita (PI. II, 7, 8, 9) , opened in 1884 , and embracing the former garden of the Palazzo Corsini (p. 325). This promenade is continued along the summit and slope of the Janicu- lum (p. 327) to S. Onofrio (p. 322). The broad carriage-road which traverses the gardens ends at the Porta di S. Spirito (p. 322). From the Acqua Paola to S. Onofrio is an easy walk of 15-20 minutes. The *yiEws of the city and the Gampagna, especially fine at sunset, almost excel in their variety the view from S. Pietro in Montorio.
At the S. end of the Via di Tor Argentina (Via di Mortella, p. 202) the Tiber is spanned by the iron Fonte Garibaldi (PL 11, 14, 15), built in 1886-88. The length of the bridge is 160 yds. (of the openings on each side of the central pier 180 ft.), the breadth 65ft.
At the Trastevere end of the bridge is the small Piazza di S. Cbisogoko , which is traversed by the Via della Lungaretta , the main street of Trastevere. The church of S. Crisogono (PI. 11, 15) is a basilica with aisles , a portico , and straight beams, of the 12th century. Last restoration in 1624.
The Interiob is interesting on account of its fine old mosaic pavement , and ancient columns , particularly the two of porphyry snp- porting the arch of the choir, which are the largest in Rome. The ceiling-paintings of the transept are by Arpino. The mosaic on the wall of the tribune represents the Madonna between SS. Chrysogonus and James. Fine cjirved stalls of 1866.
In the Contrada Monte di Fiore, to the E. of the Piazza S. Cri- sogono, an Excubitorium of the YII. Cohort of the Vigiles^ i.e. a station of the Roman firemen (p. 132) , was excavated to a depth of about 30 ft. in 1866-67.
A modern flight of steps descends to a small mosaic-paved court-yard, with a well in the centre, a chapel with mural paintings (right), and several rooms, on the walls of which are numerous rude inscriptions of the beginning of the 3rd cent, (fee V* fr.)«
After 5-6 min. we reach the Piazza di S. Maria (PI. II, 15, 12), with a fountain and the church of —
*S. Maria in Trastevere, which is said to have been founded by Callistus I. under Alexander Severns , on the spot where a spring of oil miraculously welled forth at \\ve tvxac oIl t\vei b\tt\v of Christ. It ^mentioned for the first time m 4^Si, >Na.?> lfe-feT^<l\.fe^^i^^^vevQ^«^^^.\\« out 1140, and consecrated by lm\occi\l\\\. \\x VV^;^^. '\\.vi ^x^^^vsx.
Trastevere. ROME. V. Right Bank. 331
vestibule was added by C. Fontana under Clement XI. in 1702. In front are mosaics of Mary and the Cbild, on each side the small figure of a bishop (Innocent II. and Eugene III.) and ten virgins, eight of whom have burning, and two extinguished lamps, a work of the 12th cent., largely restored in the 14th (comp. p. xlvlli). The mosaics on the gable above are modern. The vestibule contains the remains of two Annunciations, one attributed to Cavallini, but now entirely repainted, and numerous inscriptions. The church has
recently been restored.
The Intekiob contains twenty-two ancient columns of unequal sizes. Some of the capitals were formerly decorated with heathen deities, but these were removed when the church was restored in 1870. The fine pavement is laid with porphyry, verde antico, and other marbles, in the style known as Cosmato work (comp. p. xlvii). The ceiling, decorated with richly-gilded stucco, was designed by Domenichino. The oil-painting on copper in the centre, a Msidonna surrounded by angels, is by the same master. Im- mediately to the right of the entrance to the Kavb is an elegant tabernacle by Mino da Fieiole. The chapels contain little to detain the traveller. The Transept is reached by an ascent of seven steps, adjoining which is the inscription Fons olei^ indicating the alleged site of the spring of oil. In the transept on the left are the tombs of two Armellini and an ancient relief of the Virgin and saints. Opposite is an altar erected to St. Philip and St. James by Card. Philip of Alenjon^ r. his tomb (d. 1397); 1. tomb of Card. Stefaneschi (d. 1417), with recumbent figure by Paolo Romano. — The ** Mosaics in the Tbibukb belong to different periods. Above, on the arch, are the older ones, dating from the 12th cent. : the Gross with Alpha and Omega, under the symbols of the Evangelists ; r. and 1. Isaiah and Jeremiah. On the vaulting Christ and the Virgin entlironed; 1., St. Callistus, St. Lawrence, Innocent II.; r., St. Peter, St. Cornelius, Julius, Calepodius. The lower mosaics are ascribed by Vasari to Pietro Cavallini^ a master of the transition period from the Cosmas family to Giotto, and have been restored by Camuccini. They represent the 13 lambs and scenes from the life of Mary ; in the centre of the wall a mosaic bust of Mary with St. Peter, St. Paul, and the donor Stefaneschi (1290). — The Sacbistt contains a Madonna with SS. Bochus and Sebastian, ascribed to Perugino, and a frag- ment of ancient mosaic (ducks and fishermen, the former admirable).
The Via di 8. Maria della Scala, beginning to the N.W. of S. Maria in Trastevere, leads past the church of 8. Maria deUa 8cala to the Porta 8ettimiana (p. 327) and the beginning of the Via Gari- baldi (p. 328). — The Via di 8, Francesco a Ripa leads to the S.E. from the Piazza S. Maria in Trastevere to (6 min.) the church of 8. Francesco a Ripa^ see p. 332.
From the island in the Tiber (p. 204), we cross the temporary wooden bridge beside the Ponte Cestio to the Lungaretta (p. 330), the E. continuation of which, the Yia Lungarina , is undergoing alterations to adapt it for an approach to the new iron bridge at the Piazza Bocca della Verity (p. 248). At present the traffic passes through the Via della Luce , Via Anicia , and other narrow and dirty side-streets. From the iron bridge the Via de Vascellari and its prolongation, the Via di 8. Cecilia, \e«t^ \.o —
*8, CecUia in Trastevere (PI. II, \.b\ oi\^\iv^\^^ >^^ ^c^'^xxv^- bouse of the saint, which was converted iivto «w ^VxJX'^J^^^^'^^ *^_ restored by Paschalis I., and entirely ie\>\x\\t\>^ C.^t^.^^^^'^- ^'^^
332 V. Right Bank. ROME. Trastevere.
viva in 1725. It is approached by a spacious court, which is
embellished with an ancient vase, and by a portico resting on four
columns of African marble and red granite. Festival, 22nd Nov.
Interior. The columns which formerly supported the nave were replaced by pillars in 1822. To the right of the entrance is the tomb of Card. Adam of Hertford, an English prelate (d. 1398)-, and to the left that of the warlike Card. Fortiguerra (d. 1473). — The beautiful High- Altar with columns in pavonazzetto was executed by the Florentine Amolfo del Cambio in 1283; adjacent is an ancient candelabrum for the Easter-candle; beneath the high-altar the recumbent *Figure of the martyred S. Cecilia by 8tef. Maderno. The saint had converted her husband, her brother, and even her judges , but was at length condemned to be executed during the persecution that took place either under Marcus Aurelius or Alex- ander Severus. The executioner, being unable to sever her head from her body, fled in dismay after three attempts. Bishop Urban interred the remains of the holy woman in the catacombs of St. Callistus, not far from the tomb of the popes. In 821 her burial-place was divulged to Paschalis I. in a vision, whereupon he transferred her remains to this church. In 1599 the sarcophagus was again opened, and at that period , the age of Bernini , this admirable figure was executed. — The Tbibdnb contains ancient *Mosaies of the period of the foundation (9th cent.) : the Saviour on a throne with the Gk)spel, r. St. Paul, St. Agatha, and Paschalis ; 1. St. Peter, St. Cecilia, and her husband St. Valerianus. — In the 1st Chapel, on the right, an ancient picture of Christ on the Cross; the 2nd Chapel, somewhat receding from the church , is said to have been the bath-room of St Cecilia , the pipes of which are still seen in the wall. — The opposite door leads to the Sacbistt, the vaulting of which is adorned with the Four Evangelists by Pinturicchio, — In the last Chapel to the right, on the altar : Madonna with saints, a relief of the 15th cent. ; on the right wall are preserved the remains of mosaics of the 12th cent, detached from the facade of the church (Entombment of the saint and her Ap- pearance to Pope Paschalis I.). — Descent to the lower church by the tribune.
To the S.E. of S. Cecilia stands the extensive Ospizio di S. Michele (PL III, 15), founded in 1689 by Tommaso Odescalchi. After his death it was extended by Innocent XII., and now comprises a work-house, a reformatory, a house of correction, and a hospice for the poor. Skirting the river is the Ripa Orande, with the harbour.
The YiA Anicia (PI. II, III, 15), passing the choir of S. Cecilia, leads to 8. Maria dell' OrtOj built by G. Romano in 1512 (facade of 1762; interior overladen with stucco ornamentation), and to a large Fabbrica de' Tabacchi. Thence it is continued to the piazza and church of —
S. Francesco a Ripa (PI, III, 15), the latter built in 1231 and modernised in the 17th century. The last chapel on the left con- tains the recumbent statue of St. Ludovica Albertoni, by Bernini. St. Francis of Assisl resided for some time in the adjoining mon- astery. — To the N.W. of the piazza begins the Via diS. Francesco a Ripa (p. 334), which leads in 6 min, to S. Maria in Trastevere.
To the S. of S. Francesco is the Porta Portese (PI, III, 15), from which the Porto road issues (see p. 303). A large goods- station is being erected outside the gate.
V«»«.™„ ^T(b^J«M..i
THIED SECTION,
ENVIRONS OF SOME.
1. The Campagna.
The vast Campagna di Roma , hounded on the N. hy the Ciml- nian Forest, on the W. hy the sea, and on the E. by the Apennine chain of the Sabina, affoids an ample field for a nnmher of the most interesting excursions. The mountains with their picturesque out- lines, and the wild and deserted plain , covered in every direction with imposing ruins , chiefly of ancient origin , present attractions of the highest order, to which years of study might fitly he de-. voted.
The Campagna , which was onoe covered hy the sea , owes its origin to powerful volcanic agency; lava and peperine are of fre- quent occurrence, and the red volcanic tufa is seen everywhere. A great number of ancient craters may be distinguished, the most im- portant of which are the lakes of the Alban Mts., the lake of Brac- ciano , the lake of Yico in the Giminian Forest , and the crater of Baccano. The historical associations connected with this plain are, however, of still higher interest than its natural features. The nar- row strip of land which stretches between the Alban Mts. and the Tiber towards the sea is the ancient Latitjm, which victoriously as- serted its superiority over the Etruscans on the N., the Sabines on the E., and the Volscians on the S., subsequently effected the union of the Italian peninsula , and finally acquired supremacy over the whole world. Once a densely peopled land, with numerous and pros- perous towns , it is now a vast and dreary waste , of which barely one-tenth part is furrowed by the ploughshare. In May, when the malaria begins to prevail , herdsmen and cattle retire to the moun- tains , while the few individuals who are compelled to remain be- hind are rendered miserable by continual attacks of fever. The cause of this change dates from so remote a period as the last cen- turies of the republic , when the independent agricultural popula- tion was gradually displaced by proprietors of \a.\%«b ^-sXaN^R. vcaSik. pastures. This system inevitably enta\\e^ XXi«v txs^w ^i HX^^ i5MxixsJ«^ ^ for a dense population and a Mgli degiee^ ol c\iV\.xii^ ^orftft «^«^ *^^"«c<^- tbe malaria, which is produced by delec^^e^ ^i^\»».^^ «oSw HX^^ ^ ^
334 Environs THE GAMPAQNA. of Mome.
oration of stagnant water in the undulating and furrowed Yolcanic soil. In the middle ages the evil increased. The popes repeatedly endeavoured to promote the revival of agriculture, and the Italian government has continued their policy , but such attempts cannot be otherwise than abortive as long as the land is occupied by farms and pastures on a large scale. An entire revolution in the present system , energetically and comprehensively carried out , will alone avail to restore the prosperity of the land. The large estates are usually let to Mereanti di Campagnaj or contractors on a large scale. These entrust the management of the land to a Fattorej or bailiff, who resides at the Tenuta or ComoU, as the farm-house is called. The system of tillage and the agricultural implements used are of a very primitive character.
After aeveral hoars^ Blgbt-fleelng in churches and galleries visitors in Bome will find it a pleasant relief to spend the latter part of the after- noon at the YiLLAB (Borghete^ Albani. Doria-PamphHf^ etc) situated just beyond the gates. Ezcuraions to the Campagna proper, however, generally reqoire at least halfra-day. Those whose residence in Bome is sufOciently prolonged should make Uie excursions in the plain in winter, and those among the mountains in the warmer season. In the height of summer OECursions in the plain should be avoided as much as possible.
As far as the gates, uid for ^h M. or more beyond them , the roads are dull and uninterestmg from being flanked by lofty walls. A cab should therefore be taken at least as far as the gate. Fares, see Appz. ; (kuTie^fe$ and 8addl«-hories for the Campagna, see p. 119.
The traveller is particularly cautioned against the risk of taking cold, owing to the great and sudden change of temperature which generally takes place about sunset. Lying or sitting on the ground in winter, when the soil is extremely cold in comparison with the hot sunshine, is also to be avoided. In crossing the fields care should be taken to avoid the formid- able herds of cattle, especially in spring; and the same remark sometimes applies to the dogs by which they are watched when the herdsman is ab- sent. Predatory attacks on travellers are of rare occurrence, but enquiry as to the state of the country is by no means superfluous (p. xvi). La- dies should never undertake expeditions to the more solitary districts without escort; and even the masculine traveller should arrange his ex- cursion so as to regain the city shortly after sunset.
The excursions are enumerated according to the order of the gates from K. to E. and S. (comp. the annexed Map, on a scale of 1:60,000). Those who wish minuter details should consult the admirable maps of the Italian Ordnance Survey, some of which are on a scale of 1 : 25,000 and others of 1 : 50,000. For a careful study of the topography of the neighbourhood Nibby't ^Dintormi di Roma' (3 vols., Bome, 1849) is indis- pensable.
Prom the Porta del Popolo.
Trauwat to Ponte Jfolle, 2 M., starting just outside the gate (25 cX One-horse carr. about 2 fr. — From Ponte Molle to Aeqna Acetosa IV4 V. — From Ponte Molle to Primaporta SVs M. (one-horse carr. about 10 fr.).
Porta del Popolo (PI. I, 15, 18), see p. 146. On the right, just
outside the gate, is the entrance to the —
♦ViUa Borghese (PI. 1, 18, 21; adm., p. 122), founded by Card.
Seipio Borghese J nephew of Pius V. , and afterwards enlarged by the
addition of the Ginstlniani gaideu^. T\!l<& \^««.\Ltvial and extensive
gronndSf containing several ancieivt %ta.t«ift^ %.tv^ VTk&^Tv^^<svi^
fAvoarite promenade. Moat visitois ^WV ^xe^^fct \ft ixv^>t*i ^^ «»««■
w
TheCampagna, VILLA BORGHESE. Envir, of Rome, 335
sion by cairiage (cabs admitted), as benches to rest on are few and far between*
On entering, we follow a footpath wMcb skirts the carriage-road on the right, and leads through an Egyptian Gateway (8 min."). Farther on we pass a grotto with antique fragments (left). After 4 min. the road divides. Following the left branch (as to the other, see below), which leads through an Artificial Ruin with two columns, we observe on the left the private gardens of the prince, and farther on reach an imitation of a Ruined Temple. Turning to the right here, we come in 10 min. to a circular space with a Fountain. (Or this spot may be reached by the first broad path to the right beyond the columns , leading through an avenue of evergreen oaks to a small temple, and thence to the left, through another avenue.) From this point the road leads in 5 min. to the Casino, to which also beautiful, shady footpaths lead from the left of the fountain.
If we proceed straight from the above-mentioned bifurcation of the path, we observe on the left, after 3 min., the remains of Ra- phael's Villa, and in 3 min. more an arch with a Statue of Apollo j whence the road turns to the left and leads to the Casino.
The Casino (adm., p. 123), which was handsomely restored by
Marc. Ant. Borghese in 1782, formerly contained one of the most
valuable private collections in existence, which was purchased by
Napoleon I. and sent to the Louvre. Prince Borghese, however, has
founded a new Museum here, which contains several objects of great
interest, though some of the most important have been temporarily
removed to private apartments to which entrance is not permitted. Oroand-Floor. I. Vestibulb: Two candelabra; on the narrow walls two reliefs, probably from the triumphal arch of Claudius which once stood in the Corso near the Pal. Sciarra. Several sarcophagi ; one of them, to the left by the wall of the egress, with a harbour, lighthouse, and ships.
II. Saloon (^Salone"), with ceiling-painting by Mario Rossi. On the floor, mosaics, discovered in 1835 near the Tenuta di Torre Nnova, with gladiatorial and wild beast combats. Left wall : 3. Colossal head of Isis ; 4. Dancing Faun, under it a Bacchic relief; 5. Colossal head of a Muse (?). Long wall : 7. Tiberius; 8. Meleager; 9. Augustus; above, a raised relief of a horseman (M. CurtiusV); *10. Priestess; ll. Bacchus and Ampelus. Right wall: 14. Hadrian, 16. Antoninus Pius (colossal busts); under No. 15 a Bacchic relief. Entrance- wall : 18. Diana.
III. Bjook (1st to the right). In the centre: *Juno Pronuba, found near Monte Calvi. Left wall: 4. Ceres. Opposite the entrance: 8. Relief, Sacri- ficial prayer (of Hesiod?) to Cupid; *'ll. Relief, Rape of Cassandra. Right wall : 16. Draped statue. Entrance-wall : 20. Greek tomb-relief.
IV. Room. In the centre: Amazon on horseback contending with two warriors. Entrance-wall: 2. Pan; 4. (and 17, opp.) Sarcophagus with the labours of Hercules; on the cover. Reception of the Amazons by Priam; 6. Head of Hercules : 7. Pygmy. On the left wall : 9. Herma of Hercules. Wall of the egress : 15. Hercules in female attire. Window-wall : 21. Venus ; 23. Three-sided ara with Mercury, Venus, and Bacchus.
V. Room. In the centre: Apollo. Left wall: 3. Scipio Africanus. Following wall : 7. Head of a Meenad or Bacchante \ 8. lIft\^Quv«t!L^\^-52»««*'fe'" group; 10. Clio. Right wall: 14. LuciUa.wife ol\i. Nctxia. ^xi\.T«ttRfe-^^^^^ 18. Polyhymnia. vo«^«i 'Vx*.
VI. Room: *Q&llery' with modem Wata oi em^fexw^ Vo^ ^JS^S^^ ^ the centre a porphyry bath, said to have been toviT^^ Vo^ ^^ ''^^^
336 Envir. of Borne. PONTE MOLLE. The Campagna.
Hadrian; 3. Diana, restored as a Muse*, 8. Diana; 22. Bacchus; 24. Heraaia of Bacchus, the head of hronze, the pedestal of coloured alabaster; *29. Herma of a Satyr in basalt; 32. Bronze statue of a boy. The figures of iEneas bearing Anchises, Apollo and Daphne, and David with the sling are early works of Bemwi.
YII. Room, with columns of giallo antico and porphyry; on the floor ancient mosaics. Left wall : ^. Boy with bird ; 3. Bacchus ; *4. Captive boy. Wall of the egress : 7. Recumbent Hermaphrodite ; 9. Sappho (doubtful) ; 10. Tiberius. Entrance-wall: *13. Roman portrait-bust (said to be Do- mitius Gorbulo) ; * 14. Head of a youth, perhaps Meleager ; 15. Boy with a pitcher, a fountain-figure; *16. Female bust.
VIII. Room. Left wall : 2. Athene ; 4. Apollo (archaistic style). Follow- ing wall : 6. Figure from a tomb ; 7. Candelabrum with Hecate. Right wall : 8. Nymph ; 10. Leda. Entrance-wall : 15. ^sculapius and Telesphorus.
IX. Room. In the centre : "^Satyr on a dolphin, a fountain-figure, the model ot the Jonah in S. Maria del Popolo attributed to Raphael (p. 148); 3. Isis ; 4. Paris ; 8. Female statue, inaccurately restored as Ceres ; 10. Qipsy- woman (17th cent.) ; 13. Venus ; 14. Female figure (archaistic) ; * 16. Bac- chante; 18. Satyr; 19. Hadrian; 20. Satyr.
X. Room. "^1. Dancing Satyr, wrongly restored (he originally played on a flute) ; 2. Ceres ; 3. Mercury with a lyre ; 4. Dancing Satyr ; 8. Satyr, after Praxiteles; 9. Pluto with Cerberus; l4. Periander; 19. Bacchus enthroned. Fine ceiling-paintings by Conca.
The upper floor is closed at present. ^
The Road fbom the Pobta dbuJPofolo to the Pontb Molle, the ancient Via Flaminiaj is at first flanked by garden- walls. After 1/2 M. a road diverges to the right to the Villa di Papa Giulio (*Vi- colo dell' Arco Oscuro', see below). At one corner of this road rises the Casino di Papa OitdiOj a Renaissance edifice attributed to Jac. Sansovino and Bald. Peruzzi, but probably not erected till 1550 or later. — The road to the Promenade on the Monti Parioli also
diverges to the right.
This fine new promenade, called the Faroe Regina Margherita, was opened in 1889. On the slope of the Monti Parioli the remains of the Bagiliea of St. Valentine^ dating from the 4th cent., were excavated in 18^. Behind is the entrance to its catacombs. The promenade leads along the ridge of the hill, commanding beautiful views, then descends to the Tiber near the Acqna Acetosa (p. 337; thence back to the Villa Al- bani and Porta Pinciana, see p. 172), follows the course of the river as far as the Forte Antemne, and ends at the Via Salara (p. 341).
To the right, farther on, is S. Andrea, founded by Julius III. in commemoration of his deliverance from the Germans in 1527, erected by Vignola in an admirable Renaissance style. A little on this side of the bridge, to the right, is a second Chapel of St. Andrew, erected by Pius II. on the spot where he met the head of St. Andrew, when brought hither from the Peloponnesus in 1462.
We then cross the Tiber by the Ponte Molle , which was con- structed on the foundations of the ancient Pons MilviuSj built by the Censor M. ^milius Scaurus in B.C. 109. The four central ar- ches are antique. The last thorough restoration took place in 1805, when the superstructure in the form of a triumphal arch, designed l>y Valadier, was added.
Beyond the Ponte Molle are seveiaX osletVft ^t t\ift ttamway-ter- minus (p. 334). The road divides. T\v(i\>i&\\<i\v\,Q V\i^\^l\.\%\Xv^\\a Cas^/a, (see p. 389) ; that to the T\ght , xvew \Xvft xK^et , \^ >.\i^ \Va
TheCampagna, AOQUA ACETOSA. Envir. of Rome. 337
Flaminia ; while to the extreme left is the road coming from the Porta Angelica (see helow).
From the Via Flaminia, a road diverges to the left, after aboat 35 min., to the Val di Pussino, with a picturesquely situated 'tenuta\ To the right of the road are the ruins of an ancient tomb, named Tor di Quinto. Adjacent is the new race- course. About 3 M. from the Ponte MoUe the Via Flaminia crosses the Valehetia^ a brook descending from Veil, the ancient Cremera^ where the Fabii sustained their well-known defeat. Beyond the Tiber lies Castel Giubileo, the ancient Fidenee (p. 341). About 1 M. farther on the road reaches the Casale di Prima Porta, with the ruins of the imperial Villa of Livia, or Ad Oallinas, where the statue of Divus Augustus (p. 313) was found in 1863. A room with *Mural Paintings, representing a garden with trees, plants, and birds, in excellent preservation, is particularly interesting (Va fr.). — IJot far from Prima Porta is a station of the ancient road, called Saxa Ritbra; here, in the plain by the river, Maxentius was defeated in 312 by Gonstantine fighting under the sign of the cross (Habarum^). Maxentius was drowned in the Tiber at the Ponte Molle.
Pedestrians may return from the Ponte Molle either by the Acqua Acetosa or by the Villa Madama. The road to the former, commanding fine views of the Sabine Mts. and of Mt. Soracte on the left, diverges to the E. from the high-road on the left bank of the Tiber, immediately beyond the bridge. It follows the river- bank and reaches (1^2 ^0 the Acqna Acetosa, which is also passed by the new promenade of the Pareo Begina Margherita (p. 336). The mineral spring which rises here is much esteemed. The well- house , designed by Bernini , was erected under Alexander VII. in 1661, and restored in 1712.
By the road leading hence immediately to the right towards the town, passing between vineyards, we reach (1 M.) the Arco Os- curo, a long vaulted gateway, and beyond it an open space, on the left side of which rises the Villa di Papa Oinlio, erected by Vignola for Julius III., long in a dilapidated state but lately restored and arranged as a museum for the interesting objects discovered at Fa- lerii (p. 67).
On the Qeodnd Floob are two rooms with richly-decorated ceilings by Taddeo ZuccarOy and the court with its fountain also deserves notice. — Upper Floob. Room I : Bude clay vessels and large wooden coffins (made out of hollowed trees) from the deepest parts of the excavations. Middle Boom: Vases, partly of Grecian workmanship, partly rude native imi- tations; beautiful terracotta ornaments and figures from a temple, tomb- inscriptions in the Faliscan dialect . painted on tiles, etc. The ceiling- paintings are views of Borne in the i6th century.
The *Vicolo dell' Arco Oscuro' leads hence back to the (^4 M.) high-road (p. 336).
From the Ponte Molle a road leads on the right bank of the Tiber straight to the Porta Angelica (comp. PI. I, 8), from which, after 3/4 M., a road diverges to the right to (1/2M.) the Villa Madama, sit- uated on the N. slope of the Monte Jtfario, and about 2 M. from the Porta Angelica. The villa was erected by O, I2oma.tvo Ix^tssl ^a-^QftXl ^ designs for Card. Giulio de' Medici, alteiN»w^% ^\6m«oX.^^rG..^ -^^^ subsequently came into possession oi tVvCi Y^^c^i^^iliSAT^^^^^^ ^^^^^^SfCN ter of Charles V., from whom it ^Lexxveift Vt^iv^isva ^wo.^-^- Ba£dekeb. Italy 11. lOth Edition. ^^
338 EmHr.ofBom^ MONTE MASH). IW
It Best beloBged to the Famete fudty, and then to the Hags of N^Im. Tbe bnildins u in a ftsrj dilapitiatrd eondiliao. It eoDtains a pfetmeiqne, orergiowii lomtaiii-lMsm, and a flne Hjflggia with laonldfngi and hatf-efBued frescoes by Ghdlo Somamo MxACHowMtmi da Vdim. BeaatilU ^iew. (Fee Vf ^0
Mmtm Minio was andently named CUmu Chmtaey in tiie middle ages Jfonfe JHoIo, and its present name is derived from Harlo Mel- lini, the owner in the time of Sixtos IT. of the TiSo Jfcitnil on the sommit. This iHla is now included in the Forte MomU Mario, and
visitors axe not admitted.
By the hifh-road JMniag from ibe Porta Ancelica Ccomp. FL 1, 8), aad ramiug to the K.W., the YiBa XelliBi aad tlie fitrt are aumt 3 ■. from Soate (oan. houiy; Vo. SB, p. 2 of the Appendix). If we follow the road for */<• X. more, peMiag the church of B. OmpfHo (oa the right), aad then take the field-road leadmg hack towarda the left, we reach the VaiU deiP I^femOj a deep raTine OTcrgrown with cork-treec, orer which we ohtaia a chantting peep of the dome of 8. Peter^a, framed hy the Alban MoaBtaina.
Frm the Ferta Snlanu
From the Porta Salara to the FomU aOaro, 2 M. — From the Foato Salaio to the Vma i^ptktm (FldeoK), 2>/s M.
TheFbrto Ailoro (PL 1, 27), which, like the Porta PU (n. 341), was serionsly injured hy the bombaidment of 20th Sept., 1870| has been restored. The removal of ito two toweis brauglit to light a well-preserved ancient monument in ^eperino*, resembling that of Bibnlus fp. 163).
The Via Salara (Fl. 1, 27), a very ancient road, qnito Rome by the bank of the Tiber and then turns towards the country of the Sabines. On this road, to the right, ^3 ^' ^^^ ^^^ gate, is the —
*Tilla Albani, founded in 1760 by Card. Aless. Albani, built by C. Marehionney and embellished with admirable works of art. Napo- leon I. sent 294 of the statues to Paris, which on their restitution in 1815 were sold there by Card. Giuseppe Albani, in order to avoid the cost of transport ; some of them now adorn the Glyptothek at Mu- nich. The villa was purchased in 1866 by Prince Torlonia (d. 1886), to whose heirs it now belongs.
Three paths bordered with hedges diverge from the entrance (comp. p. 122); that in the centre leads to a Circular Space with a colamn in the middle, , and then to a Tbhrace with a fountain whence a comprehensive survey is obtained : to the left is the Ca- sino with the galleries on each side ; opposite is the so-called Bi- gliairdoy a small building flanked with cypresses ; on the right in the crescent is the ^Caffii\
I. OasINO. Oronnd Floor. Vestibulb. In the six niches: 54. TiberiuB (?); 69. L. Venis; 64. Tn^an. Farther on, on the other side of the stair- case in the vestibule mentioned below : 72. M. Anrelins ; 77. Antoninus Plus; 8Q. Hadrian. In the centre^ 61. Sitting female figure (Faustina); 66. Circular Ara with Bacchus, Cerfts, "PtoafervVa^n wbA. \Xvt^%^q>t«*., 74. An- other with female torch-bearer and tiie SeaAoiifts l'^. ^VOimv^ iwas^^^^M^ Cperb&pa the elder AgripplnaV By the p\\\wft wi V^«^^^^ ^''^Lt^SSt^^ bermm: by the first on the right, Wi. UcTmw,\>l VV^^tiCb. wv^Q«l^\^S!^^.
The Campagna, VILLA ALBANI. Envir, of Rome, 339
Female, and on the right, 67. Male doable herma ; by the 7th on the right, 80. Enripides. — We now return to the beginning of the Vestibule and enter the Atbio dblla Gariatidc, to the left : 16, 24. Two canephorse, found between Frascati and Monte Porzio (baskets new). In the centre, 19. Carya- tide, by the Athenians Criton and Nieolaut (the names engraved on the back of the vessel), found in 1766 near the Gsecilia Metella; on the pedestal, 20. so-called ^Capaneus struck by lightning. In the Gallbbt adjacent, on the left: hermse; the third to the right, 45. Scipio Africanus; to the left, 29. Epicurus.
PVom the vestibule we pass through a small ante-room on the left to the Staibcabb. In front of the staircase (left), 9. Boma sitting on trophies (relief). Adjacent, 11. Relief of a butcher's shop. On the staircase, reliefs : on the first landing, (r.) 886. Death of l^iobe's Children •, (1.) 889. Philoctetes in Lemnos (?) \ third landing, above, 898, 899. Dancing Bacchantes.
Upper Floor (when closed, visitors ring; Vs ^^O*
I. Sala Ovalb. In the centre, 905. Apollo on the tripod , with his feet on the omphalos. To the left of the door , 906. Statue of a youth by Ste- phanos , a pupil of Pasiteles. Opposite : *915. Cupid bending his bow, per> haps a copy of Lysippus. — On the right —
II. Gallbbia Gbandb, the principal saloon (on the ceiling Apollo, Mnemosyne, and the Muses, painted by Raph, Mengs). In the niches of the entrance- wall : ^1012. Pallas, and 1010. Zeus. Beliefis (over the door) : 1004. Apollo , Diana , Leto in front of the temple of Delphi (archaistic choragio victory relief). Then to the right, 1013. A youth with his horse, from a tomb near Tivoli ; left, 1018. Antoninus Pius with Pax and Boma. The eight fragments of mosaic at the sides of this door and that of the balcony , and in the four corners, are for Uie most part antimie. — By the left wall : 1020. Two women sacrificing j to the right, 1007. Dancing Bacchantes. By the window-wall : 1005. Hercules and the Hesperides ; 1(X)9. Deedalus and Icarus. Beautiful view from the balcony.
To THB Right of the principal saloon: III. First Room. Over the chimney-piece : "^1031. Mercury bringing Eurydice back from the infernal regions, an Attic relief of a period soon after that of Phidias, an exquisite example of the noble simplicity for which ancient art is so justly cele- brated. By the entrance- wall, (r.) *1034. Tbeophrastus ; window-wall, (1.) 1036. Hippocrates ; wall of the egress , (r.) lOW. Socrates. — IV. Second Room. Wall of the entrance, on the right : 36. Pinturicchio (?) , Madonna with SS. Laurence and Sebastian on the left, St. James and the donor on the right; to the left of the entrance, 45. Lunette by Cotignola: Dead Christ with mourning angels. Right wall: 36. Niccolb Alunno^ Altar-piece: Madonna and Saints (1475). Wall of the egress: *37. Pietro Perugino^ a picture in six sections: Joseph and Mary adoring the Infant Christ, Cruci- fixion , Annunciation , Saints (1491). — V. Third Room. Wall of the en- trance , (r.) 49. Van der Werff, Descent from the Cross. Right wall : 66. Van Dyck^ Christ on the Cross. Opposite the entrance, 69. Salaino^ Madonna. To THE Left of the principal saloon : VI. First Room. Over the chim- ney-piece, *994. the celebrated Relief of Antinous, from the Villa of Hadrian, the only sculpture brought back from Paris in 1815. Entrance-wall: '^997. Shepherdess playing the flute. — VII. Second Room. To the left of the en- trance : 980. Archaic Greek relief from a tomb. Left wall : *985. Greek relief in the best style, a group of combatants, found in 1764 near S. Vito. Below it : 988. Procession of Hermes, Athene, Apollo, and Artemis (archaistic style). By the window to the left, 970. Archaic statue of Pallas, found near Orte ; on the right, 975. Archaic Venus. Wall of egress, on the left: Greek tomb-relief (half of it modern). — VIII. Third (comer) Room: 21. Bolbein(7), Portrait, 1527; 20. Raphael, Fornarina, a copy; *18, *17. Oiulio iZomano ,( coloured designs (in oils, on paper) for the frescoes from the myth of Psyche in the Pal. del Te at Mantua. The cartoons of Domenichino, and several other pictures formerly here, have been removed to a room on the lower €L<i«^^ which is at present closed. — IX. Fourth Room. Ixi \t«uN. qI VJsy^^X^Asyn^ *965. ^sop, perhaps after Lytippm^ ihe "head "beavjAiiviXVi ^^^^^'^^^^/J^^ nicbe in the entrance - wall , 952. ApoWo Sa.WTOcXoTi\Mi , '^'^"^^^ j^l^S^Sv'^-^. Oppoalte, 93S. Farnese Hercules, a amaU copy iu \>TOTks.«i. ^^,y^?^Ssv. ^^^siS ibe right, (r.) 9i2. Small Btatue of DloaeTiea. ^^Vv«K^-» ^-^ ^
340 Envir. of Rome, VILLA ALBANI. The,Campagna.
relief of the Apotheosis of Hercules ; on the pillars at the sides a record of his exploits is inscribed (resembling the Tabula Iliaca in the Capitol, p. 220).
— X. Eoom with pictures of inferior value. — XI. Boom with tapestry.
Returning to the oval saloon, we again descend to the — Ground Floor, and inspect the other wing of the vestibule. Here, at the extremity to tiie left, corresponding to the Atrio della Cariatide, is the :
I. Atrio dixla Giunone. 91, 97. two Ganephorse; 93. So-called Juno. —
II. Gallest. In the niches, *103. Bacchante with KTebris; *106. Satyr with the young Bacchus. Some of the hermee by the pillars are fine, but arbitrarily named. — In a straight direction : III. Stanza dblla Colonna (generally closed, fee 25 c. ). Antique columns of variegated alabaster, found in the M armorata. On the left, ^131. Sarcophagus with the Nuptials of Peleus and Thetis ; above, four sarcophagus-reliefs*, on the left, 135. Hip- polytus and Pheedra ^ over the egress, 139. Rape of Proserpine ; on the right, 141. Bacchanalian procession \ over the entrance, 140. Death of Alcestis. — IV. Passage : Bearded Bacchus (archaistic). — V. Stanza dellb Tsbbacottb. By the left wall, close to the entrance: 146. Greek tomb-relief; 147. Greek votive relief. Beyond the door: 157. Love-sick Polyphemus and Cupid ; 161. Diogenes and Alexander. Opposite the entrance, 164. Deedalus and Icarus, in rosso antico. Below, 165. Ancient landscape-picture. On the right wall, 171. Mask of a river-god ; to the left of it, 169. Bacchus pardoning captive Indians ; to the right of the mask , and on the entrance - wall , several fine reliefs in terracotta. — VI. Boom. In the centre, Leda with the swan.
— VII. Boom. Above the entrance-door. Bacchanalian procession of children, from Hadrian^s Villa, in pavonazzetto , or speckled marble; left, statue of a recumbent river-god ; right, Theseus with the Minotaur , found near Genzano in 1740. — VIII. Room. Relief in the first window to the left, the God of Sleep. — The exit here is generally closed.
An avenue of oaks, flanked witli cippi (tombstones), leads from the last-named apartments of the Casino to the —
II. BiGLIABDO, containing a few unimportant antiques, and to the —
III. Caff6. In the semicircular Hall, to the left: 594. Herma of Alci- biades; (1.) 604. Statue of Mars; 610. Chrysippus; 612. Apollo reposing; 628. Caryatide. Farther on, beyond the entrance to the saloon : (1.) on a detached column, 721. Homer. Adjacent, 725. Caryatide: (r.) by the 3rd pillar, 737. Mask of Poseidon. Obliquely opposite, (1.) 744. Archaic Greek portrait-head, Pericles (?) , or perhaps Pisistratus ; (1.) 749. Sta- tue, called Sappho, perhaps Ceres. — We now return to the midd e of the hall and enter the Ante-Room. Here , in the section to the right, 711. Iris; (1.) 706. Theseus with ^thra, perhaps a sarcophaffus-relief. In the section to the left, 641. Marsyas bound to the tree ; (1.) 639. Relief of Venus and Cupid. Also several statues of comic actors. — In the Saloon (25-50 c), in the niche to the left of the door, 662. Libera with a fawn. Below, 663. Mosaic with meeting of seven physicians or mathematicians. Corresponding to the latter, to the right of the door, 696. Mosaic, liberation of Hesione by Hercules. To the right of the balcony-door, 688. Ibis , in rosso antico; 684. Atlas, bearer of the Zodiac; (1.) 678. Boy with comic mask ; 676. (Dolossal head of Serapis, in green basalt.
Before entering the hall of the Cafft, we may descend a flight of steps to the left, leading to its basement. Fragments of sculpture are here built into the walls, and a few Egyptian statues are placed in a hall. In the centre : Ptolemy Philadelphus, in gray granite ; (r.) the cat-headed goddess Pasht; (1.) statue of a king, in black granite; a sphinx. On a fountain in front of the hall : reclining Amphitrite ; on the left and right two colossal *Hcrm8e of Tritons.
The Garden also contains many antique statues , among which the colossal busts of Titus on the left , and Trajan on the right, below the terrace in front of the Casmo, ^^^^tn^ m^wW^tv.
We may now return by the a^ewue oi ^n^\%\^%\v q^-s., ^\:\^ \% entered by an arch at the end ol t\ie\elX %%Xi.ert^ QlxXv^^^-svx^a. \xy
The Campagna. PONTE SALARO. Envir. of Rome. 341
the centre of the avenue is a colossal bust of the German anti- quarian Winekelmann , a friend of Card. Albani, the founder of the yilla, hyE. Wolff, erected "by order of Lewis I. of Bavaria. — An an- nexe of the villa, in the Via Salara, contains a Collection of Flakier Casts, formed by Prince Torlonia (admission on Frid, only, after 12 noon).
The Via Salara passes other lofty houses farther on, some of which are still unfinished. About Y2 ^* beyond the Villa Albani a broad road diverges to the left to the new Parco Regina Margherita (to the Acqua Acetosa about 1 M., p. 337). Still i/2 M. farther on is the Osteria di Filomarino , whence a fine view may be obtained, especially towards evening, of S. Agnese and S. Gostanza. On the hill to the left , now crowned by the Fortezza Maggiore Antemne, lay Antemnae , which was destroyed by Romulus. Thence to the banks of the Tiber several avenues are to be laid out in connec- tion with the new promenade and continued on the E. as far as the Via Nomentana.
The Via Salara reaches the Anio about 2 M. from the city-gate. The Ponte Salaro over the Anio , several times destroyed and re- newed, and again blown up during the invasion of Garibaldi in 1867 , has preserved little of the original structure. — Beyond the bridge is an ancient tomb, built over in the middle ages.
About 5 M. from the gate is the Villa Spada. From this point to the height on the right extended the ancient Fidenae, the ally of Veii against Rome, and only subdued after protracted struggles. Few traces of the ancient city are now recognisable. The fortress lay close to the river , on the hill which is now occupied by Castel Oiubileo (6 M. from Rome ; p. 68). The summit (265 ft.) affords a beautiful and extensive *View. The castle was erected by Boniface VIII. in 1300, a year of jubilee (hence the name).
The road continues to skirt the river in the plain, and 11 M. from Rome reaches the Scannctbechi , the ancient Allia , on which the Romans were signally defeated by the Gauls, B.C. 390. The railway-station of Monte Rotondo (p. 68) is 2 M. farther on.
• From the Porta Pia.
From the Porta Pia to S. Agnese about iVi H. (omnibus No. 18, p. 2 of the Appendix)^ thence to Ponte If&mentano and Mon* 8acer, to which point most travellers will extend their walk, also iV4 M. •
The Porta Pia (PI. I, 27, 30), famous in the annals of 1870, was begun by Pius IV. from designs by Michael Angelo in 1564. On 20th Sept., 1870, the Italians directed their bombardment chiefly against this gate, and soon effected a breach at the side of it, through which they entered the city. The damage has since been, re^vc^."^. On the outside, to the left, a memonal t&b\ekt,\i^«r«v%Viwi^'«xssa%^ 33 soldiers of the Italian army who tell ou \\i^ oc<5.ii.%VQ.w., ^"w^^*^^ place where the breach was made. To tlvfe tV^X. ^^ ^^^ ^\sLvVcs old Porta Nomentana, walled up since i5^\, ^\^Vc>a.\fe^ V.^^^^
342 Envir, of Rome. S. AGNESE FUORI. The Ccanpagna.
(p. 343). — A new suburb is springing up outside the gate, like that adjoining the Via Salara (see p. 341).
Following the main road, the ancient Via Nomeniana, past the Villa Torlonia (on the right ; no admittance), we reach, on the left, 11/4 M. from the gate, —
* S. Agnese Fnori le Mara, a church founded by Gonstantine, over the tomb of St. Agnes, and still retaining many characteristics of an early-Christian basilica (p. xlv). It was re-erected by Honorius I. in 625-38, altered by Innocent VUI. in 1490, and restored by Pius IX. in 1856. The principal festival, on 21st Jan., is the ^blessing of
the lambs' from whose wool the archiepiscopal robes are woven.
We enter by a gateway, where, to the right, is the entrance to the residence of the canons, with remnants of old frescoes in the corridor of the ist floor, dating from 1454, and including an Annunciation. In the Coubt, through a large window to the right, we observe a fresco painted in commemoration of an accident which happened to Pius IX. on 15th April, 18^. The floor of a room adjoining the church, to which his Holiness had retired after mass, gave way, and he was precipitated into the cellar below, but was extricated unhurt. On the farther side of the court, on the right, is the entrance to the church, to which a Stairoasb with 46 marble steps descends. On the walls of the staircase are numerous ancient Christian inscriptions from the catacombs.
