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GREAl
Sec(
B>EDEKER'S GUIDE BOOKS.
GREAT BRITAIN; with 15 Maps, 30 Plans, and a Panorama. Second Edition. 1880. 10 marks.
LONDON AND ITS ENVIRONS, with 3 Maps and 15 Plans.
Seventh Edition. 1889. 6 marks.
BELGIUM AND HOLLAND, with 12 Maps and 20 Plans.
.rks. TI tifri^ rtin. tw«. IHBN
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and
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AND
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irks. 889.
irks.
891. irks. lLY, mas. irks. . OP cond 16 marks.
43 Plans, a Pano-
20 marks.
languages. Eng-
3 marks.
ERSATION, IN
3 marks.
N( SC TI
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Edition.
PALEST
rama
CONVERS
lish,
HE TRA
English,
CENTRAL ITALY
AND
ROME.
MONEY-TABLE. (Comp. p. xiil.)
Approximate Equivalents.
|
Italian. |
American. \ |
English |
1 |
German. |
Austrian. | |
|||||
|
Lire. |
Cent. |
Doll. |
cu. ; |
L. |
S. |
D. |
Mk. |
m- |
Fl. |
Kr. |
|
5 |
1 |
Is |
4 |
_ |
2 |
|||||
|
|
25 |
|
5 |
|
|
2l2 |
|
20 |
— |
10 |
|
|
50 |
|
10 |
|
|
5 |
|
40 |
— |
20 |
|
|
75 |
|
15 |
|
— |
71 4 |
— |
60 |
— |
30 |
|
1 |
|
20 |
|
|
9»4 |
|
80 |
|
40 |
|
|
2 |
|
|
40 |
|
1 |
71 4 |
1 |
60 |
|
80 |
|
3 |
__ |
.^ |
60 |
|
2 |
5 |
a |
40 |
1 |
20 |
|
4 |
_ |
_ |
80 |
|
3 |
2»|8 |
3 |
20 |
1 |
60 |
|
5 |
_. |
|
4 |
4 |
-» |
2 |
— |
|||
|
6 |
|
20 |
|
4 |
9^4 |
4 |
80 |
2 |
40 |
|
|
7 |
' |
40 |
|
5 |
71 2 |
5 |
60 |
2 |
80 |
|
|
8 |
|
60 |
|
6 |
5 |
6 |
40 |
3 |
20 |
|
|
9 |
_j |
80 |
|
7 |
21|2 |
7 |
20 |
3 |
60 |
|
|
10 |
|
2 |
|
8 |
8 |
— |
4 |
— |
||
|
11 |
|
2 |
20 |
|
8 |
9T4 |
8 |
80 |
4 |
40 |
|
12 |
|
2 |
40 |
|
9 |
71 2 |
9 |
60 |
4 |
80 |
|
13 |
|
2 |
60 |
|
10 |
5 |
10 |
40 |
5 |
20 |
|
14 |
|
2 |
80 |
_^ |
11 |
21|2 |
11 |
20 |
5 |
60 |
|
15 |
|
3 |
_» |
12 |
12 |
|
6 |
|
||
|
16 |
|
3 |
2d |
|
12 |
^4 71 2 |
12 |
80 |
6 |
40 |
|
17 |
|
3 |
40 |
|
13 |
13 |
60 |
6 |
80 |
|
|
18 |
|
3 |
60 |
|
14 |
5 |
14 |
40 |
7 |
20 |
|
19 |
|
3 |
80 |
|
15 |
21|2 |
15 |
20 |
7 |
60 |
|
20 |
|
4 |
|
|
16 |
16 |
— |
8 |
— |
|
|
25 |
|
5 |
|
1 |
|
.— |
20 |
— |
10 |
|
|
100 |
~~ |
20 |
— |
4 |
— |
— |
80 |
"~" |
40 |
— |
Distances. Since the consolidation of the Kingdom of Italy the French mitre system has been in use throughout the country, but the old Italian mifflio (pi. le miglia) is still sometimes preferred to the new kilo- mitre. One kilometre is equal to 0.62138, or nearly Vs^^s, of an English mile (8 kil. = 5 M.). The Tuscan miglio is equal to 1.65 kilometre or 1 M. 44 yds.; the Roman miglio is equal to 1.49 kilometre or 1630 yds.
MONEY-TABLE. (Comp. p. xiil.)
Approximate Equivalents.
|
Italian. |
American. |
English |
German. |
Austrian. | |
|||||||
|
Lire. |
Cent. |
Doll. |
Cti. , |
L. |
S. |
D. |
Mk. |
P/ff.\ |
Fl. |
Kr. |
|
|
5 , |
r 1 |
_ |
*l< |
_ |
4 |
_ |
2 |
||||
|
|
25 1 60 |
|
5 |
|
|
2l2 |
|
20 |
|
10 |
|
|
|
|
10 |
_ |
5 |
|
40 |
|
20 |
|||
|
|
75 1 |
|
15 |
3 |
|
71 |
4 |
|
60 |
|
30 |
|
1 |
— 1 |
|
20 |
|
|
9» |
4 |
|
80 |
|
40 |
|
2 |
|
40 |
|
1 |
71 |
4 |
1 |
60 |
|
80 |
|
|
3 |
__ , |
__ |
60 |
|
2 |
5 |
a |
40 |
1 |
20 |
|
|
4 |
— 1 |
«_ |
80 |
|
3 |
2»|a |
3 |
20 |
1 |
60 |
|
|
6 |
— 1 |
1 |
|
— |
4 |
4 |
_ |
2 |
— |
||
|
6 |
20 |
|
4 |
9»4 |
4 |
80 |
2 |
40 |
|||
|
7 |
1 |
40 |
1 |
5 |
71, |
5 |
60 |
2 |
80 |
||
|
8 |
— |
60 |
1 _ |
6 |
5 |
6 |
40 |
3 |
20 |
||
|
9 |
— 1 |
80 |
1 |
7 |
21|2 |
7 |
20 |
3 |
60 |
||
|
10 |
— |
2 |
|
1 |
8 |
8 |
— |
4 |
— |
||
|
11 |
|
2 |
20 |
1 |
8 |
9^4 |
8 |
80 |
4 |
40 |
|
|
12 |
|
2 |
40 |
|
9 |
71 2 |
9 |
60 |
4 |
80 |
|
|
13 |
|
2 |
60 |
|
10 |
5 |
10 |
40 |
5 |
20 |
|
|
14 |
|
2 |
80 |
_» |
11 |
21J8 |
11 |
20 |
5 |
60 |
|
|
15 |
|
3 |
|
__ |
12 |
12 |
— |
6 |
|
||
|
16 |
|
3 |
20 |
|
12 |
s |
12 |
80 |
6 |
40 |
|
|
17 |
|
3 |
40 |
|
13 |
13 |
60 |
6 |
80 |
||
|
18 |
|
3 |
60 |
|
14 |
5 |
14 |
40 |
7 |
20 |
|
|
19 |
|
3 |
80 |
|
15 |
21|2 |
15 |
20 |
7 |
60 |
|
|
20 |
|
4 |
|
|
16 |
16 |
— |
8 |
|
||
|
25 |
|
5 |
|
1 1 |
_ |
20 |
|
10 |
|
||
|
100 |
~" |
20 |
— |
4 |
— |
— |
80 |
— |
40 |
— |
Distances. Since the consolidation of the Kingdom of Italy the French mitre system has been in use throughout the country, but the old Italian mifflio (pi. le miglia) is still sometimes preferred to the new kilo- mitre. One kilometre is equal to 0.62138, or nearly Vsths, of an English mile (8 kil. = 5 M.). The Tuscan miglio is equal to 1.66 kilometre or 1 M. 44 yds.; the Roman miglio is equal to 1.49 kilometre or 1630 yds.
ITALY.
HANDBOOK FOR TRAVELLERS
BY
E. BAEDEEEB.
SECOND PART:
CENTEAL ITALY AND ROME.
With 10 Maps, 31 Plans, a Panorama of Borne, and a View of the Forum Bomanum.
Tenth revised Edition.
LEIPSIC : KARL BAEDEKER, PUBLISHER.
LONDON: DULAU AND CO., 37 SOHO SQUARE, W.
1890.
All right* reserved.
J^Xjuo-^
/S-^'^. 2t:>
IMVAM) OOUCBI UflMir
HKHQUOTOr tNGOOOREJBlSnCMnMli
mi
"Go, little book, Qod send thee good passage, And specially let this be thy prayere Unto them all that thee will read oi hear. Where thou art wrong, after their help to call, Thee to correct in any part or all."
^' PREFACE.^ -
The objects of the Handbook for Italy, which consists of three yolumes, 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 valetsnie-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 carefully 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-bill8,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. R, 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 Springer has also contributed many valuable incidental remarks c modem art.
vl 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.
HBiaHTS are given in English feet (1 Engl. ft. = 0,3048 m6tre), and Distances in English miles (comp. p. 11).
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.
Introdudtion. Page
I. Trayelling Expenses. Money ....... xiil
n. Season- and Plan df Tour ..•.•.;.... xiy
in. Lan^age . • ^^
lY. Passports. Custom House. Luggage . . xvi
V. Public Safety, Begging xvl
VI. Intercourse with Italians xvii
Vn. GonTeyances xviil
Vin. Hotels xxi
IX. Bestanrants, Cafes, etc xxii
X. Sights., Theatres, etc xxiv
XI. Post Office. Telegraph. xxv
Xn. Climate. Health xxv
XIII. Dates of Recent Events xxvii
Ancient Art, by Prof. R. Kekule xxix
Mediffival and Modem Roman Art, by Prof, A.
Springer xliii
Fi&ST Sbctiok.
S. Ttutcany. Umbiia. The Marches.
Roiite
1. From Leghorn or Pisa to Rome by the Maremme ... 1
1. From Leghorn to Civitk Vecchia by sea i
2. Piombino and Populonia 2
3. From Orosseto to EuaelliB ......*... 3
4. Monte Axgentario. Cosa . ' 3, 4
5. From Hontalto to Vulci 4
6. From Corneto to Toscanella 6
7. From Civitk Vecchia to La Tolfa ...... 7
2. From Leghorn to Volterra and 'CoUe ...... 7
1. From Volterra to Monte CerboU 8
. 2. From Volterra to. 8. Girolamo 11
3. From Volterra to the copper-minefl of Monte Gatini . . 11
8. Elba and the Tuscan Islands 11
4. From Florence to Siena and Chiusi via Empoli . ... 13
1. From Poggibonsi to l^an Gimignano 14
2. From A«ciano to Grosseto. Monte Amiata . . 17, 18
3. From Montepnlciano to Pienza 20
5. Siena 20
Ezcurfliona from Siena. L'Oaservanza , S. Colomba, etc. . 3G
6. From Florence to Perugia via Arezzo and Terontola (Chiusi,
Borne), . 37
1. From Arezao to Slia and Pratovecehio ^
3. From Arazzo to Monte Sansavino, Fojano, and Betolle . 42
7. Perugia. . • ^6
From Perugia to-Narni ria Todi • ""
8. From Arezzo to- Fossato. Borgo S. Sepolcro. Citt& di
Oastello, Oubbio
7ill CONTENTS.