The Interior is divided into nave and aisles by 16 antique columna of breccia, porta santa, and pavonazzetto, which support arches. Above the aisles and along the wall of the entrance are gsklleries with smaller col- umns. The Tabernacle of 1614, borne by four fine columns of porphyry, covers a statue of St. Agnes, in alabaster, a restored antique. In the tribune, * Mosaics, representing St. Agnes between Popes Honorius I. and Symmachus, dating from the 7th cent., and an ancient episcopal chair. 2nd Chapel on the right: Head of Christ in marble, a mediocre work of the 16th cent.; also a beautiful inlaid altar; above it a ^Relief of SS. Stephen and Law- rence, of 1490. In the left aisle, over the altar of the chapel, a fine old fresco, Madonna and Child. — The Catacombs, to which there is an en- trance in the left aisle, are shown by the sacristan, from whom lights are also obtainable (1 fr. ; see p. 361).
Leaving the covered flight of steps whicli descends toS. Agnese, and descending to the right, we reaoh —
S. Gostanza (if closed , apply to the custodian of S. Agnese, Y2 fr.), originally erected as a monument by Constantino to his daughter Constantia, but converted into a church in 1256. The dome, 70 ft. in diameter, is borne by 24 clustered columns of gra- nite. A few fragments only of the vestibule and the waH of the central part of the edifice now exist. In the tunnel-vaulting of the aisle are ^Mosaics of the 4th cent, with genii gathering grapes , in the ancient style, but bearing traces of decline. The porphyry sar- cophagus of the saint, formerly in one of the niches (now in the Va- tican Museum, Sala a Croce Greca, p. 305), is similarly adorned. In a niche, Christ as the ruler of the world with SS. Peter and Paul, and again in the opposite niche with St. John. — The Coemeterium Ostrianum, }l^ M. from this point, see p. 3G3.
About 2^/2 M. from the gate , l\ie loa.^ tio^?»^% >i)Vife AuVo \i^ the I^onte Noment&no, an ancient \)i\Age \?\vv;Vi V^s. \ife«w Ix^o^^eviJCci restored, surmounted by a tower. TYii^xo^^'^^ ^'^^^'^^^^^"^^^^'^'^'^
The Campagna. S. LORENZO FUORI. Envir. of Rome. 343
ancient tombs. Beyond the bridge is a bill, conjectured to be the Mons Sacer Tendered famous by the Secession of the Plebs (at its foot an osteria). View from the top.
About 4 M. farther are the Catacombs of Alexander (p. 363).
A little beyond the Catacombs, a road to the right diverges to Palom- bara (p. 374). — The road to the left leads to Mentana, a village belong- ing to the Borghese family, near the ancient Nomentumj 14 M. from Borne, where a battle between the Garibaldians and the French and Papal troops took place on 3rd "Sov., 1867 (p. 68). The district is extremely bleak at places, but affords beantifal views of the slopes of the Sabine Hts. From Hentana to Monte BoUmdo 2 M., at the foot of which the railway-station of the same name is situated (p. 68).
From the Porta S. Loienzo.
Tramway from the Piazza delle Terme to S. Lorenzo, see Tramway- line No. 2^ p. 3 of the Appendix. Omnibus from the Piazza della Gonso- lazione via the Forum Bomanum, see Omnibus-route, "So, 17, — Steam Tramway to Tivoli^ see p. 374.
^rhe Foria 8. Lorenzo (PL II , 31) stands on the site of the ancient Porta Tiburtina, which led to Tivoli. The gateway, con- structed by Honorius against an arch, oyer which, according to the inscription, passed the three aqueducts Marcia, Tepula, and Julia, is now shut.
The road, the ancient Via Tiburtina, starts from an opening in the wall to the S.E. of the gate. It is bounded by walls, and does not afford views of the Sabine Mts. until the church is reached, ^^M. from the gate.
The basilica of *S. Lorenzo Fuori le Mora occupies the spot where Constantine founded a church on tha burial-place of St. Law- rence and St. Cyriaca. In 578 it was rebuilt by Pelagius II. This ancient edifice, which was entered from the E. , was entirely re- modelled by Honorius III. (1216-27), who added the present nave to the apse, and transferred the facade with the porch to the W. end. An angle formed by the outer walls shows where the new part was added. Under Nicholas Y. and Innocent X., and lastly under Pius IX. in 1864-70, the church underwent extensive altera- tions , and is now at least partly freed from disfiguring patchwork. 8. Lorenzo is a patriarchal church, and one of the seven pilgrimage- churches of Rome (p. 135). Festival, 10th August.
In the piazza in front of the church is a Column with a bronze statue of St. Lawrence. In 1864 the Facade was embellished with paintings resembling mosaic, representing the founders and patrons of the church: Pelagius II., the Emp. Constantine, Ho- norius III., Pius IX., Sixtus III., and Hadrian I. The vestibule is borne by six ancient columns, above which is an architrave with mo- saics (St. Lawrence and Honorius HI.); it contains retouched freacaee. of the 13th cent., two tombs in the toim Ql\.ftm^'fe'&^%xA.^J«^^^^'^ Christian sarcophagi. The door-posts xfest oiR.Yvavi^. ^x^eo.
The Interior consista of two parts. Tli© wv\ervw 'Ua.'TKB. ^^?'^'^^^Tax'*.N»* ebiefly dates from Honorius III., consi&ta oi nvie wil^. Vw<^ *-^^***'»
344 Env. of Rome. S. LORENZO FUORI. The Campagna.
by 22 antique columns of granite and cipoUino of unequal thickness. On the capital of the 8th column on the right are a frog and a lizard, and it is therefore supposed, but without authority, to have been brought from the colonnade of Octavia, where two sculptors Batrachus (finog) and Saurus (lizai^) <^e s^d to have adopted this method of perpetuating their names. Above the plain entablature rises a wall recently adorned with frescoes by Fraceanini (on the right, history of St. Lawrence ^ on the left, that of St. Stephen), and the gaudily-painted open roof. The pavement, in opus Alexandrinum, dates from the 12Ui cent. (p. zlvii). Under a mediseval canopy to the right or the entrance is an ancient "^Sarcophagus with a repre- sentation of a wedding, in which in 1256 the remains of Card. Fieschi, nephew of Innocent IV., were placed. In the nave are the two elevated ambones, that to the ^right (p. xlv) for the gospel, near which is a wreathed candelabrum for the Easter candle, that to the left for the epistle (12th cent.). On the triumphal arch are modern paintings (resembling mosaics) of the Madonna and saints. At the extremity of ttie N. aisle a flight of 12 Bteps, on the left, descends to a chapel and the catacombs.
Adjoining this building of Honorius on the E. is the Oldeb Chubch, erected by PELAoroSj the pavement of which lies 3 ft. lower. The raised central space, to which seven steps ascend on each side of t^e Confessio, dates from the time of Honorius, who converted the nave of the older church into a choir with a crypt by laying a pavement halfway up the columns, and caused the aisles to be filled up. The rubbish has been recently removed, and the original level of the aisles exposed to view. The church of Pelagius , a basilica with aisles in the style of S. Agnese Fuori (the only two examples of churches with galleries at Rome), was originally entered at the opposite (E.) end. Twelve magnificent fluCed columns of pavonazzetto with Corinthian capitals (those of the two first are formed of trophies, on the benches in front of Uiem are mediseval lions) Support the "^Entablature, which consists of antique fragments and bears a gallery with graceful smaller columns. On the triumphal arch, of which this is the original front, are restored mosaics of the time of Pelagius II. : Christ, right SS. Peter, Lawrence, and Pelagius ^ left SS. Paul, Stephen, and Hippolytus. The canopy dates from 1148. The dome is mod- ern. By the wall at the back is the handsome episcopal throne. — We now descend the flight of steps leading from the prolongation of the aisles of the anterior church to the aisles of the church of Pelagius. The nave of the old church has now been partly converted into a crypt, as above mentioned. In the vestibule is the Tomb of Pius IX. (d. Feb. 7, 1878), whose body was transferred hither in 1881 from its temporary resting-place in St. Peter"'s. The monument, which according to the injunctions of the deceased pope is of the plainest character, consists of a marble sarco- phagus in a niche like those in the catacombs.
The handsome old '^Cloisters iChioslro; generally closed; apply to one of the monks to the right in the sacristy) contain numerous fragments of sculptures and inscriptions built into the walls; in the corner to the right of the principal entrance is the lid of a sarcophagus adorned with the trium- phal procession of Cybelc.
Adjoining the church is the Gampo Verano, an extensive
church-yard, consecrated in 1837, and repeatedly enlarged since;
the upper part commands a beautiful view of the mountains and the
Campagna. By tlie entrance are colossal figures of Silence, Charity,
Hope, and Meditation. Among the numerous handsome monuments
are one commemorating the Battle of Mentana, erected in 1870,
and another (with statue) to the poetess Erminia Fua-Fusinato (d.
187G). On the whole, liowever, the cemetery is less interesting than
tiose in several other Italian towws. ¥\\\g n\^v^ q1 W^^ \svQviutaiu3
and tbe Campagaai from tlie Mg\\et ^ail o^ X\v^^ <^>fem^\.«i\^ ^ \^^r)^^\
by several nights of steps.
The Campagna, TOR DE' SOHIAVI. Envir. of Rome, 345
From the Porta Maggiore.
Two high-roads issue from the Porta Maggiore (PI II, 35; p. 180) : to the left the Via Praenestina and to the right the Via Labicana.
The ancient Yia Praenestina, or Palestrina road, to the left, is little frequented , but , as the city is left behind , commands beau- tiful views of the mountains. About 1 M. from the gate the vineyard- walls cease. Numerous ruins of tombs on the right indicate the direction of the ancient route, which, lying higher, affords a freer view than the present lower level of the road, and may be reached by crossing the fields. About 2^2 M. from the city-gate is the Tor de* Schiavi , the scanty ruins of an extensive villa of the time of
Diocletian.
First, to the left of the road, is a Hexagonal Structure^ almost entirely fallen to decay. A column in the centre and the additional erection on the summit, Doth medieeval, impart a grotesque appearance to the place. — Farther on is a Circular Building with niches and dome, used in the middle ages as a church , with now nearly obliterated frescoes \ below, entered from the back, is a vault supported by strong pillars in the centre. Both these buildings are supposed to have belonged to baths. Among the extensive ruins on the right of the road are a few Columbaria.
The Via Collatina, diverging here to the left, skirts the Acqtta Vergine and leads to (91/2 M.) Lunghezza (p. 373). — Beyond this point the Via PrsBnestina offers little of interest, except the con- tinuous view of the mountains.
On the Via Prsenestina, 31/2 M. from the gate, are the ruins of Tor tre Teite and Tor Sapienea, the so-called ViUa of the Oordiani, About d^/-£ M. farther on the road crosses the Fotto di Ponie di Nona by an ancient bridge of seven arches. Near the Osieria delP Ota, 2 M. farther on, to the left of the road , is the site of the ancient Gabii, on the bank of the drained Lago di Casiiglione. Some ruins are visible near the conspicuous tower of Casiiglione, the most interesting of which are the hewn stone remains of the ^celebrated temple of Juno Gabina.
At the Osteria deir Osa the ancient Via Preen estina turned to the right towards (6 M.) Gallicano (see below), but the modern road bends to the N.E. and forks at the foot of the mountain, the left arm leading to the Via Tiburtina, which it reaches at the Ponte Lucano (p. 374), the right arm, passing Corcolle and Poiserano, to Gallicano (iO M. from the Osteria deir Osa). The ancient and modern roads unite just before the last-named
Slace at the Osteria di Cavamonte, the name of which recalls the cutting, 3 ft. deep , made for the old road in the tufa rock. The Aqua Claudia passes over it. The road finally leads past the monastery of 8. Pattore to (51/2 M.) Palestrina (p. 383).
The road leading to the right from the Porta Maggiore, the an- cient Via Labicana, now called Via Caailina, is more frequented than the preceding, and is traversed thrice a week by a 'vetturino'. On this road , i^/^ M. from the gate , are situated the remains of the octagonal Tomb of the Empress Helena, whose sarcophagus found here is now preserved in the Vatican (p. 305). The building, which has been fitted up as a small church (55. Pietxo t Mat^ieXXAycvi \ 'ws^a.- combs, see p. 363), is named Torre PignsA^AX^. ttwEL^^ .'''^^'^'^'**^^^ or earthenware vessels used for the saWe oi \\^Nsv«i.^^ \».'<i«^«^ "^^-^^ structioB of the vaulting, as vas customw-^ diWTvtv^ ^^ «ai:^^^'^^
346 Bnvir. of Rome. YIA L ATINA. Tke Campoifna.
is otherwise uiiinterestiiiig. Torre Pignattara is a station on the steam- tramway to Marino (p. 367).
About 8 TtL from tlie gate, near the PonU dMa CaUma, is a modem aqnedoet, fhe Aegua Felice (p. 347). Farther on, to Uie left, are remains of the arches of the ancient Aqua AUxcMdrima, A lake (41 La^etto*), now drained, to the left of the road, at the foot of the MonU Falame^ is snppofed to be the famous Lake BegUlnt ^ where the Romans defeated the Latins (B. C. iS6), — On an isolated eminence, 15 H. firom Rome, lies CV>/mmm, beyond which, nearer the lofty Monte Gompatri, lay the ancient Labiemm. — The road gradually ascends to the Oiteria di S. Chsoreo, a thatched cottage to the left ^ood wine), beyond which it forks. The brvich to the right leads rii Lvgnauo (recently erroneously renamed Labieo) to (6 X.) Vahmmtome (p. 382); the left branch leads to (4Vs M.) FtOestrina (p. 3S3).
From fhe Porta S. Giovanni.
From the gate to the Tombs 2^U V- ; thence to S. Urbano Vi K- (p. 361). Driving is practicable as far as the tombs. Custodian on the spot from noon to sunset, except in summer (fee Vs &•« fo' a party 1-1 i/s fir.). — From this point we may cross the meadows to Porta Furba (l^ If.), and thus combine the two excursions. Those who are driving should order their carriage to meet them at Porta Furba.
Porta 8. OiovanrU , see p. 273 , and comp. PL III, 33, 36. — The ancient Via Latina diverged from the Via Appia outside the Porta Capena; the now elosed Porta Latina in the wall of Aurelian was destined for its point of issue (p. 256). Like the Via Appia and the other roads emerging from Rome , it was bordered by tombs on both sides y several of which , interesting especially on account of their decorations, were excavated in 1862.
We follow the road to Albano (the Via Appia Auova), command- ing beautiful views, in a straight direction. At the Trattoria Bal- dinotti the road to the left leads to Frascati (p. 364). The high- road is followed as far as the second milestone (1.) of the present route , immediately beyond which we quit it by a road leading to the left to the ancient Via Latina, passing the remains of the old road, with two Ancient Tombs, which may be reached by carriage.
The IsT Tomb, Tomba dei Valeriiy to the right of the road , with the two recently-restored Roman pilasters, consisted of an anterior court and subterranean tomb , over which rose the now re-erected sacellam with two colamns. The Interior of the chamber is decorated with interesting •Reliefs in stucco, sea-monsters, nymphs, and genii.
The 2nd Tomb, Tomba dei Fanci'atii^ under a shed opposite, contains in its single chamber landscapes framed in stucco ''Ornaments and four stucco roiiefs (Jud{;ment of Paris, Alcestis, Priam and Achilles, Hercules playing the lyre before Bacchus and Minerva). The 'Pancratii' were one of the burial societies common in the 8rd and 4th cent., but the plan and arran^^emcnts of the tomb prove that it dates from the 2nd century.
The other tombs are interesting only for their tile ornamentation (Cor- inthian pilaster-capitals and cornices).
In the immediate vicinity the foundations of a Basilica ^ dedicated to St. Stephen in the 5th cent., have been excavated. It is now surrounded by a wall, of which the custodian of the tombs keeps the key.
From the Via Appia Nuova, ^l^^.iaLilVv^i, a road diverges to the
cold in ineral-baths of Acqutt Santa , ^a'i?>^'5> ^'b cv\<:\v^ ^I'^^x^w-
tius and S. Urbano, and leads to WieNia k^^\a\vfevs.T ^^ ^^\.^^\s^^
of CalUstus (pp. 361, 34B> T\\c Osteria del Ta^DoUlo , ^xv\}«v^^\x
The Campagna. PORTA FURBA. Emir, of Borne. 347
Appia Nuova, ^L M. farther on, is a station on the Marino tramway (p. 367).
POBTA FuBBA. This excorsion of 2-3 hrs. is pleasanter than many others, as the view is obstructed by walls for short distances only (car- riage thither from the gate and back, 34 fr.)*
From Porta 8. Oiovanni we follow a straight direction for 5 min. (see p. 346), and at the Tratt. Baldinotti we take the Frascati road to the left, which farther on is crossed by the railway to CivitJi Vecchia, To the left runs the unbroken series of arches of the Acqna Felice, and in front of them occasionally appear the Aqua Claudia and Mar- cia, running one above the other. The Acqua Felice^ about 13 M, long, completed by Sixtus V. (Felice Peretti) in 1585, and after- wards frequently restored, begins at the base of the Alban Mts. near Golonna (two-thirds subterranean), and terminates in the Piazza S. Bernardo (p. 168). The Aqiui Marcia, 56 M. long, constracted by the Prsetor Q. Martins Rex in B.C. 146, and restored in 1869, enters the city hy the Porta Pia, and brings a supply of water from the Sabine Mts., which is considered the purest in Rome. Over it flows here the Aqua Claudia, erected in A.D. 50 by the Emp. Clau- dius, extending from Subiaco, a distance of 59 M. — To the right, a view of the Via Appia with the tomb of Csecilia Metella.
About 2 M. from the gate we reach the so-called Porta Furba, an arch of the Acqua Felice, under which the road leads. An exqui- sie *View is enjoyed here of the Campagna and the Alban Mts., and a little farther on, the Sabine Mts. also come in sight. Below runs the railway to Naples and Frascati. — About 2 min. from the Porta Furba, the *08teria del Pino stands by the pine on the right. — About Y2 M. beyond it rises the Monte del Orano , with a tower , which commands a magnificent *Panobama. A long shaft leads to an ancient circular tomh-chamher in the interior of this hill, where the so-called sarcophagus of Alexander Severus (p. 217) was found.
From the Porta S. Sebastiano.
The excursion to the Via Appia by carriage, including halts, re- quires 3-3V2 hrs. (one-horse carr. to Gasale Rotondo and back, 9-10 fr.). Good walkers will take 4V2-5 hrs. : from the arch of Constantino to Porta S. SebastianOj IV4 M. ^ from the gate to the Catacombs of St. CallistuSy 11/4 M. \ thence to the beginning of the excavated part of the ancient Via Appia , 1 H. ; to the Casale Rotondo , 2 M. more. — The traveller is re- commended to drive as far as the Catacombs of Callistus (2V2 ^^-h a visit to which is conveniently combined with this excursion, and to walk thence to the Casale Botondo and back. — Or he may take a tramway- car (Tramway-line No. 2, p. 3 of the Appendix) at about 11 a.m. from the Piaeza delle Terme as far as S. Lorenxo fuori, change there to the steam- tramway for S. Marino, alight at Le Capannelle (p. 367, 1 fr. 20 c), and pro- ceed thence to (IV2 M.) Casale Rotondo. It is not advisable to adopt this route in the reverse direction, as there is no waiting-room at U^ Cl.v^'^.Ti.- nelle, and the trains run very irregularly.
The loute hy the Via di Porte S. Sebast\Mvo \» XVe. Potlo. ^. «^«;- das^tanofPl, III, 28), and the ruins and \)\d\^\Ti«& «^^»»•'^^^ ^"^^^ ^^ are described at pp. 254 et seq.
348 Eiwk. of Borne, VIA APPIA. The Campagna,
The *Via Appia, the military road constructed by the censor Appius Clandias Osecus (in B.C. 312), led by the ancient Porta Capena, near the church of S. Gregorio (p. 258), to Capua, whence it was afterwards extended to Beneventum and Brundisium. In 1850- 53 it was excavated as far as the 11th milestone, where it is now intersected by the railway to Albano. Even at the present day the Via Appia merits its proud ancient title of the 'queen of roads'. It affords perhaps the finest of all the nearer excursions in the Gam- pagna. Shortly after leaving the city, we enjoy a magnificent pro- spect, embracing the Campagna, the ruins of the aqueducts, and the mountains, while numerous ancient tombs are situated on each side of the road. Very few of the latter are preserved intact ; but the re- mains of others have been carefully restored, so as to convey an idea of their architecture and decorations.
The road descends from the Porta 8. Sebastiano by a declivity corresponding with the ancient Clivus Martis, and after 4 min. passes under the railway to Civitli Vecchia. It then (3 min.) crosses the brook AlmOf where ruins of tombs are observed on both sides. The Via Ardeatina now (5 min.) diverges to the right; and on the left stands the small church of Domine Quo Vadis, so named from the legend that St. Peter, fleeing from the death of a martyr, here met his Master and enquired of him, 'Domine quo vadis?' to which he received the reply, 'Venio iterumcruciflgi'; whereupon the apostle, ashamed of his weakness, returned. A copy of the footprint which Christ is said to have impressed on the marble is shown here.
On the Via Ardentina, about 472 M. from the gate, lies the picturesqtie Cechignoln^ with an old tower; the castle and garden were added by Paul V. and Leo XII.
iiy a small circular chapel, about a hundred paces beyond the church, a fleld-road diverges to the left, to the Caffarella VaUey (see p. 351). The road now ascends, being hemmed in for the next '/2 M. by monotonous walls. To the left, in the Vigna Vagnolini, arc considerable remains of the largest ancient Columbarium yet discovered. Its three apartments, of which that to the left is now used as a dwelling , and that in the centre as a wine-cellar, were capable of containing 5000 urns. Charming view hence of the valley of the Caffarella and the Via Latina.
To the right, No. 33, I74 M- from the gate, is the entrance to the Catacombs of St. CaUistus (p. 361), furnished with an inscrip- tion , and shadiid with cypresses.
Farther on the road again divides. The arm to the left, the 'Via Appia Pignatelli', is the new road which leads to S. Urbano (p. 351) and the baths of Acqua Santa (p. 352), and unites near Le Capannelle (p. 347; 21/2M. from the bifurcation) with the high-road to Albano.
We follow the branch 0! l\\e lO^A. to the tight , the *Via Appia Antic&\ descend past the entiauce (oiv t\vft \ftlV ^^•*^'^ ,^\^tv^.^^8a.y^- danini) of the Jewish Catacombs (}^. ^^^^, «v\\Tfe^^\i XV^ ^V>\^^ ^1 S. SebAstiano, situated iW2M. iiom t\vft ^vxtfc. TCv^ Otvw\v V^i^. Vt^^s.
TheCampagna. VIA APPIA. Envir. of Rome. 349
a very early period been one of the seven cliarches frequented by pil- grims , being erected over the catacombs where the remains of so many martyrs reposed. Mention of it is first made in the time of Gregory the Great. The form was originally that of a basilica, but in 1612 it was altered by Flaminio Ponzio and Giovanni Vasanzio. The
portico is supported by six ancient columns of granite.
The IsT Chapel on the right contains the original ^footprint of Christ^ on stone. The last chapel on the right was designed by G. Maratta, Over the High Altab is a painting by Innocenzo Tacconi, a pupil of Annibale Carracci. The second chapel on the left contains a good statue of St. Se- bastian, designed by Bernini and executed by Oiorgim. A staircase on the left, by the egress, descends to the Catacombs (p. 363).
Immediately before we come to the church , the Via delle 8ette Chiese diverges to the right, intersecting the Via Ardeatina after 10 min., and in 4 min. more reaching the recently excavated re- mains of the Basilica of St. Petronillay or of SS. Nereo ed Achilleo (see p. 362). Thence to S. Paolo Fuori I72 M., see p. 352.
Continuing to follow the Via Appia we come to a large gateway on the left, which we pass in order to reach the * Circus of Kazen- tiuB , situated on the left side of the road. The circus , which is 350 yds. long, and 86 yds. broad, was constructed in 311 , and is now sufficiently excavated to show the arrangement of the struc- ture , which was designed for chariot-races.
Facing the Via Appia was an extensive portico, and behind it one of the principal Entrances^ with another opposite to it in the semicircle which terminated the bailding (on the branch of the road mentioned at p. 348). At the sides were other gates, of which the first on the right is supposed to be the Porta LtbitmOy by which the dead were carried out. On each side of the first-mentioned main entrance were the carceres^ or barriers. The chariots starting hence had to perform seven times the circuit of the course , which was formed by the seats of the spectators and the spina^ a wall erected longitudinally in the centre of the arena, and embel- lished with statues and obelisks, one of which last now stands in the Piazza Navona (p. 190). At the ends of this wall stood the metoe, or goals. The spina was placed somewhat obliquely, for the purpose of equalising the distance as much as possible to those starting in different positions , and for the same reason the carceres are in an oblique line. The spectators sat on ten surrounding tiers of steps, on which about 18,000 persons could be accommodated. It is worthy of remark that pottery has been used in the formation of the tiers of seats.
The ruins of a circular building near the circus, on the Via Appia, are supposed to be a Temple of Romulus, the son of Maxentius, who died young, and in whose honour the circus was perhaps also constracted.
The road again ascends, and, in 35 min. from the Porta S. Se- bastiano, leads us to the *Tomb of Ceecilia Metella, which forms so conspicuous an object in the views of the Campagna. It is a circular structure, 65 ft. in diameter, which, as well as the square pedestal, was originally covered with travertine. The ftrieze which runs round the building is adorned with wreaths of flowers and skulls of oxen, from which last the tomb is sometimes c^Ua^ Ca-p^ ^x^wit.. On a marble tablet facing the road is iiisci\\jfe^ *. CaecWxae Q . Ot€<xo. ^iUae MeteUae Crassi, i.e. to the dauglitex ol^eX^^^v^^^^^'^'^^^-^'^'^. of the youngex Crassus, son of the tiiumvix. 1:\\^ft VoX^tvo^-* \n«^ *•
350 Envir, of Rome. VIA APPIA. The Campagna,
most entirely filled up, contained the tomb-chamber of the deceased. In the 13th cent, the Caetani converted the edifice into the tower of a stronghold, and furnished it with battlements. To this extensive castle , which subsequently passed through various hands , and was destroyed under Sixtus V., belong the picturesque ruins of a palace adjacent to the tower, and a church opposite. — A little beyond the tomb the *Via Metella' diverges to the left (see p. 352).
As far as this neighbourhood extends a lava-stream which once descended from the Alban Mts. and yielded paving material for the ancient road. The more interesting part of the Via now begins ; the ancient pavement Is >'isible In many places, the road is skirted on both sides by continuous rows of ruined tombs, and the view be- comes more extensive at every step. On the left are perceived the adjacent arches of the Aqua Marcia and the Aqua Claudia, the latter now partly converted into the modern Acqua Felice (comp. p. 347). The houses on the roadside gradually cease , and 21/4 M. from the city-gate, beside the osteria of the Vigna Savij we reach the en- trance (indicated by a notice on a house to the right) to the exca- vated part of the Via Appia, flanked beyond this point by a constant succession of tombs. Many of these contain reliefs and inscriptions worthy of note. The scenery continues to be strikingly beautiful. On the right is the Fortezza Appia Antica, an outwork of the new fortifications of Rome.
About 1^4 M. from the Vigna Savi, on the left, is a 'casale' built within the walls of an ancient church, which is called S. Maria Nuova. Beyond it lie the extensive ruins named Roma Vecchia, which appear to have belonged to a spacious villa of the Quintilii. Several of the chambers were employed as baths. Then, on the right, are two conical tombs, overgrown with trees , commanding an extensive view of the barren Campagna. Close by is an Ustrinum, . or place used for cremations, surrounded by a wall of peperine.
A large tomb on the left , the site of which is now occupied by a small farm, % M. from S. Maria Nuova, is named the Casale Rotondo. It may be ascended for the sake of the fine view (25 c. ; often closed). The lofty building on the left , 7 min. from the Casale Rotondo, is also an ancient tomb , on which the Arabs and Normans erected a tower, named Tor di Selce (tower of basalt).
The Via Appia from the Tor di Selce to Albano (71/2 M.) is less interesting. Among the tombs may also be mentioned, on the left, 2 M. beyond Tor di Selce, the circular Torraccio, or Palombaro. At the 11th milestone the road is crossed by the railway, a little beyond which ia the Osteria delle Fratocchie^ \\ here the old road and the Via Appia Nuova unite. On the left side of the road Clodius once possessed a villa; to the right in the valley lay Bovillae^ a colony of Alba Longa, with a sanctuary of the Gens Julia, where the remains of a theatre and circus may still be traced. Remains of walls and tombs are seen on both sides of the road. A large square structure, about 33 ft. in height, v/UYi lYvtee niches, was long erron- eously regarded as the tomb of C\od\\xa. TY^^ to^^ ^t<iw^%. '^Xx^s. M^h ground here commands a fine survey ot l\ie C^m^^a.^^ V\v^ %^, iwxA.^S^^^ Near the gate of Albano, at the i^tb mUealOTie, ou V\.^\feVi^\^ v\v^^-^>\^^ Tomb of Pompey (p. 309).
TheCampagna. GROTTO OF EGERIA. JSVwir. o/' Bom*. 351
Tbmplb of the Deub Rbdiculus. Gbotto of Egbbia. S. Ub- BANO. — From the Arch of Gonstantine to Domine Quo Vadis about 2 M., thence to 8. Urhano UU H. (thus far driving is practicable) ; from this point across the fields to the Via Appia Nuova and Via Latina IVs M. ; back to the Porta B. Oiovanni 27* M. — Or from S. Urbano to the ancient Via Appia, reaching it not far from the tomb of Gsecilia Metella, IV4 U.
At the small chapel beyond the church of Domine quo Yadis (p. 348) we take the fleld-road , which is very muddy after rain, to the left, leading for */2 M. between hedges. On reaching the open fields, we follow the road descending to the left to the mill. Near the latter is situated the so-called Temple of the Deus BedionlUBy a Ro- man tomb of Hadrian^s time, on an ancient road which formerly issued from the now closed Porta Latina (comp. p. 346). The building has been assumed by some, but without authority , to be a temple erected by the Romans, after the retreat of Hannibal, to the deity who Hurned back' the Carthaginians. The front, facing the N., was ap- proached by a flight of steps ; the entrance to the tomb is in the left side-wall. One side is ornamented with hexagonal pilasters in niches, the whole being an excellent example of skilful brick architecture. The interior (25 c.) contains two stories with groined vaulting.
Returning hence to the road , we ascend the valley of the AlmOf or Caffarella. The hill (with the * Grove of Egeria') forming the ter- mination of the valley is conspicuous. The carriage-road along the brook is at present closed by a fence, at the point where the path to the Tenuta diverges to the left. We may either climb the fence or make a detour by the hill to the right to S. Urbano (see below). Farther on, where the road to Urbano ascends to the right, we follow the path by the brook. This path leads to the so-caUed Grotto of Egeria, which was sought for here owing to a misinter- pretation of a passage of Juvenal, and a confusion between the Au- relian and the Servian walls. The 'grotto' is a Nymph«um, originally covered with marble, the shrine of the brook Almo, which now flows past it in an artificial channel, and was erected at a somewhat late period. A niche in the posterior wall contains the mutilated statue of the river-god, standing on corbels from which water used to flow. The niches in the lateral walls were also once filled with statues.
The footpath now passes a small, but formerly more extensive wood on the hill , commanding an admirable view of the Campagna and the AlbanMts., where, according to the account of the ciceroni, Numa is said to have held his interviews with the nymph Egeria.
To the right (N.), opposite us, is situated S. UrbanOi a Roman tomb of the time of the Antonines, long regarded as a temple of Bacchus, and recognised from a distance by its red brick walls. It seems to have been converted into a church in the 11th cent., from which period the paintings date.
The edifice was provided with a portico \>0TU5i \>i Iwvc ^^"^^^^^^^^ umns, wbicb was probably walled up duT\ii% Wie* Tft«.Vix«\VyB. Vb. ^Ma'*^-* wbicb occMJoo tbe flying buttresses were also «i^^^^. eorcoSX^^"^
Tbe iNTEBioB ia adorned witli paiiitiTi%a "Vi<iVw^««^ ^^^ ^
«^
352 Envir, of Rome. S. PAOLO FUORI. The Campagna,
pilasters, restored under Urban VIII., bat interestii^ on account of their origin. Tbey were ezecnted, according to an inscription on the Crucifixion over the door, by a certain Bonizo in the year 1011. On the posterior waJl is Christ on a throne imparting blessings ; also scenes from the lives of Christ, St. Urban, and St. Cecilia. — A staircase, now walled up, is said to lead to the catacombs.
To the W. of S. Urbano is the (2 mln.) 'Via Appia Pignatelli' (p. 348), which leads to the right to the (9 min.) Via Appia Antica and to the left to the (2 min.) Circus of Maxentius , which we may traverse, in order to reach the Via Appia below the Tomb of Caecilia Metella (p. 349).
In the other direction the pedestrian from S. Urbano may cross the fields to the *Via Metella*, which leads from the tomb of Gsecllia Metella to the tombs on the Via Latina (p. 346) ; or, traversing the fields beyond the Via Metella , he may proceed past the Baihs of Acqua Santa to the Osteria del Tavolato (station of the tramway to Marino mentioned at p. 367; comp., however, the remark on Le Capannelle at p. 347).
From the Porta 8. Paolo.
From the Piazza Bocca della VeritJi (p. 249) to the Porta 8, Paolo, 1 M. ; thence to the church of S. Paolo Fuori, V/t M. \ to the Tre Fbntane^ U/z M. more. — A digression to the three chnrches on the Aventine (pp. 232, 253), Monte Testaccio, and the Pyramid of Cestius (pp. 261, 252), may con- veniently be made from the ronte to the Porta S. Paolo. — Tbahwat direct to S. PAolo Fuori from the Piazza Montanara Ctramway-line Ko. 5, p. 3 of the Appendix ; between Piazza Hontanara and Piazza di Spagna, omnibus- line No. 24, p. 2 of the Appendix).
Porta 8. Paolo (PI. Ill, 16), see p. 252. — A few hundred paces from the gate the road is crossed by the railway to Fiumicino and CivitJt Vecchia. About midway to the church of S. Paolo a small chapel on the left indicates the spot where, according to the legend, St. Peter and St. Paul took leave of each other on their last journey. Before we reach the church, the pleasant Via delle Sette Chiese di- verges to the left at an acute angle to S. Sebastiano on the Via Appia, 2 M. distant; comp. p. 349.
*S. Paolo Fuori leMnra, founded in 388 by Theodosius and Valentinian II. on the site of a small church of Constantino , was completed by Honorius and was restored and embellished by many of the popes, especially Leo III. Prior to the great fire of the night of 15th July, 1823, this was the finest and most interesting church at Rome. It was a basilica with double aisles and open roof; and the architrave was supported by eighty columns of pavonazzetto and Parian marble, adorned with busts of the popes. It contained numer- ous ancient mosaics and frescoes, and in the Confessio the sarco- phagus of St. Paul, who, according to tradition, was interred by a pious woman named Lucina on her property here. The front to- wards the Tiber was approached \)7 «^ co\oxm^«^fc^ wvvk ea-tlv in the middle ages an arcaded passage coivivecXed \1 V\>i\i. >0^fe ^s^X.^ .
Tmmediately after the ftie, l^eo 1^1. \ift^^xi>-^^^ ^^^^s. ^1 t^^V^t^-
The Campagna, S. PAOLO FUORI. Envir, of Rome, 353
tion, which was presided over by Belli, and afterwards by Poletti. The transept was consecrated by Gregory XVI. in 1840, and the whole church by Pius IX. in 1854, on the occasion of the meeting of the Council. The plan and the dimensions are the same, but for slight divergences, as those of the original building, with which, however, the gorgeous decoration is somewhat inconsistent. The chief facade, with a portico borne by splendid monolithic columns of Simplon granite, is turned towards the Tiber. The mosaics on the upper part of it, representing Christ with SS. Peter and Paul, in the symbolical style of the early Christians, with the four great pro- phets below them, were executed by F. Agricola and Consoni, in the papal mosaic manufactory (18751. — The chief church fe'ti- vals take place on Jan. 25th, June 30th, and Dec. 28th.
The *Interior (130 yds. in length, 65 yds. in width , 75 ft. in height), with double aisles and a transept, is entered by the portico on the N. side (or from the road at the E. end, by a side-door adjoining the campanile, and through the vestibules mentioned below). The ceiling of the nave, which is richly coffered instead of being open, or entirely flat, like that of the early-Christian basilicas, is borne by 80 columns of granite from the Simplon.
The imposing effect of the vast dimensions and the valuable materials of the church is best perceived from the W. end of the nave , a little on one side. The two yellowish columns of oriental alabaster at the en- trance, as well as the four of the canopy of the high-altar, were presented by the Viceroy of Egypt, and the malachite pedestals by the Emp. Kicholas of Russia. Above the columns of the nave and aisles, and in the transept, is a long series of Portrait Medallions of all the popes in mosaic (each 5 ft. in diameter). Between the windows in the upper part of the Nave are repre- sentations from the life of St. Paul by Oagliardi, Podesti^ Consoni^ Balhi, etc. The windows of the external aisles are filled with stained glass (Apostles and Fathers of the church, with their names surrounded with glories). On the sides of the approach to the transept are the colossal statues of SS. Peter and Paul \ the *Confes8iOy or shrine, is richly decorated with red and green marble from Greece.
The Chancel Ahch is adorned with Mosaics of the 5th cent., exe- cuted by order of Galla Placidia, sister of Honorius and Arcadius: Christ with the 24 Elders of the Bevelation. On the side next the transept: Christ in the centre, left 8t. Paul, right St. Peter. — Under the arch is the High- Altar, with a *Canopy by AmoJfo del Cambio , the architect of the cathe- dral of Florence, and his assistant Pietro (1285). — In the Tbibune ^Mosaics of the beginning of the i3th cent. : in the centre Christ, with Pope Hono- rius III. at his feet \ on the right SS. Peter and Andrew, on the left SS. Paul and Luke. Under these are the Apostles and two angels. Below them is the modern episcopal throne. — The Left Teansept contains the (ist) Chapel OF St. Stephen, with a statue of the saint by Rinaldiy and two pictures (Stoning of St. Stephen, by Podesti^ and the Council of high-priests, by Coghetti). (2nd) Cappella del Cbocifisso : in front of the mosaic below it, Ignatius Loyola and his adherents pronounced the vows of their new order, 22nd April, 1541. — On the right, adjoining the Tribune, the (1st) Cap. DEL CoBo , designed by C. Madema, was spared by tiie fire. (2nd) Cap. di S. Benedetto, with his statue by Tenerani. — By the narrow walls of the Tbansept : to the left , altar with the Conversion of St. Paul b^ <I<mw«.<5.<5.vuV. and the statues of St. Romuald by StoccM, wci^ ^V. QiT^'saaTi V^ X.obww'vw, to the right, altar with the Corouatton ot liXi^^ Nvct^Va Vj ^^^JL ^^- etatues of SS. Benedict and Theresa by Baini wv^ TcrBwa-aJ. ^^^ v^vsco^ deUbmm by Niecolb de Angiolo and Pietro Va»»att«Uo ., vjVOsv ^^
Baedeker. Italy U. 10th Bditlon. *^
354 Envir, of Rome. TRE FONTANE. The Campagna.
the life of Christ, and ornamentation of animal forms and foliage, in fine workmanship of the 12th century.
In a straight direction from the right transept is the entrance to the monastery (see below)*, to the left we pass through several chapels con- taining some ancient but freely restored frescoes, and reach a Vkstibuue with a colossal statue of Gregory XVI., and a few frescoes and ancient mosaics rescued from the fire. The most interesting mosaics are the half- figures of SS. Peter and Paul, dating from about the 5th century. In this room is the side-entrance to the church beside the campanile men- tioned above, and to the right is the entrance to the SacriBty, which contains several good oil-paintings. Over the door the Scourging of Christ (by Signorelli ?), on the right a Madonna with SS. Benedict, Paul, Peter, and Justina. Also four single figures of the same saints. In a room beyond the sacristy is a sitting marble figure of Pope Boniface IX., an interesting work of the beginning of the 15th century. A closed cabinet here con- tains the bronze door of the ancient basilica, executed at Constantinople in 1070 by order of the consul Pantaleon; in spite of iqjuries inflicted by fire and thieves, it still retains much of its former magnificence. It is adorned with scenes from sacred history inlaid in silver.
The Monastery attached to the church belonged to the Bene- dictines from 1442 to our own time, but has recently been secu- larised and declared a *monumento nazionale'. It is shown by an official in uniform (ring; no fee). The beautiful *Cloister8 (Chiostro) of the 12-13th cent. (p. xlvi) are inferior to those of the Lateran alone. According to the mosaic inscription round the wall they were commenced by Petrus de Capua, Abbot of St. Paul's, ^arte sud* (1193-1208), and completed under John V. (1208-41); the de- coration is perhaps by Petrus Vassallettus, a master in this kind of work (comp. p. 267).
On the walls are numerous heathen and early-Christian inscriptions from the catacombs, and a few fragments of ancient and mediaeval sculp* tures , among them a large sarcophagus with the history of Apollo and Marsyas. Other parts of the convent contain numerous early-Christian in- scriptions and medallions of popes from the old basilica; the latter per- haps date from the beginning of the 5th cent., but have been repainted and are on the whole of little iconographic value.
The main road leads on in a straight direction and (7 min. beyond the church) divides at the Osteria del Ponticello : on the right the ancient Via Ostiensis diverges to Ostia (p. 394), and on the left the Via Laurentina leads in 25 min. to the —
Abbadia delle Tre Fontane (ad aquas Salvias), which was almost deserted on account of the unhealthiness of the situation and was made over in 1868 to French Trappists. Owing to extensive plan- tation of the rapidly-growing Eucalyptus the sanitary condition of the place is said to have improved. The name is derived from the legend that the apostle Paul was executed here, and that his head was observed to make three distinct leaps, corresponding to which there welled forth three different fountains. The court surrounding the three churches is approached by an archway bearing traces of j>ainting, which is supposed to have belonged to an earlier church
of John the Baptist (visitors ling-, ^oc.y
88, Vincenzo ed Anaatasio , the \^T%vi,ft\> c\l ^i^vc OwwxOa.^^ ^ ^ V^'^vUca in the ancient style, founded by WonoxVual., ^w^ tc%.V>xfc^ Vcv YXlWjYi^^i- norius III., as the inscription to t\ie \eit ot tVi^ 0;vvi\x Te«i,Q^^%^ \n.^«. \iwVe^^
The Campagna, S. MARIA SCALA OCELI. Environs, 355
again undergone restoration. It has retained many medieeval peculiari- ties, and in particular the marble windows over the nave. The portico bears traces of paintings, including the portrait of Honorius III.
To the right of this is the second church, the circular S. Maria Scala Coeli, so called from the ^vision** here vouchsafed to St. Bernard, to whom Innocent III. had presented the monastery, of a heavenly ladder, on which angels were conducting to heaven the persons whom his prayers had released from purgatory. In its present form the church dates from the close of the 16th century. The tribune contains good mosaics by P. Zueearo : the saints Zeno (?), Bernard , Vincent the deacon , and Ana- stasius(?), who are revered by Clement YIII. and Card. Aldobrandini, the finisher of the church.
The third church, S. Paolo alio Tre Fontanot stands on the spot where the apostle is said to have been beheaded, and contains the three springs already mentioned. In the centre is an antique mosaic represent- ing the four seasons, found in Ostia, and presented by the Pope in 1869. By the spring to the right stands the column of white marble to which St. Paul is said to have been bound at the time of his execution. The present edifice dates from 1599.
Before leaving, the visitor is conducted to the distilling-room, where a glass of Eucalyptus liqueur is offered to him (fee 50 c).
The hills above the abbey, which are honeycombed with puzzo- lanapits, command delightful views. Close by is a large peniten- tiary.
From the Porta S. Fanorazio.
TheYla Garibaldi leads in 5 min. from the Acqua Paola (p. 329) to the Forta di S. Fanorazio (PI. II, 9), on the summit of the Janlculum (275 ft.), acljoining the ancient Porta Aurelia. It was stormed by the French under Oudlnot In 1849, but restored in 1857 by Pius IX. From the Oateria di Belvedere, to the right, outside the gate, we have a picturesque view of St. Peter's, which seems to close the vista at the end of a verdant valley. Close by are several other osterie. The surrounding summer-houses and the church and monastery of /S. Pancraaio, V4^- *o *^® 1®^*j ^^^^ also seriously damaged in 1849. The church was erected bySymmachus about the near 500, but has been frequently restored. — In a straight direction we reach the entrance to the —
*Villa Doria Famphilj (PI. II, 9 ; admission, see p. 123), planned by Algardi, and skilfully adapted to the undulating character of the ground, at the instance of Prince Camillo Pamphilj, nephew of Inno- cent X., and now the property of Prince Doria. It is sometimes called by the Italians BelrespirOj and the grounds are the most ex- tensive and perhaps the pleasantest near Rome.
On entering, we follow the carriage-road , which passes under a triumphal arch, and leads in windings (8 min.) to the entrance of the Casino, in a reserved part of the garden. On the right is a ter- race with a *View of M. Mario and St. Peter's, between which the horizon is bounded by Mte. Soracte, and a part of the Cam.^a.'^Naw.
To obtain admission to the Gabiiso, "buWt \i^ AX^at^x^ -w^ ^^sv% at the gate oppoaite the terrace. Tb© waWa w© ^crrafc^ ^w^^Co. x^n-^"^ (ohie&y from ancient sarcophagi^i and aUtw^a. Ttv^^ «Xwt^ ^-a.^^^
356 Envir. of Rome. THE CATACOMBS. AdnU$8ion.
the Platfobm of the villa, commanding a fine ^Panorama of the grounds and environs. The sea, to the S.W., is said to he visible in clear weather (fee V2 ^^O-
Leaving the Casino, vre next visit the * Columbaria rnider the trees to the right, discovered in 1838, and situated on the ancient Via Aurelia. One of them is well-preserved, and contains some interesting paintings (Prometheus delivered by Hercules, Death of the children of Niobe, etc.). Apply for admission to the custodian of the Casino.
The flight of steps by the Casino descends to the flower-gaiden, where the camellias are particularly fine.
The carriage-road by which we reached the Casino turns to the left and skirts a meadow, carpeted in spring with anemones (in the centre an altar, with representations of seven gods, and Antoninus Pius holding one of the Penates). After 5 min. , where the road turns to the right, a beautiful •View is obtained of the Alban Mts. and the Campagna ; it then winds past a celebrated grove of pines and leads along the bank of a (10 min.) pond with swans to the (5 min.) fountain by which it is supplied. The Casino may now be regained either by the direct path , or by the carriage-road, which leads in 4 min. to the hothouses (r.), and the pheasantry (1.), with its beautiful silver-pheasants. On the roadside (1.), 50 paces farther, a monument was erected by Prince FlI. Andr. Doria in 1851 to the memory of the French who fell in 1849 and were interred here.
The Catacombs.
Ancient and Christian Rome seem to be separated hy a wide chasm, if the modern appearance of the city alone be regarded. The most ancient churches having disappeared, or being concealed beneath a modern garb, the earliest Christian monuments of any importance are several centuries later than the last Roman structures. This interval is satisfactorily filled up by the Catacombs^ or burial-places of the early Christians. — Most travellers will be satisfied with a visit to the Catacombs 0/ SI. CallUtus^ and perhaps those of St. Agnese (both shown daily , except in midsummer ; comp. pp. 361, 342). On 22nd Nov. the Catacombs of Callistus are illumin- ated and open to the public. Information as to admission to the other catacombs may be obtained of the custodians of the Callistus Catacombs,
Scientific visitors may apply for additional information to Commenda- tore Oiov. Batt. de Rossi., Piazza Aracoeli 17, upper floor.
I. History op thb Catacombs. The term 'Catacombs' is modem, having been extended from those under S. Sebastiano, to which the topographical name *ad catacumbas^ was anciently ap- plied, to the others also. The early Christians gave their burial- places the Greek name of Coemeteria, i. c. resting or sleeping-places, probably with reference to the hope of the resurrection. The Roman law, frequently re-enacted during the empire, prohibiting the interment of the dead, or even theVi a.?>\\fe%, -^UYAw the precincts of the city, was of course binding ou t\ie C.\iT\%\.\w\% ^^Q. ^^ ^\y^Q,x\- ingly and their burying -places s\t\ia\^il\iex.^«i«ivv IV^ \«x.^tv^^x^
History. THE CATACOMBS. Envir. of Rome. 357
milestones beyond the Anrelian wall, to which Rome had extended long before the construction of the -wall itself.
While the European nations had become accustomed to dispose of their dead by cremation, the Egyptians and the Jews retained the practice of interment as being more in harmony with their views on the subject of a future state. The prevalence of similar views among the Christians gave rise to the excavation of subterra- nean passages, in the lateral walls of which apertures were made for the reception of the corpses, Burial-places of this description are to be found at Naples, Syracuse, Chiusi, Yenosa, in Alexandria (in Egypt), and elsewhere, as well as at Rome.
It was formerly supposed that the early Christians used ancient arenaria, or pits of puzzolana earth, for this purpose, and extended them according to requirement, but this theory, as well as the belief that the different catacombs were all connected, has been refuted by modern investigation. These subterranean passages are proved to have been excavated almost solely for the purposes of Christian interment, in the soft strata of tufa (tufo granolare), of which most of the hills near Rome consist, and which is rarely employed for building purposes. The hard tufa used for building, and the puz- zolana, which when mingled with lime yields the celebrated Roman cement, have been penetrated in a few exceptional cases only.
The Roman Catacombs took their rise fiom Family Tombs j which were named after their original proprietors, such as those of Lucina^ PontianuSj and others. The approaches to these vaults were every- where wide and conspicuous, without any indication of attempt at concealment. The oldest belong to the first century of our era, while the most recent date from the first half of the 4th century. In the 3rd century the Chitrch began to establish burial-places of its own and to take the management of those already existing; and this supervision seems soon to have embraced all the Christian burial- places. Each district was presided over by a presbyter.
During the 3rd cent, the persecuted Christians frequently sought refuge in the Catacombs ; but they were sometimes followed into their subterranean places of refuge, or there arrested or slain. Peace was at length restored to the Church and security to the Catacombs by Constantino the Greafs ediot of Milan. Throughout the 4th cent, interments here were customary, but they became rarer towards the beginning of the 5th, and were soon entirely discontinued, as it then became usual to inter the dead near the churches. The last three Ca- tacombs appear to have been constructed by Pope Julius in 336-47.
The Catacombs, however, as well as the tombs of the martyrs, still enjoyed the veneration of pilgrims and the devout. As early as 370 Pope Damasus caused numerous restoia.tlQii& \j5i\i%^TSia.^'5i^'«»Ssu the most important tombs to be iTiim8\iG^m^Ta^\'tV<i»N.V^N&<55^^ apertures for light were constructed, to Uc^\.^\» ^^ v^^^^'^ ^C^'^^^ ors, and the walls at a compaiativeV^ \«Jtfe ^ct\a^ ^^wsvw
35S Emir. f>f Borne. THE CATACOMBS. Buion^.
pzintlTn^j wbi^h differ matemlly fr:>iii Utose of tke earliest CknstiaBs in f abject and treatment. Durinr the Creqoent (ierastatioiis imder- j^fme hy the city, however, the Catacombs were also ^llaged and injared. the first time on ths oe«;a5iOB of Ae fiege by the (jro^s in do7. and afterwards daring the fiege by the Lombards in To5. when they suffered still more seriously. 'The inraderB ransacked the burial-places of tiie martyrs with pious zeal, searching for the bones of saints, which they deemed more preeions than gold, and giTing them arbitrary names, carried them home in hope of selling them at a great price. That a skeleton was found in Roman soil was suffi- cient warrant to them for attributing miraenloos virtue to it, and thns it probably happened that the greatest sinners boried in the catacombs frequently had their remains exhamed and revered as as those of saints' (Gregorovius). After these different plundeiings the Catacombs were restored by John III. (560-73) and Paul I. (757-68) ; but the transference of the remains of the martyrs to tiie altars of the city had already taken place in the most wholesale manner. In 609, when Boniface IV. consecrated the Pantheon as a church, he caused twenty-eight waggon-loads of the bones of ^saints' to be disposited beneath the altar ; and an extant inscrip- tion records that no fewer than 2300 corpses of ^martyrs* were buried in S. Prassede on 20th July, 817. Hadrian I. (722-95) and Leo III (795-816) also made attempt*} to preserve the Catacombs from ruin, but the task was abandoned by Paschalis I. (817-24), after whose time the Catacombs ^adually fell Into oblivion, those under 8. Sftbastiano alone remaining accessible to the visits of pilgrims. At length we find traces of renewed visits to a few of the cata- combs towards the close of the 15th cent, partly by pilgrims, and partly by members of the Roman academy of the humanists, but the scientific exploration did not begin until fully a century later. In 1578 some workmen accidentally discovered an ancient Goemeterium near the Via Salara, and from that period the subject began to ex- cite general and permanent interest; and the Roman church has since then resarded the supervision of Roma SotUrranea as a poiut of honour. The pioneer of the scientific examination of the Cata- combs was Antonio Bonio of Malta, who devoted thirty-six years of his life to the task, but his 4{oma Sotterranea' was not published till lf)32, three years after his death. His researches, although afterwards followed up by other scholars, were at length threatened with oblivion, but within the last twenty or thirty years he has bfien worthily succeeded by the Jesuit Marchi and the able brothers De Rossi, Michele, the geologist, and Giovanni Tiaitista^ the archaeologist. The last has begun to publish the result of his //iflofatf/^ablo labours in a Collection of Ancient Christian Inscrip- thn» a fit vol. 1861 ), in a work ei\V\l\e<\. ^RomaSolUTta-uta ^«tvol. ^^64, 2ni\ vol. 1867, 3rd vol. i^lT^, ^^.tx^l \iv\Xv<i^Tiu\.UUxwi d\ M- cheoCogia Cristiana' ( 1863 et sec^.y Coiu^. aX-^^ ^- '^'>'^-
Arrangement. THE CATACOMBS. Envir, of Rome, 359
n. Thb Ab&anoement op thb Catacombs was originally ex- tremely simple. Narrow passages, 2^2 ^t. In width, and afterwards even less, were excavated and furnished with loeuli , or recesses in the sides, of the length of the body to he interred. These niches were placed one above the other, as many as three and more being sometimes thns disposed , and when the body was interred they were closed vrith tablets of marble, or occasionally of terracotta, which were either left plain, or merely recorded the name of the deceased, with the addition Hn pace'. The older inscriptions are sometimes in Greek, but the later always in Latin. This change illustrates the progress of Christianity from the position of an alien creed to that of the accepted religion of a native and national community. Important inscriptions are now united in the great collection in the Lateran (p. 271), while the niches are generally empty in consequence of the mania for relic-hunting, already mentioned, which even during the present century is not entirely extinct. The practice is now being introduced of leaving all the monuments in the places in which they are found.
The increase of the community and the; transformation of burial- places originally intended for families and their co- believers into public cemeteries could not fail to affect the external arrange- ments of the Catacombs. By degrees they were extended ; the pas- sages became narrower and higher, or rose in several stages, some- times as many as five , one above another. Catacombs originally distinct were connected by means of new excavations, and the com- plicated nature of these alterations and extensions is still apparent to the observer. These operations were carried out by a regular society of Fossorea (or diggers), who ceased to exist only when the use of the catacombs was discontinued. Altered times and circum- stances naturally exercised an influence on the appearance of the catacombs. They originally differed little from similar heathen local- ities ; and the use of sarcophagi , instead of Interment in the rock without other receptacle, was not uncommon, while other distinct- ions between the burial of the rich and that of the poor were also sometimes made. In most cases the bodies were vrrapped in cloth, on their breast was laid the consecrated bread of the sacrament, and various ornaments and memorials were Interred along with them. Adjacent to the slabs which closed the niches were frequently placed earthen lamps, partly as symbols of the resurrection, and perhaps also for practical purposes , just as lamps had always been much used in the heathen observance of worshipping the dead.
The system of monotonous passages was sometimes broken by the introduction of larger chambers, which were used as cubicula^ or family burial-places, and were private i^TO^ersXrj . \asiNX:^ ^'^ ""^^^ find chambers that were set apart for tWe G^X^xaXNoTk. q>1 ^^^^^^^^^T^^Lk ship; but tbeae aU date from the Mh <»iit., ^\i«Q.\Xv«1 ^^^^ ^«Cssr^ up for the celehraUon of ecclesiaaticaX t©«\VHi\& Va Vot^^^^
360 Envir.ofBome, THE CATACOMBS. Deeoration.
martyrs, which came iuto vogue at that period. The ordinary ser- vices, however, were performed in the private dwelling-houses in the city, and not in the Catacombs, as has been erroneously supposed.
III. The Decoration of the Catacombs is one of their most interesting features. Christian art in origin could, of course, be but an application of ancient precepts to the new objects and con- ceptions introduced by the new religion. The paintings and sculp- tures of the Catacombs are therefore in no respect different in style from contemporaneous works* and with them shared in the precipi- tate and almost total degradation of art. The best frescoes belong to the end of the 1st and beginning of the 2nd century. With the general decline of the Roman empire in the 3rd and 4th century, artistic forms became distorted and unpleasing, and in the case of decorative works there is no difference in style between Christian and heathen art, especially during the earlier periods.
On the other hand, a peculiar significance in the choice and treatment of the subjects is observable from the earliest period. Comparatively few historical paintings are met with, and these haye no other object in view than the illustration of some simple fact from Jewish or Christian lore. Once the Madonna and Child by themselves are observed (Catacombs of Priscilla) ; generally they are accompanied by the Magi, varying in number, who present their offerings, as in the Catacombs of St. Callistus, Domitilla, and Pris- cilla. Scenes of martyrdom do not occur earlier than the 0th century.
The great majority, however, of the paintings represent scenes symbolical of the doctrines and hopes of Christianity. That of most frequent recurrence is the Resurrection, typified either by the rais- ing of Lazarus, who appears at a door wrapped in his grave-clothes, while Christ, represented beardless, stands before it with a wand, or by the history of Jonah sitting under the gourd , the prophet swallowed by the whale, and his final escape. The Good Shepherd also frequently appears , with the lost sheep on his shoulders , and sometimes surrounded by lambs. Abraham's Sacrifice, Noah in the Ark, and the Hebrew Children in the fiery furnace belong to the same category. Daniel in the lions' den is another favourite subject, and he is generally represented with his hands raised in prayer, an attitude in which the deceased themselves are often depicted (^orantes'). The Miracles of Christ also recur frequently. In the ^sacrament-chapels' of the Callistus Catacombs we also meet with representations of Baptism^ in realistic style, and the Last Supper, treated symbolically. The fish, too, by a kind of acrostic, formed an important Christian symbol , as the Greek t/^i;p (fish) consists of the initial letters of: Irjaovs X{}iaTos Geov Ylog 2j(OTrjg (Jesus Christ the Saviour, Son of God). All these subjects and many ot/jere, especially the traditions olt\xeO\«JLTfe?»XvKvcT\X.v?\\\R\s.«5.Qutain a typical reference to New Testamewt \v\%\.orj V^^^^^Xv ^^^'^^'^^ %\ss:\\.- ing the rockj, recur continuaUy m t\ve ^^m^Viv^^ q1 ^V^ v:.^\.^^^m\.%
Cat, of St. Callistus, THE CATACOMBS. Envir, of Rome, 361
and in the sculp tuies on the ancient Christian sarcophagi. The inscriptions corresponding to these were, as already mentioned, of a very simple description down to the middle of the 3rd cent., after which they become more lengthy, and contain more elaborate ejaculations of grief and hope. — For purpose of study, the collec- tions of pictures, inscriptions, and sarcophagi in the Chnstian museum of the Lateran (p. 270) will be found indispensable.
The Catacombs extend around the city in a wide circle, the major- ity, however, being concentrated between the Via Salara, the Via Nomentana, the Via Latina, the Via Appia, and the Via Ostiensis. Upwards of forty different Catacombs , varying greatly in extent, and only partially accessible, have been discovered. That of Cal- listus alone has been thoroughly excavated. According to Michele de Rossfs careful calculations, they cover an area of 615 acres. In order, however, to form an accurate idea of their extent, it must be borne in mind that the passages run one above another, as many as five being sometimes thus disposed. The highest of these lie 22-25 ft. below the surface of the earth , while the lowest are 40-50 ft. deeper. If the whole of these subterranean passages were placed in a continuous line, their total length would be about 545 English miles. The most Important of the Catacombs only need be enumer- ated here, and of these the most instructive are the — -
*Cataeomb8 of St. Callistus on the Via Appia, 1^4 M. beyond the Porta S. Sebastiano (p. 348). On entering the vlgna in which they are situated, we perceive a small brick building with three apses. This having been identified by Giov. de Rossi as the ancient Ora- torium S. Callisti in Arenariis, he induced Pius IX. to purchase the ground, and his investigations were speedily rewarded by most im- portant discoveries. Admission to the catacombs (1 fr.) is paid at an adjoining cottage. Three Trappist monks, absolved from the vow of silence, act as guides, and provide lights. The Oratorium con- tains inscriptions and reliefs from the catacombs, a plan of this city of tombs, and copies of the most important mural paintings. The present entrance to the catacombs immediately adjoins this building. A passage with tombs is traversed, and the * Camera Papale, or Cubictdum Pontificiumf a chamber of considerable di- mensions, is soon reached on the left, containing the tombs of several popes (Anteros, Lucius, Fabianus, and Eutychianus) ; ori- ginally also that of Sixtus II., who died as a martyr in the Cata- combs in 258. In front of the central wall is a long metrical in- scription in honour of those interred here, composed by Pope Damasus about the close of the 4th cent., and engraved in elegant and de- corated characters invented specially for the purpose by Furius Dio- nysius Philocalus, the secretary of that pope. 0\i\»\^fc \is^%^ vs»ta»sN5t.«6i^ on both sides, a great number of insci\pt\0Tv%\ivift\i^«^'^^^^^^'^^^^ devout visitors of the 4th-6th centxiiiea. 'Wc^tlgiX. «t^\«t ^""^"^^""^^i^ open above, which once contained tlie Towib of B^. Cecxwo..,
362 Envir, of Rome, THE CATACOMBS. CaL of DomitiUa.
remains are now in the church of S. Cecilia in Trastevere (p. 331). On the wall here are several Byzantine paintings of the 7th-8tii cent. : St. Cecilia, St. Urban, and a head of Christ. The walls of the aperture for light bear traces of other frescoes. On St. Cecilia*s Day (22nd Nov.) mass is celebrated here, on which occasion the chapel and the adjoining chambers are illaminated and open to the public. In the sides of the passages near these chapels are several chambers known as 'sacrament chapels', which are adorned with symbolical representations of the communion, baptism, and other scenes of the kind already mentioned. Then follow the Tomb' Chamber of Pope Eusebius (309-11), with an old copy of an in- scription by Damasus, and another with two sarcophagi still con- taining the remains of the deceased, one of them preserved in a mummy-like form, the other-almost entirely destroyed. The Tomb of Pope Cornelius (251-52) originally belonged to the separate cemetery of lAicina.
The Catacombs of 88. KereuB and Aehillea8) or of Bomitilla, near the Catacombs of Callistus, on the Yia delle Sette Chiese (p. 349), contain the greatest number of inscriptions (upwards of 900), and are among the earliest foundations of the kind, vying in antiquity with the Crypts of St. Lucina , and the Catacombs of St. Priscilla. DomitiUa is said to have been a member of the imperial house of the Flavii. In two of the five ancient entrances are frescoes of the beginning of the 2nd cent., representing genii in the Pompeian style, figures of the Good Shepherd, Daniel, and others of the ear- liest type. In the centre of the catacomb is the large and nearly quadrangular Basilica of St. Petronilla, who, according to the leg- end, was the daughter of St. Peter. The basilica, built in the second story of the catacomb, projects with its roof into the open air. On the column of a canopy is represented the martyrdom of St. Achilleus in relief, perhaps the earliest work of the kind f5th cent.). Everything else is in a ruined condition, but the church has recently been partly restored. It was used from the 5th to the 8th cent. only.
The Catacombs of St. Prsetextatus , on the Via Appia towards S. Urbano (p. 351), contain decorations similar to those of the sta- tion of the Vigiles at Trastevere (p. 337). In the burial chapel of Vibia here are still to be seen gnostic heretical representations (Her- mes as conductor of the dead, etc.).
The Catacombs of 8t. FriBcilla lie on the Via Salara, 1^/^ M; from the gate (p. 338). The oldest part consists of a square cham- ber, called the 'Cappella Greca', owing to its Greek inscription, which contains interesting paintings of the 3rd century. Farther on, among the decorations of the ceiling, are a Madonna and the Child, with Joseph, the oldest Ma^oima. \tv fe^\?>\.c^^fe ^ ^"^-Xjav^ ttom the latter half of the 2nd centux-j. Co\o\vxei^ Vu^'JAV^^'e^Qtv^ ^vv \j^fc%^ of the earliest and simplest type, we aX^o occa&\Q\\v;^Vi Iqmx^^V^x^,
Jewi8h Catacombs, THE CATACOMBS. Envir, of Rome, 363
The Cataoombs of S. AgneBe, under the church of S. Agnese Faori le Mura (p. 342), are destitute of painting, but are to a great extent stiU in their original condition. They are shown by the sacristan without a permesso. — About 1/4 M. beyond the church is another catacomb, called the Coemeterium Ostrianumj which contains numer- ous family burial-places.
The Cataoombs of S. SebastianO) below the church of that name on the Via Appia (see p. 348^, the only burial-places of the kind which continued to be visited in medisBval times , have been almost entirely deprived of their enrichments. One chamber recently ex- cavated is interesting on account of the portrait of a Christian gladi- ator which adorns it. — In the vicinity are the —
Jewish CatacombSf in the Vigna Randanini (p. 348 ; adm. 1 fr.), which were excavated about the 3rd century. They rather resemble the catacombs of Naples than the other Roman catacombs. The in- scriptions are exclusively Greek and Latin. The most frequently re- curring symbol is the seven-branched candelabrum. Two chambers are enriched with decorative paintings , in which, contrary to the Mosaic law , figures of animals are depicted. A sarcophagus here bears traces of gilding.
The Cataeombs of SS. Peter and Marcellinas , near Torre Pignattara (p. 345), are among the most extensive. The ceiling of a lofty chapel bears an Enthroned Christ, with St. Paul on the right, and St. Peter on the left, with four saints below, quite in the style of the earliest mosaics. Other frescoes, such as two scenes of Agapee (love-feasts), belong to the 3rd cen- tury. The representation is often very realistic. A very fine cemeterial glasa, with a design of the Temple of Jernsalem in gilt ontline, was found in these catacombs in 1883.
The Catacombs of St. Pontianus, situated in the Vigna di S. Michele, V2 M- from the Porta Portese (to the right before the Strada di Monte- verde), are excavated in the breccia of Monte Verde. At the foot of a stair- case descending into it is a basin with water, serving as a baptistery. On the wall beyond is the Baptism of Christ (with a stag near the Jor- dan), above a large cross in the later style. Above the stoircase are two large medallions with heads of Christ of the 6th and 9th (?) centuries.
The Oratorio of S. AlesBandro, 6 M. from the Porta Pla (p. 341), in the Tenuta del Coazzo is a long, half-subterranean building, the very poor masonry of which is well preserved in the lower part. According to an inscription on the altar, this was the tomb of a certain Alexander, perhaps the bishop of that name. The oratory is surrounded with lofty passages still containing undisturbed tombs.
Catacomb of St. Oenerosoy see p. 393.
2. The Alban Mountains.
The Alban Mountains, i2V2 M. to the S.E. of Rome, form a volcanic group with several extinct craters, two of which are occupied by the Alban Lake and the Lago di Nemi. Monte Cavo (3145 ft.) is the highest summit. On the K. slope of the group lies Frascati, and on the £. slope Albanoy both of which have been surrounded since the most ancient times with the country-houses of wealthy Romans. The green\iVi.-^«^ ^^)X».^>KaJ^w^ *^ peperinoy which is quarried near Albano, ia «i tv»w«SXfe XyvsSAIvo^ ^*^'^^'^4v .dJ^aa Wine was praised hj Horace and ia aUW mxic\v fe«Xfc«vsxfi.^- ^XSSe^ •*. natural beauty of the scenery here baa aV-wa^a laaAft XXva^^ '^^^^*»«rt^'w^ favourite resort of visitors from Borne. TYve •va\\«X>\X»^'^ \v^n^ ^
364 Environs of Rome. FRASCATI. Allan Mis.
many of their peculiarities, thongli the famous costume of the Alban women is seldom seen except on Sundays and holidays.
Plan of Exgubsion, IVz day. 1st Day: afternoon train from Home to Frateati or Albano, the only places where there are good iuns& in the evening visit Tusculum from Frascati, or Castel Gandolfo from Albano. — 2nd Day: walk from Frascati in 2V2hrs., or drive by the high-road (one- horse carr. about 8 fr.), to Rocca di Papa (p. 872); ascend Monte Gavo (p. 372), V4 hr. \ descend to Nemi (p. 371), in IV* hr., and walk thence to Genzano (p. 370 ; V* ^r.), AHecia (p. 370 \ Vz hr.), and Albano (p. 368 i »U hr.). This excursion may be made in the reverse order from Albano, the tra- veller, however, proceeding from Rocca di Papa to Frascati by a footpath (2V2 hrs.) passing Tusculum. The Orotta Ferrata is interesting mainly on account of the frescoes by Domenichino (p. 367) ; this part of the moun- tains as far as Marino and Bocca di Papa offers least in the way of scen- ery. — The excursion from Albano to Monte CavOy returning by Nemu Oemano, and Ariccia (6-7 hrs.) may be accomplished in a single day; and Frascati and its neighbourhood may be visited in the course of one after- noon. In this case the night need not be spent out of Bome.
Those who have plenty of time, and do not object to an occasional deviation from the direct route, will have no difficulty in finding their way with the aid of the map and following directions. When Guides (about 3 fr. a day) are made use of, a precise programme of the excursion should be agreed upon beforehand, as they are apt to cut the journey short to the traveller's disadvantage. In spring and autumn Walking in this dis- trict will be found pleasant ; but in the warmer months the traveller will find it convenient to follow the native custom of using Donkbts (about 6 fr. per day, including driver). Cabbiages may be hired at Frascati and Albano, but the most interesting routes are only practicable for pedestrians and riders. The charges are as high as at Bome (25-30 fr. per day).
Frascati and its Neighbourhood.
Railway from Rome to Frascati, 15 M., ^in 48min. (fares 2 fr. 75, 1 fr. 90, and 1 fr. 25 c. ; return-tickets, comp. p. xix). — Journey to (8^/4 M.) stat. Ciampino, see p. 368. The train to Frascati gradually ascends. The station lies immediately below the Piazza, where the high-road to Rome begins.
Frascati. — *Albekgo di Fkascati (branch of the Alb. Milano in Rome), in the Villa Zuccala, B. 21/2, B. I1/4, lunch 2%, D. 4fr.^ 'Al- BBSGo DI Londba, in the piazza. — On the left, at the entrance to the town, in the Via Bomana, Trattoria del Sole. Near the pia/za, the Nuova Trattoria della Ripresa, well spoken of, kept by E. Filipponi, best rooms on the 1st floor. Good wine at [the Nuova Trattoria di Cipoletta^ in the street to the left of the church. — Lodginj^s easily obtained in the Villas Piccolomini, Falconieri , Muti, and others (single rooms 30-40 fr., 3-4 rooms about 100 fr. per month).
A visit to the Villas, which arc always open to the public, and to Tusculum, takes 2V2-3 hrs., the best route being by Villa Aldrobrandini and Rufflnella in going, and by Camaldoli and the Villas Mundragonc and Taverna in returning. Guides and Donkeys^ necessary only when time is limited, 2-3 fr.
Frascati , in a cool and healthy situation , on the slope of the
mountains, with its beautiful , shady, and well-watered villas, is a
favourite summer-resort of foreigners as well as natives. The
ancient Tusculum having been destroyed by the Romans in 1191,
this town (with 7000 iiihab., mc\. eivNiiowi^, ^VV^V \& \\\s\^uificant
and comparatively modem, spiaTv^ u^ ow x^ve x\i\w^ qI ^ ^v^xxsv^x x^^^
overgrown with underwood (/Vasche), ^lom^Vi^VV^^^^^^^^'^'^'^^'^^'^
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I
Alban Mis. TUSCULUM. Envir, of Rome. 365
At the S.W. entrance to the town, which is reached by the high- road from Rome (and also from the station) in a wide curve, lies the Villa Conti , with fountains and beautiful points of view, the property of the Duca Torlonia. — In the piazza, which is embellish- ed with a pretty fountain, rises the cathedral of 8. PietrOj erected in 1700 under Innocent XII. To the left of the high- altar is a memorial- tablet to Charles Edward, the young Pretender, grandson of James II., who died at Frascati on 31st Jan., 1788. — The more ancient cathe- dral of 8. Rocco dates from 1309.
From the piazza we ascend the street (CorsoVittorioEmanuele) to the right, past the cathedral of S. Pietro and the donkey-station. Above the town , on the left, rises the ViUa Piccolommiy once the residence of the learned Cardinal Baronius (d. 1607).
Farther on we reach, on the right, the handsome * Villa Aldobrandini, erected by Oiacomo deUa Porta for Card. Pietro Aldo- brandini , nephew of Clement VIII. , and now the property of the Borghese. The palace contains paintings by the Cavaliere d'Arpino. The grounds are adorned with cascades and beautiful oaks, and the views are very extensive , especially from the roof of the semi- circular building.
The road to Tusculum next passes the Capuchin Church (i M. above the town , containing a few pictures), and soon reaches the entrance to the *Villa Ruffinella, or TuscuUinaj of the 16th cent., formerly the property of Lucien Bonaparte, afterwards that of King Victor Emmanuel, and now belonging to Prince Lancelotti. In Nov., 1818, Lucien was attacked and robbed here, an event ad- mirably described in Washington Irving's 'Adventure of the Artist'. The celebrated Villa of Cicero (the 'Tusculanum') is generally be- lieved to have occupied this site. Inscriptions and antiquities found in the neighbourhood are shown.
The other villas lie on the height to the E. of Frascati. The nearest is the Villa Tavema and a little farther on is the Villa Mondragone, erected- by Cardinal Altemps under Gregory XIII., both the property of the Borghese, surrounded by delightful gardens and points of view. The latter is now occupied by the Jesuits as a school. — Above the Villa Taverna is situated the Villa Falconieriy the oldest in Frascati, planned by Cardinal Rufflni before the year 1550, and erected by Borromini, possessing pictures by C. Maratta and others , and shady gardens. — On the height to the E. lies the suppressed monastery of Camaldoli , founded by Pope Paul V.
From Villa RufflneUa (ascending to the right from the palace) a shaded, and partly ancient road , leads to the site of the venerable town of Tageuliun, the foundation of which is traditioivaii.^ ^.%^x&i^^ to Telegonus, the son of Ulysses and Ciic^, \\v(& XatJCk^^^^^'^^'^'^ elder Cato and a favouxite residence oi Cieeio. \^ ^^ "^^^^t,^^^, the anoient castle on the summit oi t\i© \>aV ^^"^ ^i^cvi:^^'^^ ^
366 Envir. of Rome. TUSCULUM. Alban Mis.
warlike race of counts, who were generally in league with the emperors against the Romans. The latter, having heen signally de- feated in the reign of Frederick I. in 1167 , retaliated by dismant- ling the castle in the pontificate of Coelestinelll., in 1191. Nothing therefore now remains of the ancient Tusculum but a heap of ruins.
In ascending from the Villa Ruffinella, we soon obtain a view of the Amphiikeatre , outside the town-walls (longer diameter 77 yds., shorter 57 yds. ; arena 52 yds. by 31 yds.), which is called by the guides Scuola di Cicerone. The so-called Villa of Cicero, excavated in 1861 by Prince Aldobrandini, is next reached. On the right is the ancient Forum and the ^Theatre (about 3 M. above Frascati), excavated, as an inscription records, in presence of Maria Christina, dowager Queen of Sardinia , on the occasion of the arrival of Gre- gory XVI., 7th Oct., 1839, and remarkably well preserved. At the back is a Piscina, or reservoir, in four compartments. The guides generally propose to return from this point, as the path to the castle is rough and hardly practicable for donkeys.
The ^Castle (arx) lay on an artificially hewn rock, now surmount- ed by a cross , 174 ft. above the ancient town (an ascent of about 1^4 hr. from the piazza). Two gateways and the direction of the walls are still traceable. Magnificent *Vibw from the top (2220 ft.). On the right are Gamaldoli and Monte Porzio ; farther distant the Sabine Mts., with Tivoli and Monticelli.; then Soracte and the Ci- miniauMts. ; towards the sea the broad Oampagna with its aqueducts, Rome, and the dome of St. Peter's ; to the left, the Alban Mount (M. Cavo), Castel Gandolfo, Marino, and Grotta Ferrata.
Descending from the theatre and turning to the right, we ob- serve a fragment of the old wall , and adjoining it a very ancient *Reservoir of peculiar construction, formed of massive blocks, and vaulted in an almost pointed arch. We now take the longer way back by Gamaldoli, and the villas Mondragone, Taverna, and Fal- conieri (see p. 365).
The Road from Feascati to Palestrina , ISVz M. (comp. Maps, pp. 364, 382), especially the first half, is beautiful, but destitute of shade. From the N.E. corner of the town the road leads past the lower entrance to the Villa Mondragone, which is approached by an avenue of cypresses. Farther on are the ruined vaults of an ancient villa, arbitrarily said to have belonged to Cato. After 2 M. the road passes (r.) the olive-clad hill on which Monte Porzio (1630 ft.) is picturesquely situated ; I1/2 M. farther it reaches Monte Compatri (1745 ft.), with a chateau of the Borghese. Wc do not enter the village, but pass the approach to it, and descend by a somewhat rough road, passing a wasbing-trough. Near a (1 M.) consider- able group of trees we turn to the right, and close to ('/a M.) a small chapel with an image of the Madonna , again ascend to the right. About 2 M. farther the broad road leads us to the high-road from Rome ( Via Labicana, Strada di Fale$trina); and following the latter for V* M. we reach the Osteria S. Cesario (p. 346).
Two routes lead from Frascati to (^1/2 M.) Grotta Ferrata: the carriage-road to Marino, aivA. t\ve s\vc\Tt,et \Qw\.fe\i^ "!s.^^t\v through the wood, diverging, below the Ni\U '^^^'^^^'^^■> \ft*e^^\^\\.\\Q.\siSJtv^ 'Street which leads to tbe xallvva^. ^Itv ^fe^c.ftivii\Tv^Avi^\ ^.^ ^'^x^v^..
AlbanMi8. MARINO. Envk.ofRome. 367
*/4 hr. farther, where the path divides, turn to the left ; and also to the left 5 min. farther, at the entrance to the wood.)
Grotta Ferrata, aGreek monastery of the Basilians, was founded by St. Nilus under Otho in. in 1002. In the 15th cent, it was the property of Card. Giul. della Rovere, afterwards Pope Julius U., who fortified it with moats and towers. Of the old Church nothing now remains but the vestibule, with (r.) a beautiful statue of the Madonna. The Portal, with arabesques and a Greek inscription, ' dates from the 11th cent. ; over the door are mosaics of the Saviour, the Madonna, and St. Basil. The present church, built by Cardinal Guadagni in 1754, contains nothing worthy of mention.
iNTEBioB. From the right aisle we enter the Chapel op St. Nilus, decor- ated with *Frescoes from the life of the saint by Domeniehino in 1610 (p. lix), . restored in 1819 by V. Gamnccini. At the entrance of the chapel, on the left, is represented the meeting of the saint with Otho III. ; the attendant in green, holding the emperor''s horse, is Domeniehino himself; to the right fo the horse, Ghiido Beni is also represented in a green costume, and he- hind him Gnercino. The boy in front of the horse, with bine cap and white feather, bears the features of a girl of Frascati to whom the artist was attached. On the right St. Bartholomew arrests the fall of a column, and saves the lives of the workmen. At the altar on the left, St. INilns heals a boy possessed by an evil spirit with oil from a lamp of the Ma- donna. On the right, the Madonna presenting a golden apple to St. ]^i- lus and St. Bartholomew. In the lunette, Death of St. l!?ilus. Outside the chapel , St. Nilus calming a storm by which the harvest is endangered ; the saint kneeling before the cross. On the ceiling, the Annunciation.
A monument of Cardinal Consalvi, who died as abbot of Grotta Ferrata in 1824, and several ancient sculptures are shown in the handsome Abbey, The small Madonna over the altar is by Ann. Car- racci ; a bust of Domeniehino is by Teresa Benincampi, a pupil of Canova. Fairs held here on 25th March and 8th Sept. attract numerous peasants from the neighbourhood, as well as strangers from Rome.
About 2 M. farther S., and reached either by a footpath or by the high-road, is Uaxino {Trattoria del Tramway ^ at the foun- tain), a small town famous for its wine, and picturesquely situated on a spur of the Alban Mts., 1320 ft. in height, the site of the ancient Caatrimoenium, It lies about 3 M. from the railway-station of Marino, mentioned at p. 368. In the middle ages it was a strong- hold of the Orsini, who defended themselves here against their enemies, particularly the Colonna's ; but the latter captured Marino under Martin Y. in 1424, and still possess it. The town contains a Corso (the principal street), a Four^tain, and a Cathedral dedicated to St. Barnabas. The church of La Trinith, to the left of the Corso, contains a Trinity by Guide Reni. In the church of the Madonna delle Qrazie, St. Rochus by Domeniehino. In the Cathedral a badly- preserved St. Bartholomew by Guercino.
Marino is connected with Rome by a steam-trdKi'^^^ VJ^ "Cco^^Sk ^s2^ 'vsv 11/4 hr. ; fares 2 fr. 40, 1 fir. 95, 1 fr. 30 c). luXctmfc^V^V^ ^\».\K^^i.^N ^^^'i;^!:; Ciampino (p. 368), Ze CapannelU (p. 347), II Twolalo V^.^^^> "^"^^^SSls /ara (p. 3il), and Fortonaccio (p. 374). T\ie t^TrnVivTSA %.X B.oTae ^s. ^ the Porta 8, Lorenzo, where the tramway to TVvoW «^w «V.vc\s-
368 Environs of Rome. ALBANO. Alban Mts.
From the to^n of Marino a shady road, commanding extensive views, leads through the Parco di Colonna, the well-wooded valley of the Aqua Ferentina, a brook often mentioned in history as a rallying-point of the Latins, to the Alban lake , and hy Gastel Ghin- dolfo to (33/4 M.) Albano (see p. 369).
Albano and its Nbighboubhood.
Fbom Rome to Albano. — Railway to Cbochina (Rome and Naples Railway) , 18 M. , in 35-50 min. (fares , express 3 fr. 65, 2 fr. 55 c. ; ordinary train 3 fr. 30, 2 fr. 30, 1 fr. 50 c. ; through ticket to Albano 4 fr. 10, 2 fr. 90, 1 fr. 90 c, return 6 fr. 40, 4 fr. 56, 2 fr. 95 c). The line emerges from the city-walls to the left of the Porta Maggiore. On the right the arches of the Acqua . Felice , partly upon and partly beside the remains of the ancient Aqua Claudia ; then the tombs of the Via Appia. To the left the Sabine and Alban Mts. ; at the foot of the latter, Frascati (p. 364) is a conspicuous object. At (88/4 M.) Ciampino the line to Frascati diverges to the left (p. 364; the tramway - station mentioned at p. 367 is about 8/4 M. from the railway ; ho path). — 10'/2 M. Ma- rino ; above the town (p. 367), on the mountain, is Rocca^ adjoin- ing which on the right rises Monte Gave with the white monastery walls. The train then passes through a cutting. To the left, on the olive-clad hill, appears Castel Gandolfo, immediately beyond which Albano and Ariccia, connected by a viaduct, are visible in the distance. — 18 M. Cecchina, the station for Albano and Genzano.
From Cecchina to Albano (and to Nettuno, p. 398), 2^/2 M , steam-tramway in 20 min. (fares 80, 60, and 40 c). The tram- way, however, does not always run in connection with the trains. Walkers take 1 hr. between Cecchina and Albano. — The tramway follows the high-road. The ruins of Casiello Savelli soon appear on the right ; La Turre, or Torretta, on the left. A magnificent view of Ariccia is then obtained, with the ancient castle (p. 370) on the right, and the imposing viaduct on the left, and farther to the left, Albano; to the right, by the entrance to the town, stands the Villa Boncompagni. The tramway stops in the Piazza Umberto.
Albano. — Ville de Paeis, Palazzo Feoli, R. 3 fr., dear; Roma, at the end of the town, near the bridge leading to Ariccia*, Edropa, or Posta^ R. 2 fr., cafd on the ground-floor; Rdssia, at the Porta Romana.
Ristorante Salustri in the Piazza Umberto; the landlord procures bed- rooms for visitors. — Ca/4 in the Corso.
Those who desire to make the tour mentioned at p. 364, via Palaz-
zuola and Rocca di Papa to Monte Cavo and back by Nemi, Oenzano, and
Ariccia (6-7 hr.), must turn to the right on their arrival in Albano, cross the
Piazza, take the first turning to the left in the Via Appia, and ascend
to the Capuchin convent. — The walk through the Galleria di Sotto to
Oasfel Oandolfo^ and back by t\ie Galleria di Sopra requires about 1 hr., and
may sometimes be added to the abo^e Vout Xifclw^ \Xv<i ^^^atture of the
IsLSt train.
Albano, officially Albano Latiole ^\^^b^l\.. ^^^^ V^^^^iC^, -^
Albcm MU. CASTEL GANDOLFO. Emir, of Rome. 369
small town with 6500 inhab. (inol. suburbs), situated on the ruins of the villa of Pompey and of the Alhanum of Domitian, is mention- ed as early as 460 as the seat of a bishop, and again in the 11th cent, in the contests of the popes with the citizens of Rome. In the 13th cent, it belonged to the Savelli, from whom it came into the possession of the papal government in 1697. The lofty site and beau- tiful environs of Albano attract many visitors in summer, but it is not entirely exempt from fever. It Is an excellent centre for a number of interesting excursions.