Route Page
9. From Florence to Rome vift (Artxzo) Terontola and Chiusi 69
1. From ChiuBi to Cittk della Pieye. Cetona ..... 61
2. Orvleto 6L
8. Bolsena 65
4. From Borghetto to Civita Castellana. FaletiL Mount Soracte 67,68
10. From AttigUano to Viterbo 69
1. Excursions from Viterbo. Toscanella. Castel d^Asso. Ye-
tralla. Xorchia. Caprarola. Sutri. Nepi. Castel 8. Blia 72-74
11. From Peragia to Foligno and Orte (Borne), Assisi. Spo- leto. Waterfalls of Ternl. Narni 74
12. From Bologna to Rimiiii, Falconara (Rome), and Ancona 87
1. From Rimini to San Marino 94
2. From Pesaro to Urbino 96
8. From Fano to Fossato via Fossombrone and the Furlo Pass 100
13. Ancona and Its Environs. Osimo. Loreto 102
From Porto Givitanoya to Fabriano 107
14. From Ancona to Foligno (Orte^ Rome) 108
From Fabriano to Sassoferrato 109
Sbcond Section. Kome.
Preliminary Information: —
Arrival. Police. Embassies and Consulates .... 110 Hotels. Pensions. Private Apartments. Restaurants . 110, HI Osterie. Gaf^. Gonfectioners. Gratuities .... 113,114 Baths. Glimate. Physicians. Ghemists. Bankers . . 114, 115 Booksellers. Libraries. Reading Rooms. Newspapers 115, lf6 Guides. Teachers of Italian. Music. Studios. Goods Agents 116, 117
Shops 117
Theatres 118
Garriages. Porters. Post Office. Telegraph Office . . 119 English Ghurches. Italian Protestant Churches. Glubs . 119 Ghurch Festivals. Popular Festivals. Street Scenes . 119-122
Garrison 122
Gollections, Villas, etc 122
Diary. Summary of Attractions 125, 126
Bibliography 127
ffistory of the City of Rome 129
Chronological Table of Roman Emperors and Popes . 139
Topography 143
/. Strangers' Quarter and Corso 146
Piazza del Popolo. S. Maria del Popolo .... 146, 147
The Pincio 148
Villa Medici. S. TrinitA de' Monti 149
Gasa Zuccari-Bartholdy. Piazza di Spagna. Propaganda 150
5. Andrea delle Fratte. Fontana di Trevi 151
The Corso 162
S. Garlo al Gorso. S. Lorenzo in Lucina 153
Post and Telegraph Office. Pal. Ghlgi. Piazza Colonna.
Golumn of Marcus Aurelius. Piazza di Monte Gitorio.
Gamera de* Deputati 154
Dogana di Terra. Palazzo Sciarra-Golonna. S. Ignazio . 156
Gollegio Romano. Museo Kircheriano 156
S. Marcello. S. Maria in Via Lata. Palazzo Doria . . 157, 158
CONTENTS. ix
(Koim) Pace
Palaszo di Venesia. Palazzo Torlonla. 8. Marco ... 162
Palasso Colonna. Galeria Colonna. Tomb of Bibulus . 163
SS. Apostoli 166
//. The Eastern Quarter. Quirinal, VimiruU, Eaquiline . 166 Piazza delle Tenne. Bailway Station. Thermae of Dio- cletian. S. Maria degli Angeli 166, 167
Via Yenti Settembre. S. Maria deUa Vittoria .... 168
Wall of Servitu. Campo MiUtare. Via Xazionale ... 169 Palazzo and Galleria Barberini. Piazza Barberini . . 170, 171
8. Maria dell* Goneezione. Villa Ludovisi 172
Piazza del Quirinale 173
Palazzo Begio al Quirinale. Palasso Bospigliosi ... 174
8. SUyeatro al Quirinale. 8. Pudensiana 175
8. Lorenzo in Panispema. S. Maria Maggiore .... 176
8. Praasede 178
Arch of Oallienus. Aquarinm. Piazsa Yitt. Emanuele. S.
BibUna 179
Temple of Minerva Medica. Porta Maggiore .... 180
8. Croce in Qeroaalemme. 8ette 8ale 181
Gardens of Meecenaa. 8. Martino ai Monti. S. Pietro in Yincoli 182
///. Rome on the Tiber (Left Bank) 183
Yia di Ripetta. Mausoleum of Augustus . . . . 183, 184
Palazzo and Galleria Borgheae 184, 186
8. Agoatino 189
Palazzo LancelotU. Piazza Kavona. S. Agnese ... 190
8. Maria dell* Anima. 8. Maria della Pace 191
Palazzo Madama 192
8. Luigi de' Francesi. Pantheon 193
S. Maria sopra Minerva 196
Universitit della 8apienza. Gorso Vittorio Emanuele. Gesii 197
Palazzo Vidoni. 8. Andrea della Valle 198
Pal. Massimi alle Golonne. Palazzo della Gancelleria. 8. Lo- renzo in Damaso 199
Ghiesa Nuova 200
Palazzo Braachi. 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 Gapi. Isola Tiberina. 8. Bartolommeo . 204 Theatre of Pompey. Palazzo Farnese. Palazzo Spada alia
Regola 205
8. Giovanni de* Fiorentini 207
IV. Ancient Rome 207
The Capitol 208
8. Maria in Araceeli 209
Piazza del Gampidoglio 210
Palazzo del Senatore 211
Collections of the Gapitol. Palace of the Conservatori . 211
Gapitoline Museum 216
Tarpeian Bock. Tabularium 221
Foram Romannm 222
Colonnade of the Twelve Gods. Temple of Vespasian . . 225 Temple of Goncordia. Temple of Gaator and Pollux. Bas- ilica Julia. ^
Temple of Saturn ^
Arch of Septimius Severus. Rostra. Column of Phocas . ^
Temple of Gseaar ^Si
Atrium Yestse SV
Temple of Faustina. SS. Gosma e Damiano ..-•'«»
I CONTENTS.
(Bomt) Paee
Basilica of Gonstantine. S. Francesea Bomana .... 232
Triumphal Arch of TituA. Temple of YenuB and Boma 233
Colosseum . . .* ' 234
Triumphal Arch of Ck)nstantine 296
Thermae of Titus 2S7
Fora of the Emperors. Academy of St. Luke . . . 237
Career Kamertinus 23T
Accademia di S. Luca 238
Forum of Caesar. Forum of Augustus. Forum of TTerva . 289
Forum of Trajan. Trajan's Column 240
The Palatine 241
Lupercal. House of Livia 243
Palace of Tiberius. Palace of the Flarii 2U
Palace of Septimius Severas 246
Psedagogium 247
Velabram and Forum Boarinm 247
S. Teodoro. S. Giorgio in Yriabro. Janus Quadrifrons.
Cloaca Maxima 248
S. Maria in Cosmedin. Bound Temple. 8. Maria Egiziaca.
House of Crescentius or Bienzi 249
Ponte Botto. 8. l^icola in Carcere. Via de' Oerchi (Circus
Maximus) 250
The Aventine Monte Testaccio 260
Marmorata. Monte Testaccio. Protestant Cemetery ... 251
Pyramid of Cestius. 8. Sabina 252
8. Alessio. 8. Maria Aventina 258
8. Prisca. 8. 8aba 264
The Via Appia within the City ... . , . . 254
8. Balbina 264
Thermae of Caracalla 266
88. Kereo ed Achilleo. 8. Cesareo. Via Latina ... 266
Tomb of the Scipios. Columbaria '. . 257
Arch of Drusus ....*.' 268
The Calins 258
8. Gregorio Magno 258
88. Gioranni e Paolo. 8. Maria in Domnica. Villa Mattel 259
8. 8tefano Botondo 260
S. Clemente. The Lateran 260
88. Quattro Coronati 264
Piazza 8. Gioyanni in Laterano. Baptistery. 8. Giovanni
in Laterano . . . ■ 266
Palazzo del Laterano 267
Gregorian Museum. Museo Profano 268
Christian Museum. Picture Gallery 270
Villa Massimi. 8cala 8anta. Villa Wolkonslcy .... 272
Amphitheatrum Castrense 273
V. Quarters of the City on the Bight Bank 273
The Borgo 273
Ponte 8. Angelo. Castello 8. Angelo 274
Palazzo Giraud 279
Piazza di 8. Pietro 277
S. Pietro in Vaticano 277
Gimitero del Tedeschl . . . i .^ 286
The Vatican . • . 286
A. Paintings: — ' 8istine Chapel. 8cala Begia. 8ala Ducale. Pauline Chapel 287-292 Baphaers 8tonze and Loggie. CapptiU Niecolina . . 292-801 Picture Gallery. Baphaers Tapestry . . . . . 301-308
CONTENTS. xl
(Kome) Page
B. Antiquities: — Museo Pio. Clementino. Museo C&iaramonti. Braccio Nuovo 304-816
Egyptian Musenm. Museo Btrusco 316-819
0. Library of the Vatican 319
The Lungara ' 322
S. Onofrio. Villa Farnesina 822, 323
Palazzo Corsini. Mnseo Torlonia 324, 325
Trasterere 327
Ponte Siato 827
S. Pietro in Montorio 328
Acqna Paola. Passeggiata M«rgherita. Ponte Garibaldi. S.
Crisogono. S. Maria in TiMterere 329, 330
8. Cecilia in Trastevere . . : 331
S. Francesco a Bipa 382
Thikd Section.
Environs of Bome.
1. Short Excursions m (he Campagna 333
From the Porta del Popolo: Villa Borghese. Parco Begina
Margherita. Popte Molle. Via Flaininia. Villa of Livia.
Acqua Acetosa. Villa di Papa Ginlio. Villa Madama.
Monte Mario 334
From the Porta Salara: Villa Albani. Antemnee. Ponte
Salaro. Fidenee 338
From the Porta Pia: Villa Torlonia. S. Agneae Fnori. S. Cos-
tanza. Ponte Komentano. Mens Sacer 341
From the Porta S. Lorenzo: Via Tiburtina. S. Lorenzo Fuori-
Campo Verano 343
From the Porta Maggiore: Tor de' Schiayi. Torre Pignattara 345 From the Porta S. Ghioranni : Via Latina. Porta Furba . . 346 From the Porta S. SebcMtiano: Via Appia. Domini Quo Va-
dis. S. Sebastiano. Oircus of Maxentius. Tomb of Gscilia
Metella. I>enfl Rediculus. Grotto of Egeria. S. Urbano 347
From the PorU S. Paolo: 8. Paolo Fuori. Tre Fontane . 352
From the Porta S. Panerazio : Villa Doria Pamphi^ . . 855
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 Ifemi. Kemi .... 370, 371 Palazzuola. Alba Longa. Bocca di[Papa. Monte Cavo . 372
3. The Sabine Mountains 373
From Bome to Tivoli. Acque Albule. Hadrian's Villa 373, 374
Tivoli 377
Monte Gennaro 379
From Tivoli to Subiaco 379
^ Valley of the Licenza. Mandela. Subiaco .... 380, 881
From Bome to Palestrina 382
From Palestrina to Subiaco via Olevano 384
4. The Volscian Mountains 385
Corf. ICorma. Ninfa. Sezze. Piperao. Segni . . ^®^¥§
5. Etruscan Towns 389
Veii |9
Galera ^
Bracciano ^2
Gervetri (Ctere)
xU CONTENTS.
Page
6. The Sea-Coast of Laiium 393
Porto. Finmicino 393
Oatia 394
Ansio. Kettuno 397,898
List of the Artists mentioned in the Handbook .... 399
Index 404
Omnibus and Tramway BonteA and Gab Tariff in Rome, and List of Streets in the Plan of Borne, in the Appendix at the end of the volnme.
Maps.
1. Map of Italt (1:1,360,000), facing titte-page.
2. The Bokan Gakpaona (1:400,000), p. 332.
3. EmriBONS of Bokb (1 : 60,000), p. 334.
4. Thb Alban Mountains (1 : 100,000), p. 364.
5. Enyibons of Tivoli (1 1 12,500), p. »76.
6. Thb 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. Thb Sabinb Mountains: Plate III.: Tivoli, Paleslrina, Olevano, p. 882.
9. Thb Volsoian Mountains (1 : 150.000) : p. 386.
10. Bailway Map of Italy (1 : 7,000,000), at the end of the Handbook.
Flans.
1. Volteeba, p. 9. — 2. Siena, p. 20. — 3. Abbzzo, p. 39. — 4. Ck>BTONA, p. 39. — 5. lEBUQiA, p. 46. — 6. Obvibto, p. 62. — 7. Assisi, p. 78. — 8. Tebni and its Environs, p. 79. — 9. Foeli, p. 90. — 10. Bikini, p. 91. — 11. Angona, p. 102. — 12. Large Plan of Bohb, and — 18. Glue Plan of Bokb, both at the end of the book. — 14. Ancient Bokb, p. 207. ~ 15. Palace op the Consebvatori, p. 216. — 16. Capitoline Museuk. p. 217. — 17. FoBUK BoKANUK, p. 222. — 18. Foba of the Ekpebobs, p. 238. — 19. Palaces of the Ekpebobs on the Palatine, p. 241. — 20. THSBKis of Gabacalla, p. 255. — 21. Section, and — 22. Ground-plan of S. Glekente , p. 261. — 23. S. Giovanni in Latebano, and Lateban Museuk, p. 265. — 24. S. Pie- tro in Vaticano and the Vatican Palacb (survey-plan), p. 276. — 25. Ground-plan of S. Pietbo 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 Ghapel, Baphael's Loggie and Stanze), p. 289. — 28. Vatican Palace^ N. Wing (Museum of Antiquities), p. 306. — 29. Hadrian's Villa, p. 377. — 30. Ostia, p. 395.-31. Porto d'Anzio and Nettuno, p. 397.
Arks of the Popes, from 1417 to the present day, p. 142.
View of the Foruk Bokanuk in its former and present condition, p. 226.
Panoraka of Bokb (from S. Pietro in Montorio), p. 328.
The best maps of Gentral and Southern Italy are the Carta Coro- grafiea ed Archeoloffica delP Italia Centrale (1:250,000; 4 sheets; price 10«., on linen 13«.) and the Nuova Carta Oenerale deW Italia Mertdionale (1 : 800,000; price Qt., on linen 8«.), both executed under the superinten- dence of Professor Eiepert of Berlin (1881-82).
Abbreviations.
B. =: Boom, B. = Breakfast, D. = Dinner, A. = Attendance, L. = Light. — r. = right, 1. = left; applied to the banks of a river with reference to the traveller looking dawn 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.
^Thou art the garden of the world, the home Of all Art yields, and Nature 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. TraYelling Ezpenies. Mon^.
EzpensoB. The cost of a tour in Italy depends of course ou the traveller's resources 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, caniageSy 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 centesimii 1 fr. 25c. = 1«. = 1 German mark (comp. p. 11). In copper (bronzo 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 8tato and the Banca Nasiondle; those of the Banea di Toseana are legal tender in Tuscany, and those of the Banea di Roma in Rome. Other notes should be refused, though those of all the large Italian banks are generally accepted at Rome without demur.
Best Monet pob the Toxtb. Circular Notes or Letters of Ore- d«, obtainable at the principal English and American banks, form the proper medium for the transport of large sums, and realise the most favourable exchange. English and German banknotes also realise their nominal value. A moderate supply of French Gold may
xiT SEASON AND PLAN OF TOUR.
prove useful. Sovereigns are almost eyerywhere receiyed as the eqai- yalent of 25 fr., and sometimes a little more.
ExoHANGB. Foreign money is most adyantageonsly changed in the larger towns, either at one of the English bankers or at a re- spectable money-changer's (*eambiavaluta*). 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-iV2f'« 1a copper should also be carried in a separate pocket or pouch.
Money Order* payable in Italy, for sums not exceeding iOl., are now
f ranted \tj the EnfAiah Post Ottoe at the followliig rates : not exceeding f., 6(1.; 5f.. 1«.; 71., U. 6(1.; 102.', 2«. These are paid in gold. The identity of the receiver mnst be guaranteed by two well-known reaidents, or by a Libretto di Rieoffnuione (1 fr. ; with 10 coupons) obtained beforehand in the central post>office at Borne ; an exhibition of the pawport, however, often suffices. The charge for money-orders granted in Italy and payable in England is 40 c. per ll. 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 posV; offices of the principal Italian towns for any sum not exceeding 10,000 fr.' (400/.) 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 200 fr., in provincial capitals to 1000 fr., and in Rome and the nine chief towns to 20D0 fr. It is necessary to state the post-office at which the Jlret payment is desired. A charge of 50 c. is made for each 100 fr. up to 1000 fr.. and 25 c. for each additional 100 fr.; thus an order for 10,000 fr. costs ZTVz fr. In case of loss the traveller should immediately inform the postal authorities, giving his name and the number of his ^titolo*.
II. Season and Flan 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-resid^ce 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 th^ 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 yiear*can be pronounced absolutely unfavourable
for travelling in Italy, but the seasons recommended are from 15th
''—^ to 15th Nov., and the months of April and May, The rainy
months should, if possible , be spent in one of the larger
LANGUAGE. xT
cities, of which Rome is nnqnestionably the most interesting. June, July, and August are haidly suitable for a tour. The soeneiy indeed is then In peileotion, 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 frequently 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.
Flan. The plan of a tour in Italy must of course be framed in accordance with the object which the traveUer 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 greikt in- terest are Orvieto and Aaaisi, a short visit to which should not be omitted. Are»%Oy Cortona, Spoleto, T«mi, with its imposing water- falls, and Chiiui and CometOf with their Etruscan antiquities, are also interesting points, situated near the railway. Volterra, 8. Oi- mifjn^no, Montepulciano , and ViterbOf though less conveniently situated, are al^ 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 disixicts of the interior, which the trayeller 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 Italiaa 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 Jngltae^ by hotel-keepers and others, i. e. considerably piore 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** Mamai of ConverMtion in EnglUh^ French, German, and Italian, with Vocabulary, etc' (Stereotype Bdit., Baedeker, Leipsic), which iff specially adapted for the use of iraveUere, with the addition of^edeier's C«fmrHUi<m DieUonary (in the same tour languages; Deipsic, 1889; price 3 marks), wiU soon enable the beginner to make himscilf ^a*®'? 'J^'fl-T A few words on the pronunciation may be acceptable to persons un^*^'
xTi PASSPORTS. — PUBLIC SAFETY.
lY. PassporU. Oattom Hoiim. Lvggago.
FMiports, though not required in Italy, are occasionally nseftd. Registered letters, for example, will not be deliTered to strangers unless they exhibit a passport to prove their identity. The coante- 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 anthorities are generally civil and obliging.
Foreign Office paMports may be obtained in London through B. Stan> ford, 26 Cock spur Street, Charing Cross, W. J. Adams, 69 Fleet Street, or Lee and Carter, 440 West Strand.
Cnstom Home. 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 datiario) on a simple declaration that it contains no such articles.
Luggage. 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. xviil.
v. FnbUc Safety. Begging. Brigandage. Italy is still sometimes regarded as the land of Fra Diavolo's and Rinaldo Rinaldinfs, 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 Gampagna 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 Cardbinieriy 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.
qoainted with the language. C before e and t is pronounced like the English ch) g before e and i like j. Before other vowels e and ff are hard. Ch and ^A, which generally precede e or <, are hard. 8e before e or i is pronounced like sh ; gn and gl between vowels like nyY and IjX. The vowels a, «, t, o, u are pronounced ah, a, ee, o, oo. — In ad- dressing persons of the educated classes *Ella^ or 'Lei', with the 3rd pers. sing., should always he employed (addressing several at once , »loro' with the 3rd pers. pi.). *Voi' is used in addressing waiters, drivers, etc., »tu' by only who &re proficient in the language. 'Vol' is the usual mode of among the Neapolitans, but is elsewhere generally regarded as or discourteous.
ITALIANS. XTii
Weapons y 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 fine.
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'd 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 poco!'
YI. IntercoTume with ItaUans.
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 lunga\ 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 and good- temper all that is necessary to avoid disputes.
In a country where trifling donations are in constant demand, the
Baedeker. Italy II. iOth Edition. b
XTiii 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 (buona manOj manciaj da bere^ bottiglia, cafp, 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.
VII. GonYeyances.
SailwayB. 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 — ^jprontV (ready), *parten«a' (departure), *si cambia convoglW (change carriages}, and ^uscita^ (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 '^ vitiato 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 biglitUo*). 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 wscila, 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 21/5 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 ^vey 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 ^Jndicatore UfficiaU delle Strode Ferrate' (published monthly by the Fratelli Pozzo at Turin; price 1 fr.) and the Orario del Movimento Trerii e Piroscafi (published by Arnaboldi at Florence ; 1 fr.). It is advisable, how- ever, not to trust implicitly to their accuracy but to consult the lo- cal time-tables as well.
Through 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.
CiKCULAB Tickets (viaggi 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 stazione for recognition of the break in the journey (^accertare il cambia- mento di destinazione^J. 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.
Return Tickets (Biglietti d'andata e ritomo) may often be ad-
XX STEAMBOATS.
yantageonsly used for shoit 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.
Steamboats. There are now so many different railway-routes from N. Italy to Rome that few travellers will care to travel by steamer firom Genoa or Leghorn to Civitli Vecchia, or from Trieste to Ancona , although many will still prefer the sea-voyage to the long railway-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 Urblno, 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 Diligenza, 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 ? / ' 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 Gampagna and the Sabine and Alban Mts. on foot. There seems, moreover, to be a growing taste for walking among the Italians themselves, as a great many stations of the Italian ^lub Alpino have recently been established for the purpose of ren-
HOTELS. xxl
dering the Apennines more accessible to travellers. 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 (eavallo) or donkey (sommato)^ 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 compresOy 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.
First 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 272-5 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'h6te; 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-omnibus from the station to the hotel is so high (1- 1^2 f^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'hdte, but there is generally a trattoria connected with the house , where refreshments d la carte or a dinner a prezzo fisso 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 j 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 e candela' should not be for- gotten. If no previous agreement has been made an extortionate bill can seldom be reduced without a great deal of trouble. At the
xxii RESTAURANTS AND CAF^S.
smaller inns a fee of 1 fr. per day is usually diyided between the waiter and the facchino, or less for a prolonged stay. Copper coins are never despised by such recipients.