Above the station is the little Piazza Umberto, skirted by the Via Appia, which forms the S.W. boundary of the town. In the upper part of the town, which stretches up the side of the hill, between the monastery of 8. Paolo and the loftily-situated Capuchin Monastcfy (to the right from the Piazza, then the first turning to the left), lay an Amphitheatre, the scanty remains of which are seen from the road. The church otS. Maria deUaRotonda stands on the found- ations of an ancient circular temple. The ruins in the street of Gestl e Maria are supposed to be the remains of baths.
In front of the N.W. entrance to the town, to the right of the Yia Appia, rise the remains of a large tomb, called without author- ity the Tomb of Pompey. The avenue, diverging to the right by this tomb, is known as the Galleria di Sotto, see below. — On the S.E. side of the town, to the right on the road to Ariccia (to the left of the ancient road) , stands another ancient *Tomb in the Etruscan style, consisting of a massive cube, originally surmounted by five ob- tuse cones, of which two are still standing. It was formerly regarded as the tomb of the Horatii and Guriatli, and now, with no better reason, as that of Aruns, a son of Porsenna, who was killed near Ariccia.
About IV4 M. to the N.W. of Albano lies Castel Qandolfo^ which is reached by two shady avenues of beautiful evergreen oaks : the so-called *OaUeria di Soproj or 'upper gallery', beginning at the Capuchin monastery above Albano , and affording fine views of the lake ; and the Oalleria di 8oito , beginning near the tomb of Pompey at the N.W. entrance to the town, passing the Villa Bar- berini and Castel Gandolfo, and leading to (3^/4 M.) Marino (p. 367).
Castel Ghmdolfo, the seat of the Savelli in the middle ages, has belonged to the Popes since 1596. It is an insignificant place with a large Papal Palace, erected by Urban YUI. from designs by Carlo Maderrm, and splendidly situated high above the Alban lake. The chllteau (now a convent) was formerly a favourite summer-resort of the popes, and enjoys the privilege of exterritoriality.
The *Lake of Albano (965 ft. above the sea-level, 490 ft. deep^, about 6 M. in circumference, is the crater of «a. «l.\^sl<^\. ^^i^sassa^ ^^ sombre and melancholy aspect, althougli its Ie^&'qS&a ^t^^^^ «"5^S5es^^ ed. It is fed by abundant subterraneau &px\ii%%> wi'^^ "^^ ;\^«^«i^^"* a very ancient Emiaaarium whioh issues "beVo^ Oas^ft^ Qtwv^^^'^* Babdbkkk. Italy U, 10th Edition. ^^
370 Environs of Rome. ARICCIA. Alban MU.
The path to the ancient Emissarium descends steeply from the Galleria di Sopra a little before the village is reached, but the custodian mnst first be summoned from the village (fee 1 fr. ^ for a party more in proportion). The descent occupies nearly 1/4 hr., and the whole inspection about 1 hr. The Emissarium , an Imposing work ^ was constructed according to tradi- tion by the Romans in B.C. 397, during the siege of Veil, when the lake rose to an unusual height, but it is probably of still more remote origin. It is hewn in the solid rock. At the entrance is a large stone building resembling a nympheeum. The channel is 7-10 ft. in height, and issues >/4 M. below Albano by the village of La Mola , where the water is used as a motive power for mills, descending thence to the Tiber. The custod- ian floats lighted pieces of candle on boards down the stream, in order to give visitors an idea of its length (about 1300 yds.).
From Albano to Palazzaola, and thence to the top of Monte Gavo, see p. 372.
About 3/4 M. to the S.E. of Albano lies Ariccia. Beyond the Etruscan tomb mentioned at p. 369 , the road crosses the imposing * Viaduct which connects Albano with Ariccia, erected by Pius IX. in 1846-53, 334 yds. in length, and 192 ft. in height, consisting of three series of arcades of six, twelve, and eighteen arches respectively , one above the other. To the right we obtain a view of the extensive plain as far as the sea ; to the left we observe the *Park of the Palazzo Chigij a mansion built by Bernini. This park, containing fine old timber , is kept in as natural a condition as pos- sible. Permission to visit it should be obtained from the porter or gardener in the palace (fee 1/2- 1 ^r-)-
Ariccia (^CafS in the piazza), a small village, frequently attracts visitors in summer on account of the proximity of the woods. The women of Ariccia and Genzano are famed for their beauty. The ancient Aricia, which belonged to the Latin League, lay towards the S., in the Valle Aricciana (980 ft.), an extinct crater below the modern town , while the latter occupies the site of the ancient Arx or citadel. It was the fifth station on the Via Appia, which runs towards Genzano on massive and still visible substruc- tures, at the foot of the modern town. (A circuit of 1/2 ^r. by the valley, instead of the direct route from Albano to Ariccia, is in- teresting.) In the middle ages Ariccia came into the possession of the Savelli, and in 1661 was purchased by the Chigi, who are still the proprietors of the place.
The beautiful and shady new road from Ariccia to Genzano at first leads a little to the left and crosses four viaducts, which com- mand fine views. After V2 M. it passes Oalloro, formerly a Jesui- church. At the 17th milestone, about 3/^ M. farther, the road dit vides ; the branch to the left descends to a Capuchin monastery and to the Lake of Nemi (below is a partly ancient road to Nemi) ; that in the middle leads through an avenue to the Palazzo Cesarini {see below); and that to the right descends to the town.
Oenzano, a town with 5000 \w\ia\i., \qU\Vj ^\\.>\^\&^ ^.bove the S, W, bank of the Lago di ^emi, i% 5i\so muoXv n\?.\\&^ m ^x«$«sv^x, but there are no good inns, aT\^iuteim\\.Uw\.iftN^T\awQ^.x^xv^^^^^i^
AlbanMU, LAGO DI NEMI. Emir.ofRome. Hi
here. In the piazza, opposite the fountain, is the * Trattoria deUa Grotta Azzurra^ the landlord of which can procure sleeping-quar- ters in an adjoining house (bargain desirable). The wine of Gen- zano is esteemed. The place presents no attraction beyond its fine situation. The best *View of the lake is from the garden of the Pa- lazzo Cesarinif which slopes rapidly towards the water (entrance to the left, opposite the palace ; admission granted on application at the palace). — At Genzano, on the 8th day after Corpus Christi (but not every year), is held the famous Infiorata di OenzanOj or flower-festival, consisting of a procession through a street carpeted with flowers, followed by fireworks and merry-makings.
The **Lago di Kami (1065 ft.) is an extinct crater, about 3 M. in circumference, and like the Alban lake, which lies 100 ft. lower, is of considerable depth (330 ft.), and is also drained by an artificial emissarium. The water is beautifully clear , and rarely ruffled by wind. The precipitous lava-slopes of the crater , 330 ft. in height, are carefully cultivated. In ancient times it was called the Lacus NemorensiSj and sometimes the *Mirror of Diana' , from a temple, of which substructures have been discovered below Nemi, and from a nemus , or grove sacred to that goddess, whence the present name is derived. This exquisite lake is the gem of the Alban Mts.
From Genzano to Nemi 2^/2-3 M. ; by the Palazzo Cesarini we follow the road to the right, through the town, and past the church of SS. Annunziata. The pleasant road skirts the upper margin of the lake, affording several fine views. — A footpath descends to the lake from SS. Annunziata, and ascends again near the mills below Nemi.
Nemi is a small mediaeval town with an ancient fort. The inn CTrattoria DesanctiSj tolerable, bargaining advisable) possesses a small verandah which commands a delightful *ViEW of the lake and the castle of Genzano, of an old watch-tower beyond them, and of the extensive plain and the sea.
From Nemi to the (I72 lir.) Monte Cavo (p. 372) a guide is necessary on account on the intricacy of the forest-paths (1-1 V2 ^r.). Albano is a little farther distant.
Konte Cavo.
The ascent of Monte Gave may be accomplished in about SVi hrs. from Frascatiy in about 2^/4 hrs. from Albano^ and in about 2 hrs. (with guide) from ITemL The traveller had better take refreshments with him \ the monks are very civil, but the food (merely wine, bread, and cheese, 1/2- 1 fr.) and sleeping accommodation (for gentlemen) which they offer are exceedingly poor.
Fbom Fbascati to Rooca di Pafa is a distance of about 5 M. which on account of the ascent represents a walk of not less than 2V2 ^^8* The day's journey Indicated at p. 364isivj\»^>^."S^^k^'^^ by taking a carriage to Rocca di Papa Qp. ^7T^. TIV^ ^^^ ^jcs.^^^'*. to the left from the road to Marino, at ^-poiiiV. «.\\\.>^ft^«^^''^^^^;^ halfway (oomp. the Map). Rooca di Pa^a ma^ ^ao ^^^^^ ^^^"^
372 Environs of Rome. MONTE CAVO. Alban Mis,
from Tusculum (p. 365) direct in IV2 ^^' ^V Aeld and forest-paths (guide desirable, 1-1 Vi fr.).
The RouTB FBOM Albano to Roooa di Papa leads to the right at the above-mentioned Capuchin convent, where the Galleria di Sopra begins to the left. Fine view of the lake. Where the road forks we keep to the left, in the direction of the lake , even when the path seems to descend steeply. In about 1 hr. we reach the suppressed Franciscan monastery of Palazsnola, dating from the 13th cent., and situated above the E. margin of the lake. The gar- den contains a curious rock-tomb in the Etruscan style, about which little is known. — Above the monastery, on the narrow space be- tween the base of Monte Cavo and the Alban Lake, once lay in a pro- longed line, as its name indicates , the city of Alba Longa, of which no traces now remain. It will be observed, however, that the rocks in the direction of Palazzuola have been hewn perpendicularly , in
order to render the town more impregnable.
The foundation of Alba Longa belongs to a prehifltoric period, and tradition has attributed it to Ascanius, the son of ^neas. It was the an- cient capital, and the political and religions centre, of the Latin League, but was destroyed at an early period by its younger rival on the banks of the Tiber, after which, however, the ancient festivals of the League on the Alban Mt. still continued to be celebrated here.
Rocca di Papa lies 3 M. farther on, the route passing through wood. "We follow the most beaten path (which keeps to the right, along a fence, at the fork, about 1 M. from Palazzuola), and avoid those on the left, leading to Marino and Grotto Ferrata.
Booca di Papa (2646 ft. ; Caff^ delV Aurora, in the upper part of the town ; the two Trattorie very poor), a favourite summer- resort of the Romans, with numerous villas, lies on the slope of the great extinct crater of Campo d' Annibale, so named from the un- founded tradition that Hannibal once pitched his camp here during his campaign against Rome. The garrison of Rome occupies summer- quarters here in July, August, and September.
In order to reach the summit of Monte Cavo we turn to the right on the rim of the crater, which is reached by a walk of 15-20 min. througli the steep streets of the town, and ascend the well-preserved and shady Via Triumpkalis^ an ancient road, paved with basalt, once traversed in triumphal procession by the generals to whom the Senate refused a triumph at Rome. From two open spaces, about three-quarters of the way up, a better *View than from the top is obtained of Marino on the right, the Lago d' Albano, Ariccia with the viaduct, Genzano, the Lago di Nemi, and Nemi itself.
On the summit of the Monte Cavo (3145 ft.), the ancient Afons
Albanua (an ascent of 3/4hr. from Rocca di Papa), stood the venerable
sanctuary of the Latin League, the Temple of Jupiter Latiaris,
where the great sacrificial testvvaV ol \\ift Fetxat L»aUtvae was cele-
brated annually. Its ruins, ft'i^da. \oiv^ ^.iv^'i'^^^^. ^^^^^\^ ^^-
umns of white and yellow maiUe, weie m \.Q\eii)Ci\^ ^x^^«^^^^^\^ \:^
Sabine Mountains. BAGNI. Environs of Rome. 373
1783 , when Cardinal York, the last of the Stuarts, converted them into a Passionist Monastery, A portion only of the ancient founda- tions is preserved on the S.E. side of the garden-wall.
The **ViBw from several different points is incomparable. It embraces the sea, the coast from Terraclna to Givita Vecchia, the Volscian and Sabine Mts., Some and the Campagna with a number of towns and yillages, and below the spectator the beautiful Alban Mts. The distant view, generally obscured by mist, is seen to the best advantage immediately before sunrise, after sunset, or when a passing shower has cleared the atmosphere.
From Nemi to Monte Cavo, see p. 371 ; the descent, through wood, takes 1-1 V4 ^'* -^ guide is almost indispensable, especially when the traveller is hurried and wishes to avoid deviations.
3. The Sabine Mountains.
That chain of the Apennines which descends abruptly and bounds the Roman plain on the E., named Sabine Mts. from the ancient inhabitants, is full of interest for lovers of the picturesque. The formation of these mountains is limestone, differing entirely from that of the volcanic Alban Mts. , and their height is much greater, attaining to 4200 ft. As a rule the Inns are good, though plain, but enquiry as to charges should be made beforehand ^ usual charge for board and lodging 5-6 fr. , and V? ^' gratuity.
Those whose time is short must be satisfied with a yisit to Tivoli, which was a favourite summer -resort of the Romans in the time of Horace. A fine day in April or May, when the vegetation is at its freshest, is the best time for this excursion. Those who are indifferent to the saving effected by taking return-tickets may go by railway and return by steam-tramway (or vice vers&). — If several days are devoted to the Sabine Mts., and they are well worth it, the following tour may be made, ending with Tivoli, the culminating point: ist day, from Rome by early train to VaUnontone (p. 382) or to Fraseati (p. 864), and thence by diligence or on foot to Pa- lestrina; in the afternoon, walk or drive to Olevano; 2nd, to Subiaco; 3rd, to Tivoli; 4th, back to Rome. The whole trip may be accomplished by carriage (not always to be had, however, except at Tivoli), but some of the excursions at least should be made on foot or on donkey-back. The public conveyances are not recommended when ladies are of the party, in which case a private carriage should be hired. Tivoli affords the best summer-quarters, but Subiaco and Olevano are also pleasant.
From Borne to Tivoli.
1. Railway, 25 M., in li/a hr. (return-fares 4 fr. 55, 3 fr. 20, 2 fr. 5 c). This route is more picturesque than that of the steam-tramway (see p. 374). Trains start from the PrisKipal Station at Rome.
Outside the city-walls the railway crosses the steam-tramway to Marino (p. 367). On the right appears the ruined Tor d^ Schiavi (p. 345). — 5^2 M. Cervara , the grottoes near which used to be celebrated for the artists' festivals held in them. — 7^/2 M. Salone. — 91/2 M. Lunghezzaj the ancient Collatiaj a 'tenuta' belonging to the Duca Strozzi , with an old baronial castle , prettily situated in the well- wooded valley of the Teverone.
13 M. Bagxii, the station for the sulphur-baths of Acq^ Alli\j.U^ the Roman Aquae Alhulae, which were m\xc\vlifec^eiv\»ft.N-^"^^^^'^ times, and were again fitted up loT t\ve xe^^VkOvv q>\ -^^^a^"^'*'^ 1879-80 (bandBome Ourhaus ; flwimm\tig-\>a\\v% tw\*.^^'^^ «=^^ "^ tlemen; 68^ Fahr.).
,^x^
374 Environs of Rome. VILLA ADRIANA. Sabine MU,
The railway next crosses the high-road to Tivoli. To the righ fine view of the road and of the railway -viaducts farther on, with the mountains in the background. — 16 M. Monte Celio, formerly called Monticelli , said to occupy the site of the ancient Comiculum and now belonging to the Borghese family. — 20^2 M. Palombara is situated on an isolated hill , with a ch&teau of the 14th cent, belonging to the Savelli family. — View of the Cam- ^agna to the right ; in front , Tivoli , with the beautiful cypresses of the Villa d'Este. Beyond two tunnels and two viaducts we enjoy a *View to the right of Le Cascatelle (p. 378) and the town. A short and a long tunnel follow. — 26 M, Tivoli , the station of which is outside the Porta S. Angelo.
2. Steam Tramway, 18 M., in 21/4 hrs. (fares 2 fr. 50, 1 fr. 86 c, return 8 fr., 2 fr. 20 c). This is the most convenient route for a visit to Hadrian''8 Villa. The steam-cars start outside the Porta Lorenzo, for which a horse- car in connection leaves the Piazza Venezia (Via Nazionale 131) i/s hr. before their departure, running via the Piazza delle Terme (tramway- lines 1 and 2, p. 8 of Appx. ^ through-tickets to Tivoli may be obtained at the Piazza Venezia). Those who drive to the steam-tramway should dismiss their cab at the Porta S. Lorenzo to avoid paying the extra-mural tariflF (see Appx.). — Travellers with through-tickets are allowed to break their journey in order to visit Hadrian's Villa, which takes about 2 hrs. There is no osteria at the Villa, so that visitors must either bring provisions with them, or postpone luncheon until they reach Tivoli. Those who intend to walk from the Villa to Tivoli, as suggested at p. 3T7, should cer- tainly bring luncheon.
The high-road, along which the steam-tramway runs, quits Rome by the Porta S. Lorenzo (p. 343), passing the church of that name on the right. It then crosses a bridge over the railway. The first halting-place is Portonaccio , where the line to Marino diverges on the right (p. 367). The road, which is generally identical with the ancient Via Tiburtina , crosses the Anio , here called the Teverone, by the Ponte Mammolo (station, 4 M.). The river rises on the mountains near Filettino, passes Subiaco, Vicovaro, and Tivoli, where it forms the celebrated cascades, and falls into the Tiber at the Ponte Salaro (p. 341). The bridge is said to be named after MammsBa, the mother of Alexander Severus. To the right an undu- lating district with ancient towers.
7 M. Settecamini. — 12^/2 M. Bagni , station for Acque AlbuU (p. 373). — In the vicinity are the quarries of Lapis Tiburtinus, or travertine, which furnished building -material for ancient and for modern Rome, for the Colosseum and for St. Peter's alike. In y.2 hr. more the Anio is crossed by the Ponte Lucano (station , 14^/2 M.), near which is the well-preserved Tomb of the Plautii , dating from the early empire , and resembling that of Caecilia Metella (p. 349).
Beyond the Ponte Lucano we see on the right two pillars, which are supposed to maik the ancient entrance to Hadrian's Yilla,] one is adorned wU\i leiVift^a.
i 51/2 M. Villa JtLdxiaua V>\o osV^tV^ \\\ ^.V^ N\^\\v\"Oi \ "%.^^ ^^x^v We follow the road wMc\i aaccxv^a ^^iixxtf^Vj ii^^s^ ^C^^ ^\.^W^xv, \.xvt^
Sabine Mts. VILLA ADRIANA. Envir. of Rome, 375
to the right at a (4 min.) finger-post, and soon reach the (1/4 hr.) present entrance of the villa. A fine avenue of cypresses leads to the lower Casa delta Quardia^ where tickets are sold (1 fr.).
The * Villa of Hadrian , which with its magnificent grounds occupies an area of several square miles, dates from the later years of the far-travelled emperor (d. 138 A.D.). Hadrian, as his bio- grapher Spartian relates, 'created in his villa at Tivoli a marvel of architecture and landscape-gardening; to its different parts he as- signed the names of celebrated buildings and localities, such as the Lyceum, the Academy, the Prytaneum, Canopus^ the Stoa PoBcile, and Tempe, while in order that nothing should be wanting he even constructed a representation of Tartarus'. After the death of its founder little use seems to have been made of this gigantic con- struction , which does not again appear in history till the period of the Gothic invasions , when it served Totila as a fortress (544 A.D.) and suffered great injury. During the follovring centuries the ruins afforded valuable building material for the churches and palaces of Tivoli. At the beginning of the Renaissance a profitable search for works of ancient art was instituted here, and from the 16th cent, to the present day the ruins have furnished an almost inexhaustible series of works of art, including many of the prin- cipal treasures of the Vatican, Capitoline, and other museums. Unfortunately, however, the destruction of the buildings kept pace with the search for treasures of art. In 1871 the Italian govern- ment purchased the Villa from the family of the Braschi.
The Roman archaeologists have tried to identify the extant
ruins with the buUdings mentioned by Spartian in the passage
cited above, and though it is often doubtful we here follow the usual
terminology.
Adjoining the watchman'^s hut is the so-called Teatro Oreeo^ of which the foundations of the stage and the rows of seats are still distinguish- able. Skirting the posterior wall of the stage, we then ascend through an avenue of cypresses to the Poeeile^ an imitation of the oroa noixiX?}, or painted porch, at Athens. Of this huge colonnade, 250 yds. long and 110 yds. wide, nothing now remains but the N, wall and a few fragments of the parallel arcades. In the centre of the space enclosed by the colon- nade traces have been discovered of a large oblong Water Basin. As the natural plateau of the hill was not capacious enough to receive so exten- sive a building, it has been enlarged on the W. and S.W. by gigantic sub- structures, which contain three stories of vaulted chambers, accessible through an entrance on the S. side of the square (PI. 1). These chambers, generally called Le Cento Camerelle^ are supposed to have been occupied by the imperial guards or slaves. — At the N.E. corner of the square is the entrance to the Sala dei Filosofi^ with niches for statues. From it we enter a Circular Building (PI. 3) containing a water-basin and an artificial island adorned with columns \ this is usually described as a Natatorium or swimming-bath, but it is more probably a l^ympheeum. To the E. of this building, at a somewhat higher elevation, is a rectangular court, the left side of which is occupied by the so-called Xt&rarg (tVA'i. '^^ ^Xv^^.^»^ a Garden. A corridor, on the left side of wMcYv -wB^a a.^ufeN<&,^Nh^sx;j^^n^ss«A& N.E. to a room supposed to have been a Triclinium, ^.oTivTaa.w?^^^'^ ^bci.^- riew of Tempe, Tivoli, and the mounlaina. B-eiiGe n«^ v^ot'i^J^ J'^ I.x-b.xN«8^ Crigbt), through a plantation, to the Doric PeiM»ti|Xe C?^. ^"i^ "^^^
376 Environs of Bcme. VILLA ADRI ANA. Saline MU,
rectangular space known as the Otardino. Some of the finest moaaics (now in the Vatican, p. S09) were found in the adjoining rooms (TWcltnto, PL 6). On the £. side of the Giardino is the (Ecus Corinthiut (PI. 8) , a hall the ends of which are occupied by large semicircular recesses. In front of the K. recess are two small fountuin-hasins. To the right is the BoMUicOy with 36 marble pillars and remains of a magnificent marble flooring, re- cently excavated for the second time. On the W. it is adjoined by a room with an ezedra, in which is an elevated basis or platform*, this is supposed to be the throne-room. — We now return to the (Ecus (3orinthias, and on quitting it turn to the right. The following rooms also belong to the state- apartments. Beyond an octagonal vestibule we enter the so-called Pictzta dWro^ a court surrounded with a colonnade of 68 columns, alternately of Oriental granite and cipollino, of which the bases alone are now in situ. The costly material of the decorations found here in the excavations of the 18th cent, gave rise to the name. On the S.E. side of the Piazza d'*Oro is a room surmounted with a dome, with a semicircular apse, contain- ing water-works and a fountain.
We now return to the Giardino, skirt its S. side, and follow the path leading to the 8. past a handsome semicircular Exedra (PI. 10), with a water-basin, to the Quariiere dei Vigili^ a lofty building supposed to have been occupied by soldiers or by imperial officials. Farther on is a large block of buildings facing the W. We pass through a Orypioportieus and enter a suite of rooms from which we overlook the Stadium. On leaving this building we proceed to the S. along the substructures. In the middle of the space which they enclose are the Thermae^ with remains of taste- ful stucco ornamentation. To the left as we leave the Thermae opens the Valley of Canopus^ artificially cut in the tufa rock. ^Canopus'*, says Strabo, 4s a town 120 stadia from Alexandria, named after the steersman of Menelaus, who is said to have died here, and containing a higUy- revered temple of Serapis .... Troops of pilgrims descend the canal from Alexandria to celebrate the festivals of this goddess. The neigh- bourhood of the temple swarms day and night with men and women, who spend the time in their boats dancing and singing with the most unbridled merriment, or find accommodation in the town of Canopus and there prosecute their or{i;ies\ Hadrian constructed the canal , with the temple in the background, and also numerous small chambers, where he caused festivals to be celebrated in the Egyptian manner. At the end of the valley is a large and well-preserved recess, with a fountain, beyond which was a system of subterranean halls, terminating in a cella with a statue of Serapis. Many of the works of art in the Museo Egizio in the Vatican (p. 316) were discovered here.
[The Canopus is the last part of the Villa usually visited by travellers. The more distant parts, to the S., now occupied by private owners, are more difficult to reach and to identify. About 4 min. from the Canopus, a square building with a modern tower ffine view) is known as the Torre di Timone (see lower part of Plan). To the S.K. lies the Academi/^ a re- production of the celebrated grove at Athens. Farther to the S.K. is the Odeum, with the remains of a stage and rows of seats. To the E. of the Odeum is a construction called the 7n/ert, supposed to be the Tartarus mentioned by Spartian. A ravine ( Valley of the Stiix), 2^) yds. long and 20 yds. wide, is hewn in the tufa rock and connected with two subterranean passages. To the 8. lies an extensive Cri/ptoporticus, in the form of a trapezium. Still farther to the S. are the ruins of an Aqueduct. and a colonnade supposed to be the Lyceum. The extensive ruins on the Colle di S. Stefano, to which the name of Prytaneum has been attached, perhaps belonged to a private villa.]
Keturning from the Canopus and passing in front of the above- mentioned. Thermrp, we reach a second series of liaths, not yet easily ac- cessible. We then return to the i^loa. VcEcile .^ pass through the door in the N. wall, and reach the cypress avetvvxtt \feTv^\w^ Vq Vsv^t «;^\\. — On our way back we have an opporlumVy oV ex\y>V^\\?, v\\«^ %t^\^\\\\ vV^^ ^^ W^ grove below the (Jiardino (see VUn) atvA \.\ve n\^^ o^^xmc^W ;ixv\ \\i^>^^\^ of Te/npe.
Saline Mis. TIVOLT. Environs of Rome. 377
Pedestrians on their way to (1 hr.) Tivoli keep straight on at the finger-post mentioned at p. 375, pass under the tramway, and reach the town at the Porta del Colle, or lower gate. [Ahout one-half of the time otherwise required for a visit to the Cascatelle may he sav- ed hy turning to the left about ^/^ M. before reaching the gate, at the factory in the so-called Villa of Maecenas , crossing the Ponte deir Acquoria , and thence making the tour described at p. 378 in the reverse direction.] — The tramway-lino makes a wide curve to the S.E., ascends steeply through olive-groves past the station of (I6V2 M.) RegressOf and ends at the (18 M.) Porta 8. Croce,
Tivoli* — Reoina , in the piazza , clean, R. 2, D. S^z-i fr. ; Sibylla, beautifully situated near the temples, with view, not dear if bargain be made, pens, per week 49 fr. ; Vessillo d'Italia, Pace, both unpretending.
Donkeys and Ouides (superfluous) to the waterfalls 1 fr. (3-4 fr. are gener- ally demanded at first). Beggars are numerous and importunate.
Tivoli, the Tibur of antiquity, existed, according to tradition, as a colony of the Siculi long before the foundation of Rome. In B.C. 380 Camillus subjugated Tibur along with Praeneste, after which it formed a member of the league of the Latin towns allied with Rome. Hercules and Vesta were the deities chiefly revered at Tibur. Many of the Roman nobles , including Mascenas , and the emperor Augustus himself, founded beautiful villas here ; under Hadrian the splendour of the place attained its climax ; and in the middle ages it participated in the fate of Rome. In 1460 Pius II. founded the citadel on the ruins of the amphitheatre. The modern town (7500 inhab.), with its narrow streets, lighted by electricity since 1887, offers few attractions beyond its charming situation. It is more- over somewhat damp and windy, especially in spring.
From the piazza we proceed straight to a small piazza near the bridge , by which the high-road to Vicovaro, Subiaco, etc. (p. 381) crosses the Anio above the falls. The Vicolo della Sibylla here leads to the left to the inn of that name (on the right), in the court, of which stands the fine *Templb of the Sibyl, a circular edifice, surround- ed by a colonnade of 18 Corinthian columns, 10 of which are pre- served. This temple, called by other authorities that of Vesta j or of Hercules SaxanuSj was used as a church in the middle ages, to which period the round niche in the interior belongs. The door and windows contract at the top. It stands on a rock above the waterfalls, of which it commands an admirable *View. — Close to the Alb. Sibylla is a small piazza with another fine old temple of oblong shape , with 4 Ionic columns in front, supposed to have been dedicated to Tibur- tus, or to the Sibyl, Until 1884 it was incorporated with a church.
The ruins visible from the projecting rock near the temple of the Sibyl to the right, were caused by an inundation in 1826, which carried away part of the village. To prevent the recurrence of a sim- ilar disaster, two shafts were driven t\vto\i^\iX\i^\VKvfc^*W3»TvSk-xK^^3«- ^"^ Jfle, Cataioy 290 and 330 yds. long les^fectYN^Vj , \Q ^t«^ oJS.^^sN.^'v the water of the Anio. In 1834 the iWet ^a.^ a.^\scvXX^^ ^» ^^"^"^ ^'^"'
378 Environs of Rome. TIVOLI. Sabine Mts,
channel, in presence of Gregory XVI., by the engineer Folcht^ and a *New Waterfall of imposing appearance, about 330 ft. in height, was thus formed (to the left of a spectator at the temple of the Sibyl). Two ancient bridges and several tombs were discovered on this occasion.
The present entrance to the falls is by an iron gate beyond the Ponte Gregoriano, to the right (see Plan, *Ingresso'). Admission Y2 fr- J Sun. free ; guide for the round of the falls (*giro') 1 fr. — On entering we first turn to the left (straight on, in the direction of the ends of the two tunnels, is the arch of an ancient bridge in 'opus reticulatum'), pass through an archway below the road, and follow the margin of the valley, enjoying a view of the two temples on the left. We then reach a Terrace planted with olives, whence we obtain a charming *View of the temple of the Sibyl, above us, and of the new waterfall below. Passing through a door, which a custo- dian opens (fee), we may proceed to the fall and the entrance of the two tunnels by which the Monte Catillo is penetrated (see above ; 372 paces long ; to persons inclined to giddiness the walk by the roaring stream is not recommended). — From the terrace we follow the footpath descending to the valley ; halfway down, near some cypresses, a path diverges to the right, at first ascending a few steps and then descending to a Platform of masonry, immediately above the new fall. — We now return to the path, which descends at first in zigzags and afterwards in steps. We descend to the lowest point to which it leads, and finally mount a flight of stone steps, wet with spray, to the fantastically-shaped *Sirens^ Grotto. — From the grotto we return to the point where the paths cross, and ascend the path on the other side of the valley to a Gallery hewn in the rock. At the end of the gallery the path again divides; that in a straight direction leads across a wooden bridge to the Grotto of Nep- tune^ which was formerly the channel of the main branch of the Anio. The new works drew off the greater part of the water from this channel, but the fall is still very fine. — We now return to the gallery and follow the path to the left, ascending in zigzags to the exit near the temples (10-15 c).
The Via delle Caacatelle, the road issuing to the loft from the Porta S, Angelo , skirts the slopes above the right bank of the Anio, between fine olive-trees. It affords beautiful views of Tivoli and its waterfalls , especially from (8/4 M.) the first and (I/2 M. farther) the second terrace, whence also are seen the smaller water- falls below the town, known as Le Cascatelle.
It is usual to turn here. Visitors who wish to return hy another route may continue to follow the same road. About »/4 M. farther, various ancient ruins, said to be the remains of a villa of Quintilius Varius, are seen near the small church of S. Maria di Quintiliolo. A '•Villa of Horace" ^ nJthougb the poet never had one at Tibur, is also pointed out by the guides. From 8. Maria, we cross the meadowa \>fe\.vjfee,Ti. c»\Cl Qlvve-trees, and in About 20 min. reach a road descending \n «. ieN? TnvcvK3\e,^\.Q\:cv^\^l\. \.^v^^ /*onfe delV Acauoria. by which we CToaa \^\e K^^Q- <^>^ ^\^e. ^'^'^^. X^^^^v ^v the river we ascend the hill to the \ei\, ^w\.\^ >^^ ^^ ^^^^^^^ >^^nv.x^^xv\..
) l« «b«at ID ■ iuuM.
■Mail (UiiHaMdXvWIlBia AL ^«i
Sabine MU. MONTE GENNARO. Environs of Rome. 379
and join the road from Rome. Here, to the left, axe the colonnades, which have long heen visible from the opposite bank, of the so-called ViUa of Maecenas, where an iron manufactory and the motors for the electric lighting of the town are now established. On the other side of the road is an ancient circular building, known by the curious name of Tempio deUa Tosse, or 'temple of the cough\ probably a tomb of the Turcia, or Tuscia family. From this point to the Porta del Colle of Tivoli about V2 M.
Hurried visitors may omit tbe walk on the Cascatelle road, espe- cially if they arrive or depart by railway; but nd one should fail to visit the beautiful ♦7tWa d^Este, to theW. of the town (sometimes closed). The entrance adjoins the church of S. Francesco. The Villa, one of the finest Renaissance structures of the kind , was erected by Pirto Ligorio in 1549 for Card. Ippolito d'Este , and presented by the Duke of Modena to Card. Hohenlohe. In the casino are fres- coes by Fed. Zuccari and Muziano (damaged). The garden con- tains terraces (best seen from the cypress plateau with the foun- tains), grottoes with cascades, densely-shaded avenues, magnificent groups of trees, and charming points of view.
The Villa Braschi^ founded by Pius VI. , and the Terrace of the Jesuits* College near the Porta S. Oroce (steam-tramway station) also afford magnificent views of the Campagna and Rome.
The Ascent of Momtb Gbmnabo from Tivoli takes 6-6 hrs., and the excursion there an.d back occupies a whole day. Guides at Tivoli ask 5-6 fr., those at S. Polo, which the traveller may reach unaided, 2-3 fr. A luncheon-basket should be provided, including something to drink, as there is little water on the mountain. We quit Tivoli by the Porta S. Angelo, and follow the high-road nearly as far as the railway-station of S. Polo (see below). At this point a new road diverges to the left, leading along the mountain-slopes in 1 V2 hr. to the lofty (2340 ft.) village of 8. Polo de* Cavalieri. The real ascent now begins (guide necessary), the last part being very fatiguing. On the summit stands a rude pyramid of stone, which has been used for trigonometrical surveys.
Monte Oennaro (4160 ft.), one of the highest peaks of the Sabina, is familiar to the eye of every visitor to Rome. The view from the top is very extensive, comprising the coast from Mte. Circeo as far as the lake of Bracciano, the broad plain with innumerable villi^es, from the Volscian and Alban Mts. as far as Soracte and the Ciminian Forest; then the Apennines, as far as the snowy peaks of the central range. — The descent may be made to Rocca Oiovine and through the Vall^ of the Licenza (p. 380), but the night-quarters are very poor.
From Tivoli to Subiaco.
25 M. Railwat (continuation of line from Rome to Tivoli) to (11 M.) Cineto Romano in about 50 min. (fares 2 fr. 5, 1 fr. 40, 90 c.). Diligence thence twice a day to (14 M.) Sttbiaco^ in connection with tlie trains. To Subiaco walkers should allow 4-5 hrs. — A pleasant route for pedestrians to Subiaco (7-8 hrs., guide necessary) leads along the left bank of the Anio, ascends the lonely valley of the Empiglione , and finally traverses a hilly region. — Carriage from Tivoli to Subiaco, 20 fr. (or more) and fee.
The railway-station of Tivoli lies outside the Porta S. Angelo (p. 378). The train follows the right bank of the Anio, to the left of the road, the ancient Via Valeria^ and the Acqua Marcia, ^Vwb view of the green valley to the right. — ^ ^. S . ^o\o -, 'CJssfc ^ec<\scii^ (see above) lies 2^4 M. to the left oi t\ie atft.t\oiv, T^^ ^^^^tfV'^ SM, CasielMadama; the conspicuous N\\U^ei^\^R>^^^^^^'^^^^'^
380 EnvW.ofRome. KOOOA OIOVINE. Sniine «(*.
□D the other bank at the Anio, 2l/i M. iliatant. — We now psae through Briother tunnel aJid utoas to the left tanli.
T M. Tieovaio. The smaU town is ou the right bank of the Anio, */( M. dialant. On the way to it we pass, on Ihe left, tbe choToh of S. Antonio, with a portico of wicfent columns. Juat below the entrance to the town are aoms lemuns of the walls of TarJo, the ancient town now represented hfTlGOTaro. The octa^nal chapel of S. Glaeomo it ascribed to a pofil of Brnnelleechi.
AboTS VicoTaro opePB tlie T(J1b; of thaLieenia, liis iair,ia,lJHginlia,
SBlursl bBSTilr of the Tilley woald slnne noHet (L aortb a villi,' eieu
direction o[ tbed^/i H.j cnoTent Df i. JI«eo{Biie belatr], eJtuated dd a iiilL Where the road forks, a little on au aide of the convent, we follow Ihe branch leading bacli to the left In abonl 3V, H.. ■ IllUe bsyond a tuined
equently KrKca aiovine it si
Xadoniia delle Cue to (1 ht.) Llunia, which derlrea Ite nuns from the Itream ahliUnc the baae ot the hill, tba aneient DigmUa ('me quollena reBcIt gelldua Dieentia rl'ua', Hor. Bplal. I. IS, lOt). We then retDrn br the new road to Ibe mill, eroaa the brook to the left, and follow a field- path to (!>/■ brO Uandtla. The deacsnt 10 the ataUon takes ■/■ hr. moie (tee below).
Beyond ViooTaro we trsferae ■ Ions tonnel, penetritlns the rockr hill OD which the convent otS. Roceo stands.
91/a M. Mandela ; the fUUge liei on the Mil to the N. , at a height of 1600 ft. above the sea. Until lately it was known u CantaiUfO, bat it has resumed its ancient name ('rugoaus frieore pagoB', Bpist. r. 18, 105).
11 M. CinriD Bamann, near the OaUrla delta Ftrrota fiee left- hand top corner of the Map) , the starting- point for the diligeDCe to Snbiaco. — Hailway henise to Solmona, etc., see Batdtktr'i Soulhtrn Italy.
The Road to Sdbi^co (about 14 M.) aacenda the valley of the Anio, passing; ifociano (rail way-atation), On the opposite banlc Is /In- (ieoii. Beyond Rovlano the Via Valeria diverges to the left toArsoli. The viUey of the Anio now ei.panda picturesquely, and agaia con- traeta at Agotta. To the leU Uas CMumn, oa n \aO.-i tack; on the right Qmterano KUd Boeeo Conttroiw. ^uWaso , ■i1«iisi.t'g>-i s\- Mtfld smidst wood uid rook, ntwi a(«ii\)Wftii«»-A*\'Q\B.
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Sabine Mta. SUBIACO. Environs of Rome. 381
Subiaeo (^La Pemice, pleasant for a long stay, pension 6 fr.) is a small town (6000 inhab.) of mediaBval appearance, commanded by a castle which was formerly often occupied by the popes. It was the ancient Sublaqueum, situated in the territory of the iEqni , and is now the capital of the Comarca. It sprang up on the grounds of an extensive villa of Nero, which was embellished by three artificial lakes, the ^Simbruina stagna' of Tacitus (Ann. 14, 22), which were destroyed by an inundation in 1305, and have given the village its name. On the left side of the Anio, opposite the monastery of S. Scolastica, are seen wisills and terraces of the time of Nero, who, ac- cording to Tacitus, narrowly escaped being struck by lightning while dining here.
The environs are delightful, and the far-famed monasteries (closed 12-3 p. m.) are very interesting. Guide unnecessary. The excursion takes about 3 hrs., and affords a succession of beau- tiful views. We follow the main street which intersects the town, upwards of ^2 M. in length, and afterwards ascends the right bank of the Anio. About 3/^ M. from the last houses of the suburb of S. Martino, before the road crosses the gorge by the lofty bridge, a path supported by masonry ascends to the left, passing several cha- pels, and leading to the (1/4 hr.) three —
*MoNA8TBKiE8 OP S. ScoLASTioA. The flrst was founded in 530 by St. Benedict, who retired to this spot, and took up his abode as a hermit in one of the grottoes, now converted into chapels (II Sagro SpecoJ. The monastery was afterwards confirmed in its possessions by Gregory I: and his successors. In the 7th cent, it was destroyed, in 705 it was rebuilt, and it is now entirely modern. In 1052 a second monastery was erected, and a third was added in 1235 by the Abbot Landus. (If time is limited the monasteries should be
visited in returning from the Sagro Speco.)
The FissT MoNABTSBT (entrance to the right in the passage, beyond the anterior court) possesses a few antiquities; by the fountain a sarco- phagus with Bacchic scenes, fine columns, etc., probably found during the erection of the building. The monastery formerly had a library con- taining valuable MSS. In 1465 the Germans Arnold Pannartz and Conrad Schweinheim printed here the first booK published in Italy, an edition of Donatus, which was followed by Lactantius, Cicero, and Augustine (1467), of which copies are still preserved here (comp. p. 199).
The Second Monastbbt, dating from 1062, is one of the earliest specimens in Italy of the pointed style. The court contains a quaint relief and two mediaeval inscriptions.
The Thibd Honabtbbt, of 1235, has an arcaded court with mosaics.
The Church of 3. Scolastica., originally founded by Benedict VII. in 975, was completely modernised in the 18th cent., and now contains nothing worthy of note, excepting the fine carved choir-stalls.
An ascent of 25 min. from S. Scolastica brings us to 8. Bene- detto , or II Sagro Speco , built against the rock , overtopped by a huge mass of stone, and shaded by oaks.
The first corridor contains scenes from the lives of St. Benedict and his sister St. Scholastica, painted in 1466. We then descend to two chapels, adorned with paintings of the Madonna^ M.aA«^«.<^t^ ^1 V^'^'V^f^:&!Ck^>sc^:i><^ etc., which were executed in 1219 by the o\.\i«xN^\»^ wx^savorR^^ \si».^\RX ^iwu-
^S2 Environs of Borne. VELLETRI. Sabine Mta.
xoltu (earlier than Cimabue). The grotto of St. Benedict contains the statue of the saint by Bernini (?). The walls are decorated with venerable paintings. The Gabden of the monastery is well stocked with beantifal roseB. They were , according to tradition , originally thorns , cultivated by St. Benedict for the mortification of the flesh, but converted into roses by St. Francis when he visited the monastery in 1223.
Having returned to the high-road after visiting the monasteries, we may cross the Anio by the bridge , and return to the town by a footpath on the right.
By the high-road, which is mentioned at p. 384, Olevano (p. 384) is about 10 M. distant.
From Bome to Falestrina.
Railway (Rome and Naples line) to (36 M.) Valmontone in about ls/4 hr. (fares 6 fr. 45, 4 fr. 55, 2 fr. 90 c). The express trains do not stop at Val- montone. Diligkngk thence twice daily, in connection with the trains, to (1 hr.) Falestrina and (IV4 hr.) Qeneezano, proceeding once daily (morn- ing) to Olevano.