Hotels Ga&nis and Pbivatb Apabtments 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.^. 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. Gomp. 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 ipolvere di Persia, or Keating's) or camphor somewhat repels their ad- vances. The tamdre^ or gnats, are a source of great annoyance, and often of suffering, during tlie autumn months. Windows should always be care- fully closed before a light is introduced into the room. Light muslin curtains (zanzarieri) 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 eamieia (di Ma, di eotone, di lana); collar, il solino, il colleito; cuff, ilpolsino; drawers, lemufande; woollen undershirt, una flanella or giuba diflanella; petticoat, lasottana; stocking, lacalza; sock, la calzetta; handkerchief (silk), il/azoletto (disefa). To give out to wash, dare a hueato (di bncato, newly washed)^ washing-list, la nota; washerwoman, laundress, la itiratriee, la lavandaj'a; buttons, t bottoni.
IX. BestaurantB, Caf^B, OBterie.
Restaubants (trattorie) are chiefly frequented by Italians and gentlemen 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 (1Y2~3 fr.), and 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 trattoriCj a number of ^restaurants^ of a better class have recently been opened in Rome. The cookery is ^nerally French, and the charges and arrangements are similar to 'se in the other European capitals. The waiter is caEed cameriere
RESTAURANTS AND CAF^S.
(or bottegd), but tlie 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.
Consumij broth or bouillon.
Zuppa alia SanU^ soup with green
vegetables and bread. Onocchiy small puddings. Riso con piselli, rice-soup with peas. Risotto (alia Milanese), a kind of rice
pudding (rich). Macearoni al burro, with buttery al
pomidoro, with tomatoes. Lesso or BolUto, boiled meat. ManzOy boiled beef. Fritto, fried meat. Frittwa mista, a mixture of fried
liver, brains, and artichokes. Frittata, omelette. Arrosto, roasted meat. Arrosto di vitello, or di mongana,
roast-veal. Bistecca, beefsteak. Coscetto, loin.
Testa di vitello, calfs head. Figato di mtello, calfs liver. Braccioletta di vitello, veal- cutlet. Costoletta alia minuta, veal -cutlet
with calves' ears and truffles. Esgaloppe, veal-cutlet with bread- crumbs. Palate, potatoes. Q^aglia, quail. Tordo, field-fare. Loddla, lark. Sfoglia, a kind of sole. Prineipi alia tavola , or piattitii , hot
relishes. Funghi, mushrooms (often too rich).
Presdutto, ham.
Sal3mi, sausage.
Polio, or pollastro, fowl.
Potaggio di polio, chicken-fricas
86e. Oallinaccio, Oallotta, turkey. Umido, meat with sauce. Stufatino, ragout. Erbe, vegetables. Carciofi, artichokes. Piselli, peas. Lenticchie, lentils. Cavoli fiori, cauliflower. Fave, beans.
Fagiuolini, Corneti, French beans. Sale, salt. Pepe, pepper. Mostarda, simple mustard. Sendpe, hot mustard. Ostriche, oysters (good in winter
only). Giardinetto or frutta, fruit-desert. Crostata di frutti, fruit-tart. Crostata di pasta sfoglia , a kind of
pastry. Fragole, strawberries. Pera, pear. Mela or porno, apple. Pdrsid, peaches. Uva, bunch of grapes. Limone, lemon.
Arancio or portogallo, orange. Finocchio, root of fennel. Pane francese, bread made with yeast
(the Italian is made without). Formaggio, cacio, cheese.
Wine {nero, red; bianco, white ^ dolce, sweety asciutto, dry; del paese or nostrale, wine of the country) is usually placed on the table in large bottles at the Tuscan restaurants and charged for according to the quantity drunk. At Borne 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.
Gaf^a are frequented for breakfast and luncheon, and in the even- ing by numerous consumers of ices.
Cajff'i nero, or coffee without milk, is usually drunk (20-25 c. per cup). Co/fd latte is coffee mixed with milk before being served (20-30c.); or eaffb e latte, i.e. with the milk served separately, may be preferred (30-40c.). MUchio or Aura is a mixture of coffee and chocolate gP;jP<^->'^°**" sidered wholesome and nutritious. Cioecolata, or chocolate, 30-50 c. Fane (a roll) 5 c.-, pasta (cake) 10 c. -, bread and butter (pane al burro) ^ c.
The usual viands for lunch are ham, sausages, cutlets, beefateaKS, ano egga (ttova da bere, soft ; toste, hard ; uova al piatto, fried).
xxiT SIGHTS, THEATRES.
Ices (sorbetto 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. Oranita , or half-frozen ice iUmonatOy 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 found at all the larger cafds, English rarely. — Roman newspapers, see p. 116.
Wine Shops (osterie), especially at Rome, are a favourite haunt of the lower classes. The rooms are generally dirty and uninviting, hut the wine is often good. Bread and cheese may he ohtained at some of the osterie and cooked dishes at a few (Osteria con cucinaj. As a rule, however, those who sup at a wine-shop must bring their own eatables from a pizzicarolo, or dealer in comestihles.
Cigars in Italy are a monopoly of Government, and bad. The price of the home-made cigars (Scelti Romania Virginias^ Toseani^ Napoleiani^ Cavours^ Mingheiti^ etc.) vary from 71/2 to 18 c. Good Hcnanna Cigar* (26-60 c.) and foreign Cigarettes may be bought at the ^Regia dei Tabacchi^ (p. 114) and other large shops in Rome. Passers-by are at liberty to avail tl^emselves of the light burning in every tobacconists, 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 adtar where the clergy are officiating. On the occasion of festivals the works of art are often entirely concealed hy 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. 341), 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 (15th 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 (plateaj is the usual re- sort of the men, while the boxes and sometimes the stalls (poltrone or po8ti distinti) are frequented by ladies. A box (palco) must al- 'vays 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 (iervifori di piazza) may be hired at 6-7 fr. per day. They are generally reBpectable and trustworthy, but, 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. Purchases should never be made, nor contracts with vetturini or other persons drawn up, in presence or with the aid of a commissionnaire, as any such intervention tends considerably to increase the prices. Gomp. p. 116.
XI. Post Offtce. Telegraph.
Letters (whether ^poate r€stante\ Italian ^ferma in po8ta\ 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 (francoboll) are sold at the post-of flees and at many of the tobacco-shops. — Letters of 15 grammes (V2 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 riaposta pagata) 20 c. ; book-packets (stampe aotto 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 (1^/3 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.
TelegraxnB. 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 5 c. — Telegrams with special haste (teUgrammi 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 Ce pagna, almost equidistant from the Apennines and the sea (14 ." and about 100 ft. above the level of the latter. During wintei prevalent wind is the Tramontana , a term applied not only tc N. wind but also to the N.N.E. wind (Qreco); it blows more
xxvi CLIMATE. HEALTH.
more frequently from Octolaer 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 Sciroeco, 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 12 1/2 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^ itary (mean temp. Ab^/2^, wet days 11 Vs)? *»* February (mean temp. 46V2**> ■'^ct 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. 501/2 °> 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 7b°, Sept- ember 691/2° F.).
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 BabuinOj the Via Sistina, and the Via del Quirinale, extending on the S. to 8. Pietro in Vincoli 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 PinciOy and many of the streets on the Viminalj are now com- paratively healthy, while on the right bank of the Tiber the neigh- bourhood of the Piazza S. Pietro and the quarter between the Ponte 'sto and the Ponte Boito are almost exempt from the scourge.
The visitor should exercise some care in choosing his apartments
CHRONOLOOICAL TABLE. xxvii
and in seeing that they are supplied with all needful comforts. Gar- 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 U sole, va il medico'. Rooms on the upper floor are drier than those on the ground-floor. Windows should be closed at night.
Inhabitants of more northern countries generally become unusu- ally susceptible to cold in Italy, and therefore should not omit to be wedl 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 Rome very beneficial. It is less dusty than the Riviera, and not so windy as the Sicilian health-resorts. — Typhui Fever does not occur in Rome as an epidemic
There are several good English and Gterman doctors in Rome, but it is sometimes wise, in the case of maladies arising from local causes, to employ native skill. German and English chemists are preferable to the Italian. Foreigners frequently suffier 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. Bitrroughe, Wellcome, d: Co., Holborn Viaduct, London, will often be found useful.
XIII. Chronologioal Table of Beoent Events.
1846. June 16. Election of Pius IX.
1848. March 18. Insurrection at MUan. — March 22. Charles Al- bert enters Milan. Republic proclaimed at Venice. — May 15. Insurrection at Naples quelled by Ferdinand II. (*Re Bomba'). — May 29. Radetsky's victory at Curtat^ne. — May 30. Ra- detsky defeated at Goito; capitulation of Peschiera. — July 25
xxviii CHRONOLOGICAL TABLE.
Radetsky's victory at Custozza. — Ang. 6. Radetsky'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 Marsila. — 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, Umbria, 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 Montana.
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 Hiitorieal Sketch,
from the Qerman of Pr«r. B«iahAvd K«kttle.
'As the streams lose themselves in the mightier Ocean ^ so the history o/ the peoples once distributed along the Mediterranean shores is absorbed in that of the mighty Mistress of the World^",
KiKBUHR.
Tlie traveller who would not wander through the galleries of Rome in mere vacant wonderment may hear in mind these words of Niehohr. As a preface to the following pages, they will not only help the intelligent ohserver to a worthy appreciation of the master- pieces presented to him, hut enahle him to invest them with appro- priate historical associations.
Amongst the crowd of statues which flU the galleries and cham- hers of the Vatican and Capitol of Rome are to he seen the nohlest examples of Antique Sculpture. These do not, however, stand in the same relation to Imperial Rome as, for example, the frescoes of Fra Angellco 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 mediaBval and pontifical Rome. These latter originated, so to speak , with her, were her peculiar attrihutes, the fitting emhlems 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 London 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 nohlest gratification, and in the presence of whose marvellous perfection all suhsequent efforts are dwarfed into insignificance, occupied in Rome ages ago, and still occupy, a place corresponding, to that which
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 bold 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 laborious quest , stimulated and directed by the for- tunate recovery of monuments and various relics of antiquity,* have been 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 besot with doubt and difficulty; but the future promises farther encouragement, if not complete solution.
In Art, the Oreeks were content to learn from nations whose civilisation preceded theirs. Long before the first image was graven by Grecian hands, the Egyptians y 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 tho 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 ^oric 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
tem|ib
tic pV^ortions , 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 Pb&icles; glories associated with the talismanic names of Phidias, Myron, and Poly^ elttus in Sculpture, and ot letinus and MneaieUs in Architecture. The golden age of the Italian Renaissance, when Raphael filled the world with rapturous wonder, can alone be compared to a time which witnessed the surpassing achievements of art in Greece. Of the painters of this period, otPolygnotua 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 Polyclbtus 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 surnamed 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 : nay imposed even on a living calf. But mightiest amidst this sculptor band was Phidias. His colossal Statue of Zeus excited
xxxli ANCIENT ART.
wonder even in Olympia. It was accounted a reproach not to have seen it. His principal works were, however, 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. "Wflh 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 beauty and glory of their native city, the creative genius , if not always the hand of Phidias was active. So completely indeed had he subjected to his irr^|^tible 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- racritus were his most distinguished and successful pupils. The Statue of a Victor in the pentathlon by Alcamenes was, in a simi- lar way to the Doryphorus of Polycletus , distinguished by the title of *Enkrinomenu8', or 'the classicaP.
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 Pbaxitbles 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 Eros in Thespia, his Satyr and the Aphrodite in Cnidus , were the wonder and delight of anti- quity. His sons Cephisodotua (the Younger) and Timarchidea 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 accopnted 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 Ganymede borne to Olympus on the wings of an eagle.