The Coach from Rome to Falestrina (6 hrs. -, comp. p. 345) offers no in- ducements to the traveller. But the stage between Fratcati and Falestrina (p. 366) may be advantageously made either on foot, or on donkey-back (4 hrs.), or by carriage. Comp, the Maps, pp. 382^ 380,
From Rome to Cecchina (Albano), see p. 368. — To the right, rising abruptly from the sea, is the Monte Circello (1800 ft.), and nearer us rise the Volscian Mts. — 20 M. Civith Lavinia, The in- significant town lies IY2 M. from the station, on a W. spur of the Alban Mts. It is the ancient Lanuvium, which was celebrated for its worship of Juno Sospita. A few remains of her temple have re- cently been found. At the W. end of the town are considerable re- mains of the ancient walls, built of massive blocks of peperine, and also the pavement of a street skirting the walls. In the piazza, a sarcophagus and several fragments from tombs and villas in the neighbourhood.
25V2M- Velletri (^*Z/Oc. Campana, *GaUo, each with a trattoria), the ancient Velitraey a town of the Volscians, which became sub- ject to Rome in B. C. 338, famous for its wine, lies picturesquely on a spur of the Monte Artemisia ^ ^/^^l. from the station. The town (8000 inhab.) , with its narrow and crowded streets, is the seat of the bishop of Ostia. The loggia of the Palazzo Lancelotti , in the piazza, commands an extensive view. In 1883 a Column of Victory was erected in the new Cemetery , where Garibaldi successfully encountered the Neapolitan troops on May 19th, 1849. — From Velletri to the Volscian Mts., see p. 386.
The railway continues to run towards the E., between the Alban and the Volscian Mts. — 30 M. Ontanese.
35 M. Valmontone, a small town, with a handsome chateau be- Jonging to the Doria-Pamphilj, on an isolated volcanic cone, is the starting-point of the diligeiic>e to \iiek ^i\i\\\fe'^U., Y^\ft9,t.mia, Ge- nezzano, and Olevano. — llailNva^ ^etvc^ to ^v^X^ft , ^^^ "Bat^e^sAT % Southern Italy,
Sabine Mts. PALESTRINA. Envir. of Rome. 383
Palestrina is 51/2 M. distant, a walk of 1^/4-2 hrs. The View of the mountains is the only point of interest on the road.
Palestrina , a small , closely-bnilt town , with steep and dirty
streets, lies most picturesquely on the hillside. On arriving, the
trayeller should ask a boy to take him to the unpretending *Jnn of
the Vedova AnnaBemardini, Via delle Concie 1 (about 5 fr. per day). Palestrina, the Boman Praeneste^ one of the most ancient towns in Italy, was captured by CamUlus, B.C. 380, and was thenceforth subject to Borne. In the civil wars it was the chief arsenal of the younger Marius, and after a long siege was taken and destroyed by Sulla, who afterwards rebuilt it in a magnificent style as a Boman colony. Under the emperors it was a favourite resort of the Bomans on account of its refreshing at- mosphere, and it is extolled by Horace (Carm. iii, 4, 22) together with Tibur and Baise. A famous Temple of Fortune and an Oracle (^sortes Prsenes- tinee'', Cic. Div. ii, 41) attracted numerous visitors. In the middle ages Palestrina was long the source of sanguinary conflicts between the power- ful Golonnas and the popes, the result of which was the total destruction of the town in 1436. The territory was purchased in 1630 by the Bar- berini , who still own it. — The great composer Qiovanni Pierluigi da Palestrina (1524-94), director of the choir of St. Peter's, was born here.
The town stands almost entirely on the ruins of the temple of Fortuna , which rose on vast terraces , surrounded by a semicircular colonnade, and occupied the site of the Palazzo Barberini. On entering the town we observe the lowest of these terraces, con- structed of brick. The precise plan of the ancient building cannot now be ascertained. The arcades with four Corinthian half-columns in the piazza near the cathedral, now converted into a vnne-cellar, appear to have belonged to the second terrace. The Qrottini, as the interior of these foundations is called, may be examined in the Barberini garden (in the Corso), but more conveniently in autumn than in spring , when they are often filled with water. The garden contains statues and inscriptures. — From the Corso we ascend in about 10 min. to the Palazzo Barberini^ which rests almost entirely on these ancient substructures, and deserves a visit (fee 1/2-I fr.).
It contains a large Mosaic, probably executed in the reign of Domitian, representing scenes from the Kile, with numerous animals and figures in Egyptian and Greek costume. It was found near the cathedral. The bur- ial chapel of the palace contains the design of a Pieta by Michael Angelo.
The ancient * Walls of Palestrina, of which various fragments are visible, exhibit four different systems of building, from the Cyclopean mode of heaping huge blocks of stone together, to the brick-masonry of the empire. Two walls, of which that to the N, is the best preserved , connected the town vnth the citadel (Arx) on the summit of the hill, now Castel S. PietrOj consisting of a few poor houses. A somewhat fatiguing path ascends from the Palazzo Barberini in 1/2 ^r. , for which , however , the noble prospect from the summit (2546 ft.) amply compensates. The vast Cam- pagna , from which the dome of St. Peter's lis^^, \^ ^■vixs^-^'^^ vw^ far as the sea; to the right rise Soiacte mi^ \\i5i ^iXAaa^^^-i 'Q^^'ssc^ the Alban range ; to the left is the \a\Ve^ oi ^'^ ^^«^ -» ^S^^h"!^ by the Volscian Mts, The picturesque » IxaXi-^^e^^^'^^^ ^Qft>«i»w.
dS4: Ewvirons of Rome. OLEVANO. Sabine Mts,
was erected by the Golonnas in 1332. The door is opened on ap- plication (V2-i fr.) ; the approach is uncomfortable, but the view from the interior is particularly fine.
The ruins of the Villa of Hadrian^ where the beautiful Antinous Braschi, in the Botonda of the Vatican (p. 306) was found, are near the church of S. Maria delta Villa, ^/t M. from the town. In the forum of the ancient Prseneste, in 1773, was found the calendar of Verrius Flaccus, now in the Pal. Vidoni at Borne (p. 196). The excavations at Palestrina have always yielded a rich harvest; the so-called cistae, or toilet-caskets, including the celebrated Ficoronian (p. 156), were almost all found here.
The distance from Palestrina to Tivoli via Zagarolo and PassC' rano is about 15 M.
From Palestrina to Subiaco viii Oleyano.
Fbou Palestbina to Olbvano, about 11 M., diligence in 272 ^rs. (one- horse carriage 8-10 fr.)} comp. p. 382. Walkers require about 4 hrs. — Fbom Olevano to Subiaco, about 9V2H., a drive of 27s) a walk of about 4 hrs. (comp. p. 382). — Comp. the Maps, pp. 382, 380.
The road, which is a continuation of that from Rome (see p. 382), passes below Palestrina and runs towards the E. ; it is interesting also for pedestrians. To the left, and before us, rise the Sabine Mts., to the right the Yolscian, and behind us the Alban Mts. Beyond a seven-arched bridge across the Fiume di Cave we reach (2 M.) Cave, a village with 2000 inhab., the property of the Colonna's. The road pursues a straight direction, and soon passes the church of the Ma- donna del Campo, 2 M. beyond which a road to Genazzano diverges
to the left.
Genazzano, a pleasant little town with 3000 inhab., is famed for its richly-endowed pilgrimage-chapel of the Madonna del Buon Consiglio, which attracts crowds of devotees in their picturesque costumes on festivals of the Virgin. We may now return to the high-road, or proceed through the valley direct to Olevano by a picturesque, but rugged route.
The road farther on again crosses two bridges, beyond the second of which, the Ponte d'Orsino, it divides ; the branch to the left leads to Olevano , that to the right to Paliano, The former road at first gradually ascends, and then describes a long curve, causing Olevano to appear much nearer than it really is.
Olevano {^Alh. diRoma, outside the town, clean, R. 2^/2, pens. 381/2 fr. per week), a mediaeval place, containing traces of an ancient wall, with about 3500 inhab., the property of the Borghese , lies most picturesquely on the slope of a hill, and is commanded by the ruins of an ancient castle. The interior of the town, with its narrow and dirty streets, presents no attraction. The top of the hill com- manding the town affords a splendid *View, especially fine towards evening. To the right are visible the barren summits of the Sabine Mts., with Civitella, S. Vito, Capranica, and RoccadiCave; then the narrow plain, bounded by the Alban and Sabine Mts. In the distance lies Velletri. Nearer is \a\moivtoue with its chateau, situat- ed 072 a hiU J then Rocca Massima, ^e?,iv\, w\^^%^:\^wQ. "XL^^^x^-a. tV^e S. stretches the valley of the Satco, \iivlW\Q%\.^^Q ^^«^- 'IV^Xw^xv ^itb its ruined castle forms a cliaimixv^to^^^^^^^- 'IV^^xvsv, Ca^o.
Sabine Mis. OLEYANO. Environs of Rome, 385
Baldi, on the top, fonnerly a well-known resort of artists, has much deteriorated. — On the left of the road to Clvitella is the Serpen- tara, a fine grove of oaks, saved from destruction by the subscrip- tions of artists for that purpose.
From Oleyano to Subiaco, three beautiful routes (comp. Map, p. 380).
1 . The high - road , which diverges from the Tivoli road to the right, 2 M. below Olevano, before reaching Civltella, is the shortest (12 M.) and most convenient (on foot 4 hrs., by carr. 2*/2 hrs.). Beyond the bridge over the Anio, almost at the end of the route, Y4 hr. before Subiaco is reached , a path to the right diverges to the monasteries (p. 381).
2. The route via Civltella, Rocca S. Stefano, and S. Francesco, the most beautiful (5 hrs.), must , like the following, be traversed on foot, or on the back of a donkey (which the landlord procures; 3 fr. , and as much more to the attendant). From the Gaga Baldi by the above-mentioned road we reach Civitella in IV4 hr., a poor village lying on an isolated peak in a barren , mountainous district. Owing to its secure situation it was inhabited even in an- cient times, but its former name is unknown. The fragments of a fortification which commanded the narrow approach on the W. side, constructed of large masses of rock , are still visible. From the farther end of the village a beautiful view of the valleys and moun- tains towards Subiaco is enjoyed. Archssologists should not omit to follow the wall to the left from this gate (although a rough walk) , in order to inspect the remains of the very ancient ♦Wall, constructed of rough-hewn blocks , by which this , the less preci- pitous side of the mountain, was guarded. The path then leads by Rocca S. Stefano and S, Francesco into the valley of the Anio, and to Subiaco, a beautiful route the whole way.
3. The third route (5-6 hrs., guide necessary), the longest, and in some respects the most fatiguing , but also highly interesting, leads vik Rojate a,nd Affile. Rojate is a small village. Affile, a place of more importance , boasts of a few relics of ancient walls and inscriptions. From this point to Subiaco (p. 381) we follow the high-road (see above).
4. The Volscian Mountains.
Railway from Rome to Velleiri (from which Cori is most conveniently reached), 26 M., in 1-1 Va hr. (fares 4 fr. 75, 3 fr. 35, 2 fr. 15 c. i express. 5 fr. 25, 3 fr. 70 c). From VelMri to Cori diligence twice daily in 2V« hrs. (2 fr.). — From Rome to 8egni^ 4OV2 M., railway in 1V«-2V2 hrs. (fares 7 fr. 36, 5 fr. 15, 3 fr. 35 c. or 8 fr. 10, 5 fr. 70 c.) ; the place, however, lies 6V«M. from the station (ailigence). — About 2V2 days may be advantageously de- voted to this region, as follows: afternoon train to Velleiri, and diligence thence to Cori. 2nd day, excursion to Norma and Ninfa (not advisable in summer, see p. 387) and back to Cori ; Srd day, to Velletri^ railway to Segnl. returning to Bome in the evening.
The Volseian mountain-range, which «A\».Vi[i« wi «^«^^Nasscl ^\\$$SiVv...,v^
Bakdkkmu. Italy 11. iOth EdiUoni. ^>Ji
386 Environs of Rome. CORT. Voheian Mts.
separated on the E. from the principal chain of the Apennines by the valley of the Sacco, and on the N. from the Alban Mts. by a narrow depression ; it extends to the S. as far as the Bay of Gaeta, and on the W. is bounded by a dreary and in some places marshy plain adjoining the sea. This district was anciently the chief seat of the Volsci, but was at an early period sub- jugated by the Romans and Latinised. Its towns, picturesquely rising on the slopes , still bear many traces of the republican epoch of Italy , which add great interest to the natural attractions of the scenery. Hitherto these mountains have seldom been visited , partly on account of the poorness of the inns (except at Gori), and partly owing to their former reputation as a haunt of bandits.
From Rome to Velleiri, see p. 382. — The Road from Vbllbtri ToCoRi, IOY2M., especially the first part, traversing a dreary plain, is uninteresting. To the right lies the (872 M.) Lago diGiulianeUo^ an extinct crater. Beyond the poor village of Oiulianello (6 M. from Velletri) the mountain-slopes become more attractive. About 21/2 M. farther on, at the chapel of the Madonna del Montej a road to the left diverges to the upper part of the town of Cori. The road to the right , descending to the lower part of the town , concealed among olive-plantations, is preferable.
Coii. — Loeanda di FilippuceiOy at the gate, poor^ Albergo delV Unxone^ farther up, better. — Guide, to save time, V«-l fr« — Two Sorses to Norma and Ninfa, with mounted guide, about 12 fr., incl. Sezze about 18 fr.
Cori is the ancient Cora, "which claimed to have been founded by the Trojan Dardanus or by Coras and was at an early period a member of the Latin League. Even in antiquity it consisted of an upper and a lower town. The remains of the ancient walls, constructed of huge polygonal blocks, are still considerable. During the empire it still prospered, but its name afterwards fell into oblivion. In the early part of the middle ages it seems to have been wholly deserted, but in the 13th cent, it was rebuilt by the Conti di Segni and forti- fied with a wall, the greater part of which is still extant. Pop. 6200. Tobacco is largely cultivated in the neighbourhood.
The 'Via Pelasga', skirting a portion of the ancient wall, as- cends from the piazza to the upper town. Following this, we reach first the church of S. Oliva, whie is built on ancient foundations and possesses antique columns and two-storied cloisters. Beside the church is a fragment of the ancient wall in unusually good preser- vation; and farther up some scantier remains. Adjoining the church of 8. Pietro is the portico of a *Temple, generally called the Temple of Hercules, but perhaps dedicated to the three Capitoline deities, Jupiter, Juno, and Minerva. The statue of Minerva which now adorns the fountain in the Palace of the Senators in Rome (p. 211), and which has been restored as Roma, is believed to have been found here. The cella of the temple is incorporated with the church of S. Pietro } but 8 columns of the Doric colonnade, with a frieze of tra- vertine bearing traces of stucco decoration, are preserved. The inscrip- tiorij recording the erection oi l\iee^\^cft\i^ >;;tvfedMummT\,^t chief ma- ^•/strates of the place, dates from t\ieV\mfeQl^\\\\^. *^^i\^^V^\vvi.^^Nfe\ the town towards the sea, and 0^ t\Y%^\^\Tv VxvVvV^\%^\^v^^^.^\v
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Volseian Mt8. SEZZE. Environs of Rome. 387
ceio. Within the church (opened on application; 25 c.) is an an- cient marble urn, used as a font.
We now descend to the Via S. Salvatore, where two admirably executed * Corinthian Columns are still standing. On the epistyle above is part of the ancient inscription, and another part is pre- served in a fragment built into the wall of the Casa Moroni. From these it appears that the columns belonged to a Temple of Castor and Pollux. They probably were the two in the centre of six columns on the front of the temple. — Still lower down, in the Vicolo di Pozzo Dorico and the Piazza Pizzitonico, are the remains of the substructures of some large cisterns.
Near the Porta Ninfesina is another large fragment of the earl- iest polygonal wall. Outside the gate is a deep ravine, spanned by the ancient Ponte della Catena, constructed of blocks of tufa. The solidity of the arch with its double layers of masonry is best appreciated when surveyed from below.
Fbom Gobi to Norma (about 71/2 M.) a road leads across the plain, and another route is by a narrow bridle-path over the moun- tains , generally skirting a steep slope. The latter leads in about 3 hrs. riding to the ruins of Norba, which became a Latin colony, B.C. 492, and was captured and destroyed by the troops of Sulla during the civil wars. The well-preserved wall, in the polygonal style, was IV2 M. in circumference, and several towers and a gateway are still traceable. In i/4 hr. more the small mountain- village of Norma {Locanda, poor) is reached. On the road below it lie the remains of the mediasval town of ^Kinfa , surrounded by a marsh which has been the cause of its abandonment. The ivy- clad ruins date mainly from the 12th and 13th cent, and include a palace , a monastery , a church with faded frescoes , and several streets. In summer the malaria makes a visit to Ninfa unad- visable , while the crops also render a closer investigation of the ruins impracticable.
Fbom Ninfa to Sezzb, 31/2 hrs. The road diverges to the left from the Sermoneta road at the Abbey of Valvitciolo (abbey-charch of the iSth cent.) , and leads through a beautiful wooded valley, below Bastiano. It then traverses a well- cultivated region, with Monte Sempreoisa (6035 ft.), the highest summit of the Volscian Mts., on the left.
Sezze (Locanda Nazionale, in the piazza, unpretending) is the ancient Setia of the Volscians, a Soman colony after 382 B.C., and frequently mentioned in the Italian wars up to the time of Sulla. Under the em- pire its name was remembered only on account of its wine, which Augustus preferred even to Falernian. Considerable remains of its ancient walls have been preserved •, they are built of massive polygonal blocks, but with more attention to horizontal courses than was the case at Ck)ri. The rough rusticated work here is an unusual feature in ancient town-walls, which in most other examples are carefully smoothed. A massive substructure in the same style, below (to the right) the entrance of the town, has been arbitrarily named Tempio di Satumo. — A diligence rutva dal\?j tt^arssk.^ Sezze to Foro Appio, in connection -with t\ife fiLVi3L%e.u<:-«k\i^V.'^^«^^"=^'^*^"^ and Terracina.
FsoM Sezze to Pipbbno, 9V« M., carriasfe-TO^d. ^^^^* ■^^^C^^TS^'U mule 3tr., in Sy, hra,). On the MonU Tret>i ^iiWGi\.."^,\^^'^N'^«^^^^^ ^
388 Environs of Rome. SEGNT. VoUcian Mts,
rontef), are the ruins of a town destroyed in the 16ih cent, by the in- habitants of Sezze.
Fiperno {Locanda delta Rosetta^ tolerable) was founded early in the middle ages by refugees from the ancient Volscian town of Privernum^ remains of which may be seen on the road to Frosinone, near the streamlet Amaseno. The Cathedral^ in the picturesque piazza, was built in 12S3 and modernised in the interior in 1782. — An interesting excursion (I'/a hr. ; carr. there and back 6 fr.) may be made hence to the Cistercian convent of ^FossANUovA, where St. Thomas Aquinas died in 1274 while on his way to the Council of Lyons. The convent-church, built about 1225, with rectangular choir and a rectangular tower over the crossing, is one of the earliest examples of Italian Gothic. It has recently been restored. The cloisters, chapter-house, and refectory are also interesting. One of the rooms contains a relief of St. Thomas Aquinas, by Bernini. — From Piperno to Frosinone, diligence in 31/2 hrs. (fare 2V8 fr.), starting at 4 a.m. ; see Baedeker^s Southern Italy.
Sbgni is the first railway-station beyond VcUmontone (p. 382). From the station we take about 2 hrs. to ascend to the town. We skirt the slopes of the mountains enclosing the valley of the Sacco ; to the left, on a solitary hill below us, is the picturesque Oavignano, the birthplace of Innocent III. The remains of the old walls of Segni and the Porta Sarracinesca come into sight on the height rising above a lateral valley to the left. The last part of the way ascends in numerous windings.
Segni (Loc, di OaeUmino)^ the ancient Signia^ said to have been colonised by the Romans under Tarquinius Priscus, lies on a moun- tain-slope (rising to a height of 2300 ft.), in a secure position, with fine views of the valley and the towns of the Hernici. The present town (6000 inhab.) occupies the lower half of the old site.
Ascending through the streets, we reach the church of S. Pietro, standing on the foundations of an ancient temple, the walls of which sonsist of rectangular blocks of tufa, with two courses of polygonal masses of limestone below. A cistern near the church is also of the Roman epoch. The *Town Walls, in the massive polygonal style, 11/4 M. in circumference, are to a great extent well preserved. From S. Pietro we follow an easy path to the summit of the hill, which is indicated by a cross; fine view of the town and the valley of the Sacco. Hence we follow the wall, passing a small sally-port at the N. angle, to the half-buried Porta in Lucino. Farther on, on the slope of the N.W. spur, is the curious *Porta Sarracinesca, ap- parently built before the discovery of the arch principle, as a sub- stitute for which the lateral walls gradually approach until they meet at an angle. From this point we may follow the footpath along the slope, which passes a large washing-bench and descends to the lower gate.
From Segni a fine but fatiguing mountain-path leads to Norma in 6 hrs. (horse and guide 5 fr.)^ Montelanico may l)e included.
The station of Segni is 4-5 M. from Anagni. Kc{:;arding this and other towns of the Hernici, see Baedefc«r'« Southern Italy.
389
5. Etmscan Towns.
That part of the Roman Campagna which extends N. from the Tiber to the Ciminian Forest and the mountains of Tolfa was the Southern Etruria of antiquity. Originally occupied by a tribe akin to the Latins, then con- quered by the Etruscans, it was finally, after the protracted contests with which the first centuries of the annals of Rome abound , reconquered and Latinised. The fall of the mighty Veii, B.C. 396 , mainly contributed to efi'ect this memorable change. Excursions are frequently made to the re- mains of the Etruscan tombs at Gervetri and Veii. Halaria is unfortunately very prevalent throughout this whole district.
Veii.
An excursion to Veii takes one day (carr. there and back about 26 fr.). Pedestrians should drive at least as far as the Tomba di Kerone (4y2 M., fiacre 4 fr.), or La Storta (8V2 M.). Provisions for the journey should be carried from Rome, as the tavern at Isola is extremely poor.
From Rome to the Ponte Molle, see p. 334 et seq. By the Osterla, where the Via Flaminia diverges to the right , we follow the Via Cassia, gradually ascending to the left. The district soon becomes desolate, but fine views are enjoyed of the Alban and Sabine Mts., Mt. Soracte, and the lateral valleys. About 41/2 M. from Rome, on a dilapidated pedestal to the left, stands a sarcophagus, erroneously called the Tomb of Nero. The long inscription (at the back, facing the ancient road) expressly records that the monument, which dates from the 2nd cent, after Christ, was erected by Vibia Maria Maxima to the memory of her father P. Vibius Marianus and her mother Re- gina Maxima. ^- An ancient route, somewhat shorter than the modern , diverges here to the right to Veii , but as it is not easUy traced the high-road is preferable.
8^2 M- -^o Storta (Inn), anciently the last post -station on the route to Rome. One mile beyond it the road to Isola Farnese di- verges to the right ; 1/2 M. farther on we take the road to the right, that on the left leading to Formello.
Isola Farnese, a poor village, belonging to the Rospigliosl, numbering about 100 inhab., owes its foundation to the security of its site, and was a place of some consequence in the middle ages. "We engage a guide here (1-1 V2 ^r., bargaining necessary) to con- duct us to the site of Veii , which is interesting and picturesque ; but the ruins are scanty.
Veii was one of the most powerful of the Etruscan cities. After contests protracted for centuries, which at first centred round Fidenae (p. 341) , the frontier-stronghold of the Etruscans on the S. bank of the Tiber, and after manifold vicissitudes and a long siege, the city was taken by Camillus in B.C. 396. Its circamference, which may still be traced, was 51/2 M. After its capture it fell to decay, and was repeopled by Caesar with Romans; but this colony scarcely occupied one-third of the former area. Excavations here have led to the discovery of inscriptions, statues, and the columns mentioned at p. 154.
The ancient site of the city was a trl^u^l^\ie^t^^cft.\:^Q\i^'5>^^*a»^ which united with each other f arthei dovjn, v\%, \Ssa Foawi dA\X ^^^f^-* washing the N.E. base of the hill of IsoU, wv^l \Xvft Foa%o ^^^S^^ me//o or di VcUca (the ancient Oremera), tlo^iu^ liQ\a^. ^ ^-
390 Environs of Rome. GALERA. Etruscan Towns.
ancient citadel (Arx), now the Piazza d^Armi or Cittadella, occu- pies a separate plateau at the confluence of the brooks, connected with the site of the town by a narrow isthmus only.
A visit to the principal points takes 2-3 hrs. We descend from Isola to the N.W. to the Fosso dell' Isola , which forms a pretty waterfall beside the mill (molino), — Thence we proceed to the Ponie Sodo , a tunnel hewn in the rock , through which flows the Fosso di Formello. Then to the Orotta Campana^ a rock-tomb dis- covered in 1842, with two interior chambers, the wall-paintings in which date from a high antiquity. The skeletons which were found on the benches when the tomb was opened rapidly crumbled into dust on the admission of air. A few remains of armour and clay vessels are still extant. — We now recross the Fosso di For- mello to the Porta Spezieria (drug-shop), with remains of a colum- barium , the recesses of which explaia the name. On the hill above are some singularly well-preserved remains of the fortifi- cations , a gate , and a street paved with lava. — We may either follow the hill or the valley of the Fosso di Formello to the S. to the above-mentioned Piazza d'Armi, which commands a fine view. To the N. is the conspicuous Tumulus of Vaccareccia , crowned with battlements. — We return from the piazza to Isola , in the locks near the entrance to which are numerous sepulchral niches.
Walkers may descend the valley of the Cremera from the Piazza d'Armi and in about 2 hrs. strike the Via Flaminia (p. 337) , about 6 M. from Rome. The camp of the Fabii , whose whole family was destroyed by the Veientines, lay about 1^2 M. from the Piazza d'Armi.
Galera.
Oalera., 15 M. from Rome, may be visited on the way to Bracciano, or by carriage (about 26 fr.), in one day from Rome. Provisions necessary.
About Y2 M- beyond La Storta (p. 389) the Via Clodia diverges to the left from the Via Cassia, which leads to Viterbo (p. 69). We follow the Via Clodia, the old pavement of which is seen at intervals. On the roadside is the entrance to the subterranean conduit of the Acqua Paola, which descends from the lake of Bracciano (p. 326 ). On the left, about 5 M. from La Storta, appears the church of S. Ma- ria di Cesareo ; 1/2 M. farther is the Osteria Nuova, where the carriage may be left. The land here is well-watered, and occupied by several large farms. A path to the left in the direction of these, then turn- ing to the right, leads in 1/2 hr. to the ruins of Galera. The town sprang up in the middle ages near the ancient Careiae, and was at first governed by powerful nobles; in 1226-1670 it belonged to the Orsini. At the beginning of the present century the inhabitants were driven from the place by malaria. It stands on an abrupt tufa- rock, around which flows the Anoue, the outlet of the Lake of Rrac- ciano. The walls are of the i4th au^ V^tV Q,ftw\\i\\^"&. 'l'^^ viXvwx'jV^* with their towers, the palace on\ve Ois.m\, ^xv^ Txv^xvi V^xv-s.^^ ^\^ w^- cognisable, all densely overgrown ^U\\ \n^} ^w^i «^^^^^%.
Etrusccai Towns. BRACCIANO. Environs of Rome. 391
Bbacciano.
241/1 M. from Borne : Vetlurino several times weekly from the Piazza of the Pantheon, in 5-6 hrs. (fare 4 fr.)) returning next day. In May and June, the bathing-season at Vicarello, the traffic is brisker. — Bracciano is 9^2 M. from Gervetri (p. 392).
Beyond the Osteria Nuova (p. 390) the Arrone is soon reached. A road to the right then diverges to Anguillara (see below), situated on the lake. The country continues dreary. About 3 M. before Bracciano is reached, the liake of Bracciano becomes visible, with Trevigrumo and Rocca Romanaj the highest point (2020 ft.) of the surrounding range of hills. The lake, the Lacus Sahatinus of antiquity, is 20 M. in circumference , and lies nearly 500 ft. above the sea-level. Its form and the heights encircling it indicate that it was once a crater. It is famed for its eels and abundance of fish, and the slopes are well- cultivated, the upper parts being wooded, but malaria is prevalent.
Near Bracciano the road divides : the upper branch, to the left, leads to the Capuchin monastery ; the other to the right, to the town.
Bracciano (^Loc, Piva^ a fair second-class inn), a modern town with 3000 inhab., possesses a picturesque castle of the 15th cent., and several iron-works in the vicinity. The * Castle^ erected by the Or- sini, now the property of Prince Odescalchi, is very interesting, and its towers and fortifications convey a good idea of the character of a mediaeval stronghold. It is said on this account to have riveted the attention of Sir Walter Scott far more powerfully than the ruins of antiquity. The interior, still inhabited, contains nothing worthy of note. The *View from the tower, extending over the beautiful lake to Trevignano and Anguillara, with Soracte and the Sabine
Mts. in the background, is remarkably fine.
A pleasant excursion may be made from Bracciano to Trevignano (6 M.). The road skirts the lake. After l>/4 M. a path ascends to the left to the 0/4 hr.) old church of the martyrs SS. Marco, Marciano, and Liberato, erected, as the inscription states, on the site of an ancient villa named Pausilypon^ and affording a fine view. In the vicinity stood Forum Clodii, from which inscriptions and other relics are preserved. Pedestrians may regain the road to Vicarello by another forest-path. — Vicarello is 4 M. from Bracciano. The baths, y^ M. from the road , with a hot sulphureous spring, are the Aquae ApoUinares of antiquity. A proof of the estimation in which they were held was afforded in 1852 by the discovery of great num- bers of coins and votive offerinp , most of which are now in the Museo Kircheriano (p. 156 ; others in the Vatican, p. 318). Owing to the malaria, the bathing season is not prolonged beyond the early part of summer. — By the road are seen many remains of *opus reticvdatum\ belonging to villas of the imperial epoch. Trevignano^ occupying the site of the Etrus- can town of SabaUy which fell early into oblivion, formerly the property of the Orsini , now that of the Gonti , is a poor village. Roman remains very scanty. In the principal church two pictures of the school of Perugino. The ruined castle above the village commands a fine view ; its destruction was due to Geesar Borgia.
A bridle-path leads hence in IV2 hr. to 8utr% (p. 73), another in about 3 hrs. to Anguillara^ the ancestral seat of the once pov?«tl\s\ <:,w>x*& <Jk^ S!ws*. name. If the wind be favourable it is pTefeTato\ft \o cxci*^ ^^ X^^'ti ^-t^x^ Trevignano by boat. From Anguillara to Bragcciwvo wv xmVoXKWi^fCKWi, -cq.^n» of 6-6'/g M. } the tour of the lake may thus "be Ta«b^e Vo. Q-a^ ^"^ *
d92 Environs of Borne, OERVETRl. Etruscan Totons,
Cmke.
Cervetri, the ancient Caere , may be visited from Rome in one day. The first train should be taken as far as Palo (p. 7; express in 1 hr., fares 6 fr., 4 fr. 90 c; slow train in l»/4 hr., 5 fr. 45, 3 fr. 80, 2 fr. 46 c); thence in IV4 hr. to Cervetri, where a stay of 5 hrs. may be made, leaving time to regain Rome by the afternoon or evening train. At Palo a carriage may be obtained from the coach-hirer Francescone.
It is necessary to inform the Sindaco of Cervetri of the intended visit a day or two beforehand, as otherwise the custodian with the key may not be forthcoming. After two or three days of rain the graves are filled with water.
Cervetri (^CafS'Restauranty near the gate, moderate; the land- lord provides guides and carriages to the tombs), the Caere of anti- quity, originally named Agylla (Phoenician, 'circular city'), a place of very remote origin, afterwards became subject to the Etruscans, and carried on an extensive commerce from its harbours Pyrgos (S. Severa) and Alston (Palo). At the same time it always maintained friendly relations with Rome, and in B.C. 351 it was incorporated with the Roman state. It was a prosperous place in the reign of Tra- jan, and continued to flonrish down to the 13th cent, at the be- ginning of which it was abandoned by its inhabitants, who founded Cere Nuovo, 3 M. distant, the present Ceri (with not more than 50 in- hab.). A number of them, at an uncertain date, afterwards returned to Caere Vetere, whence the name Cervetri. The present town (600 inhab.) occupies but a small part of the site of the ancient city, which was 3 M. in circumference. The interest of this locality was greatly increased by the discovery of numerous tombs in 1829, and the excavations are still prosecuted. In the middle ages Cervetri was surrounded with a battlemented wall, and had, as now, only one entrance. Part of the walls and several towers are still well-preserv- ed and give a picturesque air to the town, especially on the N.K. side, where the old baronial chateau is situated.
Some of the Tombs are clustered together and hewn in the rock, while others stand alone in conical mounds or tumuli. They are not nearly so well preserved as those of Corneto (p. 5) , and hardly a trace of painting remains. The more important may be visited in 3-4 hrs., with a guide (see above; 1 pers. 2 fr., 2 pers. 3 fr., a party in proportion). Most of them lie on the hill opposite the town, and separated from it by a gorge.
1. Grotta dellb Sedib b Scddi, so called from two seats and several shields hewn in the rock, consists of an ante-room and five chambers.
2. Gkotta del Tkiclinio, with faded paintings representing a banquet.
3. Grotta della Bella Architettura, with two chambers, supported by pillars. 4. Grotta dblle Urne, with three marble sarcophagi. ^5. Grotta DELLB IscRizioNi, Or de' Tabquinii, with two chambers, borne by pillars, contains numerous inscriptions with the name of Tarchnas (Lat. Turquinius). thus apparently corroborating the tradition that the Koman kings were of Efrascan origin. ^G. Grotta dei Bassorilievi, excavated in 1850, the best
preserved and most interesting 0? a\\. M Uva head of the llight of steps
are two lioaeases as guardians ol Uve WmX). 'IXxe, V«v> y^W^t^ %w>^^virting
the roof, and the walls above tbic n\c\\ea wc (Xc^^qt^Vc'^. V\N\\ n^xV^w?. v^?,-
relief3 of instruments , weapons, anA oVjecV^ c.^ iV^^T^^^^^^^^^^^ ^^^^^^: "^^
ftucco, partly hewn in tlie tufa-rock, vxivv\ moaV\^ v^^^^^^-
Sea-Coast of Lalium. PORTO. Environs of Borne. 393
On the road to Palo lies: ^. Gsotta Bbqolini Galassi, opened in 1829, a tomb of great antiquity and now very dilapidated. The roof ij ▼anlted by means of the gradnal approach of the lateral walls to each other, instead of on the arch-principle. The yield of this tomb, now in the Gregorian Museum, was very considerable, consisting of a bed, a foar> wheeled chariot, shields, tripods, vessels of bronze, an iron altar, figures of clay, silver goblets, and golden trinkets once worn by the deceased, all found in the small chambers to the right and left of the vaulted passage. — Fully Vs ^« from this is situated another tomb, opened in 1^0, and still containing the vases , vessels, and other objects then discovered.
Besides these, there are many other tombs (e.g. Orotta Torlonia^ the first chamber of which contains 54 recesses for the dead).
6. The Sea-Coast of Latium.
Communication with the sea was of far greater importance to ancient than to modern Borne, and its former facility contributed much to the proud rank held by the mistress of the world. Vast harbours and other structures were accordingly founded at the estuary of the Tiber. The coast was a favourite resort of the wealthy Romans, as the numerous villas testify ; but it is now desolate, and is skirted by a broad belt of forest (macchia), where the malaria in summer is peculiarly pestilential. Lofty sand-hills, extending to the S. beyond the Pontine Marshes, bound the whole coast.
Porto. Fiumioino.
Fbom Bomb to Fiumicino, 21 M., railway in IV4 hr. (3 fr. 86, 2 fr. 70, 1 fr. 75 c. \ there and back, including a bath in the sea, 4 fr. 80, 3 fr. 75 c).
The railway describes a circuit round the town (p. 7 ). 51/2 M» Stazione diS. Paolo (outside the Porta Portese). — 9^/2 M. Magliana, Close to the station, on the hill to the right, is the Vigna CcccareUiy the site of the sacred Orove of the Arvales. The corporation of the Twelve Arvales was of very ancient Latin origin, having been found- ed, according to tradition, by the sons of Acca Larentia ('mother of the Lares'), the foster-mother of Romulus. The society was entirely remodelled by Augustus and became a privileged order, consisting of the relations and friends of the emperor.
Excavations have been carried on here since 1866, and reeordj of the society during the imperial period, engraved on stone, have been found. The ancient foundations on which the Casino of the vigna rests belong to the circular temple of the Dea Dia, which lay in the middle of the grove. In the plain below the grove (on the other side of the road) there are remains of a rectangular building , with a hall enclosed by rows of columns. — Higher up the hill lay an ancient Christian burial-placf?, where remains of an oratory of Pope Damasus have been discovered. Adjacent is the entrance to the Catacombi of Bt. Oeneroio. They are of small extent and of remarkably primitive construction, but are in ex- cellent preservation and merit a visit.
About 1/2 ^- farther on, betwixt the road and the river, L^ sitoated the ruinous hunting • chateau of La Kas:lian«, with pleasing Renaissance details, once a favourite retreat of Inn^jccnt VIII., Jnliu« IL, and Leo X., and now the property of the convent of 8. Cecilia Tfrescoes in the Palazzo dei Conservatori, p. 215).
14 M. Ponte OcUera, see p. 7. Our line now quit* iViVi Vfcii^\«\w
railway (R. 1) and continues to run westwn^^.
19 M. Porto was founded in A.l>. Ul^ \>^ x>v«i V.ttv^'^^^Vj^^ ^J'or^uj Trajani), ba the harbour conttiueie«\ M 0\*nA\n^ ik^ ^^ ^^ Btitnte foz thAt of Ostia, whieh bad Y>e«>iae €\vo>keA. ^^
394 Environs of Rome. OSTIA. Sea-Coast of Latium.
deposits of the Tiber, had soon shared the same fate. Trajan aiso formed a new canal here (Fossa Trajani), which now forms the main arm of the Tiber. Trajan's seaport , which lay close to the sea, and soon attracted the commerce of Rome, is now 2 M. distant from it ; and the delta formed by the river is estimated to advance 13 ft. annually. The present town consists of the Cathedral of 8. Rufina (a modernised edifice of the 10th cent.), an episcopal Palace , with inscriptions and antiquities , and a Villa of Prince Torlonia. The harbour of Trajan, a large octagonal basin, surrounded by maga- zines, is now a shallow lake only. In the meadows to the N. of this , the extent of the harbour of Claudius is still traceable.
21 M. Finmicino (Locanda) is a modern place. The castle, erected in 1773 close to the sea, is now 1/2 M. distant from It. The tower commands a fine view. — The train runs hence, ^j^^* farther, to the new Stabilimento Bagni, or bath-establishment.
The Jsola Sacra ^ situated between the two arms of the river, was so named at a very early period, either from having been the site of a heathen temple, or from having been presented by Gonstantine to the Church. Nu- merous herds of cattle are pastured here, against which travellers must be on their guard, especially in spring. A guide is therefore desirable. In dry weather visitors may walk across the island from Fiumicino to Ostia in V2 br.
OSTIA.
15 M. from Rome. Two-horse carriage there and back 25-30 fr., fee 2-4 fr. ^ the drive to Castel Fusano must be expressly stipulated for. A supply of provisions should be taken, and the beautiful cella of the temple, or the woods at Castel Fusano may be selected as resting-place. The os- teria at Ostia is poor, and there is no inn at Castel Fusano. The points of interest may be seen in 3-3'/2 hrs. — From Ostia to Fiumicino, see above \ ferry at Torre Boacciana.
From the Porta S. Paolo to the Osteria del Ponticello, where the Via Laurentina diverges to the left, see pp. 352-354. — The road to Ostia leads to the right and runs not far from the Tiber. At the (9^/2 ^0 Osteria di Malafede a road diverges to the left to (4^2 M.) Castel Porziano, a royal hunting-lodge, on the site of the ancient Vicus Augustanus (thence to Tor Paterno, 5 M., see p. 396). The road next traverses the hills of Decima , and then a growth of underwood (Macchia di Ostia) , beyond which a fine view of Ostia, 2 M. distant, is obtained. A short distance from the village an embankment carries us across the Stayno di Ostia, which has yielded salt since the period of the kings.
Ostia, a poor village with scarcely 100 inhab, , was founded by
Gregory IV. in 830 , several centuries after the destruction of the
ancient town. Under Leo IV. (847-56) the Saracens sustained a
signal defeat here, which Raphael has represented in the Stanze.
Julius II. (1503-13), when Cardinal della Rovere, caused the fort
to be erected by Giul. da iSaugallo. IVe; \«^\\ \q%\. \\a importance
when Paul V. re-opened the ivgU axm oi \Xi^'l\\i^^ ^\.^Q\\,Q\\x\.^Na.
The pleasing church of S. Aurea, ^.UiVWX.^^ V^ ^^^^^^ ^^^^.^^^^.
Sea-Coast of Latium. OSTIA. Environs of Rome. 395
was erected under Julias II. The CasUllo contains an extensive bnt comparatively uninteresting collection of Inscriptions and relics from the excavations. The most important object is a large marble Ara, with reliefs relating to the foundation of Rome. The hill on which the Gastello stands affords a good view.
The Ostia of antiquity, founded by Ancus Martins, extended westwards along the Tiber, from the present village, as far as Torre Boacciana. It was a large commercial town, and though in the reign of Augustus it lost some of its importance through the chok- ing up of the harbour by the Tiber, it afterwards regained its in- fluential position. The inhabitants belonged to numerous national- ities and various religions ; Christianity also was introduced here at an early period. The bishopric of Ostia, according to some accounts,
fcr/tCA
lEomOi
ISOLA SACRA *
l: 33.300
500
Metri
was founded by the Apostles themselves, and is still regarded with great veneration by the Romish clergy. Monica, the mother of St. Augustine, died here.
At the entrance to the town (r.) is a plain osteria, where thf custodian is to be found (fee for. the excursion 2-3 fr.). The TomhSy which extend in a line beyond the Porta Romana of the Ancient Tawny are reached in 5 min. from the gate. Most of the reliefs found here are now in the Lateran (p. 269). In 3 min. the gate of the old town is reached. Where the road forks, we ascend slightly to the right to the (5 min.) *J'ontm, excavated in 1880-81, a square structure, each side of which was 265 ft. long, and which was surrounded with colonnades. The portico on the S. contained marble columns, the others brick columns encased in stucco. At a later period the colon- nades were divided into a series of small QliaxiiV^^T^ ^^'%x^^«^ •^x.'^'^ S.E. comer), which served as the oft^cea ot ^a.^QTaAC>QW^^^ ^^ ^oSSS^^-^^ such as the lumbereiB who conveyed, timbei \.o ^^mfc ^'^^ ^^^'^^^l^ngj men of Terr&cina, In the centre of iYxe toxwm \% ^^ vaXi^vcsv
396 Envir. of Borne. OSTIA. Sea'CoastofLatium,
of a Templum Hn antis^ 80 ft. long and 35 ft. wide. The walls are in a very ruinous condition and have been almost entirely stripped of their marble lining , while the altar has experienced a similar fate. Adjoining the S. colonnade of the forum is the rear- wall of the ^TheatrCj of which considerable remains of both stage and auditor- ium are extant. This edifice, built in the early imperial period, per- haps by M. Agrippa, was restored by Septimius Severus in 196-7, and again, in a very imperfect and hasty manner, in the 4th or 5th century. Numerous marble bases with inscriptions, brought from the forum at the last restoration , may be seen below the seats in the central corridor and in other parts of the building. Farther to the W. rises a handsome and conspicuous * Temple^ which at the beginning of the present century was the only visible relic of an- cient Ostia. The cella, of admirable masonry, is well preserved ; the threshold consists of a single block of African marble, 16 ft. in length. The vaulted substructions contain the receptacles for the sacred vessels (favissae). Farther to the S. is the shrine of the Magna Mater J excavated in 1869, an irregular quadrangular structure with a colonnade on each side , where the statue of Atthis mentioned at p. 270, was found. — We now retrace our steps and follow the street leading straight from the back of the temple to the river. This street, 50 ft. in width, was flanked with rows of pillars , be- hind which were shops and private houses ; it is the most exten- sive construction of the kind which now remains to us. At the mod- ern house we diverge to the left and skirt the Tiber to (10 min.) the *Baths, which are of moderate size ; the positions of the furnace, swimming-basin, hot-bath (caldarium), etc., are traceable.
Proceeding towards the road on the Tiber, we arrive in 5 min. at a Store Chamber , with thirty earthen jars for keeping wine, oil, and grain, imbedded in the floor. Then , 2 min. farther, are much more extensive Baths with a palaestra , etc. , probably erected by Antoninus Pius ; a large mosaic pavement in the principal hall represents the intricacies of the labyrinth. Adjacent is a small Mithraeum^ with an inscription on the mosaic pavement. — On the roadside, just beyond the baths, are remains of arches of tufa and travertine of the republican era , which probably belonged to a har- bour. In Y4 hr. more we reach the road leading from the E. side of the town to Laurentum, where a number of graves and columbaria have been discovered. Thence back to Ostia, 3/^ M.
A carriage-road leads from Ostia to (2 M.) *Castel FusanOy situated in the midst of a beautiful pine-forest. It was erected by the Marchese Sacchetti in the 16th cent. , and fortified against p'lT&tes, and is now the property of the Chigi, who leased it in 1888 to the royal family. A pleasant lo^Ld, -with an ancient pavement of basalt, leads hence to the sea, i^|i>JV. ^v^^.^vv\,. ^ From Castel Fusano to Tor Paterno, «. ^^xmivft^T V^^^^J^^^^J^^ST'c.V 6 M. Thence with guide to ih^i ^-^ Pratica, *.w ^mx^^xVS.^^^^ -..^X^'^ ^t. t^e site of the ancient Lavinium.
|
Sea-CoaitofLatium. |
ANZIO. Envir. of So |
|
Abont 6 H. from Pralica so clenl capital q( IheKotnH, one o the lime of llie Homwi emperor Early deserled for lliig reason. A flcallom, a more anlique appes wretched modern Tillige (150 in on ahilL with artillcially precipi walls of HBeieM periods atTBTl *!verai hundred yKds long, Hke |
11 M. from Albano lies Arf f .the f^w towns of Latlam wb were avoided on account of t rdea has preserved, especially ranca than any other Latin ab.) Decuples the site of the [ona sidei. There are remains ua places ; and two ramparti w |
|
Amzio. |
|
|
Railway to Cstchina, below R^jme t'o An.io'Bfr'eO 4fr''60 Anno H te A |
Ubano, liB p. 368. Sleam-tram 2fr. 50. Ifr. 76 c,; through- |
The little flshing-town of Porto d'Antto, or eitnply ^Inifo, as it hsa recently became cuetomary to call it, a favouliM resort of tbe Komans daring the bathing- BOason (Juno, July, ind AngostJ, ■ in spite of ItB liB,bility to fever, occupies the site of the ancient Antium.
early penud, [he place where Corlo] from Rome in B. C. 190. was eompelli
licl, and ire Corlo] BDua a
ttght r
coloDT, and was thus permapeotly onlted with B...^. „_
were areeled here towards (ha end of Ihe tenuli^o. <i\twa vi»w*«*^™, esUte at Antioro, the Iranquillitj ani ehaTma at ■w^\t>. I.*. V-^^-i "^ IA». {r. 8). The emperora also, especiiLHi ttiQas ot '*^'', ,i'™.>. * ICtligala, CtoodiM, Hero), hnUt eonnlry-lionBM ^n«e\ ».»* 'J-J"^ 1 liter period AoUam deems lo Lava been anisa-aaal \«. 5W«i«"^» '
398 Erwifons of Rome. NETTUNO. Sea-Coaat of Latium,
and the places on the bay of Ifaples, the temple of Fortune, mentioned by Horace (Carm. I. 35), where oracular responses were giren, existed until the latest era of paganism. The place was entirely deserted in the middle ages, but in the i6th cent, it began to be rebuilt. The present town dates almost wholly from the period after the restoration of the harbour by Innocent XII. (1698).
The tramway-terminus lies close to the Piazza, and a few paces from the harbour. The latter is small, and as it opens to the S., is in continual danger of being sanded up. The remains of an ancient mole may be seen opposite, in the direction of Nettuno, near the new bathing-establishment.
A pretty walk leads to the Areo MutOy turning to the right from the lighthouse (Faro) and descending to the beach beyond a solitary column. The promontory is pierced with antique passages, belong- ing to a large villa, which was, perhaps, built by one of the emp- erors. Picturesque view of the ruin-strewn beach. The Apollo Belvedere (and probably the Diana of Versailles also) was found here.
Close by the town itself is the Villa Albani, commanding pretty views from its neglected grounds ; we reach it by ascending from the Piazza, crossing the rails in the Via della Oapitale. and then turning to the right. Opposite the entrance is the ViUa Corami or Mencacci (usually inaccessible) Continuing along the Via della Oapitale and ascending the hill straight in front, we come upon the remains of an antique wall. Fine survey of the town and sea.
The Tramway from Anzio to Nettuno (see below; in 7 min., fares 35, 20 c.) follows the high-road (1 Y2M.). Adjoining the rail- way signal-box No. 31 is the side-entrance to the —
* Villa Borghese (main entrance opposite the Casino generally closed), which is surrounded by fine shady trees. When occupied by the family the villa can be visited only with a special permesso, to be obtained at the Pal. Borghese (p. 184) in Rome. The casino is said to occupy the site of the ancient Arx •, and fragments of col- umns, capitals, anrl other remains have been found here at various points. An alley of trees (Olmaia) ascends from the S. exit of the villa to the little Casino Soffredini, vrliich affords one of the finest views of Anzio and Nettuno. — From the gate of the villa to Nettuno,
Nettuno (Trattoria della FerroviaJ^ which depends for its interest on its picturesque situation, is said to have been once a settlement of the Saracens. The native costume of the women is picturesque, but it is now worn only on holidays. — A coast-road leads from Nettuno to (7^2 M- ) Astura, where there are numerous remains of Roman villas, and where Cicero also once possessed a villa. A tower, con- nected with the mainland by a bridge, belonged to a castle in which prince Conradin of Swahia souglit refuge with Jacopo Frangvpani af- ter the Battle of Tagliacozzo. The latter, however, delivered him up to Charles of Anjon, who caused him to be beheaded at Naples.
List
of the most important Artists mentioned in tlie Handbook, with a note of the schools to which they belong.
Abbreviations: A. = architect, P. = painter, S. = sculptor; ca. = circa, about; Del. = Bolognese, Ferr. = Ferrarese, Flor. = Florentine, Fr. = French, Lorn. = Lombard, Rom. = Roman, etc.
The Arabic numerals enclosed within brackets refer to the art-notices throughout the Handbook, the Roman fig«res to the Introduction.
Agoraeritos^ Greek 8., pupil of Phi- dias, ca. 436-424 B.C. — (xxxii).
Albani(Albano). Franc, Bol.P., 1578- 1660.
Alberti, Leon Batt., Flor. A., 1405-72. — (xlix. 92).
Alcameneg, Greek 8., pupil of Phi- dias, ca. 430-398 B.C. — (xxxii).
Al/ani. Domenieo di Farit. Umbr. P., 1483-1553. — (48).
Algardi, Al., Bol.S., A., 1592-1654.
AUegriy Ant., see Correggio.
AUoiH, Alets., Flor. P., 1535-1607.
— , Crigto/ano, Flor. P., 1577-1621.
AlunnOy Niceolb (di Liberatore) da Fo- ligno, Umbr. P., ca. 1430-1502. — (48. 79).
Amerighi, see Caravaggio, Mich,
Ammanati, Bart., Flor. A., S., 1511-92.
Angelieo da Fiesole, Fra Oiov., Flor. P., 1387-1455. — (63).
Anguisgola, So/onisba, Crem. P., 1539- 1625.
Apelles, Greek P., 356-308 B.C. — (xxxiii).
Amol/o del (di) Cambio, see tlambio.
Arpino, il Cavaliere d"* (Qitu. Cetari), Rom. P., ca. 1560-1640. — (Iviii).
BandinelUyBaccio, Flor. 8., 1493-1560.
Barbarella, Giorgio, see Oiorgione.
Barbieri, see Guereino.
Barili, Ant, and Qiov., 8ien. wood- carvers, first half of 16th cent. — (23).
Barna or Berna, Sien. P., d. 1381. — (23).
Baroeeio^ Federigo, Rom. P., imitator of Correggio, 1528-1612. — (97).
BartoU, Taddeo, see Taddeo.
Bartolo, Domenieo di, see Domenieo,
Bartolommeo delta Porta, Fra, Flor. P., 1475-1517.
Bassano, Franc, (da Ponte). father of Jacopo, Ven. P., 1548-91.
— , Jacopo (da Ponte), Yen. P.,1510-92.
Batoni, Pompeo, Rom. P., 1708-1787.
Bazzi, Giov. Ant., see Sodoma,
Beeca/umi, Domenieo, Sien. P., 1486-
1551. — (23). Bellini, Giovanni, Ven. P., 1426-1516. Benvenuto di Giovanni, Sien. P., d.
1517. — (23). Berehem (Berghem), Ckta* Pietersx,
Dutch P., 1620-1683. Berettini, Pietro, see Cortona. Bernardo Rouellino, Flor. A., 15th
cent. Bernini, Giov. Lorenzo, Rom. A., S.,
1589-1680. — (lix). Boedatj Greek 8., son of Lysippus. —
(xxxiii). Bologna^ Giov. da, or Giambologna
(Jean de Boullogne of Douai), S.,
1524-1608. BonfigU, see Buonfigli. Bonifaeio(Bonifazio) theElder, d.l540,
the Younger, d. 1553, the Youngest,
ca. 1555-79, Ven. P. Bonvicino, see Moreito. Bordone, Paris, Ven. P., 1500-70. Borgognone, Ambrogio, da Fossano,
Mil. P., 1455?- 1524?. Borromini, Frane., Rom. A., 8., 1599-
1667. — (Iviii). Botticelli, Aless. or Sandro, Flor. P.,
1446-1510. — (xlix). Bramante, Donate , A., 1444-1514. —
(li. — Comp. also the Index, under
'Rome'). BrU, Paul, Flem. P., 1556-1626. Bronzino, Angelo, Flor. P., 1502-72. Buonarroti, see Michael Angelo. Buonfigli (or BonfigU), Benedetto, ' Umbr. P., ca. 1420-c. 1496. — (48). Buontalenti, Bei'n., Flor. A., 1536-1608.
Oagnacci (Canlatti), Guido, Bol. P.,
1601-1681. Calidri, Paolo^ see F«vo\^«i*«.. Cambidso, Luea, Gexi. ^-n!^^^' ^ Canibio, Arnolfo del CdL^^^^^^^-^-^•"
1240-1311. ^«v '?s ^>S^^=^
Campagna. Qi-t-^^^^^''^^ vW«.-SS§ia>.
400
LIST OF ARTISTS.
Camitccini, Vine, Rom. P., 1773-1844. Canaletto (Antonio Canale), Ven.P.,
1697-1768. Canovoy Antonio, S., 1757-1832. Caprina, Amadeo or Afeo del, Bom.
A., d. 1501. Caravaggio, Michelangelo Amerighi da,
Lomb. and Rom. P., 1569-1609. —
(Iviii). — , Poliddro Caldara da, Rom. P.,
1495-1543. Cardi, Luigi, see (Hgoli. Carpi, Qirol. da, Ferr. P., 1501-68. CaiToeei, Agostino, Bol. P., 1558-1601. — , Annibale, brother of Agustino,
Bol. P., 1560-1609. — (Iviii). — , Lodovieo, Bol. P., 1555-1619. Camtcci. see Pontormo. Cavallint, Pietro, Rom. P. and mo-
saicist, 14th cent. — (xlviii). Cellini, Benvenuto, Flor. S. and gold- smith, 1500-72. Cephisodotus the Elder, Greeic S. (per- haps father of Praxiteles). — (xxxii). — J the Younger, Greek 8., son of Prax- iteles. — (xxxii). dgnani. Carlo, Bol. P., 1628-1719.—
(89). Cigoli (Luigi Cardi da), Flor. P., 1559-
1613. Cimabue, Oiov., Flor. P., 1240?-1302?. Claude le Lorrain(0ell4e), French P.,
1600-82. Clovio, Don Oiulio, P. of miniatures,
pupil of Giul. Rom., 1498-1578. Corneliui, Peter v., Germ. P., 1783-
1S67. — (lix). Correggio ( Antonio Allegri da), Parm.
P., 1494? -1534. Cortona, Pietro (Berettini), da, Flor.
A., P., 1596-1069. — (46). Cosmati, the, Rom. S. and mosaicists,
13th cent. — (xlvii). Credi, Lorenzo di, Flor. P., 1459-1537. Cresti, Dom., da Passignano, Flor. P.,
1560-1638. Crivelli, Carlo, Ven. P., ca. 1468-93.
Bold, Carlo, FJor. P., 1616-86. Domenichino (Domenico Zampieri),
Bol. P., 1581-1641. — (Iviii). Domenico di Bartolo, Sien. P., middle
of 15th cent. — (23). Donatello (Donate di Niccolb di Betti
Bardi), Flor. S., 1380-1460. Dosso Dossi, Ferr.P., ca.l479-1545(46 ?). Duecio di Buoninseyna, Sien. P., ca.
1285-1320. — (23). Dyek, Ant. van., Antwerp P., 1599-1641.
Euphranor, Greek S. and P., 375-335 P.O. — (xxxii).
Etisebio di iS. Giorgio, TJmbr. P., ca. 1500. — (48).
Euthycratee, Greek S., son of Lysippus. — (xxxiii).
Eutyehides, Greek S., pupil of Ly- sippus. — (xxxiii).
Tabriano, O entile da, see O entile. Federighi,Ant,, Sien. A.,S., ca. 1420-90. Ferrari, Qaudemio, Milan. P., 1484-
1549. Fiammingo, Arrigo, of Malines, Rom.
P., d. 1601. Fiegole, Fra Giovanni Angeiico da, see
Angelica, — , Mino da, Flor. S., 1431-84. Filarete, Ant., Flor. A., d. 1465? — (1), Fioremo di Lorenzo, Umbr. P., ca.
1472-1521. — (48). Fontana, Carlo, Rom. A., 1634-1714.
(Iviii). — , Domenico, Rom. A., 1543-1607. —
(Ivii). — , CKov», brother of Domenico, Rom.
A., 1540-1641. Fonte, Jae. dellcL, see Quereia. Franeetca, Piero della( Pietro di Bene- detto), Umbr. Flor. P., b. 1423. d.
after 1509. — (39. 56. 87). Francesco di Giorgio, Sien. A., 8., P.,
1439-1502. — (22). Francia, Francesco (Franc. RaiboUni).
Bol. P., 1450-1517. Franeucci, Innoc, see Imola. Fredi, Bartolo di, Sien. P., ca. 1330-
1409. — (23). Fuga, Ferdinando, Rom. A., 1699-1780. Fungai, Bernardino, Sien. P.,d. 1516.
- i'rs).
Furini, Franc, Flor. P., 1600-49.
Craetano, Scip., Neap. P., 16th cent. Galilei, Alessandro, Flor. A. , 1691-1737. Gavbo, Raffaellino del (R. Capponi),
Flor. P., ca. 1160-1524. Garo/alo (Benvenuto Tisio), Ferr. P.
1481-1559. Gatfn, Bartol. della, Flor. P., d. 1491. Gentile da Fabriano, Umbr. P., 1360V-
1440?. — (48). Gerino da Pistoja, Umbr. P., first
half of 10th cent. — (48). Ghiberti, Lor., Flor. S., 1378-1455. Ghirlandajo , Dom. (Dom. Bigordi),
Flor. P., 1449-94. — (xlix). — , Ridolfo(R. Bigordi), son of Dom.,
Flor. P., 1483-1561. Giambologna, see Bologna, Oiov. da. Gimignani, Giacinto. Tuscan P., 1611-
1081. Giocondo, Fra, Veron. A., 14.35-1515. Giordano, Luca, surnamed Fapretto. \ ^cw^. V..,^;*.. I(i3'2-1705.
LIST OF AETISTS.
401
Gioi'gione (Qiorgio Barbarella). Ven.
P., 1477?-1511. Oto«««o,Flor.P.,pupil of Giotto.— ( ). Giotto (di Bondone)^ Flor. P., A., S.,
1276-1337. — (xlviii. 76). OozzdlL Benozzoy Flor. P., pupil of
Fra Angelico, 1420-97. Ouereino^ il (Giov. Franc. Barbieri).
Bol. P., 1590-1666. — (Iviii). Guido da Siena, Sien. P., 13th cent.
IW, Binibaldo, Umbr. P., first half of
16th cent. — (48). letintu, Greek A., 5th cent. B.C. —
(xxxi). Jmdla, Innoeenzo da (Inn. Franeucci),
Bol. P., 14947-1550?.
Laippus, Greeks., pupil of Lysippus.
— (xzxiii). Landini, Taddeo, Flor. 8., d. 1594. Lanfranco, Giov., Lomb. and Rom.
P., 1580? -1647. Laurana, Luciano , of Dalmatia, A.,
15th cent. Le Brun, CAaWe#, French P., 1619-1690. Leochares, Greek S., middle of 4th
cent. B.C. — (xxxii). Leonardo da Vinci, P., S., A., 1452-1519. Licinio, Bernardino. P., pupil of Por-
denone, ca. 1524-42. — , Giov. Ant., see Pordenone. Ligorio,Pirro, Bom. A., d. 1580. Lippi, Filippvno, Flor. P., 1458-1504.
— (xlix). — , Fra Filippo, father of Pilippino,
Flor. P., 1415-69. — (83). Lombardo, Girolamo, Ven. 8., 16th cent. Long hi, Luca, P., Ravenna, 1507-80. Lorenzetti, Ambrogio, Sien. P., d. 1348?
— (23). — , Pietro, Sien. P., d. 1348?. — (23). Lorenzetto, Martino (di Lodovieo Catn-
panajo), Flor. A., 8., 1494-1541. Lorenzo di Pietro, see Vecchietta. Lotto, Lorenzo, Ven. P., 1480?-1554?. Luca Thome, Sien. P., second half of
14th cent. — (23). Luini, Bernardino, Milan. P., 1470?-
Lunghi, Mart., the Elder, Rom. A.,
16th cent. — , Onorio, Rom. A., son of the
preceding, 1569-1619. — , Mart., the Younger^ son of the
last, d. 1637. LuH, Bened., Flor. P., 1666-1724. Lyeipput, Greek S., 4th cent. B.C. —
(xxxii).
ULadema, Carlo, Bom. A., 1556-1629.
— (Iviii). Mademo, Ste/ano , Lomb. Rom. S.,
1571-1636. '
Basdmkkm. lUly II. 10th Edit.
Majano, Benedetto da, Flor. A., 8., 1442-97. '
— , Giuliano, Flor. A., 1432-90. Manni, Giannieola di Paolo. Umbr, P.,
d. 1644. — (48). Mantegna, Andrea, Pad. P., 1431-1506. Maratti (Maratta), Carlo^ Rom. P.,
1625-1713. *
Marcantonio Raimondi. engraver, ca.
1488-1527. '
Marehionne, Carlo, Rom. A., S., 1704-
1780. ' '
Margaritone, P. and S., of Arezzo,
1236?- 1313. - (39). Mariano, Lor. di, surnamed il Mar-
rina, Sien. S., 1476-1534. Martini, Simone (Sim. di Martino),
Sien. P., 1283-1344. — (23). Masaedo (Tommaeo Guidi), Flor. P.,
1401-28?. — (38). Matteo (di Giovanni) da Siena, Sien.
P., 1435-95. — (23). Mazzolini, Lodov,, Ferr. and Bol. P.,
1481- ca. 1528. Mazzuola, Frane., see Parmeggianino, Melozzo da Forll, Umbr .-Tuscan. P.,
1438-1494. — (xlix. 89). Memmi, Lippo, Sien. P., d. 1356. — (23). Menelaus, Rom. S. of the time of
Augustus, — (xxxvi). Meetina, Antonello da,V., b. after 1410,
d. ca. 1493. '
Michael Angelo Buonarroti, A.,S.,P.,
1475-1564. — Gi, Hi. — Comp. also
the Index under *Rome\) Mneeielet, Greek A., 5th cent. B.C.
— (xxxi). Moeehi, Frane., Tuscan 8., 1580-1646. Mola, Francesco, Rom. P., 1612-1666. Montelupo, Raff, da, Flor. 8., ca.
1505- ca. 1570. Montorsoli, Fra Giov. Ang., Flor. 8.,
ca. 1506-63. Moretto da Bretcia (Alettandro Bon-
vicino), Bresc. P., 1498-1555. Morone, Franc, Veron. P., 1473 or
1474-1529. Moroni (Morone), Giov. Batt., Bresc.
P., 1510? -1578. Moica, Simeone, da Settignano, 8.,
1498-1564. Murillo, Bartolomi Eetiban, Span. P.,
1617-1682. ^
Muziano, Girol., of Brescia, P., 1530-
1592. Myron, Greek 8., 5th cent. B.C. - (xxxi).
Ne«i, Ottaviano, Umbr. P., 55..\^is^>— Nucci, Avanzino, Umbr. ^ . «\^^^V*s^®^
• ^
Oderisi of Gubbio . ^ArSsrv-as'*'^ «=--^'
<iS:oJw«t-*
402
LIST OF ARTISTS.
Oggionno, Marco da, Milan. P., pupil of Leonardo, 1470 ? - 1540 ?.
Orcagna (Andrea di done), Flor. A., 8., P., 1308?-1368?.
Overheek, Joh. Friedr,, Germ. P., 1798-1869.
Vaceliia, Girolamo del. Sien. P., 1477-
ca. 1535. — (23). Paeehiarotto. Qiae., Sien. P., 1474-
1540. — (23;. Palladio, Andr., Ven. A., 1518-80. Palma Giovane (Oiovine), Oiac, Ven.
P., 1544- ca. 1628. — Veeekio, Giac., Ven. P., 1480-1528. Palmerucci, Guido, Umbr. P., 1280-
1345?. — (6S). Palmezzano. Marco, da Forli. Flor. P.,
1490-1530. Parmeggianino or Parmigianino
(Franc. Matzuola). Parm. P., 1503-
1540. Pasiieles, Grceco-Rom. S., 72-48 B.C.—
(xxxvi). Ptuiignano, see Cresti. Pellegrino Pellegrini (Tibaldi), Bol.
A., P., 1527-91. P^ni, Franc, (il Fattore), Flor. P.,
1488-1528. — (Ivii). Perino del Vaga, see Vaga. Perugino, Pietro (Pietro Vannucci),
Umbr. P., 1446-1524. — (xlix. 48. 61). Peruzzi. Baldass.^ Sien. and Rom. A.,
P., 1481-1586. — (Ivii. 23). Phidiae, Greek S., 500-430 B.C. —
(xxxi). Pintelli, Baccio, Flor. A., S., ca. 1472-
1490. — (xlix). I^niuriechio (Bernardino Betti) ^Vmbr.
P., 1454-1513. — (xlix. 48). PiombOy Sebasf. del, see Sebastiano. Pippi, see Romano. Pisanello, see Pisano, Vittore. Pisano , Giov.. Pis. A., S., son of
Niccol6, d. 1320. — (22). — , Giunta, Pis. P., first half of 13th
cent. — , JV^fccoW, Pis. A., S., d. 1278. — (22). — , Vittore (Pisanello)., Ver. P., ca.
1455. Podesti^ Franc, modern Rom. P. —
(lix). Polidoro, see Caravaggio. Pollajuolo , Ant. J Flor. A., .S., P.,
1429-98. — , Piero, Flor. S., P., 1441-89?. Polycletue, Greek S., 5th cent. B.C.
— (xxxi). Polygnotus, Greek P., 480-430 B.C. —
(xxxi). Fomarancio (Circignani).^ Rom. P.,
end of 15tli cent. Ponte, Franc.f Jac, da, see Ba8«ano
Pontormo, Jacda (Cai'rueci). Flor. P.,
1494-1557. Ponzio, Flaminio, Bom. A., ca. 1570-
1615. Pordenone, Giov, Ant. ( G. A, Lieinio
da P.), Ven. P., 1483-1539. — , see also Lieinio, Bej'nardino, Porta, Bart, della, see Bartolommeo. — , Giac. della, Lomb.A., S., 1541-1604. — , Giov. Batt. delta, Rom. S., 1539-94. — , Guglielmo della, Lomb. S., d. 1577. Pouezin, Gaspard ( G. Dughet). French
P. 1613-75. — , kieolas, French P., 1594-1665. Pozzo, Andrea, Je8uit,P.,A., 1642-1709. Praxiteles /., Greek S., ca. 364 B.C.—
(xxxii). Provenzale^ Marcello, Rom. mosaicist,
d. 1639.
Qiuercia, Jae. della (or J. della Fonte). Sien. S., 1374-1438. — (22).
"Raffaello dal Colle, Rom. P., 1490-
1540. — (Ivu. 56). Raphael Santi da Urbino, P., A., 1483-
1520. — Giii. 97. Comp. also the
Index under 'Rome'.) Raibolini, see Francia. Raimondi, see Marcanionio. Reni, Guido, Bol. P., 1574-1642. —
(Iviii). RQ}era, see Spagnoletto. Ricciarelli, see Volterra, Daniele da. Rinaldi, Antonio, Rom. A., IGth cent. Ristoro, Fra, Flor. A., d. 1283. —
(xlviii). Robbia, Andrea della, Flor. S., 1435-
1528. — , Giov. della, son of Andrea, Flor.
S., ca. 1530. — , Luca della, Flor. S., 1400-82. Robust i, see Tintoretto. Romanelli, Giov. Franc, Rom. P.,
1610 V -1662. Romano, Giulio(G. Pippi),'Biovck.V.,k.,
1492-1546. — (Ivii). — , Paolo, Rom. S., first half of 15th
cent. Roncalli , Rom. P., second lialf c»f
IGth cent. Rondinello, Niccolb, Ven. P., 16th cent. Rosa, Salvator, Neap. P., 1615-73. Rosselli, Cosimo, Flor. P., 1439-1507.
— (xlix). Rossellino (Bern, di Matteo Gambe-
relli), Flor. A., S., 1409-90. —(19.22).
\
Sacc^i,^.,R(mi.P.,i598?-1661.— (lix). Saldino, Andr., Milan. P., pujiil of
Leonardo, ca. 1495-1515. SaUmbeni. Ventura, Sien. P., 1557?
LIST OF ARTISTS.
403
SalviaH, Franc, Flor. P., 1510-1563. Sammicheli^ MieheleyVer.A., 1484-1554. Sangallo, Antonio da, theElder^ Flor.
A., 1450?-1534. — , Antonio da^ the Younger, Flor. A.,
1485-1546. — (Ivii). — , Francesco da^ son of Giuliano,
Flor. 8., 1494-1576. — , Oiuliano da, brother of Antonio
(the Elder), Flor. A., 1445-1516. San Gimignano, Vineenzoda, Rom. P.,
1490?- 1529?. Sano di Pietro (di Domenico). Sien.
miniature painter. 1406-1481. Sansovino^ Andrea iGontueci),FloT. S.,
1460-1529. — (42). — , Jae. (J. TatH)y Ven. A., 1477-1570. Santi, Oiov., father of Raphael, Umb.
P., ? 1450-94. — (97). — , Raffaello, see Raphael. Saraceni, Carlo, surnamed Venetiano,
Ven. and Rom. P., 1585-1625. Sarto, Andrea del, Flor. P., 1487-1531. Saeso/errato ( Oiov. Baff. Salvi), Bom.
P., 1606-85. — (lix. 109). Scareellino, Ippol., Ferr. P., 1551-1621. Sehiavone (Andr. Meldolla), Ven. P.,
1522-82. Schidone, Bart., Mod. P., d. 1615. Bcopae, Greek 8., ca. 390-350 B.C. —
(xxxii). Sebastiano del PiomX>o, Ven. and Bom.
P., 1485-1647. SeiTnoneta, Oirol. JSteciolante da. Bom.
P., d. 1580. Signer elli, Luea, Tuac.P., 1441-1523.
— (xlix. 17. 43. 63.) Sisto, Fra, Flor. A., d. 1289. — (xlviii). Sddoma, il (Oiov. Ant. Bazzi), Sien.
and Lomb. P., ca. 1473 (not 1480)-
1549. — (Ivi. 23. 17). Solano, Andrea (da Milano), Lomb.
P., ca. 1448-1530?. Spada, Lionello, Bol. P., 1556-1622. Spagna (Oiov. di Pietro), Umbr. P.,
ca. 1507, d. before 153(J. — (48). Spagnoletto (Oitu. Ribera), Span.
Neap. P., 1588-1656. Specchi,Ale8s.,'Rom..A. and engraver,
d. 1710. Spinello Aretino, Flor. P., pupil of
Giotto, 1318-1410. — (39). Stephanus, Greeco-Bom. 8., 1st cent.
B.C. — (xxxvi). Subleyrae, Pierre, French P., 1699-
1749.
Taddeo (di) Bartoli, Sien. P., 1362- 1422?. — (23).
Tamagni, Vine., see San Qimignano.
Tempeeta, Ant., Rom. P., 1637-1701.
Teniers, David, the Younger, Antwerp P., 1610-1690.
T^aldi, see Pellegrino Pellegrini.
IV>erio d''Assi8i, Umbr. P., 16th cent. -(48).
Timarchidee, Greek S., son of Praxi- teles. — (xxxii).
Tintoretto, il (Jae. Rolueti), Ven. P., Ven. P., 1518-94.
Ti»i, Benv., see Garofalo.
Titian (Tiziano Vecellio da Cadore), Ven. P., 1477-1575.
Torriti. Jaeobue.Uom. mosaicist, sec- ond half of 13th cent.
Tribdlo (Nice. Pericoli), Flor. S., 1485- 1550.
JJecelli, Paolo, Flor. P., 1397-1475. —
(97). Udine, Oiov. (Nanni) da, Ven. Rom
P., 1487-1564. — (Ivii).
"^acca, Flaminio, Rom. 8., second
half of 16th cent. Vaga, Perino del (Pier. Buonaceorei),
Rom. P., 1500-1547. — Ovii). Valsoldo, Rom. S., second half of
16th cent. Vanni, Franc, Sien. P., 1563?-1609. — , lAppo, Sien. P., 14th cent. — (23). Vannucci, Pietro, see Perugino. Vanvitelli,Lodov., Bom.P.,A., 1700-^73. Vaedri, Giorgio, Flor. P., A., and
writer on art, 1512-74. — (39). Vecehietta (Lorenzo di Pietro), Sien,
S., A., P., 1412-80. — (23). Vecellio, Tiziano, see Titian, Velazquez (Diego V. de Silva), Span.
P., 1599-1660. Venusti, Marcello, V., d. ca. 1570. Veroneee, Paolo (P. Caliari), Ven. P.,
1528-88. Vigndla (Oiacomo Barazzi), A., 1507-
73. — Ovili). Vinci, Leonardo da, see Leonardo. Vite, Timoteodella (Tim. Viti), Umbr.
Bom. P., 1467-1523. — (97). Volterra, Daniele da (D. RicdarelU),
Flor. P., 1509-66. — (10).
Zampieri, see Domenichino. Zuechero (Zucearo), Federigo, Rciva..
P., 1560-1609. — (Iviii). — , Taddeo, Bom. P., 1629-6&-
^!^>
INDEX.
Abete, Monte deir 11. A.cqualagna 101. Acqua Acetosa 337.
— Felice 168. 346. 347.
— Marcia 347.
— Paola 390.
— Santa 346.
— Vergine Ififl. 345. Acque Albule 371. Adriana, Villa 374. ^sis m. iEthalia 12. Affile 386. Agosta 380. Agylla 392. Albacina 108. 109. Alba Longa 372. Alban Mountains, the 363. Albano 368.
— , Lago dl 369. Albano Laziale 364. 368. Albanum 368. Albarese 3. Albegna 3. — , river 3. Albinia 3. Allerona 61. Allia 341.
Almo, brook 348. 351. Alsion 392. Alsium 7. Alviano 61. Amelia 87. Ameria 87. Amiata, Monte 18. Amone 88. 89. Ancona 102. Anemo 83.
S. Angelo (near Grosseto) 18.
— in Vado 101. Angliari 56. Anguillara 391.
Anio, river 341. 342. 371.
Anio novus 180.
Ansa, the 92.
S. Ansano in Dofana 37.
Anpciano, Mte. d' 57.
Anscdonia 4. Antemnee 311. 336. Antico, Monte 18. Anticoli 380.
S. Antimo 17.
Antium 397.
Aneio, or Porto d''AnEio,
397. Apennines, the 102. etc. Appia Antica, Fortezza
350. — , Via 348. Aqua Alexandrina 346.
— Claudia 347.
— Ferentina 367.
— Marcia 347. 379. Aquse Albulse 373.
— Apollinares 391.
— Salvias 364.
— Tauri 7. Arbia 16.
-, river 17. 22. 37. S. Arcangelo 91. Arco Muto 398.
— Oscuro 337. Ardea 39*7. Arezzo 38.
Argentario, Monte 3. Ariccia 370. Aricciana, Valle 370. Ariminum 92. Ariminus 94. Arno, river 42. Arretium 38. Arrone, river 4. 7. 390.
391. Artemisio, Monte 382. Aruns, Tomb of 3G9. Arvales, Grove of tlie
393. Asciano 16. Ascoli 88.
Asdrubale, Monte d' 93. Assino, the 57. Assisi 75.
Astagno, Monte 102. Astura 398. Attidium 109. Attigliano 66. Augustanus, Vicus 394, Augustus, Bridge of 87. Auximum 105.
I
Bachetona, La 11. Badia de\ YmtIo 101,
Bagnaia 71. Bagni 373. Bagno a Morbo 8. Bagnorea 69. Balneum Regis 69. Baize, Le 11. 56. Baschi 66.
Bassano Teverino 66. — , Lake of 66. Bassiano 387. Bastia 74. Bedesis 89. Belcaro 37.
Belrespiro, Villa 366. Belvedere, Osteria di 366. S. Benedetto 90.
— (convent near Su- biaco) 381.
S. Bernardino 99.
Bertinoro 90.
Betolle 42.
Bevagna 80.
Bibbiena 42.
Bieda 73.
Bisentina 66.
Blera 73.
Bolsena 05-
— , Lago di G6.
Bomar/o 67.
Borghese, Villa 334. 398.
Borghetto 67.
Borgo dei Magazzini 12.
— di S. Marino 94.
— S. Sepolcro 56. Bovillee 350. Bracciano 391.
— , Lago di 391.
Branca 59.
Bruna, river 2.
Buche de' Saracini , Le
11. Bucine 38. Bulicame 72. Buonconvento 17. Burano, river 101.
Caecina 1. Caere 7. 392. Caesena 90.
CaflFarella, brook 351. Cagli 101.
INDEX.
405
Calle 101.
Callori, S. Maria Assunta
di 16. Calvo, Monte 57. Gamaldoli 365. 42. 94. Gamerino 108. Gamerinum Umbroram
108. Gampagna di Roma 306.
7. Gampana, Grotta 390. Gampello 81. Gampiglia 1. Campo d'Annibale 372.
— Reggiano 57. Gamuscia 43. Gandigliano, river lOl. Ganoscio 57. Gantalupo 380. Ganterano 380. Gantiano 101. Gapalbio 4. Gapanne, Monte 12. Gapannelle, Le 347. 367. Gapo di Bove 349. Gapoliveri 12. Gaporciano 11. Gapraja 12. Gaprarola 73. Garceri, Eremo delle 78. Gareise 390.
Garsulee 56.
Gasale del Fontanile 69.
— di Prima Porta 337.
— Rotondo 350. Gascate delle Marmore 86. Gasentino, the 42. Gasino di Terra 8. Gassia, Via 69. 336. 389. Gastagneto 1.
Gastel d^Asso 72.
— Bolognese 88.
— Durante 56.
— S. Elia 74. Gastelfidardo 105. Gastel Fiorentino 13.
— Fusano 396.
— Gandolfo 369.
— Giubileo 68. 341.
— di 8. Leo 94.
— Madama 379.
— del Piano 18.
— 8. Pietro 81.
— Planio 109.
— Porziano 394.
— Raimondo 108.
— Savelli 368.
— Todino 56. Gastelaccio 72. Gastellum Azia 72. Gastelnuovo 8. Gastelnuovo deir Abbate
17.
Gastiglione 345.
— Fiorentino 43. .
— del Lago 59.
— d'Orcia 18.
— della Pescaja 2.
— Teverino 66. — , Palude di 3. — , Promontory of 2. Gastrimoeninm 367. Gatillo, Monte 377. Gattolica, La 94. Gava, La, di Gaporciano
11. Gave, Fiume di 384. Gavi 384. Gavo, Monte 371. Geccarelli, Vigna 393. Gecchina 368. Gechignola 348. Gecina 1. 8. — , river 1. 8. Gellole 16. Gelsa 36. Gentnm Gellae 6. Gerboli 12. — , Monte 8. Gere nuovo 392. Gerfone, the 56. Geri 392. Gertaldo 13. Gervara 380. 373. — , Grottoes of 373. Gervetri 392. Gesano, river 101. S. Ge8areo,Osteriadi346. Gesena 90. Gesi 87. Getinale 37. Getona 61. — , Monti di 20. Ghiana,river 16. 18. 42. 60. Ghianciano 20. Ghiaravalle 108. Ghiarone 4. Ghiascio, river 59. 74. 101.
109. Ghienti, the 107. Ghiusi 60. 20. — , Lake of 20. Ghiusure 16. Giampino 367. 368. Giminius, Mons 73. Gineto Romano 379. Ginigiano 18. Gircello, Monte 382. Gitema 56. Gitt& di Gastello 56.
— della Pieve 61. Givit& Gastellana 67.
— Lavinia 382. Givitanova, Porto 107. Givitk Vecchia 6. Civitella 385.
Glanis 43. Glitumnns 80. 81. Glivus Ginnse 338. Glusium 60. Gollatia 373. Golle 13.
— di Val d'Elsa 11. 14.
— del PoeteUo 380.
— Salvetti 1. Gollescipoli 87. S. Golomba 36. Golonia Fidens Julia
Arretiam 38.
— Julia Hispellum 79.
— Julia Senensis 21.
— Junonia 67.
— Nepensis 74. Golonna 2. 34^. *• — , near Grosseto 2. — , Parco di 361. Gompatri 366. Gompiobbi 37. Gonca, river 94.. Gonero, Monte 105. Gora 386. GorcoUe 345.
Gori 386.
Gorneto (Tarquinii) 4.
Gomiculum 374.
Gorrignaleto, Monte 380.
Gorsignano 20.
Gorsini, Villa 398.
Gortona 43.
Gosa 4.
Gostacciaro 101.
S. Gostanza 342. xlvl.
S. Gostanzo 55.
Gremera, the 337. 389.
Crustumius rapax 94.
Gures 68.
Digentia 380. S. Donato 11. S. Donnino 13. Dorica Ancon 102. Durante, Gastel 56.
S. Edistio 68. Egeria, Grotto of 351. S. Egidio, Alto di 45. Elba 12. Ellera 46. Elsa, river 13. Emissarium of the Lago Albano 369.
— of the Lago di Nemi 371.
Empoli 13.
Ercole, Porf 3.
Esino, river 102. 10&- '-i*^.-
Etruscan Towns 38p^^^_^r«.
406
INDEX.
Fabriano 109. S. Facondino 109. Faenza 88.
Falconara'S?. 102. 108. Falcone, Monte 346. Falconieri, Villa 366. Falerii 67. Faleriom Novum 67. Fano 99. Fanum Fortunffi 99.
— Vacunee 380.
— Voltumnee 69. Fauglia 1. Faventia 88. Ferentinam 69. Ferento 69.
Ferrata, Grotta 864. 867 — , Osteria della 880. Ficulle 61. Fidenee 889. 341. Figline 38. Filomarino, Osteria di
341. Flora, river 4. Fiumicino 394. 7. — , river 91. Florence 94. Foggia 105. Foglia, river 94. 96. Fojano 42. Foligno 79. Follonica 2. Fontanile, Casale del
69. Fonte degli Oratini 380. Forli 89. Forlimpopoli 90. Formello 389. — , Fosso di 387. Formica, island 2. Fornm Cassii 72.
— Clodii 391.
— Livii 89.
— Popilii 90.
— Sempronii 101. Fossanuova 388. Fossato 59. 101. 109. Fossa Trajani 394. Fosso di Formello 389.
— deir Isola 389.
— di Ponte di Nona 345.
— di Valca 389. Fossombrone 104.
8. Francesco (Sabine Mts.) 385.
— (Fojano) 42. Frascati 3G4. Frassinetto 43. Fratocchie, Le 360. Fregense 7.
FrosiDone 388. Fulginium 79.
Furbara 7. Furlo Pass 101.
Gabii 345. Galera 390. S. Galgano 37. Gallese 67. Gallicano 345. Gallinas, Villa ad 337. Galloro 370. Gambettola 91. Gavignano 388. Gavorrano 2. S. (S«niine 56. Genazzano 384. Ctenga, La 109. Gennaro, Monte 379. Genzano 370. S. Giacomo 81. Giano, brook 109. Giglio 13. S. Gimignano 14. 8. Giovanni 38.
— d'Asso 17.
— di Ponte alio Spine 37.
S. Girolamo , convent
11. Giove, Monte 100. Giovi 42. Giulianello 386. — , Lago di 386. Giuncano 84. S. Giustino 56. Gronfolina, the 13. Gordiani, Villa of the 345. Gorgona 12. Gradara 96. Granaiolo 13. Grano, Monte del 347. Gran Sasso d'ltalia 105. Graviscse 5. Grosseto 3. Grotta Campana 390.
— Ferrata 367.
— d'Orlando 74. Grotto of Egeria 351. Gualdo Tadino 109. Guasco, Monte 102. Gubbio 57.
Hadrian's Villa 374. Uelvia Ricina 107. Hispellum 79. Horace, Villa of 378. Horta 67.
Igilium 13. Iguvium 58. Ilva 12. Imola 88.
lmpGT\&\e, Villa 96. \ Inciaa. '6ft.
Inferno, Valle dell* 338. Inghirami Villa 11. Interamna 85. Isaurus, river 94. Isola Famese ^89.
— Maggiore 46.
— Minore 46.
— Polvese 46.
— Sacra 894.
Jesi 106.
Jupiter Apennmus,
Temple of 101. Jupiter Latiaris,
Temple of 872.
Labico 346.
Labicum 346.
La Cava di Caporciano
11. Lacus AlbanuB 369.
— Giminius 73.
— Nemorensis 371.
— Preliua 3.
— Sabatinufl 381.
— Trasimenus 46.
— Vadimonis 67.
— Vulsinienaia 66. Ladispoli 7.
La Genga 109.
— Magliana 393. 7.
— Mola 370. Lago Zolforeo 8. Lanuvium 382. Larderello 8.