It is said that Alexander the Great would entrust the execu- tion of his portrait to none other than Ltsippus 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 vhranor, a contemporary of Lysippus, but older than he, whose
ANCIENT ART. xxxlll
especial delight it was to celebrate heroic exploit y 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 modem taste than those of earlier artists. Among the best known works of Lysippus is the Apoxyomentts , the figure of a youth fresh from a struggle in the PalsBstra, 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 Latppus, BoedcUf and Euthyeratea, the last is most highly esteemed. Not only those of their generation but posterity agreed that Lysippus and the painter Apellea 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 vrith 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, Antioeh on the Orontes in Syria, Pergamum, and Rhodes. — As an example of what Greek art was doing about this time in Eotpt, we may mention the reclining figure ofthei2iver-^0(i 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 Egypt with perennial fruitfulness. — A pupil of Lysippus, one Eutyehides, re- presented the city of Antiooh in a group of considerable grace. The
Bakdekeb. Italy II. 10th Edition. c
xxxiv ANCIENT ART.
tutelary deity (Tyehc) of the city is seated on a lock. In her right hand she holds ears of com , 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 riyer-god Orontes (the river actually flows under- ground for some distance).
The sculptors of Pbboamum celebrated the yictories of their kings over the Celts. The statue of the Dying Oaul (the so called 'dying gladiator') in the museum of the Capitol, and the Qroup of Gauls in the Villa Ludovisi are most impressive examples of the manner in which they were Inspired by the theme. The northern barbarian, 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 Attalus 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 Laoeoon, 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 Bome 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- Walla raised in the time of the Kings, the Career Mamertinua , 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 '>m Etruscan artists , whose earliest attempts would be the exe-
'on of images of the gods in wood and clay. In EtruriOf
ANCIENT AET. xxxv
where Greek influenoe had long been actlye, cousideiahle profloienoy as well as actiyity preyailed in the pursuit of ait. although but scanty traces of the purity and elevation of Greek taste are dis- cernible. In Borne, however, the Greeks of Southern Italy grafted their art on that of the Etruscans. A bronze toilet casket (the bo called FicororUan Cistd) 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 rortraits. 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 Abchitbotube, 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 Jonie orders found comparatively little favour with the Romans , and where they appear , it is rather in the form of mura^
xxxvi ANCIENT ART.
columns than entire shafts. Tlie 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 base. The faTourite style was the more ornate Corinthian ; and the Romans thought yet to add to the wealth of ornament by 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 unarticulated, 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 Plastio Abt experiences in the latter days of the Roman republic remains to be mentioned. The introduction of Eclecticism may be attributed toPASiTBLES, 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 Rhodlan 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. Ste- phanus was his pupil, whose pupil again was Menelaus, 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 infiuence. Accordingly - find a comparatively small number of works belonging to the 1. of Pasiteles. it school of art, too, which was especially encouraged by the
ANCIENT ART. xxxtH
Emperor Hadhtaw, adopting as it did not only Greek but aUo Egyp- tian models, was eolectio in the most extended sense of the word. Amongst its better known works is the figure of Hadrian's favourite AntmoiUy in which with undoubted beauty 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 Tittu 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 Lyoia, where the con- tending hosts dose 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- tectuial form of these monuments. In PorUraiU, 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 had so long received in Rome and Etruria, it had acquired a more distinctly Roman and Italian character , and so had a peroeptiblo influence
xxxvttl ANCIENT ART.
on Greek artiste Tesident in Rome. Tims is it that portraits of the Emperors exhibit a degree of power in execntion and expression pcarcely to be looked for at so late a period. Not nnfreqnently the Emperors were represented in the costume proper to religions cere- monies ; or in fashion like to the gods themselves, and invested with their attribntes. 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 thebeholder 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 6tMt 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 Aristogitortj 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- ''cletus, and the action expressed in those of Myron, appear to have ssessed greater attractions for the Romans than the works of Phi-
ANCIENT ART. xxxlx
dias. Numbers of statnes belonging to the Periclean age have come to light in Rome, replicas for the most part of Vietort in the Oames and of Anuuons. 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 when 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 modems 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 effectively 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 oollec- . 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, exhibits through- out its career an astonishing vitality and continuity. The spirit of the Qreek is mighty even in expiring: and nowhere can the cours-
xl ANCIENT ART.
of her marvelloas development be stadiedwith tlie eame complete- ness as in Rome.
Monumental woiks, inconspicuous and unfamiliai as they so of- ten are, appeal less powerfully to the imagination than statuary, where dazzling beauty enthrals the senses. These monuments, however , will have a charm of their own for the discriminating observer. In the Egyptian department of the Vatican he can con- template the relics of a primsval antiquity, while in the Gregorian Museum he is reminded of the mysterious Etruscans. It will be interesting to compare the attitude and proportions of Eoyftian with GraBco-Roman figures , and to discover in the Sphinxes of the Villa Albani, in the Lions 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 acquired by the Egyptian in Art. And their works were in the Roman's eye fitting objects where with to celebrate his triumphs, and adorn the capital of an empire including within its far reaching bounds people of almost every race and climate.
In the Gregorian Museum the portrait busts in terracotta by the Etruscans 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 been famous; while the large copies of mural paintings which adorned the tombs bring to light the method of painting as practised by the Etruscan as well as , in the choice of subject, their preference for scenes of sensualism and bloodshed.
Here, too, is to be seen a collection of PaintbdGbbbk Vases 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 Greece — 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 for 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 then prevailing in 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 Sarcophagi, which, vari-
'^usly ornamented with reliefs, are to be seen in museum, in villa,
id in palace court. The only specimen preserved to us from the old
ANCIENT ART. xU
Roman time is the Sarcophagiis of L. OomeliDj Soipio Baibatus in the Museum of the Vatican. It lesemblos an altar both in shape and style of omamentation^ and is almost the oounteipart of one still standing in Pompeii. It is only consistent with the then prevailing religious rites that sepulohial 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 Qeece 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. Ceitainly there is no obscurity in such allusions to the goal of life as we discover in Cupids rovring 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. Hippolytus 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 such 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 Phaedra herself. In a considerable number of oases these reliefs are almost identical, and are evidently made after one model, with such modifications as might be effected by the intro- duction or omission of single figures or groups, showing nevertheless more or less of artistic intelligence and resource. They form a
xlii ANCIENT AKT.
gionp displaying the established forms and traditional models, which in respect of means of expression and motiTe are the worthy inheritance of Greek art at its best. Yet these sarcophagi, regarded eTen as Roman works, are by no means of early origin. It must not, however, be forgotten in estimating the quality of work bestowed upon the sarcophagns, that it was not intended to be closely inspected by the light of day, bat 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. Niccold 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.
Boman Art,
HEDIiBVAL AND MODERN,
by Prof. AatoA Spriacer.
Rome as Mistress of the world became the centre of contempora- neous cnltnre. Art had found with her a new term : and Greece as fitting tribnte to the conqueror laid at her feet the accomnlated 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 medisBval times Rome continued to receiye 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, Anally 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 art makes it appa- rent that Roman art has a history distinct flrom Italian art. Fc
%Ut ROMAN ART.
jM;ver«l centuries the towns of Tuscany weie tlie principal abodes of * HAtnral art life. But Jast as in Rome Italian art achieved its moit signal triumphs in the persons of Raphael and Michael Angelo and the masters of that period : so in Roman gronnd we find that Chris- tian art first took root and attained to its most important dimen- sions. In Rome then we And the strongest inducements as well as the richest opportunity for the study of Early ChriBtian 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 talien 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 DomitUla'), and were flrst 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 Sa£Copha.ous Sculpture of the 4th and 5th centuries differs in purpose only, not in ^/hnical rendering of form, from the typical reliefs found on pagan, bs. It was only in the latter half of the 6th century that a
ROItfAN ART. xlv
new style declared itself In painting vMch 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 np to the iOth 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. Cornia e DamianOj 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 (atriuni), 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 eaneelli, was the choir for the officiating priests and two pulpits (amhones), one used for reading the Gospel, the other the Epistles, In marked contrast to the temple of antiquity, little care was bestowed upon the external architecture of these ear
%M ROMAN ART.
ChristUn bMilicas , the most impiessive effect being reserved for the interior. And to this end , especially in earlier medisYal times, a ready expedient for supplying decorative material was adopted in the plunder of the monoments 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 Trcutevere and 8. Loremo Fuori le Mura are to be seen pillars of different material and workmanship. The churches of 8. Sahina, 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 Pictubbs, 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 ^ientury. The mosaics in 88. Coama 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 III. , 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 <fif. PrassedCj 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 be said of the Mosaics (8, PrassedCy 88. Nereo ed AchUleo, 8. Mareo), that, while they bear a superficial resemblance to the 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 — the work of an incendiary Guis-
\o — which laid waste the entire southern quarter of the city.
ROBfAN ART. xWU
extending from the Forum to the Lateran and to the slopes of the Esqniline. The chief employment of the architect was the con- stmction 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 minority of which had been erected on the ruins of some monument or other of antiquity. The most striking example of the rudeness of early mediSYal architecture is to be seen in the Ctua di Pilato or di Rienzi. Built by one Nicolao , son of Crescentlus (probably in the i2th 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 speoiality in decora- tlTO 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 subdlYided, 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 flutlngs 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 Cosmjlto 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 iS^. Maria MaggiorCy S. Maria in Trat- teverty and 8, Lorenzo Fuori le Mura (12th century). S. CUmente and 8, Giorgio possess altar tabernacles of Cosmato work and 8. Lorenzo the finest example in its pulpit. Of similar work in cloisters (8. Sabinay LaUran) the best specimen is in the convent of 8, Paolo (i3th 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 theOappella Palatina in Palermo with those of S. Lorenzo cannot be accidental.
Along with this decorative mosaic work , the Mosaic Painting ef apse and choir -arch had since the 12th century successfully
xlvlil ROMAN ART.
asBerted itself. That impiess of the antique borne by 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. Mctria in Trastevere, in the apse of 8. Clemente(i2ih century), those in the altar-tribune of the Lateran (13th century) and Anally those in the apse of 8. Maria Maggiote , the work of Jacobus Torriti in 1295 , are examples of this mosaic painting. — Wall-Paintiko also came once more into use as we see from paintings discovered in 1858 in the lower church of 8, CUmente — 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 Belfribs (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 medieval 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 BistorOf Fra Sisto are probably the builders of the church of 8, Maria aopra Minerva — and Oiotto (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 Ciftoriwm (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 Giotto'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, when 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 BenaiBsanoe. 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 ^anists, exciting their emulation and inciting to a more reverent
BOMAN ART. xlix
study of the Antique ; neithei must it be forgotten that by study of old Bom&n ait Brunelleschi and Donatelio became familiar with those forms in "vrhich 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 ocenpies a foremost place in the history of art when Pope Nioeolas Y. (1447-1455), a Humanist, ylea with the Medici in hia passion for books and building. He is bent upon a r&- novation of the Yatiean 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 reoonstnietlon. The most imposing wgA of this period was the Venation Palace begun by Pietro Barbo (1455), afterwards Pope Paul II. , which, like the Albergo delt Orao recently as it were again discovered, is to a great extent medittTal in character. Leon B<Uti9ta Albertij who resided in Rome about this time and died there in 1472, is supposed to have furnish- ed the plana for this palace.