La Storta 389. Laterina 38. Latium 333. La Tolfa 7. Laurentum 396. Lavinium 396. Le Baize 11. 56. Le Vene 81. Licenza 380. — , river 379. 380. Livia, Villa of 337. Loreto 105. Lucignano 18. Luco, Monte 84. Lucretilis, Mons 380. Lugnano 346. Lunghezza 373.
Maccarese 7. — , Stagno di 7. Macchia di Ostia 394. Macerata 107. Madonna del Buon Con- siglio 384.
— del Calcinajo 43.
— del Campo 384.
— deUe Case 380. V— ^<i\ Monte 386.
INDEX.
407
Madonna del Saaso 42. Mcecenas, Villa of 379. Kagazzini, Borgo del 12. Magione 46. Magliana 7. 393. Magliano 67. Malafede, Ost. di 394. S. Mama 42. Mandela 380. Marano, river 94. Marches, the 88. Marciana 12. Marecchia, river 91. 92.
94. Maremme, the 1. 2. S. Maria degli Angeli 75.
— Assnnta di Gallori 16.
— di Cesareo 390.
— delle Grazie 42. 84.
— del Monte 91.
— della Querela 71.
— di Quintiliolo 378.
— dei Servi 61.
— della Villa £84. 8. Marinella 7. Marino 367. 368. S. Marino 94. Mario, Mte. 338. S. Marmi 9. Marmoraja 36. Marmore, 85.
— , Cascate delle 86. Marotta 101. Marrana, the 255. Marta, river 4. 5. Martana 66.
S. Martino al Piano 101. Massa Marittima 2. Massi, Monte 11. Matelica 108. Meloria 12. Mentana 68. 343. Metauras 101. Mevania 80. S. Mezzano, Villa 38. Mignone, river 6. Milvius, Pons 336. S.Miniato dei Tedeschi 13. Mola, La 370. Mondragone, Villa 365. Moline 96. Mons Albanas 372.
— Ciminins 73.
— Lucretilis 380.
— Sacer 343. Montalcino 17. Montalto 4. Hontarozzi 5. Monte deir Ahete 11.
— Amiata 18.
— Antico 18.
— Aperto 22.
— Argentario 3.
Monte Artemisio 382.
— d'Afldrnbale 101.
— S. Bartolo 96.
— Gapanne 12.
— Catillo 377.
— Catini 11.
— Cavo 371. Montecchio 43. Monte Gerboli 8.
— Celio 374.
— Ciminio 73.
— Circello 382.
— Compatri 366.
— Conero 105.
— Corona 57.
— Corrignaleto 380.
— Cristo 13. Montefalco 80. Montefiascone 69. Montefiorentino 55. Monte Gennaro 379.
— Giove 100.
— del Grano 347.
— Guasco 102.
— Luco 84. Montelupo 13. Monte Maggiore 56. Montemarciano 102. Monte Mario 338.
— Massi 11.
— Nero 1.
— Oliveto Maggiore 16.
— Pescali 3. 18.
— Petrara 101.
— Porzio 366. Montepulciano 18. — , Lago di 20. Monte Biggioni 16.
— Romano 73.
— Rosso 109.
— Rotondo (near Rome) 68. 341. 343.
(near Volterra) 8.
— Sansavino 42. Montesanto 107. Honte Semprevisa 387.
— Somma 84.
— Subasio 78.
— Trevi 887. Montevarchi 38. Monti di Cetona 20. Montone, river 89. Montone Monte Gastelli
67. S. Mnstiola a Torri (Val di Merse) 37.
Nar 87. Narni 87. Nemi 371. — , Lago di 371. Kepete 74. Nepi 68. 74.
Neqninum 87. Nera, river 56. 86. Nera Montoro 87. Nero, Mte. 1. Nero's Tomb 389. Nettuno 398. Ninfa 387. Nocera 109. Nomentnm 343. Norba 387. Norchia 73. Norma 387. Nuceria 109.
Olevano 384.
Ombrone, river 3. 13. 16.
Ontanese 382.
Oratini, Fonte degli 380.
OrbeteUo 3.
Orcia, river 18.
Orciano 1.
Orcle 73.
S. Oreste 68.
Orlando, Grotta d' 74.
Orte 67. 87.
Orvieto 61.
Osa, river 3.
Osimo 105.
Osservanza, L* 86.
Osteria di Belvedere 355.
— delle Capannacce 374.
— delle Capannelle 346.
— di Gavamonte 345.
— S. Gesareo 346.
— della Ferrata 380.
— di Filomarino 341.
— del Fomaccio 374.
— delle Fratocchie 350.
— di Malafede 394.
— Nuova 890.
— deir Osa 345.
— del Pino 347.
~ del Ponticello 354. 894.
— del Tavolato 346. 367.
— deUa Volte 37. Ostia 394.
— , Macchia di 394. — , Stagno di 394. Otricoli 67.
Padule 59. Paganico 18. Paglia, river 61. Palazzo 109.
— del Pero 56. Palazzolo 109. Palazzuola 372. Palestrina 383. Palidoro 7. Palma4<^\!^ 'VX.
408
INDEX.
Palombara 843. 374. Palombaro 374. 35a Panicale 60. S. Paolo, StaEione di
393. Papa Gialio, Casino of
*, Villa of 837.
Papigno 86. Parco di Golonna 368. Parioli, Monti 336. Passerano 384. 345. Passignano 46. Passo di Gorrese 68. S. Pastore 346. Pansilypon 391. Pellegrino 109. Pentapolis Maritima 92. Perugia 46.
S. Agnese 62.
8. Agostino 51.
S. Angelo 52.
Antiquarian Museum 52.
Arco di Augusto 51
Baglioni, Villa 55.
S. Bernardino, Oratorio 53.
BibliotecaPubblica 51.
Botanic G-arden 62.
Cambio, Coll. del 49.
Cathedral 5L.
Cemetery 55.
Chiesa Nuova 53.
Collegio del Cambio 49.
Corso Cavour f)4.
— Vannucci 49. S. Costanza 55. S. Domenico 54. Episcopal Palace 51. S. Ercolano 54. Fonte Maggiore 51.
S. Francesco dei Con- ventual! 53. House of Perugino 53. S. Lorenzo 61. Madonna della Luce 53.
Maestk della Volte 51. Meniconi, Gallery 55. Monaldi, Gallery 55. Museum 52. Necropolis 55. Pal. Antinori 51.
— Baldeschi 49.
— del Capitano delPo- pfdo 53.
— Gallenga 51.
— del Podesta 51.
— Pubblico 49. Passeggiata Pubblica
55. Perugino, House of 53.
Perugia : Piazza Danti 51.
— del Duomo 49.
— Fortebraccio 61.
— del Municipio 51.
— del Sopramuro 53.
— Vitt. Emanuele 49. Picture Gallery 50. S. Pietro de** Casinensi
54. Pinacoteca 60. Porta Marzia 53.
— 8. Pietro 54. Prefettura 49. Bomualdi, Collection
56.
Sciri (Scalzi), Torre delle 53.
8. 8evero 52.
Statue of Julias III. 51.
University 52.
Volumnii, Sepolcro de' 55. Perusia 47. Pesa, river 13. Pesaro 94. Petrara, Monte 101. Pianosa 12. Picenum 105. Piediluco 85.
— , Lake of 87. Pienza 20. Pietralata 101. Pietralunga 57. Piombino 2. Piperno 388. Pisaurum 94. Pisciatello, the 91. Planasia 12. Plautii, Tomb of the
374. Poggibonsi 13. Poggio alia Croce 11.
— Mirteto 68. Polenta 90. Polimartium 67. S. Polo 379. Pomarance 8. Pompey, Tomb of 369. Pcmente, Lago di 7. Pons Milvius 336. Pontassieve 37. Ponte deirAcquoria378.
— della Badia 4.
— a Botte 101.
— della Catena 346.
— Centesimo 110. Pontcdera 8. Ponte a Elsa 13.
— Felice 62.
— Galera 7. 393.
— liai \— Gc\r \- 8.
Ponte Lucano 3T4.
— Mammolo 374.
— MoUe 336.
— Nomentano 342.
— di Nona 346.
— d'Orsino 384.
— Salaro 341.
— Sodo 390.
— del Terreno 67.
— delle Torri 84. Ponticello, Osteria del
354. 394. Ponticino 38. Pontignano , Certosa di
36. Poppi 42. Populonia 2. Porrena 42. Porsenna, Mausolenm of
60. Porta Aurelia 355.
— Furba 347.
— Libitina 349.
— Spezieria 890. Porto 393.
— d'Anzio 397.
— Civitanova 107.
— Clementino 6.
— Ercole 3.
— Ferrajo 12.
— Longone 12.
— S. Stefano 3. Portonaccio 367. 374. Portus Trajani 6. 393. Porzio, Mte. 366. Potenza, river 107. 108. Potenza-Picena 107. Prseneste 383.
Pratica 396. Pratovecchio 42. Prima Porta, Casale di
337. Privernum 388. Pupluna 2. Pussino, Val di 337. Pyrgos 7. 392.
S. auirico 17.
Ranza 11.
Rapolano IS.
Rassina 42.
Ravenna 88. 94.
Recanati l(fj.
Regillus, Lake 346.
Regres.so 377.
Riccione 94.
Rignanr). on the Arno 3S.
Rimini 91.
Rio Castello 12.
— Fali.sco 74.
— Marina 12. \^\^%.tWUa 8.
INDEX.
409
Rocca 368.
^ Ganterano 380.
— S. Casciano 90.
— di Cave 384.
— Giovine 379. 880.
— Maggiore 78.
— Massima 384.
— di Papa 372.
— Romana 391 .
— S. Stefano 386.
— Strada 18. S. Bocco 380. Rojate 385. Roma Vecchia 360. Romena, castle 42.
ROME 111. Abbadia delle Tre Fon
tane 354. Accademia di Francia 149.
— di Belle Arti 184.
— de' Lincei 324.
— di S. Luca 238. Acqua Acetosa 337.
— Felice 16S. 346. 347.
— Marcia 166. 347.
— Paola 329.
— Santa 346. 852.
— Vergine 162. 346. 8. Adriano 238. ^des Castoris 226. iErariam publ. 227. S. Agata in Saburra
170. S. Agnese 190.
— fuori le Mura 342. S. Agostino 189. xlix. Albergo deir Orso
zliz. Aldobrandine Kuptials
321. S. Alessio 263. S. Alfonso de^ Lignori
181. All Sainta, Gh. of 150.
119. Alpine Club, Italian
118 Alta Semita 166. Amazon after Polycle-
tus 316. American Church 119.
169. Amphitheatrum Cas-
trense 273.
— Flavinm 234. Anaglypha 229. S. Anastasia 260. S. Andrea 336.
— delle Fratte 161.
— al Qnirinale 178.
— della Valle 196. lix.
ROME: St. Andrew, Chap, of
336. Anflteatro Umberto I.
184. S. Angelo, Castello 274.
— Custode 151.
— in Pescaria 204. Anglo-American Club
119. Anio Novus 180. S. Anna, Chapel of 251. S. Annunziata 239. Antinous 268. xxxvii. Antiqaitiea, vendors of
117. S. Antonio Abbate 179. S. Apollinare 190. Apollo Belvedere 312.
— Husagetes 309.
— Sauroctonus 310. 339.
SS. Apostoli 165. Apoxyomenos 316.
xxxiii. xxxix. Aqua Claudia 180. 247.
347. 272.
— Julia 179.
— Trajana 329.
— Virgo 152. Aquarium 179. Ara Pacis 158.
Arch of Augustus 230.
— of Constantine 236.
— of Dolabella and Silenus 259.
— of Drusus 268.
— of the Fabii 231.
— of Gallienufl 179.
— of the Money- changers 248.
— of Sept. Severus 228
— of Tiberius 227.
— of Titus 233. xxxvii. Arcbseol. Instit., Brit- ish and American 117.
, German 221.
, French 205.
Archivio Vatican© 319. Arco di Giano 248. • — Oscuro 337.
— de' Pantani 239. Arcus Argentariorum
248. Area Capitolina 208.
— Palatii 2U. Ariadne (Vatican) 310. Armoury 321. Arrival 111. Artists^ Association 116. Arx Capitolina 208. Atrium Vestse 230.
A QgaTaiorium ^^ .
ROME: Augustus, Buet of 314. Augustus, Statue of 316»
xxxviiik Aula Dei 266. Aventine, the 146.250. Bakers 114. S. Balbina 264. Banca Romana 169. Bankers 116. Baptistery (Lateran)
266. Barcaccia, La 150. Barracks of the Cara-
binieri 276. S. Bartolomeo 204. Basilica Emilia 223.
228.
— of Constantine 232.
— Constantiniana 26G.
— Eudoxiana 182.
— Julia 226.
— Liberiana 176.
— of 88. Nereo ed Achilleo 349.
— ofSt.Petronilla349. 362.
— Porcia 228.
— Sempronia 223.
— Sessoriana 181.
— di S. Stefano 346.
— Ulpia 240.
— of St. Valentine 336. Baths 114. Battistero, the 266. Beer 113. Belrespiro 366.
S. Bernardo 169. S. Bibiana 179. Bibliography 127. Biblioteca Alessan- drina 115. 197.
— Angelica 116. 189.
— Barberina 116. 171.
— Casanatensis 116. 196.
— Chigiana 116. 164.
— Corsiniana 116. 325.
— Vallicellana 110. i 200.
— Vaticana 116. 319.
— Vittorio Emanuele 115. 166.
Bibulus, Hon. of 163. Birrerie 118. Blind Asylum 253. Bocca della Veritk 249. S. Bonaventura 233. Bookbinders 116. Books on Rome 128. Booksellers 116.
410
INDEX.
ROME:
Borgo Nnovo 276. , — S. Michele 276.
— S. Spirito 276.
— Vecchio 276. Botanical Grarden 322 Bramante :
Belvedere of the Va tican 304.
Cancelleria, Palazzo della 199.
Cortile di S.Damaso (or delle Loggie) 287.
Monastery Court of S.Maria dellaPace 192.
S. Lorenzo in Da- maso 199.
Pal. Giraud 276.
St. Peter's 277.
Tempietto 828. Bridges 143. British Academy 117. Bronzes, Antique 214.
318. — , Imitations of 117. Gabs, see Appz. Csecilia Metella, Tomb
of 349. Cselius, the 145. 258. Cairoli, Monament of
the 149. Cafds 113.
Calcografia Regia 117. Calendarium Prsenes-
tinum 108. Cameos 117. Camera de' Deputati
154. Campagna di Roma
333. Campo di Fiori 204.
— Militare 169.
— Vaccine 224.
— Verano 344. Campus Martins 183.
145. Cancelleria, Pal, 199.
LI.
Candelabra, antique
305. 310. Capitol 208. — , Coll. of the 212. Capitoline HiU 145.
— Museum 216.
— Venus 221.
— Wolf 214. Capo di liove 349. Cappuccini 272. Caracalla, Thermee of
205. Career Mamertinus 237
BOHE:
Career! Nuovi 207. S. Carlo alle Quattro Fontane 170. Lviii.
— a, Catinari 201.
— al Corso 153. Carnival 121. Carriages 119. Carthusian Monastery
167. Casa Bartholdy 150.
— di Crescenzio 249.
— di Livia 243.
— di Pilato 249.
— Professa 198.
— di Rienzi 249. xlvii.
— Tarpeia 221. '
— Zuccari 150. Casale Botondo 350. Casino Massimi 272.
— di Papa Giulio 336.
— Rospigliosi 175. Castello S. Angelo 274. Catacombs 184.356.xliv.
— of S. Agnese 363.
— ofS.Ale88andro36d.
— of St. Callistus 361.
— of Domitilla 362.
— of 8. Generosa 393.
— Jewish 363.
— of SS. Nereus and Achilleus 362.
— of SS. Peter and Marcellinus 363.
— of St. Pontianus 363.
— of St. Preetextatus 3G2.
— of St. Priscilla 362.
— ofS. Sebastiano 363. S. Caterina de' Funari
2()2.
— di Siena 169.
S. Cecilia in Trastevere
331. Cemetery, German 2H5. — , Jewish 250. — , Protestant 251. S. Cesareo 256. Cestius, Pyramid of 2r)2. Chain Bridge 207. Chemists 115. Chief Attractions 125. Chiesa Nuova 200. Christian Museum 270.
320. Chronological Table of
the Emperors and
Popes 139. Church Festivals 119. Cigars 114. ClmelGTO dei Tedeschi
\
ROME: Circo Agonale 190. Circus of Caligula 273.
— of Domitian 190.
— Flaminius 202.
— of Maxentius 349.
— Maximus 250. Civitas Leonina 274. Claude Lorrain''s Land- scapes 159.
8. Clemente 260. xlv.
xlvii. xlviii. Climate 114. xxv. Clivus Capitolinus 227.
— Cinnce 338.
— Martis 348.
— Victorise 244. Cloaca Maxima 248. 222.
227. Clubs 119. Coemeterium Ostria-
num 363. Cola di Rienzi, statue
of 210. Collections, etc. 122.' CoUegio Militare 322.
— di Propaganda Fide 151.
— Romano 156.
ColleglumMaroniticum
182.
— Urbanum 161. Collis Hortorum 148. Colonacce, Le 239. Colonnade of the
Twelve Gods 225. Colosseum 234. Columbaria 257. 345.
348. 356. Comitium 222. Concordia, Temple of
226. Confectioners 114. Conservatori, Palace of
the 211. Consulates 111. Corso, the 152.
— Vittorio Emanuele 191.
Corte di AppcUo 20\
SS. Cosma e Damiano 231. xlv.
S. Costanza 342.
Crescentius, House »if 249.
S. Crisogono 330.
S. Croce in Gerusa- lemme 181.
Cupid (Eros) of Praxi- teles 309.
Curia 228.
— Hostilia 222. 238. , - Julia 238.
INDEX.
411
HOME:
Dentists 115. Deputies, House of 154. Diadumenos Belief 312. Diary 125. Diocletian, Thermce of
167. . Dioscuri, group of the
210. Directory 112. Discus-thrower of My- ron 190. 305. xxxi.
xxxix. Divisions , ancient , of
the city 134. Dogana di Terra 155. SS. Domcnico e Sisto
170. Domine Quo Vadis 348. Dominican Monastery
253. Domus Augustana 242.
— Flavia 244.
— Livi8B 243.
— Tiberiana 244. Doryphoms (after Po-
lycletus) 316. xxxi. Drusus, Arch of 258. Duration of Visit 125. Ecole de Some 205. Egyptian Museum 316. S. Eligio degli Orefici
207. Embassies 111. Emporium 251. English Churches 119.
150. 154. 169. Engravings 117. Eros of Praxiteles 309.
xxxii. Esquiline 145. 166. Ethnographical Mu- seum 167. Etruscan Museum 316.
xl. Eurysaces, Mon. of
180. S. Eusebio 179. Exchange 155. Excubitorium of the
Vigiles 330. Exquiliae 166. Famese Gardens 242. Famesina, YUla 323.
Ivi. Fasti Gonsulares 215. Fattorini Pubblici 119. Faustina, Temple of
23L Fees 114.
Ficoronian Gista 156. Filippo Keri, chapel of
ROICE:
Filippo Neri, Oratorio
di 259. Firewood 112. Flavian Palace 244. Fontana delle Tarta-
rughe 202.
— di Trevi 151.
— del Tritone 171. Fontanone dell' Acqua
Felice 168.
— di Ponte Sisto 207 Fora of the Emperors
237. Fortune,Temple of 249. Forum of Augustus 239.
— Boarium 248.
— of Ceesar, or Forum Julium 239.
— of Nerva 239.
— Bomanum 1^.
— of Trajan 240.
— Transitorium 239. S. Francesca Homana
232. S. Francesco di Paola 183.
— a Bipa 332. Franciscans, House of
182. Galleria Barberini 171.
— Borghese 185.
— Golonna 163.
— Corsini 324.
— Doria 158.
— of Imperial Basts 327.
— Lateranense 271.
— Spada 206.
— Tenerani 169.
— of the Vatican 301. Gallienus, Arch of 179. Galluzse, Le 180. Ganymede (after Leo- chares) xxxii.
Gardens of Meecenas 182.
— of SaUust 173. Garrison 122.
Cteul, Dying 217. xxxiv. Genio del Vaticano (Eros of Praxiteles) •309.
German Hospice 191.
Gesii 197. Iviii.
— e Maria 153. Ghetto 203. Gibson's House 150. S. Giacomo in Augusta
(degli Incurabili) 153.
— degli Spagnuoli 191. S. Giorgio in Velabro
248.
ROME:
Giotto^s Navicella 281. S. Giovanni de' Fioren- tini207.
— in Fonte 265.
— in Laterano 265. xlvii. Ivii.
— in Oleo 257.
— e Paolo 259.
— a Porta Latina 256. S. Giuseppe a Capo le
Case 151.
— de' Falegnami 162. 237.
Gladiator, Dying 217.
xxxiv. Gloves 117. Goethe, House of 152. Golden Palace of Kero
234. Goods Agents 117. (traces, the. relief by
Socrates 314. xzxviii. Gratuities 114. S. Gregorio 258. Grotte Vaticane 284. Grotto of Egeria 351. Guercino^s Aurora 173. Guide 116. Guido Beni's Aurora
176. Hadrian's Tomb 274. Hairdressers 114. Hercules, Torso of 313. Hills of Bome, Seven
145. History of the City of
Bome 129. Horse Tamers (Quiri-
nal) 173. Horses, Saddle 119. Hospice, German 191. Hospital, Bohraciian
201. Hospital for Women
265. — , Military 276. Hdtel Quirinal 169. Hotels 111.
Hydropathic Establish- ments 114. S. Ignazio 156. Iriii. Ilian Tablet 220. Immacolata, Column of
the 150. Inquisition 285. Intarsia 117. 8. Isidore 172. Isola Tiberina (di Bar-
tolomeo) 204. Istituto de' Ciechi '2&.%.
412
INDEX.
ROME:
Janiculam, the 327. JanuB Qaadrifrons 248. Jesuit Churches 155. 197. Iviii.
— Cemetery 250. Juno Barberini 808.
— Ludovisi 173. Eeata' Hoase 150. Keyhole 253. Laocoon 811. xxxiv. Lateran, the 267. Leonardo da Yincrs
Madonna 322.
Lex Begia of Vespa- sian 218.
Libraries 115.
Liceo Ennio Qairino Visconti 156.
Lieiix d'Aisance 114.
Liquoristi 113.
Livia, House of 248.
Longara see Lungara
S. Lprenzo in Damaso 199.
— fuori le Mura 343. xlvi. xlvii.
— in Lucina IM.
— in Miranda ^i.
— in Panispema 176.
— in Piflcibns 276. Lotto , Direzione del
184.
8. Luigi de'Francesi 193. Lungara 322. Lungarctta 330. 331. Lungarina 332. Lungo Tevere 184. Lupercal, the (grotto)
243. Madonna Lncrezia 1G3 Msncenas, Gardens of
182. S. Marcello 15v^. S. Marco 162. xlvi. Marcus Aurelius, Col
umn of 154. — ,Statue of 210.xxxviii Marforio, Statue of216. Marglierita, Passeggiata
322. 330. S.Maria degliAngclil(i7.
— deir Anima 191.
— Antiqua 233.
— in Aracoeli 209.
— Aventina 253.
— Bocca della Verita 249.
— in Campitelli 202.
— ilni Ca-'mircini r»2.
— doUn Concrzione 172. — in Cosroedin 249.
X Iviii.
ROME:
8. in Domnica 259.
— Egiziaca 249.
— Maria di Grottapinta 2C^
— Liberatrice 247.
— di Loreto 241.
— Maggiore 176. xlvi. xlvii. xlviii.
— ad Martyres 194.
— Mater Dei 177.
— sopra Minerva 195.
— de' Miracoli 147.
— di Monserrato 205.
— in Monte Santo 147.
— della NaviceUa 259.
— ad Kives 176.
— Nova 233.
— Nuova 360.
— deir Orto 332.
— della Pace 191.
— della Pietit in Campo Santo 285.
— del Popolo 147. 1.
— ad Preesepe 176.
— del Priorato 253.
— Rotonda 198.
— Scala Cceli 355.
— in Schola Graeca 249.
— del Sole 249.
— Traspontina 276.
— in Trastevere 330.
— in Vallicella 200.
— in Via Lata 158. 154.
— della Vittoria 168. Marionettes 119. Marmorata, the 251. Marrana, the 255.
SS. Martina eLuca 238. S. Martino ai Monti 182. Mausoleum of Augustus 184.
— of Hadrian 274. Melcager, Statue of
312. Meta8ta«>io,Mon.of 153. Meta Sudans 23i. Michael Angela: li-lii. lix.
Carthusian Convent, Court of the 107.
Christ b»^aring the Cross 196.
Frescoes in the Cap- pella Paolina 292.
Frescoes in th ; Sis- tine Chapel 288.
8. Giov. dei Fiorcn- tini 207.
in Laterano 2G6.
Last Judgment 291.
\a . "ttati*. dft^U A ngel i
ROME:
Michael Angelo:
Monument of Ju- lius IL 183.
Pal. Famese 205.
Pedestal of the Marc. Aur. statue 210.
St. Peter's 279.
Piazza del Campido- glio 216.
Pieti 282.
— , unfinished 152.
Pi^hets and Sibyls
Statue of Moses 183. S. Michele, Osp. 832. S. Michele in SaB8ia277. Milliarium AuTeum228. Minerva,Temple of 180. Minerva Medica 316. Ministers' offices:
Education 196.
Exterior 173.
Finance 168.
Interior 201.
Public Works 154.
War 165. 170. Mint 321.
Moles Hadriani 274. Molossian Honnds 311. Mons Sacer 343. Monte Caprine 208. 221.
— Cavallo 174.
— Citorio 154.
— Malo 338.
— Mario 338.
— di Pieta 206.
— Testaccio 251. Monument of the Em- press Helena 345.
Mosaico, Studio del 321. Musco Artistico-Indo- striale 151.
— Kircheriano 156.
— Prof an o 208.
— delle Terme 163.
— Torlonia 326. Museums, Bee Capitol,
Lateran, Vatican. Music 116. Navicella, the 259.
— (Giotto's) 281. S.Nereo ed Achilleo 25»J.
xlvi. Nero, Buildings and
Statue of 234. Newspapers 116. S. Nicola in Carcerc25'\
— da Tolentino 172. Nile, Group of the 315.
xxxiii. Niobe, Daughter of 314
INDEX.
413
HOME:
Xome di Maria 241. Nympheeum 181. 245. Obelisks 149. 155. 166.
173. 176. 196. 191.
265. 277. Observatory 157. Octavia, Colonnade of
203. October Festival 122. Oculists 115. 8. Offizio 286. Omnibuses, see Appx. 8. Onofrio (Lungara)
322.
— (Monte Mario) 338. Oratorio di S. Filippo
Neri 259. Orientation 126. Orti Farnesiani 242. Ospedale di S. Spirito
276. Ospizio di 8. Michele
332.
— de' Pazzi 322. Osterie 113. Peedagogium 247. Painters 116. Palatine 145. 241.
Area Palatii 244.
Augaratorioin 243.
Basilica 243.
Buildings of Tibe- rius 214.
— of Sept. Severus 246.
Clivus Victoriae 244.
Excavations 242.
Famese Gardens 242.
Flavian Palace 244.
Lupercal 243.
Psedagogium 247.
Palatium 244.
Porta Mugionis 244.
Private House 243.
8eptizonium 242.
Stadium 246.
Temple of Jupiter Stator 244.
Temple of Jupiter Victor 243.
Temple of Victoria 243. Palazzetto Famese 199 Palazzo Accorambopi
276.
— Albani 170.
— Altemps 190.
— Altieri 197.
— Antonelli 169.
— Barberinl 170. Ivili.
— delle Belle Arti 169.
— Berniai 163.
ROME:
Palazzo BolQgnetti 198.
— Bonaparte 162.
— Borgbese 184.
— Braschi 191. 201.
— Caffarelli 209.
— dellaCancellerial99.
— Gapranica 198.
— Cenci-Bolognetti202.
— Chigi 154.
— Colonna 152. 163.
— of the Conservatori 211.
— deila Consultii 173.
— Corsini 324.
— della Dataria 174.
— Doria 158.
— Falconieri 207.
— Famese 205.
— Ferrajuoli 154.
— Fiano 163.
— Field 182.
— Qabrielli 201. ~ Galitzin 184.
— Giraud - Torlonia 276.
— delGovemoVecchio 201.
— Grazioli 197.
— Hiiffer 169.
— Lancelotti 190.
— del Laterano 267.
— Linotta 199.
— Madama 192.
— Massimi alle Go- lonne 199.
— Mattel 203.
— Muti-Papazzurri 152
— Odescalchi 162. 166.
— del 8. Ofazio 285.
— Orsini 203.
— Pampbilj 158. 191.
— Pio 205.
— Piombino 164.
— Poll 151.
— Begio 174.
— Ricclardi 276.
— Righetti 202. 205.
— Binuccini 162.
— Rondinini 152.
— Rospigliosi 174.
— Ruspoli 153.
— Sacchetti 207.
— Salviati 162. 322.
— Santacroce 206.
— Savelli 203.
— Sciarra-Golonna 155.
— del Senatore 211.
— Simonetti 16S.
— Sora 200.
— Spada alia Begola
— diSpaenft 151.
BOME:
Palazso Torlonia 164. 162. 276.
— Vatican© 286.
— di Venezia 182. xlix.
— Verospi 164.
— Vidoni 198. S. Pancrazio 356. S. Pantaleo 199. Pantheon 193. xxxvl. S. Paolo fuori le Mura
362. xlvii.
— alle Tre Fontane 355. Parco Begina Margbe-
rita 336. 337. Pasqulno , Piazza del
201. Passeggiata Margherita
322. 830. Patriarchal Gburches,
the 135. Passionist Monastery
259. S.Paul,Gh.of 169. 119. Pensions ll2. Permessi 124. St. Peter's 277. Philippine Convent201. Phocas, Golumn of 228. Photographs 118. Physicians 114. Piazza Aracoeli 209.
— Barberinl 171.
— Bocca della Verita 248.
— delGampidogllo 210.
— Gampitelli 202.
— Gampo di Fiori 104.
— Capo di Ferro 206.
— Gapranica 196.
— Colonna 154.
— del Foro Trafano 240.
— Guglielmo Pepe 179,
— Madama 192.
— S. Marco 163.
— Mignanelli 161.
— della Minerva 196.
— Montanara 202.
— di Monte Citorio 164.
— della Navicella 269. — - Navona 191.
— Nicosia 186.
— deir Orologio 201.
— del Pasqulno 201.
— de' Pellegrini 206.
— Pia 276.
— di Pietra 156.
— di 8. Pietro 277.
— Pilotta 162.
— del Popolo 14A.
414
INDEX.
ROME: Piazza del Qairinale 173.
— Bosticncci 276.
— di Spagna 150.
— Tartaraga 902.
— delle Terme (di Ter- mini) 166.
— Tor Sanguigna 190.
— della TriniU 149.
— deUa Valle 198.
— di Venejiia 162.
— Vitt. Emanuele 179. 8. Pietro in Carcere 238.
— e Marcellino 182.
— in Montorio 328.
— in Vaticano 277.
— in VincoU 182.
— Vittorio Emanuele 179.
Pincio, the 146. 143. Pliny'B Doves 220. Police Office 111. Pons ^lins 274.
— Emilias 250.
— Cestius 204. 331.
— Gratianus 204.
— Milvius 336.
— Trinmpbalis 274.
— Valentiniani 327. Ponte S. Angelo 274.143.
— S. Bartolommeo 143.
— Cestio 204. 331. 143.
— Fabricio 204. 144.
— Garibaldi 143. 202. 330.
— Leonino 202. 143.
— Molle 336.
— Nomentano 342.
— deH^uattro Capi 204. 144.
— di*Ripetta 184. 143.
— Rotto 250. 144. , — Salaro 341.
— Sisto 327. 143.
— Umberto 184. 143. Popes, List of 139. Popular Festivals 121. Population 143. Porta Appia 258.
— Asinaria 273.
— Aurelia 355.
— Capena 254. 348.
— Furba 347.
— S. Giovanni 273. 346.
— Latina 256. 346.
— S. Lorenzo 179. 343.
— Maggiore 180. 345.
— Mugionis 244.
— Nomentana 341.
— Os tiensis 252.
— 8. Pancrazio 355.
— S.Paolo 252. 352. 394
ROUE:
Porta Pia 34l.
— Pinciana 172.
— del Popolo 146. 334.
— Portese 332.
— Salara 338.
— S. Sebastiano 258. 347.
— Settimiana 327.
— S. Spirito 276. 322.
— Tiburtina 343. Porters 119. Portico (Colonnade)
of Octavia 203.
— of the Twelve Gods 225.
Post Office 118. 154. Preeneste, Treasure of
157. S. Prassede 178. xlvi. Prati di Castello 275.
— del Popolo Bomano 251.
Prehistoric Museum
157. 8. Prisca 254. Private Apartments
112. Promenades 126. Propaganda 151. Protestant Cemetery
251.
— Churches 119. 160. Protomoteca 212. S. Pudenziana 175. xlvi Pyramid of Cestius 252 SS. Quattro Coronati
264. Quattro Fontane 170. Questura 111. Quirinal, the 145. 166. Railway Office HI.
— Station HI. 160. Raphael: liii-lvi.
liible of R. 300. Chigi Chapel 147. S. Eligio 207. Entombment 185.
187. Faith, Hope, and
Charity 3(tl. Fornarina 171. Frescoes in the Far-
nesina 323, Galatea 324. LoggieC Vatican) 299. Madonna di Foligno
301. Navagero and IJeaz-
zano 15S. 101. St. Peter's 278. T^tov^le\. \%«.v«.\i 189.. S\M\3 Vi'i. \
Baphael^s Stance (Vatican) 293.
— Tapestry 308.
— House (removed) 276.
— Frescoes from the Villa 188.
— Tomb 195.
— Transfiguration 901. Beading Booms lift. Begia 222. 231. Bestaurants 112. Bienzi's House 249. Bione Monti 166. Bipa Grande ^2. Bipetta, the 184. Bipresa de^ Barberi
162. SS. BoccoeMartino 184. Boma Quadrata 241.
242. 2U.
— Vecchia 350. Bostra 228.
— Julia 230. Rotonda, La 193. Bound Temple 249. S. Saba 254.
S. Sabina 252. xM.
xlvii. Sacra Via 222. 226.231. Sallust, Gardens of ITS. S. Salvatore 268. Sancta Sanctorum,
chapel 272. Sapienza, UniversiU
della 197. Sarcophagi, ancient xl. — , early Christian xliL
xliv. 270. 271. Saturn, Temple of 227. Satyr of Myron 209.
— of Praxiteles 217. 316.
Savings Bank 155. Scala Santa 272.
— di Spagna 150. Schola Xantha 225. Scipios , Tomb of the
257. Scott, House of Walter
154. Sculptors HB. S. Sebastiano 345. Semenzaio Comunale
250. Seuiinario Romano 190. Septa Julia 158. Septizonium 242. Servius, Wall of I3a
108. 254. Sessorium 181. '6>^\.\^ "6>*Xa 181.
INDEX.
415
ROUE:
Seven GhurclieB of Rome, the 136.
Shops 117.
S. Silvestro in Capite 164.
— in Lacu 248.
— al Quirinale 175. Sistine Chapel 287. lii. S. Sisto 256. Sophocles , Statue of
269. Spagna, Scala di 150 Spanish Church 205. S. Spirito , Ospedale
di 276. S. Spirito in Sassia276. Stadium (Circus) of
Domitian 190.
— of Septimius Se- verus 246.
S. Stefano delle Car- rozze 249.
— Rotondo 260. Strangers^ Quarter 146. Street Scenes 122. Studios 116.
S. Susanna 168. Tabularium 221. Tarpeian Rock 221. Teachers 116. Teatro Argentina 198.
— Drammatico 170. Telegraph Office 119.
154. Tempietto 328. Temple of Csesar 229.
— of Castor and Pollux 226.
— of Concordia 226.
— of the Deufl Redi- culus 351.
— of Divus Augustus 247.
— of Faustina 231.
— of Fortune 249.
— of Hercules Victor 249.
— of Isis 196.
— of Juno Sospita 250
— of Jupiter Capito- linus 208.
— of Jupiter Stator 244.
— of Jupiter Victor 243.
— of Mars Ultor 239.
— of Hater Hatuta 249.
— of Minerva Medica 180.
— of Neptune 155.
— of Romulus 349.
— of the Sacra Urb8232.
— of Saturn ^.
— of Spes 250.
ROME:
Temple of Venus and Cupid 181.
— of Venus Genetrix 239.
— of Venus and Roma 238.
— of Vespasian 225.
— of Vesta 222. 230. 249
— of Victoria 243. Templum Sacrte Urbis
232. S. Teodoro 248. Testaccio, Monte 251. Theatres 118. Theatre of Marcellus
203.
— of Pompey 205. Thermse of Agrippa 195
— Antoninianse 255.
— of Caracalla 255.
— of Constantine 165.
— of Diocletian 167.
— of Titus 237. Thorvaldsen, Statue of
170. Tiber, river 143. 144. — , Island of the 204. Tiberius, Buildings of
244. Time-Ball 156. Titian:
Amor Sagro e Profano 186. 188.
Cupid 188.
St. Dominic 188. Tobacco Manufactury
114. 328. Tomb of Bibulus 163
— of Geecilia Metella 349.
— of Hadrian 274.
— of the Empress Helen 345.
— of the Nasones 333.
— ofthePancratii346.
— of the Scipios 257.
— of the Valerii 346. S. Tommaso in Formis
259. Torlonia, Museo 325. Torre delle Milizie 169.
— di Nerone 170. Town-wall 145. Trajan's Column 240. Trajan's Forum 240.
XXX vii. Tramways, see Appx. Trastevere 337. 145. Trattorie 113. Tre Fontane 354. Tribunale Civile e Oot-
rezionale 200.
ROME:
Tribu nale di Commer-
cio 200. Triclinium of Leo III.
272. SS. Trinitii de* Monti
149. — de' Pellegrini 206. Trinity, Ch. of the 154. Triumphal Arches, see
Arch. Trofei di Mario 179.
210. Tullianum 237. Ufficio di Anagrafe 112. Umbilicus Urbis Romec
227. University della Sa-
pienza 197. S. Urbano 361. Vatican, the 286.
Antiquities 304.
Appa^amenti Borgia
Arazzi, Galleria degli
303. Archives 319. Belvedere , Cortilc
del 304. — , Vestibule of the
312. Boscareccio, il 313. Braccio Nuovo 315. Bronzes 318. Candelabri, Galleria
dei 306. Gappella di Nicco-
16 V. 299.
— Paolina 292.
— Sistina 287. Casino del Papa 313. Cortile del Belvedere
311.
— di S. Damaso 286.
— delle Loggie 287. Egyptian Museum
316. xl. Etruscan Museum
316. xl. Gabinetto delle Mas-
chere 311. Galleria degli Arazzi
303.
— deiCandelabri305.
— Geografica 308.
— Lapidaria 316.
— delle Statue 309. Garden 313. Giardino della Pigna
313. Hall of the Buafe.
416
INDEX.
BOME:
■ Vaticftn :
Mich. Angelo^s Fres- coes 288. 291. 292.
Maseo Chiaramonti 313. •
— Etrusco-Grego- riano 316.
— Pio-Glementino 304.
Masenm of GhristiaD Antiquities 320.
Pauline Ctiapel 292.
Picture Gallery 301.
Portone di Bronzo 286.
Raphaers Loggie 299. xlvU.
— Stanze 293. liv.
— Tapestry 303. Iv. Sala degli Animal!
309.
— deila Biga 305.
— dei Busti 310.
— di Gostantino 298.
— aGroceGreca304.
— Ducale 292.
— deir Immacolata 292.
— deile Muse 308.
— llegia 292.
— Rotonda 308. Scala Pia 286.
— Regia 287. Sifltiiic Chapel 287. Stanza d'Eliodoro
297.
— deir Incendio 293.
— de' Papiri 32(\
— della Seunatura 294.
Tomb-Paintings 3L8.
Tor di Borgia 327. 28G.
Torre de' Venti 316.
Vases, Collection of 317. Vatican Hill 273. Vclabrum 248. Velazquez's Innocent
X. 159. Velia 231. Venus after Praxiteles
221. xxxii. Vesta, Temple of 230.
249. Vestal Virgins, Palace
of the 230. Via Agostino Depretis
m. 170. 175. — Ap])ia 254. 34G. 34S
BOHE :
Via del Babuino 150.
— de'Banchi Nuovi201. Vecchl201.205.
— Baullari 199.
— del Garavita 155.
— Cavour 166. 176.
— de' Gerchi 250.
— del Clementino 184.
— de' Gondotti 151.
— Conte Verde 180.
— delle Convertitel53.
— de' Goronari 190.
— della Dataria 174.
— de'DueMacellilSl.
— Em. Filiberto 180.
— dei Falegnami 202.
— della Fontanella di Borghese 153. 184.
— del Fontanone 207.
— Galvani 251. 254.
— Garibaldi 328.
— Giulia 207.
— del GovernoVecchio 191. 199. 201.
— Gregorlana 150.
— LaMcana 180. 345.
— Lata 158.
— Latina 256. 346.
— di Marforio 163.
— Maschera d'Oro 190.
— Merulana 179. 181.
— di Monserrato 205.
— di Mortella 202.
— delle Muratte 152.
— Nazionale 1G2. 166. 169.
— Nova 231.
— de' Pastini 154. 195.
— de' Pettinari 206.
— di Pietra 154.
— della Pilotta 152.
— Poli 151.
— Prrenestina 180.
— Principe Eugenio 180.
— Quattro Fontane 1G6. 169. 170.
— del (iuirinale 166. 173.
— diRipetta 183.
— Sacra 222. 226. 231.
— della Salara 251. 338.
— Sallustiana 173.
— del Salvatore 192.
— della Scrofa 184.
— Sistina 150. 106.
— delle Statuto 181.
— di Tor de' Gonti 239
— ToTi5i\TvOTv«. 184.
BOME:
Via del Tritone 171.
— Triumphalis 236.
— della Valle 197. 199.
— de' VaaceUari 331.
— VentiSettembrel68. Viale Pilncipessa Mar-
gherito 179. Victor Emmanuel,
Mon. of 163. 210. — , Statue of 148. — , Tomb of 195. Vicus Jugarios 227.
— Tuscua 226. 247. Villa Albani 338.
— Aldobrandini 169.
— Borghese 384.
— Gaelimontana 259.
— GaaaU 260.
— Doria-PampMy 355.
— Farneaina 323.
— Ludovisi 172.
— Madama 837.
— Magistrals (Maltese) 253.
— Malta 172.
— Massimi 272.
— Mattel 259.
— Medici 149.
— Mellini 338.
— Mills 245. 247.
— di Papa GiuUo 337.
— Spada 341.
— Torlonia 342.
— Wolkonsky 272. Viminal 145. 166. SS. Vincenzo ed
Anastasio 152. 351. S. Vitale 169. S. Vito 179. 181. Waldensian Church
170. Wall 145.
Weapons 118. xvii. Wine-houses 113. Zecca 321. Zeus of Otricoli 308.
Bomena 42. Uonciglione 73. Ronco, the 80. 90. Ilosaro 56. Koselle 3. Rosia 37. Rosignano 1. Rosso, Monte IO9. Roviano 380. Rubicon, the 91. Ruffinella, Villa 365. Ruscllse 3.