So far indeed had the fostering of art become obligatory on the ooeupants of the papal chair, that they could not neglect this f unetion without forfeiting their individual influence, and Impairing the dignity of their offlee. 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 SixiUB lY. (1471-1484) was most employed , Baeeio PirUelHy was a practitioner of moderate skiU, and far behind the great Florentines of his day. The building of S. Agoatino and S. Pietro in Montorio, as well as the facades of 88. Apostoli and 8. Pietro in Vineoli were firom his plans. His most celebrated work is the Popes* private Chapel in the Yatiean, called after the Pope Sixtus the 8i8tine Chapel, which ewes 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 andUmbrianPATNTSBS to Rome. Amongst those thus engag- ed in beautifying the churches of Rome and the Yatiean Palace we meet sudi Florentine celebrities as Maestri 8andro BottioelU, Filip- pino Lippiy Domenico Qhirland<njOy Cosimo RoaseUi; and from the Un^ian sichool the immediate forerunner of Michael Angelo , bold Luea Siffnoreliiy along with Perugino and Piniuriechio, An attempt is made to found an Academy, or Guild of St. Luke at Rome. Amongst its members we find (14d4) Melozto da lorlij the painter of a fresco (traotferred to canvas) in the Yatiean Gallery, representing the foundation of the Yatiean library. — The execution of the Wall Paintings in4he Sistint Cktpd, by order of Sixtus lY. , waa a moment- ous event in a time prdiflc in art enterprise. In accordance with the then prevailing point of view the acts of Moses are represented as symbolically parallel to those of Christ. On the left wall are incidents
Babdekbb. Italy II. lOth Edit. d
1 ROMAN ART.
in the life of Moses by Botticelli, Rosselli, Signorelli, on the right wall events in the life of Christ by Botticelli, Bosselli, Ohirlandajo, and Perngino. Those lovers of ait who are unable to visit Florence before going to Rome are recommended to make these wall paintings their especial study. They will learn ttoxa 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 Sculptoss, 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 fbrmer. The great bronze doors of St. Peter, the joint work of FilareU and Simone, are interesting rather from the wealth of mythological imagery with which they are embellished , than f^m their artistic pretensions, which will not compare with those of Qhiberti'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 does 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 nsual 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 JumusII. (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, Bramantef Michael Angdo, Baphatly everlasting beacons in tile path of art — three men who in the course of the 16th century (einquecento) raised modern art to its loftiest pitch of splendour. His successor Lbo X. (i513<-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 modern times. Leo X. inherited the well-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 BramaAte. The latter's chief work, the rebuilding of 8t. Peter*8, 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, vis. 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. Mafia deUa Pace, the arcades in the first court of the Vatican (Cortile di 8. DamasoJ, the Palazzo Qiraud and above all the Cancels leria are perfect examples of Renaissance.
We are wont to wonder at the profusion and splendour, too, of works to which the einquecento 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 !
The same fatality which pursued Bramante's mightiest projects served to mar Kiohael Angelo's (1475-1564) supreme effort in the realm of Plastic Abt. The Tomb of Julim 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 hand of Michael Angelo: ihePiethy badly placed in one of the chapels in St. Peter's, and the 8tatu€ of Christ in S, Maria sopra Minerva. The
d*
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foimei Burpasses all other efforts of the great sculptor in the deli- cacy of its modelling as -well as in the force witii which it appeals to human sympathies.
As Fbesco Painter Michael Angelo figures exclusiTely 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 Umbrian 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 Miohael 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 modisBval 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 (1641), 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. liil
'With the names of Bramante and Michael Angelo is associated that of Baphael (1483-1520), whose youthful genius had very eaily declaied itself, first in Perugia and later in Florence. In Rome are to be seen interesting mementoes of both these periods. In the CoroffuUion of the Virgin in the Vatican Gallery we see him still in the trammels of the Umbrian School; the effects of his Florentine training are visible in his Entombment of Chriii in the Borghese Gallery (belonging to later periods are the so called Fomarina in the Baxberinl Gallery, the Violin Player in the Palazzo Sciarra, Navcigtro and Beaztano in the Dorla Gallery, the Madonna di Fo^ li^^no^ and the Tronefigwationy the master's last work, both in the Vatican Gallery). The m^ority of Raphael's easel pictures are to be found elsewhere than in Rome.
But in Rome only could Raphael have found a field suited tJ the exercise of his highest powers in Fbbsoo 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 oompliment 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 ceiling, we gsin 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 theDispula and the School of Athene, as well as at the inventive- ness which could connect subjects so remote ftom one another as the Heliodonu driven from 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 especially admirable are alike the discernment which enabled Raphael to select, from apparently the most heterogeneous sources, matter
My 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 into subjection to his purpose. These qualities are most conspicuous 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 imitate) 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 Disputa 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 with 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 Athena 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 *n Florence) for example, which indisputably exhibit greater versati- "^j a superior daring in the embodiment of the preternatural and
ROMAN ART. W
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 Cas- tiglione, Bembo, and Arlosto, who would in so far share with him the merit due to fertility of thought. Assuming, howoTer, 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. RaphaePs 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 pyschologioal 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 vrorks 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 pourtray tho power and grace of God abiding with the Church.
In apparently irreconcileable contrast to Raphael's works in tl*
lYl ROMAN ART.
Vatican we have Ms frescoes in the gay Villa Famesina. On the one hand we are awed by devotional fervour, sublime aspiration, 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 iUnstrator. 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 Sodoma, 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 Mishael 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
''elo, is grouped a brilliant circle of pupils and dependents. The 'orks of the School of Raphael are undoubtedly those executed
ROMAN ART. Ivll
iii Mb lifetime and under his direction. OiuitoJSamano (1493-1646) 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 ColU, and others. For the decorative ornamentation of the Loggie and the Famesina the master engaged the services of Giovanni da JJdine (1487-1564). Romano exhibits himself most clearly as a pupil of Raphael in the Villa Madama Qiulio, less so in his Madonnas (Pal. Golonna and Borghese).
The crowd of Akchitbotb, who appeared in Bramante's time, showed greater independence: BaWassawPertiwi (1481-1563; p.23), who built the Farnesina and Pal. Massimi, Raphael himself and G'lu- lio Romano (Villa Madama), AnUmio da Sangallo the younger, with whom originated the Pal. Farnese and a new plan for St. Peter's, and lastly Michael Angblo , whose influence, gradually deposing Bramante, irresistibly impelled the architecture of Rome into new courses. And just as in Plastic art he 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 Farnese, 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 Gross.
Aslong as the *divine' Michael Angelo lived, Rome was so dazzled by the splendour of his renown that no one suspected the Decline OP Art 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 Sixths V. (Felice Peretti, 1585-90) was to all appearance again invested with her pristine grandeur, the en- couragement of art was revived, but in a spirit which presently pervaded and brought into subjection every phase of art. To Sixtus V. the Eternal City, which * forthwith doubled itself, owesher present aspect. The Aequa Felice, the Spanish Staircase, the Via Sisiina, the Piazza di 8. Giovanni in Laterano , the Ohelisk in the Piazza of St. Peter, the restoration of the Columns of Trajan and Marcus Aurelius are his work. Domenico Fontana of Ticino was foremost in giving effect *
lYiii ROMAN ART.
this Pope^s projects. The authors of the degenerated Renaissance known as Baroque were really Vignola (1507-73) and Fontana^s nephew Carlo Madema (1556-1639). In the Jesuit church of Geaii (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. IgnaziOy S. Andrea dtUa Valle, 8. Carlo alle Quattro ForUane, 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, ofa certain super- ficial charm sufficient to captivate the eye. After an interval thus occupied and identified with this supremacy of the Mannerist School (Arpir^o, Zuecaro), 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 tho popes from Sixtus V. to Clement VIII. the fashionable artists were Cireignani, surnamed Pomarancio, and his pupil Boncalli. 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.
Cafat7agf^io (1569-1 609) 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- "nated with gesture so impassioned, that every figure fitly asserts it-
*', while a corresponding force in colour conveys an impression
ROMAN ART. lix
powerfully suggestive of the tarbulent license then piOTailing. — The EoLBonoB took an opposite direction. Trained in a regalarly- eonstitnted school of art, such as had been established at Bologna, Initiated moreover in the art of Ooreggio and the Venetians, full of reverence for more remote traditions, thoroughly versed in the rules of drawing and composition as well as familiar with the f^oo painter's art — thus formidably equipped, Annihale Carraeei, Do- menidiino, Ouido Reni, Ouercino appeared amongst the rival aspi- rants to fame in Rome. They supplanted 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 Gairacei were seldom at peace. Their contributions axe in part, at any rate, of the highest excellence. Annibale CarraeeVs firesooes in the Palazzo Famese ; Ckiido Benffi Aurora in the Casino Rospigliosi; the frescoes of Domeniehino in S. Luigl dei Frances!, S. Andrea della Yalle, in Grotta Fenata 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 j 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. Asmus Carstens, the father of the classical style of modem German art, also made his home in Rome. Amid the art-collections of Rome aloiie 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 fresco-painting.
Thus it was that Rome reacted on the destinies of modem art.
Ix ROMAN ART.
though without an art ife she could call her own. During the last fifty years , however, she has lOBt 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 become 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 beginning of this century building wholly ceased at Rome, and tbe works of monumental painting , such as Podetti's frescoes in the Stanza delV 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 handAOme 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 dextezity, which seem nowhere so much out of place as at Rome. In painting Rome has not yet outstripped the flourishing schools of North Italy.
PIKST SECTION.
S. TUSCANY. DMBBIA. THE MARCHES.
1. From Leghorn or Pisa to Borne
1)7 the Xaremme.
208 M. (from Pisa 2(Tn/» M.). Railway. Express in 7-7V«hr8., fares 41 ft. 65, 29 fr. 15 c. (from Pisa 41 fr. 66, 29 fr. 10 c.) j ordinary trains in SVa hrs., fares 37 fr. 90, 26 fr. 50, 17 fr. 5 c. (or 37 fr. 75, 26 fr. 46 c, 17 fr.).
The Habbmhk Railway coincides with the ancient Via Aurelia. It runs inland as far as Cecina, where it approaches the coast, commanding fine 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).
Steamboat. Another route from Leghorn to Rome is by sea as far as Civitk 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 Civitii Vecchia (landing Vsf^* each person, trunk to the station 1 fr.), and journey thence to Rome, see pp. 6,7.
Leghorn and Pisa, see Baedeker a Northern Italy. — The lines unite at Vicarelle , near the first station CoUe Salvetti, which is 10 M. distant from Leghorn and,972 M. from Pisa. To the right we see the Monte NerOj 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. Rosignano, the village of which name Is situated on a hill to the right ; 28 M. Vada. The train crosses the Cecinaj the ancient Caecina. The fam- ily of that name was once settled In this district, as is proved by numerous inscriptions at Yolterra.
31^2 M. Gedua (poor caf^ 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. Vincenzo, with a small harbour.
531/2 M. Campiglia; the small town lies to the left on the height, with a ruined castle and Etruscan tombs of no great interest.
Babobkbb. Italy II. 10th Edition. 1
2 Route 1, PIOMBINO. From Leghorn
F&OM Gampiglia to Piombino, 71/2 M., diligence every evening in about 2 hrs., returning thence at noon (fare U/9 fr.).
Piombino (Albergo d€tte Apt, unpretending, bargaining advisable), a small town with 4000 inhab.j originally belonged to Pisa, in 1399 became a principality of the Appiani, in 1603 was acquired by Spain, and then by the family of Buoncompagni-LiKiovUi^ from whom it was wrested by Nsr poleon in 1805 in favour of his brother-in-law, the Corsican Felix Baeeiocehi. In 1816 it was assigned to Tuscany, with which it remained united till 1859. It lies at the S. end of a wooded promontory, bounded on the land side by a flat district. A weather-beaten tower on the harbour commands a grand *View of the sea and the island of Elba (in front of which rise the cliffs of Gerboli and Palmajola), of S. Giglio and the coast, and Corsica in the distance. — Steamboat to Elba daily, returning the following morning (p. 12).
A forenoon suffices for a visit to (6 H.) the ancient Fopnlonia, the Etruscan Pupluna, at the N. end of the peninsula. The shorter route through the woods requires a guide. The town with its mediseval castle, situated on a lofty and precipitous hill, is conspicuous from all sides. Once a prospero\is seaport, it suffered greatly from a siege by Sulla*, in the time of Strabo it had fallen to decay, and it is now a poor village. In ancient times the iron of Elba was smelted here. The old town-walls may still be distinctly traced, and are particularly well preserved on the side next the sea^ 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- tulonioj RusellaCy Coaa. 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 evU 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. FoUonioa, near the sea, possesses considerable smeltlng- 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 Castiglione with a lighthouse, and the small, grotesquely shaped island of Formica. On a lull to the left is Maaaa Marittimaj 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. OavorratkOy the station for the place of the same name, situ- ated higher up, to the right. Farther on, also to the right, on a hill, s CoUmnUy' and in the distance, at the mouth of the Brurw, the small rtified harbour of Castiglione delta Peseaja is visible. Here, as in
toRoint. OKOSSETO. I. HouU, 3
the other seaports of the Maremme, wood and charcoal form the chief exports.
821/2 M. MonU Pcacali , Junction of a branch-line from Siena, which runs parallel to our line as far as Grosscto. The village is picturesquely situated on a hill to the left.
90 Va M. OroMOto (*Eaa. Restaurant; Stella d' Italia, with a good trattoria ; Bella Toseana)j the capital of the Maremme, a plea- sant town with 7400 inhabitants. The Cathedral, begun in 1294, was restored in 1855. TheMunicipio contains a collection of Etrus- can cinerary urns, sarcophagi, and other antiquities. Branch-line to Asciano fSiena), see p. 17.
About 3Vs ^- to the V.E. of Grosseto (carriage-road) lie the snlphnr- eoQS Bagni 4i Ro$ellet whence the ruins of SumIub are reached in V* hr. (guide necessary). Snsellse , 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 walls, which are nearly 2 M. in circumference, and in most places accessible, consist partly of horisontal courses, partly of polygonal blocks (6-8 ft. high, 6-12 ft. long).
Around Grosseto, and to the W., in the direction of Castigllone, extends a considerable plain, in ancient times a lake (the Laeut Prelius of Cicero), which gradually became shallower and productive of malaria (Pahtde di CcuHglione and di Oroueto). 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 H. long.
Beyond Grosseto the Onibrone is crossed. 99 M. Albarese, The line skirts the wooded Promontory of Talamone; towards the S. the 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 Osoj then the more important Albeyna (ancient Albmia')^ at the mouth of which are salt-works. 109 M. Albegna.
II3V2 M. Orbetello (*Rail. Restaurant). On the arrival of the train an omnibus (1 fr.) starts for (1 Y2 M.) Orbetello (^Albergo Rosa, Albergo NazionalCj both unpretending), with 6000 inhab., 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 tbe 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 S. Stefano (steamboat to Elba, every Friday at 5 am^ 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 of the Fassionists. The ascent is very interesting (from Orbetello, 2-3 hrs. \ guide). The *View embraces the coast of Tuscany and the surrounding district a.»
1*
4 Route 1. CORNETO. From Leghorn
far as Mte. Amiata, and the sea with its numeroua rocky islands as far as Sardinia. If time is limited, the first and lower eminence, s/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 M.) interesting ruins of the ancient Oosa, the present Antedonia (car- riage there and back, including stay of 5 hrs., 8 fr.) \ and also for a visit to the ancient towns of Saturnia 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 enjoyed hence.
The train soon enters the fonner Papal territory, and traverses the Roman Maremma; scenery unattractive. 121 M. Capalbio ; 12572 M. Chiarone. It then crosses the Fiora and reaches (135 M.) MontaltOj a poor village.
From llontalto the traveller may ascend by the Fiora to the ancient Ponte della Badia and the site of Yulei, 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 Maria, the outlet of the Lake of Bolsena.
1441/2 M. Cometo. On a hill (350 ft.) 1 V2 M, to the left of the station (seat in a carriage 1/2 fr.) is the antiquated town of Cometo {Alh. ^ Trot, Orassi, fair), with numerous towers and a population of 5000. The town sprang up at the heginning of the middle ages near the ruins of the ancient Etruscan town of Tarquinii, to which fact it owes its modern official name of Cometo Tarquinia,
The handsome but unfinished Gothic Palazzo Vitelleschi, in the main street, immediately to the left of the gate, was erected by Car- dinal Vltelleschi in 1437. — On the N, buttress of the plateau on which the town stands is the imposing Caatello of Countess Matilda, containing the recently restored church of *8, 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 Seappinis Ceramic Factory.
The smaller Romanesque churches of S, Anastasia^ 8. Salvatore, S, MartinOj and S. Pancrazio have all been more or less restored. Adjoining the last Is the old Palazzo MunicipalCy 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 SSar- 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 Euxitheos as the artists and represents the Arrival of Bacchus 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 excayatlons carried on since 1881 in the oldest part of the Necropolis. The pot- tery Is of the rndest 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 scarahxi and idols in fused glass. The keys of S. Maria in Oastello and of the Museum are kept hy Frangionij the custodian of the Necropolis of Tarquinii (fee 1 fr.).
The Palazzo Bntschi contains a very fine collection of Etruscan antiquities, formed by the mother of the present count ; and a few £truscan and Roman relics are also preserved in the Qiardino Bruschij outside the town. — Gorneto 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 Turehinay a stony hill opposite, separated from Montarozzi, the hill of the tombs, hy a ravine, lay Tarquinii, a town with walls abont 5 H. in circumference, anciently one of the twelve Etruscan capitals, and remarkable for the influence which it exercised on the development of tlie national religion of Etruria. It participated in the war of the Etruscan confederation against Rome, but waa 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 5 it was , however , inhabited down to 1307 , when its last remains were totally destroyed by the inhabitants of Corneto. No ruins are now visible save the scanty vestiges of walls and foundations. Of its seaport Graviscae a few relics on the right bank of the Marta^ I1/2 M. from its mouth, still remain.
T01CB8. The principal interest attaching to Corneto is derived from its tombs, the ^Nbcbopous of ths Ancibnt Takquinii, which spreads over a great part of the hill upon which the town itself stands. The keys are kept by the keeper of the Hnseo (fee iVt-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 cauaed 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 modem 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. Oroita delta Caccia del Cignale (boar-hunt), or Orotta Querciola. The faded paintings, copied in the Huseo Gregoriano (p. 316) , represent a banquet with music and dancing, and a boar-hunt. — Opposite to this tomb —
No. 5. ''Grotta del Convito Funebre, or del TricliniOi also with the re- presentation of a banquet. The admirable drawing bears witness to the ir
6 RouU 1. CIVITA VECOHIA.
fluence of fhe best period of archaic Greek art. The men here, ag in all the others, are coloured dark red, the women sketched in outline on the walls in whitish colours.
No. 8. Cfrotta del Morto, small; mourning for the deceased, and dancers.
Ko. 11. ^OroUa del Tifone^ more extensive, supported in the centre by a pillar, on which are Typhous, 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. QroUa degli Scudi^ with banqueting scenes.
No. I'd. Oroita del Cardinale^ the most spacious tomb of Tarquinii, supported by four pillars, opened last century, colours almost entirely faded.
No. 14. * Oroita delV Oreo or del Poiifemo: 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. 15. Orotta dei Vast Dipinti, and No. 16. Grotta del Vecchio, with banquets and dances, both not later than the first half of the 5th cent. B. 0.
xTo. 18. Oroita 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. QroUa delle Bighe, discovered in 1827 by Baron Stackelberg. A copy of the paintings (funereal games and dances) is preserved in the Var 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 lb.
From Gorneto to (16 M.) Toscanella (p. 73) a diligence runs thrice a week (carriage 8fr.).
The train skirts the foot of the hill of Gorneto , which lemains visible for a long time. To the right , farther on , is the insigni- ficant Porto ClementinOj 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 BerUUdo , where , according to a legend, an angel dispelled St. Augustine's doubts respecting the Trinity.
157 M. Civit^ Yeoehia. — Halt of 5-14 min.; * Railway Restaurant.
Omnibus to the town (within a few minutes' walk) 25 c. ; one-horse carriage V* f'-i two-horse 1 fr. ; porter for a box 40 c.
Hotels: ^Orlando, to the right at the entrance of the town, a large hotel, expensive; Edbopa, moderate.
British Consular Agent, L. Sperandio; American^ Gw Marsanich.
Civitd, Vecchiay the seaport of Rome, with 12,000 inhab., the ancient Centum Cellae founded by Trajan, and sometimes called Portus Trajanij was destroyed by the Saracens in 828, but in 854 the inhabitants returned into the ^ancierU 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 tlie galley-
victs are at work. The town is uninteresting. The traveller may spend a leisure hour in walking on the quay.
PALO. 2. RouU 7
A good road leads from GiviUi Vecchia to the volcanic mountains oi La Tolfa CX)40 ft.) and th(f 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 baths (Aquae Tauri)^ lie about 3 M. from CiviU Vecchia. F&OM GiTiTA 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 Aurelia near the sea-coast as far as Palo. On clear days the Alban and Volscian Mts. are visible in the distance, and still farther off the promontory of Circeii. 163 M. Santa Marinella possesses a mediaval castle ris- ing above a small bay. — 166 M. Santa SeverOy 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 Pyrgiy the harbour of the once powerful Etruscan city Caerej now Cervetri (p. 392), situated on a height, 6 M. to the left.
171 M. Furbara. The solitary towers on the shore were erected in the middle ages for protection against the dreaded Turkish corsairs. 177 M. PalOy 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 Alsiumj 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. Paliddro 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.) Macearese 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 Maecarese is now skirted. 193 M. Ponte Galeta, whence a branch-line diverges to Potto 9Si^\Fiumieino (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. Borne, — Arrival, see p. 111.
2. From Leghorn to Volterra and Colle.
A visit to Volterra, the antiquities of which are interesting, is best accomplished from Leghorn. Bauwat via Gecina to Volterra station, 51 H.. in 3-33/4 hrs.-, express to Gecina (no through-connection) 6 fr. 35, 4fr. 46 c.; ordinary trains 5fr. 95, 4 fr. 15, 2fr. 65 c.; from Gecina to Volterra station 3 fr. 40, 2 fr. 40, 1 fr. 55 c. — Diligbncb from the stotion to Volterra in 2 hrs. (fare iVz fr. ; one-horse carr. 10 fr.). Those who intend to continue their journey southwards by the Maremme line should leave their luggage at Gecina. — DiuaBMCfi to GoUe twice a week only; one-horse carriage about 12 fr.