Sabato 391. Sabina, the 68. \^^\\i&^Quntains,the 373.
INDEX.
417
Sabinum (of Horace)
380. Sacra, Isola 394. Saline 8. Salone 378.
S. Salvatore, Abbey 11. Sapis 90. Sarteano 61. Sasso 8.
Sassoferrato 109. Sassone 367. Sasso vivo, Abbadia di
80. Sataraia 4. Savl, Vigna 350. Savignano 91. Savio, river 90. Saxa Rubra 337. Scannabechi, river 341. Schieggia 101. S. Scolastica 381. Scopettone, the 66. S. Secondo 57. Segni 388. Selagite, Mt. 11. Selci Lama 56. Semprevisa, Honte 387. Sena Gallica 101.
— Julia 21. Senigallia 101. Senio, river 88. Sentinum 109. Septempeda 108. Serpentara 335. Serra Partucci 57.
— S. Quirico 109. Serravalle 104. Setia 387. Settecamini 374. Sette Vene 69.
S. Severa 7. S. Severino 108. Sezze 387. Sibilla. Mt. 105. Sieci 37. Siena 20.
S. Agostino 29.
Archives 30.
Bandini, Statue of 32
Baptistery 25.
S. Barbera, Fort 36.
S. Bernardino, Ora- torio di 32.
Biblioteca Gomonale 34.
Campansi, Honast. 35.
Cappella di Piazza 24.
Carmine 80.
Gasa Bambagini-Gal letti 20.
— di 8. Gaterina 34.
Gasino de' Nobili 25.
Cathedral 26.
Siena: Gimit^o di Misericor-
dia 30. SS. Concezione 31. Deaf andDumb Asylum
30. S. Domenico 35. Fontebranda 34. Fontegiusta 36. Fonte di FoUonica 31.
— Gaja 25.
— Ovile 36.
— di Pantaneto 31.
— de' Pispini 31. S. Francesco 32. S. Giorgio 31.
S. Giovanni 26. S. Girolamo 31. House of St. Catharine
34. Innocenti 29. Istituto delle Belle
Arti 32.
— de' Sordo-Muti 30. Library of the Cathe- dral 28.
Lizza, La 35. Loggia del Papa 30. L'Osservanza 36. Madonna d. Angeli 31. Mangia, Torre del 24. S .Maria del Carmine 30.
— delle Nevi 35.
— di Provenzano 31.
— della Scala 29. S. Martino 30. Metropolitana, Chiesa
26. — , Opera della, or
— del Duomo 28. Osservanza 36. Palazzo Arcivescovile
26.
— Bichi 32.
— Buonsignori 29.
— Chigi (now Picco- lomini) 29.
— Giaia 35.
— dei Diavoli 36.
— Finetti 30.
— Gorl 32.
— del Governo 30.
— del Magnifico 25.
— Mocenni 35.
— Nerucci 29.
— Palmieri 82.
— Pecci 29.
— Piccolomini 29.
— Pollini 30.
— Pubblico 24.
— Beale 28.
— Saracini 29. -^ Spannoccliid'l.
Baedmkkr. Italy II. 10th Edition.
Siena : Palazzo Tolomei 32.
— de' Turchi 36. Peruzzi, House of 36. Piazza del Gampo (Vit-
torio Emanuele) 23.
— deir Indipendenza 26.
S. Pietro della Mag- gione 36.
alle Scale 29.
Porta Gamollia 36.
— S. Marco 30.
— Ovile 36.
— Pispini 31. 36.
— Romana 31. Servi di Maria 81. S. Spirito 31. Statue of Italia 26.
— of Bandini 32. Tolomei, CoUegio 29. University 31.
Sieve, river 37. Sigillo 101. Signa 13. Signia 388. S. Silvestro 68. Simbruina Stagna 381. Sinalunga 18. 42. Sinigaglia 101. Sinnus 88. Sipiniano 69. Sirolo 105. Somma, Monte 84. Soracte, Mt. 68. Sovana 4. Spello 79. Spoletium 82. Spoleto 82. Staggia 16. S. Stefano 385. — , Grotte 69. — , Porto 3. Stia 42. Sticciano 18. Stimigliano 68. Storta, La 389. Stroncone 85. Subasio, Monte 78. Subbiano 43. Subiaco 381. Sublaqueum 381. Sutri 73. 391. Sutrium 73.
Tadinum 109. Talamone 3. Tarquinii 5. Tavema, Villa 365. Tavolato, Osteria del 346. 367.
\^
418
INDEX.
Terontola 45.** Teverone, river 373. Tiber, river 56. 66. 69.
87. 143. etc. — , Source of the 56. Tibnr 377.
Tifemum Tiberinam 56. Tivoli 377. Todi 56. Tolentino 107. Tolentinam Picenam
107. Tolfa, La 7. Tomba di Nerone 389.
— del Pancratii 346.
— del Valerii 346. Topina, Val 110. Topino, the 79. Tor Patemo 396.
— dl Quinto 387.
— Sapienza 345.
— de^ Schiavl 345. 373.
— di Selce 350.
— Tre Teste 345. Torraccio 350. Torre Bertaldo 7.
— Boacciana 395.
— di Giove 12.
— Pignattara 346. 367. Torrenieri 17. Torretta 308.
Torri (Val di Mersc) 37.
TorriU 18. 42.
Toscanolla 6. 72.
Trasimeno, Lago 45.
Trebia 81.
Tro Fontane .'J54.
Trestina 57.
Trevi 81.
— , Monte 387.
Trevignano 391.
Tudor 55.
Tuficum 109.
Tuoro 46.
Turchina 5.
Turre, I^a 308.
Tusculana, Villa MGo.
Tusculanuin 365.
Tuscuhiin 365.
TJmhortido 57. rmbria 88. L'rbania 56. 8. Ilrbano 351.
Urbibentnm 62. Urbino 96. 56. Urbisaglia 107. Urbs Salvia 107.
— Vetus 62. Urgone, the 91. Urvinum Hortensc 80.
— Metaurense 96. Uso, river 91.
Vaccarrcccia, Tumulus
of 390. Vada 1.
Vagnolini, Vigna 348- Valca, the 389. Valchetta, the 337. Val d'Elsa 13.
— di Pussino 337.
— Topina 110. Valle Aricciana 370.
— deir Inferno 338. Vallombrosa 94. Valmontone 381. 332. Valvisciolo, Abbey of
387. Varano 105. Varia 380. Veii 389. Velathri 8. Velino, river 86. Velitrcc 382. Velletri 382. Vene, Le 81. Verna, La 42. Vetralla 72. Vetalonia 2. Via iEmilia 88.
— Appia 34^.
Nuova 34G.
PignatcUi 348.
352.
— Aurclia 1. 7.
— Casilina 345.
— Cassia (19. 389.
— Clodia 390.
— Collatina 345.
— Flaminia 3S. 92. 1(X). 152. 336. 337. 390.
— Labicana 345,
— Latina 341').
— Laurenlina 35i.
— Nomentana 312.
— Osfiensis 35i.
— Prrcncfltina 34-5.
Via Salara 68. 338.
— Sette Ghiese 349. 362.
— Tiburtina 343. 374.
— Triumphalis 372.
— Valeria 379. Vicarelle 1. Vicarello 391. Vico 68.
— , Lago di 73. Vicovaro 380. Vignoni, Bagni di IS. Villa Adriana 374.
— Albani 398.
— Belrespiro 356.
— Aldobrandini 365.
— Boncompagni 368.
— Braschi 379.
— of Cicero 366.
— Conti 366.
— d'Este 379.
— Falconieri 865.
— ad Gallinas 337.
— of the Gordiani 346.
— of Hadrian ;J75.
— of Horace 38().
— Imperiale 96.
— Inghirami 11.
— Lante 71.
— of Livia 337.
— of Hsecenas 378.
— S. Mezzano 38.
— Mondragone 865.
— Piccolomini 365.
— Huffinella 365.
— Spada 341.
— Taverna 3115. - Tusculana 365.
— Vittoria 94. Villc Montcrchi 56. S. Vincenzo 1.
SS. Vincenzo ed Ana-
ptasio 354. Vita, Capo della 12. Vitcrbo 69. S. Vito 67. Vivo 18. VolaterrflR 8. Volscian Mountain.^ 386. Volsinii 65. Volterra 8. 1. Vnlci 4.
Zagarolo 38i. Zolforoo, Lago 8.
i.eiv.Mc-. Pr™\<-.\ v^ WT>.m>>-t\ >= ^v•«^'=^■
INDEX OF STREETS PLANS OF HOME.
CoulttlltB.
1 Ltei nf tlui Oiimllma m4 Tnil«l»r tttHM, -S. Wb Tiiiff. i, T.ut of tilt) prituii|iu1 ttneu. tful^lEd Imllil'-
io^. fltu., or Uomc- 4. Uuueral Pl>u nf Kciibd, «liE>irtai; thii futiu
txntlnu of tlio tHy< A l-ATRii yian af Knain, In tlitw: witttms.
MtvilM tw jtlUn iinU irUfb ait) kc fmiu) keioMn
iF^ ,
If
I! i
V-
■ I
)PI
111
I
1^
1 1 ' I
M
! I
I'
Omnibns Rontes.
The fares (10-15 c.) are marked on the omnibuses, and a board at the back gives the name of the terminus towards which the vehicle is running.
1. Piazza di Yenezia — Piazza delPopolo (PI. II, 16—1, 18), through the CoBSo(but after 4 p.m. through the side-streets to the E.: the Piazza SS. AposTOLi, Via deir Umilta, Piazza di Teevi, Via della Stamperia, Via Due Macelli, Piazza di Spagna, and Via del Babuino), every 5 minutes.
2. Piazza di Yenezia — S.Pietro in Yatioano (Pl.II, 16—1,4, 7), through the CoBSO ViTTOBio Ekanuele to the Piazza S. Pantaleo (PI. II, 13) ; then through the Via di S. Pantaleo, Piazza del Pasquino, Via del Govemo Vecchio, Via del Banco, Ponte S. Angelo, Borgo Vecchio and Piazza S. Pietro, every 5 minutes.
3. Piazza di Yenezia — S.Francesco a Bipa (PI. II, 16—111, 15), through the CoRso ViTTOBio Emanuble, Via Torre Argentina, Pontb Gabibaldi, Lungaretta, Mabia in Tbabtevbbe (Pi. II, 15), and Piazza di S. Galisto, everv 10 minutes.
4. Piazza di Yenezia — Lateran (PI. II, 16~II, 30, 33), through the Via di Foro Trajano, Fobo Tbajano, Via Alessandrina, Via Groce Bianca, to the Piazza dellb Cabbettb (PI. II, 20, 23) •, then through the Via del CoLosSBO, every 12 minutes.
5. Piazza di Yenezia — Piazza Yitt. Emanuele (PI. II, 16 — 11,28,29), through the Via del Foro Trajano, Via Alessandrina, Via della Madonna dei Monti, Via Leonina, Via Urbana, Piazza dell'* Ebquilino (S. Maria Maggiore), Via Cavour, Viale Principessa Margherita to the Station (arri- val platform)-, then through the Via Principe Umberto, and Piazza Man- fredi Fanti (aquarium), every 6 minutes.
6. S. Carlo a Gatenari — Piazza del Popolo (PI. II, 14—1, 15, 18), through the Via del Monte della Farina, Oobso Vittobio Em anitelb, Piazza S. Pantaleo (PI. II, 13), Via Caccagna, Piazza Navona (Circo Agonale; PI. II, 13), Via and Piazza Agostino, Via della Scrofa and Via di Bipetta, every 5 minutes.
7. 8. Pantaleo — Piazza Yitt. Em, (PI. II, 13—11, 28, 29), through the CoBSo Vittobio Emanuele, Piazza del Gesu, Gorso ITazionale, Piazza Ve- nbzia (PI. II, IQ, Via del Foro Trojano, Via Alessandrina, Via and Piazza della Madonna dei Monti, Via Urbana, S. Mabia Maooiobe (PI. II, 25), and Via Merulana, every 6 minutes.
8. Piazza di Spagna — 8. Pietro in Yatioano (PI. 1, 17, 20—1, 4, 7), through the Via Frattina, Piazza S. Lorenzo in Lucina, Piazza Bobosess, Piazza Nicosia, Via di Monte Brianzo, Pontb S. Anoblo, Borgo Vecchio, Piazza S. Pietro, every 10 minutes.
9. Piazza del Popolo — Yia Gavour (PI. I, 26), through the Via del Babuino, Piazza di Spaona (PI. 1, 17, 20) , Via Due Macelli , Via del Tri- tone. Piazza Babbebini, Via S. Nicola da Tolentino, Piazza di 8. Bernardo, Via Torino, Via Viminale , and Via Principe Umberto , every 7 minutes.
10. Piazza del Popolo — Piazza del Principe di Napoli (PI. I, 27, 30), viS. the PoETA PiNCiANA (PI. I, 21), every 10 minutes.
11. Piazza Hontanara — 8. Pietro in Yatioano (PI. II, 17—1, 4, 7), through the Via Montanara, Piazza Campitelli, Via de"* Funari, S. Gablo A Gatenabi, Campo de' Fieri, Piazza Fabnbbb, Via de^ Bancni Vecchi, Pontb S. Angelo, Piazza Pia, Borgo Vecchio, and Piazza S. Pietro, every 12 minutes.
12. Piazza Navona (Circo Agonale) — Porta Pia (PI. II, 13—1, 30), through the Via Agonale, Via and Piazza S. Agostino, Via della Scrofa, Via di Stelletta, Piazza Campo Marzio, Piazza di Montecitorio, Piazza Go- LONNA (PI. I, IG), Piazza S. Claudio, Piazza di S. Silvestro, Via della Mer- cede, Via Due Macelli, Via del Tritone, Piazza Babbbb.\.«\ ^\.\^*i&>*fii^^ Via 8. Nicola da Tolentino, and Via Vestl ais.TiE.uK«»., w«ri ^Si1$!^MQJ^»»..
13. Porta. Pia — Prati di Oastello CP\.l,^^i— \,^^^ ^Twxsgo. "^^^^^ K'?^ Setteubrb, Via S. Nicola da Toleivtmo, -Pik-klk ^k.tj.-wbJKsj. \n Vj^^ i9,22), Via del Tritone, Via Due Macelli, PiA^*i*^-»^^^*^^^*^ ^"^
BAJivjiKjis. Italy II. 10th Edition.
2 OMNIBUS ROUTES.
Via Gondotti, Via della Fontanella di Borghese, Piazza Bobohbsb, Piazza Nicosia, Porto di Ripetta, Via Vittoria Colonna, and Via Crescenzio (for- merly the Via Reale), every 12 minutes.
14. Foro Trajano — Prati di Castello (PI. II, 19—1, 8), through the Via S. Marco, Via delle Botteghe Oscure, Piazza Paganica, Via Torre Argen- tina, Corso ViTT. Emandelb, Via dei Baullari, Piazza della Cancbllekia (PI. n, 13), Via Pellegrino, Via de' Banchi Vecchi, Ponte S. Amoelo, Porta Castello, and Via di Porta Angelica , to the Carabinieri Barracks , every 8 minutes.
15. Via di S. Apollinare — Via Carlo Alberto (PI. I, 13—11, 25, 28), via the Piazza S. Agostino, Piazza Madama, Piazza di S. Eustachio, and through the Via della Botonda, Torre Argentina, Oobso Vittorio Ema- NUELE, Piazza del GEst (PI. II, 16), Via Aracoeli, Piazza S. Mabco, Via Foro Trajano, Via Alessandrina , Via della Madonna dei Monti, Piazza deir Esquilino, and 8. Mabia Maqgiobe, every 7 minutes.
16. Canoelleria — Piazza deir Indipendenza (PI. II, 13—1, 29), via the Piazza S. Pantaleo, Piazza Navona (Circo Agonale), and through the Via del Teatro Valle, Piazza di S. Eustachio, Pantheon, Piazza Oapranica, Montecitorio, Piazza Colonna, Via del Tritone, Piazza 8. Glaudio, Piazza di S. Silvestro , Via della Mercede , Via Due Macelli , Via del Tritone, Piazza Baebebini, Via 8. Nicola da Tolentino, Via Venti Settekbeb, Via Pastrengo, Via Cernaia, Via Volturno, and Via Solferino.
IT. Piazza della Gonsolazione — Gampo Verano (Cemetery ; PI. II, 17-36), via the Foeo Romano, and through the Via Cavour, Via dei 8erpenti, Via Palermo, Via Agostino Depretis (Quattro Fontane), Piazzale della Ferrovia (Railway Station). Viale Princip. Margherita, and Via Tihurtina.
18. Piazza del Cluirinale — S. Agneae fuori Porta Pia (PI. II, 19 — I, 90, etc.), through the Via del Quirinale, Via Venti 8ettembre, Porta Pia, Via Nomentana, Piazzale di 8. Agnese (about 1*|4 M.).
19. Piazza B. Silvestro — Piazza Vitt. Em. (PI. 1, 16—11, 28, 29), via the Piazza 8. Glaudio, and through the Via 8. Maria in Via, Via dei Groci- feri, Via delle Muratte, Via delle Vergini, Piazza 88. Apostoli, Fobo Tba- jano. Via Alessandrina, Piazza delle Garrotte, Via del Golosseo, Piazza di 8. Glemente, Via Manzoni, and Via Em. Filiberto, every 10 minutes.
20. S. Andrea della Valle — Porta Salara (Pl. II, 13—1, 27) , through the GoRSO ViTTOKio Kmanuele, Via dei Gestari, Via del Gesii, Via Pie di Marmo, Piazza and Via di Cdllcglo Komano, Via delT Umilta, Via del Lavatore, Via Rasella, Via Quattro Fontane, Via Venti Settembre, and Via di Porta Salara.
21. Ponte Bisto — Castro Pretorio (PI. II, 14—1, 28), through the Via Giulia, Piazza Farncse, Gampo di Fiori, Goeso Vitt. Emanuele, Piazza Min- erva, Piazza Gollegio Romano, Fontana di Tkevi, Via del Lavatore, Via Rasella, Via Quattro Fontane, Via Venti Settembre, and Piazza del leTerme.
22. Piazza dei Cluiriti — Stazione di Trastevere (PI. I, 12—11, 15), via the Piazza del Risorgimento, Via di Porta Angelica, Piazza di S. Pietro (PI. I, 4, 7), Borgo 8. Spirito, Via della Lungara, Piazza della Scala, 8. Maria in Trastevere, Piazza 8. Galisto, Via di S. Francesco, and Viale del Re.
23. S. Lorenzo in Lucina — Prato di B. Cosimato (PI. I, 16—11, 15), via the Gampo Marzo, Via dc"" Perfetti, Vi;\ della Scrofa, Piazza 8. Luigi de' Francesi, Piazza 8. Eustachio, Via del Teatro Valle, Gorso Vittorio Emanuele, (3ampo di Fiori, Piazza Farnese, Ponte Sisto , S. Maria in Trastevere, Piazza S. Galisto, and Via S. Francesco.
24. Piazza di Spagna — Piazza Montanara (IM. 1,20 — II, 17), through the Via di Propaganda, Via della Mercede, Piazza di S. Silvestro, Via delle Gonvcrtite, Piazza Golonna, Piazza Montecitorio, Piazza Oapranica, Pan- theon, Piazza S. Chiara, Via Torre Argentina, Piazza 8. Garlo a Gate- NARi, Via dei Falegnami, Piazza Gampilelli, and Via Montanara.
25. lateran — Case Bonitatibua (PI. II, 30—111,36), through the Via di Porta. S. Giovanni and Via Apv^^- 'S\xovv\.
26. Porto Ripetta — B. OnoMo al Tfi.ouX.fe TL^tvvi V^J^-VW— \^'\^^'v»f,.\^ through the Via Vitt. Colonna,PVaixa. Ca.NoxxT0^V^'^^T^v.i\Q,^5\^^^ «imo, Viale delle Milizle,Vla TTionlL^\e,;vxx^^oTVv. ^v^^t^v^^^tv^A^^ ^.
GAB TARIFF.
Tramway Bontea.
|
I. Piut |
e, v:. Cern |
Plu» dallB Tm IK, and Via Vol |
M (PI. II, 9- nnio, every d |
,ZB), thronehthe |
|
|
■hroogli'thl |
L dalle Term VU di Porta |
- 0 B. Lo |
umpo Temno (Cer, amwa"w Tivoli. |
etent |
PI. I, 36-11, 34), |
|
3, PiMii i<aie T.™ Leopudi, «nd Vi» Merni |
» — La oberU |
twin (PI |
1,25— n Alberlo |
BO), Pias |
AroneH tbe Vials r^ Vilt. Em., VI. |
|
1. Piuu del Fspolo |
— Pen |
« Hells D |
Flamlma, every i/« !>■■. |
||
|
0. PUk |
Vl«'lI.™oA |
-B.Paelofiieti «tWu8°Paol |
cMiin iziaBo , and in |
(PI. II aOit |
n-lll, IB, etc.), enJe, «'»e^ '/, hr. |
|
Oaiia ( Fdluri Pubblicie) in tbe principa |
(d«IM- |
|||||
|
WIIL ont borse. |
||||||
|
Closed |
||||||
|
By |
By |
|||||
|
Wilhii the el«y. |
day |
niglit |
day |
nlBM |
day |
idilil |
|
SidgJe drive (ana ordinnWa) In |
||||||
|
hone 'cart, t-i persV .... |
133 |
2- |
260 |
|||
|
Per honr |
2- |
a- |
iSD |
3- |
360 |
|
|
Each Bilditli.nal Vi ht |
-a |
— ftO |
-eo |
|||
|
For each drive, 1 pare, more . . |
-40 |
-ao |
-41 |
-a< |
-40 |
|
|
Outildulhegatea: |
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|
From or to tbe tramway lermioue |
||||||
|
oulildB the PorU Lorenio . . |
1 VI |
1 GO |
lao |
160 |
aso |
|
|
To Itao csmelery at S, LoreninFuuri |
||||||
|
CCnini.o Vertno), par boor . . |
320 |
5 70 |
320 |
3 70 |
360 |
|
|
eoioB drive |
-66 |
-m |
-65 |
-sa |
-96 |
|
|
To a diitanM „f 600 yd.. (>/, KilO |
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|
ontaide any of tbe g»(e«, Includ- i |
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|
log the Porta 8. Loromo . . . |
1 SO |
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^'iido''I;'Brof tb^e^S, per'b "ur |
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|
Eacb addilionel '/. br. ' . , . . |
-5( |
-50 |
||||
|
Migbt Is reckoned from T p. m. lo li |
m. |
mm |
*P^] |
at lo |
Sejl |
80th, |
d from 7 p. It 8 e»" " Ibe driver
la (^niiral the rebic:
'e thai ror the drive, ere Is do tariff, but y be demanded. On
List of Streets in the Plan of Rome.
e pUa ia divided into tlnee sectioni, the nvper, witli mbered I, the ceafnl, uMU, II, (he lower, nith red mar
margin. III. The
in which the pl&ce in question ia in the 11th aqiuLn of tSa nlted to ndntit ol tha anuet 'cplBced bj nmnhen , wliich me eo omitted (thns: Banco
isaitad la the plan Itself, an
Bonelia 44).
ictnreGallBryfVia
Amsrlgo Veipucd, Via.
drsa (neu- the Laleran) . ear S. Oregorlo), , . . drea, con CoUeglu 9 col
Adda, Via . . . Adlcc, Via. . , Adriana, Via. .
S. Agata. S. '.
Aeodlo. Via dell
geli Ciulodl. S ~uelode. Vis
), Caftelio'
Aldobrapdiul, Villa . . .
AlcBHaadria, Via
Alesiandrisa, VU . . . . AlesniLDdro Famoee, Via .
Alfredo CappellinJ AJlberl, Via . . . — , VIcolu ....
innU, Via
iBft. ta,mMS»V4,4 . -
LIST OF STREETS.
|
inni |
mm |
|||
|
a.AnloniodeDeForMoi.YU . |
t. |
B.B.rlulomm«>,So.l9 , , |
16 |
|
|
Builiu. di ciBlanlino . . . |
■? |
|||
|
Butionl di CBJtBlio, ViB ilal |
8^ |
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|
■f |
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29 as •5! |
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Aqulro, TIb in 16 |
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: ^ |
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Ar.nolo, VU doir ..... 17 |
U |
|||
|
Ako di k. ClKlo |
S. BeraBrdo bUo Tenne . . |
g ,-." |
||
|
— di Costanlioo |
Bernini, P»l. IB 8- Bi»Bill |
li |
||
|
21 f, 20 23 39 B3 |
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— iBgll Oroflcl. i |
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^" fciliTeria,' vii : : |
n . u |
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Baejio, Via |
" |
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*<ln»ria. Ports A,UJu;ji.deB,l |
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|
26 |
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Attfllo E«pilu, TU 11 Aurofi^ Via dtll' a> |
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B0..™p.g.i, PU. 6, . . . |
n 33 |
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AyeottoS; MonUi ATtgDOmul, Via d«g]l ... IB ATlla, PUiB. d' AiagllD, VI. Sfi |
10 23 : as i !S li |
— SinlDBElH, PbI. IB . . , |
||
|
'""fe,™;:;:;:- |
IS 21 |
|||
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—, vin di ::;:::: : : |
— B. ingalu '. '. '.'.!'.]; |
1 3, |
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auBbln Goaii |
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BuB> di L Hpirlto. 16 . . . |
= «r;:; |
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LIST OF STREETS.
|
n |
T |
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|
in |
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|
w |
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O.BUBii, TU * |
CulrD Fretorio, Vln del ■ . |
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S-'catorinaaB-Fmul. . . |
■ |
|||
|
( |
||||
|
!7 |
Cilonf, Vis C&VBlieri di Halts, Pti. de'S CiTiLlleftl, Pal. ia .','.'. '. |
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|
r |
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Cedro, Vie del |
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Gapitolino, MoBle |
s |
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CeVcbi, Via »nd PlaiEO dc' , |
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CipD le Cu,„, Via lU |
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|
.1 |
IB 111 |
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ch!"' nJ™ |
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SSrsE.".,,,. -. ; : > |
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|
-, Vlidelle |
u\ |
" |
LIST OF STBEETB.
|
inm inm |
||
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Cinqno, Via dul 1 olnqM^Lnn;, Via". '.'.'.'. i3 OircQ AgDnaie, eea llaiT* |
ComaMhie. ro«o doUe , . IB Connafi, Via de' IB |
1 |
|
OoVso, Vi» del 16 1 Oqjtiled'i fl'e"lvedcrB.'l! ; '. i - dl S. Dunuo (dell« 7 -^eX 'panaUrta, b ', i ! ! IB |
||
|
CiranB maiimns 2 Cislorna, Vicola della .... 1 ». Claudio. 23 18 |
||
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Clementina, Vii, S="KJ;-'-:;:;': |
Creaoemi, Tlcoio! '.'.'.'.'.'. |
1 |
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Oala dj &IU..1, Kaoia ... 11 |
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14 CiHoenalo, Via 8 |
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OollulD Clemestino .... 1 - a** Cop« 4 |
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1 3. Cmoe, Via dl ! ! ! ! ! ! S. Croce de' LoMliesl. 13. . . CrpeeSr^af^a^'di""-: ! ! e Crociata ViadeUa 15 Crooiferi, Via da' IB g CroeiflMO, Oappslla del . . 7 |
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Oolombn, Vi.. Crtrtoforn . . . |
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9 Dante, Plaua 1 Dataria, Vta della 1 |
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!4 Dogali, Vli it |
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Colouo di Kerane |
ciangB). IB 1 Domini oml, Conv, dn' '. '. . ' |
IB |
|
OomionBlorio de' FancinlU Oo^u^rralDrlo della DiTina |
°^S' ^'- ^"^ I |
|
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Dne MacelLI, Via de' . , . . 1 Dnilio, VU 1 |
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|
ConU Pal. IJ! |
6 BmannelB FlUberto, Via . . m Bmllta, ■na 2 EngUati Cbuccb (All Bainl)} 1 (Holy Trinit,) . . . . 1 EnnlD Qnlr. VUcDnti, Via . 1 |
|
|
Ml^'loae. U . " . . .V'lfl Gopelle, Via dalle tS Oorallo, Vleolo del 1. |
li |
LIST OF STREETS. I nni
|
i'&X'vr.'r"': ;; : |
a FruBoesco di^Ue Blimate |
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rulLdiiml', VI. de' |
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■JP |
||||
|
s |
IE 1!) |
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8. Galllemo, TIa di . . . , |
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{Hmhaca, Via del |
||||
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QelsomiiiD, Via del .... |
||||
|
in |
||||
|
lU |
||||
|
17 |
||||
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- in Ad6U31,> (a„gli Incnm- |
||||
|
' |
||||
|
— di BOFgbBsc, Yin ddls . 1( |
— , Pawnggiii I'Bbllf" dfl , |
i |
||
|
Pornani, V. dullu, see V. fin- |
{iiarflinf., Via ,lel 1 |
|||
|
K' |
||||
|
= i^u"i,i:::::::: |
:; |
...- V V,; ii>-ir.; ■ ■ " ■ |
||
|
S. FrancMCB Bomana .... |
'' |
,-.. ,;i,„s,.. 11- VoiE,],™ . . . |
||
|
^ |
H |
|||
|
"DeMUo'to's |
ilB |
|||
|
11 |
LIBT OF STREETS.
|
mm |
mm |
||||
|
S. Uiowma de- QenoVMi. 7 |
■ |
2S 18 |
a. 1.0. 13 |
13 |
|
|
— in Oleo, Cappaim .... |
m |
. e |
|||
|
. a |
|||||
|
— uta Portam Latiniun . . |
|||||
|
^^^\T |
|||||
|
— , Vfua (Borsbwe) . . . . |
|||||
|
L.lfirano,S.Qio.mniii. . . |
"p |
||||
|
UudnB, Via Liiiiio, Vicolo del La<aggl, Pal. ID LayandaV VIoqIo delle . . Laiatora Via del |
2 |
||||
|
~ ifl' Flaminglii. 7 . . . . OtnJlo Cesnre, ViB. .... |
B |
||||
|
i» |
rcj." |
||||
|
-•SSs;"' "•"""■; |
|||||
|
Leoneino, via del |
lU |
||||
|
Leone IV.. Via |
|||||
|
oii;.B^p»i. di tpTOB«tta) |
u |
||||
|
3 30 '. 2 |
|||||
|
Gavarno VeecMo, F^. del SO |
Lantaii, Via de' Liberti, Plana delU . . . . |
||||
|
a |
|||||
|
LcSMjV : ;■.::: 8. LorensD, MoDMt. ..'.'. |
|||||
|
Qreol, Vt. de' QMgori, Pal QregDri»M,Vi« |
1 2(1 |
U |
|||
|
— tn Lnclna , Plaraa di ..... , |
|||||
|
Qrim.\ai-Pote..iMii, Pd. IS Btotia, Vlnolo ddla . . . . arotHBO, Vl» del . . . , . Qoudiola, ViadelU. . . . Gurnlflii'p^ |
1 |
||||
|
BB.'1d»b>o''iii Damaao '. '. — Lnea e Martina, 4 . . . . LuM''^l'a'd6ilB"" |
. 2 |
||||
|
QnglUlmo Pepe, Plaiu . . |
. |
||||
|
. 1 |
|||||
|
li 2i ao |
|||||
|
Loci^no Ha"!!!™, Via' '. '. Lut^o ctro" vU: '.'.'.'. Lucullo, Via Li.dQyl5i,Vi. |
i |
||||
|
IiUtoto ArchHilngica Oenna- |
|||||
|
ItillB, Carsn d' |
\ |
iT OF 8TBEETS. I nm
tuvni, PbI. a .
chSvdli, Vu' '. Bill, Vtii ie' Da
Modnnni di 1 — 'TilTdB ".
MklBte Hmtgbi
Vlgns
Pii. 'l3 '. r. Vl» . . . v!» doUa . . inn*, Csrcer 1 il, Vta . . .
■, 10 ,
8. MarBhurtlu. I
tyZi^!\ :
dik). II . . .
- Ag->u. a. . .
- deK" A^Bcli
- defr Anima ,
- In Aquiro. 17
Apulia
1 CmuoUiione CosniediD . . . CoBUDllnopoU. 1
- K^.Uo.
, Piaiaa
— di Hoiueri
PLeii(OrslnriodiOMi
iT OF STREETS. I nm
|
e. KarU U Via, Via d1 . . |
18 |
an 31 ! :■ 1 |
IB 16 |
MiniJlaro dl AericnJlai-a, In- dnstria e CoDHQurcIo ... 19 |
|
|
u.ii»n>i> Dion^ Vis : : |
|||||
|
Uirmonti, Via della , . . |
- di 0™m 23 - doir Intomo. 17 - dell' iBtraiione Pabbljm. |
n |
|||
|
UaRiui, la (ttrooii) .... |
|||||
|
— dai LavDri Pabbllcl . . . tC -dHllaMiHaa. 8 a . , . . 13 Minoiiii, Pal. 3 17 Hii«Dll, VionlD de- .... if Ho'dea" Vi,' .,,!!;: K "oir-tS'deu^ :::::. HoDsemlo, Via di — Oaprlno, Via dl . .'.... |
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|
Mairooltl, Via de" |
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|
-••Iffi"*';:;:: |
«" |
||||
|
UaacheiB d'Oro, naiu. . . »a«cberiBO, VicolD dd . . . |
IT |
||||
|
— l)ilDrio, Pal. di CCamBtB do- Depulati). 24 1< — Citorio, Piaiia di. . . .le — della Farinn, Via del . . . |
|||||
|
17 |
|||||
|
iMonte Tarpen, via 'di . . , . ttoDlevEide, Vicolo dt . , . . |
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|
16 2i 13 W 34 |
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|
Maittmorelli, TicDlo . , . , |
|||||
|
MoKtlo, Via del IB Moto, Via del Boroal, Vlmlo |
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|
Uadlctl, VUla |
lb |
||||
|
li |
|||||
|
Heieede, Via di |
HortB, Via d.,lla Mar(Blla, Via della Mmticelli. Via de' Sluralte, Via della IB iWDli-Paparn™, Pal. B . . . . Napolaon JII., Via KapoH, Orlo di 17 |
||||
|
BetMtaslo, Tealm. Bn . . |
|||||
|
B. MicbBlc AKBngBlo. . . . |
i |
||||
|
a^. Miehele e MsBno- ■ ■ - MlgnaMlli, Pal |
7 |
a |
|||
|
—1 Via PriQCipo di . . . .W Havicella^ Piaii'a 'del^ '.'.'.'. |
|||||
|
HIlaiKi, Via Hiliileu TlaledeUe |
2! |
18 |
|||
|
XUlB (Spada}, VUls .... |
Navona, Piiiiia (Clrcp Ago- |
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|
Hfnerva Uedlca, Tunplo |
Hailomla, Via U |
fe. |
U3T OP STREETS.
|
I |
nm |
mm |
|||
|
Colleglo NxuFsno, ... 18 SS. Berec. ei ioUUlen .... |
ae le lo 19 ai 16 SB 7 7 .0 17 d(l 7 a? |
i 10 : 18 35 |
|||
|
Pllermo, VIb PHoitrD, Vf» Palle, VIcolo dcUe Pillins, Vicolo dullH . . . . Palmi, Vlcola delU . . . . rS'"'"*^": : : : |
2 1! |
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|
= K.™p"\ '.:::. -J |
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|
— — , VieolD dl a SlcoaiD, naim 18 |
8. PSDCrMio, PorlB . . . , Pmico, Via dl |
lb |
|||
|
Oca, nniiB deir 15 Odelcalclii, P.1 |
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|
H. Psolo Erpmlta. '.'.'.'.. |
z |
||||
|
19 la 13 |
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|
Pas^iDO, PioJia del '.'.'. |
w |
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OrMlD, Vli 11 |
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Orfeo, Vlc»lo li! 7 |
PolKneo, vu |
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* |
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Otul'ogin. PiuIlB ielV J',°v!a Vlrrfiio! '.'.'.'. '.{2 o™n° vunrf'r, .':::; :iii .S. Orsnin, 1 lU |
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S, Pi^UetTi"!! I'dlttTipn, Via del Pl■11^ccil^ Via dclln , . , . I'enileniB, Vic.do d=lU . . |
6 7 IB |
14 13 11 as B 11 17 16 3B |
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BS. OrsoliL i: Catcrini.. 11. . . OHo^Conifi.' ,' ""' '.\ '.'. '. |
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— degjl IncnrBlilli 17 |
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Planallnrt Via! '.'.'.'.'.'. |
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Oilililo ilo' Poireri 29 OatorU, VIculu dull' ... ,31 |
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Piemnnlc, Via ....'.'. . |
1 |
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Ottaiiino SfoVu, Vli . . . 8 |
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Olio Cunlonl, Tieolo dci . , l7 |
B |
Piotr., Piisia di |
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P»co, PiauJi ilella PidalJa, Piaiia ■^niM, PI.>..7,a |
'.'•££-s2...o;..,.: |
LIST OF STREETS, 1 n ni
13 inin
|
18 |
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Praabyterian Cborch .... Principo Amedsu, Via . . . |
IB |
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-, in^OnWrio 1 |
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, Pisa» di 2 |
— di N.poii, Viji |
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ll|lPi£-;';;^ |
. 21 |
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Propaganda Fido. 10 |
19 |
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Pratulani D^nroh '.'.'.'.'. |
^ |
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Kbmo, Vi» iel 13 |
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Puglle, Vi» PMiileBilDne, Via della . . |
-. |
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S:'"p'?"" '1 |
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BS. Qnati™, VU do" ... . SS. Qastiro Oorooatl .... QoaHra Oaatonf, VU, . , . |
. i |
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Kombiao, M. 22 18 PLombo, VlB del |
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88. q^rioo u GiodilU. 8 . Quirlnya.Pal. e QiardUg del |
l/ |
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19 2 |
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^'^%f^r '•" |
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m |
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Fompeo Htgno, VU .... IS PompnniriSo: Vis ... . B |
B«ggla, Via Rogina, Tialo della . . . . |
s |
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I'oute, PUiii ai 10 |
R=lnaob, Villa |
29 |
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Ponioflcl, Vie dfl" \1 |
Biarj, Vicolo dB- |
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Porta, Pil. dolla 17 Pona Cttrlrflo, Vin di . . . 7 — Lsiina, Vi» di — Leone, VU di |
Klpelta, Vu al — , I'asseigiali dl Ei'pIrrio°'c'asi.«"dr : : : : |
1( |
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11 |
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- PlndBM, OorBO dl . . . M |
13 |
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-a.l»», Vi»di 27 |
BoncUni, Orto ..... . UoDdlninl, Pal. |
i( |
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Fortaania. Potto |
EOBB, VU d'elia |
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Boasini, Tenlro. IT .... BolODda, la (Panlbcoal . . . |
la |
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a. Pii™ed6, .;[!,!::: |
Rmpoli, Pal |
Li |
\ |
LIST OF STREETS.
mm
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S^pintc, P.l. 5 1 aaerenlB Ptniis dellt . . . , Vl» daJU BiUri VeccWji, ViB . . . fl»Jnm^ Vtado' |
IS |
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- l» Cwnpo. 6 |
4 1 |
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Buspteri.PBl.CCiceiopurcl). 3 BanUcroca, P.J, * |
\i |
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flapnn<.ri,VlMl<. do- ... , SurdBgn^, ViB |
i |
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S |
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flavoteilt. Villa a«ccl», VlB |
1 |
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Bciarri-OoliinnB, Pal. . . . |
t"* |
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Hc[pi..nl. Via deEll .... SiiD99a.CDvalIi, Pluia , . . Strgft, VU dellB Sonolo dogji Bbrei. 2 . . . |
17 |
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Sediul, VU dui |
13 3 ■ |
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Sanalo dQl llL-aii" ..... jicpnitrG'ii ii'ibntu. a' ; ; ; |
a |
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Swpeoti, via da' fcni.(ori, Pal. 8 * |
'ea |
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bTms^'^^"" -ieee™ di . . |
28 . |
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- PBllayicdnl, Vli Sicilla, Via |
=5 |
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— In CapitH . _. |
16 |
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68 |
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i, Simon. « Oiaillla. 6 . . |
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^uldillo, VU del |
y |
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Spapia, Pal, d< SpaBna. Pi.aa dl |
",i |
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a, Spirito, Oratorio di. IB . |
7 |
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— in Sauia'. 12 BpiritD Sintu it- Napon- |
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SUianeriB e Calcograna Ca itainpErik, \U dflU '.'.'.'. |
IS |
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Sla^iquB deUi F„rroria . . |
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- in Piscinnla. 21 .... |
, 10 |
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etdla'tla, Via della |
13 |
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S. Siidario, Capiwiis dj. 8. |
. 13 |
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S.'8uBanna |
1 |
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— CBpr.nida . — ia^«tB\ia. a |
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LIST OF STREETS. I nm |
15 mm |
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— dc]]> face 13 |
SI 19 |
3. Trifone, 3° *"" '.'.'.'.'. |
li !■ 19 srr It |
33 1 |
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- dell. VaUe, IB 18 B. Tecls. ta 7 Telegrsfo, DfScIo csolFak . 16 Telilna Vleolo dnlle .... 10 Teodoli, Pal. 9 16 |
^ de- Monti — de' Pellegrini Tfllnne, Via del Trofiji di Uario, sh Acqaa Oiulio. Tronto, Via 9. DfHiIo, Pal. del UmbBfto PoBlfl Umilli, Via deir Dolli, Piaiaa doll' |
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Tt'ranrio, Vu 8 |
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Tarme di AErlppa IB |
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Vflccirolla, Vicolo |
n |
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'^FSi°«:^'"''""''""' *'"''"' |
v^f^gi^via doi' . .■ : : |
u |
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Teala ipiceiitB, Via IB Tealauio, Uonta . |
Varese, v\x vSi™!!^, vimio' da-' : ; : VMChetta, Plasna doUe . , Vatleano, Honta |
1 i3 |
18 91 16 18 [ U SI |
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liren. Via ST |
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TllrarHna. Po'rU 38 TiQtao, Via^. M |
Vrecbiarolli, Vicolo .... Velabro, Via ta |
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a, Tomma.0. 1 H |
VenetB a ttoma, Tempio dl Venetu, Via Veneiia, Pal. dl |
^ |
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Tor Argentina, Via dl .... 16 — Canlarelll SO |
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?:^'n^pCu- ^^1 'c-a^ |
J8 |
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Vergli.i, Via della Ve™pi, Pal. 10 V^nna, via delli '.'.'.'.'. Video.a Via ....... |
K |
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- SanEolnoa. 4 13 — da' Bpecchi, Via 41 . . . . H ?S::;».''.'-:;:::S» |
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BolognetS, Pal. 1 .... IB |
Vimlnia, Via del 9S. ViDcento ad Anantaeio |
3& -ft i |
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Tnrrerta, Plana .'..!!! I'fi ISSa^Jinliu::::^'.' |
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Vlrginio Ortini, Via ... . Vlsconti, Via |
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?. |
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Tro AroU, Via do' 13 Tra CaoneUL S " |
vilaiicohi, pi: i ; '. : : : |
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Trail, Fo"lan» di ' ! ! ! '.19 Tribnull, Plaiia d«i . . . 13| |
S9. Vilo < Mnde«ta .... VitloHa, Via - lioliniiia,"^\«. |
17 |
. |
I.
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