8 BotUe 2. VOLTERRA. From Leghorn
Volterra may also be reached from Pimtedera. a station on tlie Flor- ence and Pisa line, by driving up the valley of tne Era (5-6 hrs.)*
FsoM Leohoan to Yoltb&ra. To (32 M.) Cecirui (Maremme Railway )y see pp. 1, 2. The branch-line to Volterra ascends hence on the right bank of the Ctcina, traversing a district of great mineral wealth. — 51/2 M. BiparbeUai 101/2 M. Casino di Terra; 15 M. Pontt 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 excarsion, 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 Monte Cerboliy 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 theS., by Baffno a Morbo (with springs, good for gout, used perhaps by the Romans), CaitelnuovOy SassOy and Monte- rotondOy to Hassa Marittima (p. 2), a drive of 3 hrs. more. Hear Sasso and Honterotondo 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 Honterotondo is the hot Logo Zolforeo^ a small lake strongly impregnated with boracic acid, which is obtained from it by evaporation by M. Duval, a Frenchman. Oount Larderello's works yield about 1650 tons, and H. DuvaPs 5(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 soffioni 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 Gecina and Comia, and most prob- obly have a common volcanic origin.
The road from the station to (5 M.) Volterra ascends (diligence IY2 ^'O- T^6 country presents a peculiarly bleak appearance. The effect of the rain on the soft and spongy soil is most prejudicial to agriculture.
Volterra. — *Albebqo Nazionale, R. IV2-2 fr. ; Uhionk. — Gafi EtruscOy in the market-place.
The celebrated -4;afta<<ef Works of Volterra aflford 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 8. 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 dear 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 10th 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 17th June, 1472, when the town was captured and ruthlessly pillaged.
to VoUerta. VOLTERRA. 2. BouU, 9
Among the Antiquities the ancient *Tow3i W&lli, once up- wards of 4^2 M. in circumference, and nearly three times as ex- tensiye 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 Fiorentina and in the garden of the monastery of Santa Chiara. One of the ancient gateways, the *PoTta dell' Areo, 20 ft. in height, is also still in existence. The corbels are adorned with almost obliterated heads. The Porta di Diana (^ilPorUme^Jj another gateway, outside the Porta Fiorentina, 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 the curiosities in the museum were found here, but the tombs have all been closed up again.
The Piscina^ outside the castle, a reservoir resting on six col- nmns, 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 Piazza, a handsome edifice, begun in 1208 and completed in 1257, is unfortunately somewhat modernised; the exterior is adorned with medisBval coats-of-arms. It contains a collection of pictures , of which the following are the most important : Signorelli, Madonna and saints, 1491 (much injured); Dom. Ohirlandajo^ Christ in glory (^ruined by restoration in 1874), and a Madonna, by the same.
Adjoining, to the right, is the entrance to the *Oathedral (PI. 8), consecrated in 1120 by Pope Calixtus II., and enlarged in the 13th cent, by Niceolb Pisano, The facade dates from 1254.
Intbrios. Above aad beside the entrance are reliefs from the life of St. Octavianus (14th cent.) 5 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 Raffaele Cioli (1527); the elabo- rate roof by Fr. Cipriani (1570). — In the S. transept is a wooden group (I3th cent.) of the *De8cent from the Cross. 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- milla Incontri (1634) ; on the right, Ben. di Giovanni, Nativity, with predelle by Ben. Qozzoli; and Rotso Fiorentmo, Descent from the Cross (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 the high-altar is by BaUimelli da Settignano (16th cent.), the octagonal font by Andrea Sansovino (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 recumbent statue by Silvio da Fiesole.
10 Route 2. VOLTERRA. From Leghorn
In the Via BieciarelU is the house in which Daniele da VolUrra, 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 *Elia8.
S. Fbancbsoo (PI. 10), with the Gothic chapel of the Confra- temith delta Croce 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 •Musbo 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 Quarnacci in 1761, has lately been admirably arranged by Cavaliere N. Maffei. Seven rooms on the lower floor and as many on the upper are occupied by the collection of Cinerary Urns (upwards of 40O). 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 from 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 Clytemnestra, Orestes and the Furies, the Seven before Thebes (the gate a copy of the Porta deir Arco, p. 9), Polynices and Eteocles, CEdipus with the Sphinx , GSdipus slaying Ms 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 Archive* and the Librai^y^ containing i3,(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 mediaeval sculptures.
The Citadel (Fortesaa) consists of two parts, the Cassero or Rocca Vecchiay 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 11 Mastio for the incarceration of political offenders, where the mathematician Jjorenzo Lorenzini was confined as a suspected person by the Grand-Duke Gosimo 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- Quarnacci, opposite the church of S. Michele, ith its three towers, the oldest dating from the 13th cent., contains
^ures and a valuable collection of letters of Salv. Rosa.
to Volterra. VOLTERRA. 3. Route. 11
The Gothic Palazzo Inghirami contains a small collection of pietuies, comprising a ""Portrait of the learned Fedra Inghirami, an original -work of Raphael (replica in the Pitti Gallery at Florence).
The Casa Ducci bears the Roman epitaph of a hoy, five years of age, probably a member of the family of the poet Persitu, who was born at Yolaterrse in A. D. 34.
Outside the Porta Piaana is the rained Romanesque ehurch of S, Sle- fauOj near which are a fountain and a Roman marble portrait-statue, known as the ProiomarziOj from a corruption of Prato Harzio, the ancient name of the place. — Farther from the town, between the churches of 8. Ginsta and La Badia, lies a deep ravine called Le BaUe, 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 Camaldulensian abbey of San Salvatore, founded in the 11th cent., is threatened with the same fate.
In the valley to the B. is the convent of B. Oirolamo, the vestibule chapels of which contain terracotta altar-pieces from the studio of the Delia Robbia^t^ one representing St. Francis with SS. Clara and Louis, another the Last Judgment (1601). In the church is an Annunciation by Benvenuto di Oiovanni. — Farther on is the YxLla Inghirami (fine view), with some Etruscan Tombs^ in which the burial-urns are still in situ (the gardener supplies a light, '/s f^-)- Hence the rock-caves named Le Buche di' Bara- ceni may be visited.
A pleasant Excubsion may be made to the copper - mines of La Cava di Caporcianoy near Monte Catini^ 10 M. from Volterra. The road leads across the hill of La Bachetona to Monte Catini on the summit of the Se- 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 oflf. The present possessor is (3ount 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 Maisi^ consist of gahbro rosso, which has been upheaved at a comparatively recent period through the surrounding sand and limestone. The view from ''Monte Massi (1910 ft.) or from Poggio alia Croce (1/2 hr, from Monte Catini) extends from the heights near Massa and Carrara to- wards the N. to Monte Amiata on the S., and embraces the sea with the islands of Elba, Caprtga, and Corsica.
Fbom Voltbbba to Collb, I5V2 M. The high-road leads to- wards the E. through an undulating and attractive district. To the left is seen 8. Qimignano (p. 14), to which a good road (fine 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, Donato'). To the right lies Pomarance (p. 8). CoUe, 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 both these points and Porto Ferrajo^ the capital of the island, communication is kept up by the SodethRiunite Florio-Rubattino. Fbom Leghorn to Porto Ferrajo every Sun. forenoon in 4V2 hrs., return- ing on Mon. forenoon. — From Piombino to Porto Ferrajo every afternoon in 2 hrs., returning every forenoon. — A steamboat of the same company also makes a trip once weekly to the small neighbouring islands (Liner Uvomo- Porto-San-Btefano).
12 Routed. ELBA.
About 4 M. to the W. of Leghorn lises 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. (21 V2 M. from Leghorn) is Qorgona^ 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 AUtkalia, consisting of an imposing mountain-group, lies 51/2 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 delta Vita and enters the beautiful bay of Porto Ferrajo (Albergo delle Apt, 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 S, 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, 61/2M. 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- ciana, 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 Capoliverij where excellent Aleatico is grown. — An ex- cursion from Porto Ferrajo to the iron-mines is best made by tak- ing a boat to fheBorgo dei Magazzini, and walking or riding thence (horse there and back 3 fr.) over the hill to Rio Caatello 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 hiUs. On the coast, to the S. of Rio Cas telle, 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 Pianosa, the ancient Planasia, which, as its name indicates, is perfectly flat. To this island Agrippa Postunms, grandson of Augustus, was once
EMPOLI. 4. RouU. 13
banished, and to him are referred the considerable Roman remains vhich still eiist here. Farther to the S. (25 M. from Elba) rises MonU 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. Jgilitan, 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 vid Empoli.
114 M. Railway. To Siena, 59V2 M., in S-S'/a hrs. ; fares 10 fr. 90, 7 fr. 65, 4 fr. 95 c. — From Siena to Chiusi, 54Va M., in 23/i-Vf2 hrs. ; fares 9 fr. 95, 6 fr. 95, 4 fr. 45 c. — No quick trains.
Florence^ see Batdektr'B 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 Oonfolina, which separates the middle from the lower valley of the Arno. Grossing 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 Baedekers Northern Italy,
The line to Siena traverses the fertile valley of the Elsa, on the right bank of the stream. To the right, on the hill, S. Miniato dei Tedeschi, picturesquely situated, with a lofty mediaeval tower. 23 M. PonteaElsa; 26 M. Oranaiolo. 30 V2 M. Castel Fiorentino ; the town, on the height to the left, is the principal place in the Val d'Elsa.
351/2 M. Certaldo ; the town, on the hill to the left, was the na- tive place of Giovanni Boccaccio, who died here, 21st Dec, 1375, at the age of 62. His tomb in the church of 8. MicheLe e Oiacomo (La Canonica), 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 Carlotta Lenzoui-Me- dici, and fitted up in the mediaeval style. The remains of his mon- ument were also brought hither.
43^2 M. Poggibonsi (Aquila, opposite the station, tolerably comfortable) ; the town (4000 inhab.) lies to the right. On the hill above it rise the old casde and the monastery of 8. Lucchese. In the church of the castle is an altar-piece and in the former refectory are frescoes by Qerino da Pistoja.
Fhom Poggibonsi to Collb, 5 M., railway in 26 min. (70, 40 c). Colle (A26. del Buon Soggiomo , tolerable), generally called
14 Boutei. S. GIMIGNANO, From Florence
Colle di Val d'Elaa to distinguish it from 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 Bomo. The first of these contains the palaces of the old, but now greatly impoYerished aristocracy; the house of the celebrated architect Amolfo diOambio; and the Cathedral, dating from the 13th cent., with a facade modernised in bad taste, a marble pulpit (of which 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 Poggibonsl or Colle, from each of which it is about 6 M. distant. Carriages may be hired at the stations for 4 frs.
8. Gimignaao (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 thQ Salvticci (Ghibellines) and Ardinghelli (Guelphs), it became subject to Flor- ence. Its walls, its towers (whence the name 'S. Gimignano dello belle torri') and its streets, aU 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||^AzzA dblla Colleoiata, or del Duomo^ with several Important buildings.
The *PaijA2zo Pubblioo or Comunale was erected in 1288-1323.
The Sala dbl Consiolio , on the second floor, contains a *Madonna with saints and angels, and the kneeling donor Podestk Nello dei Tolo- mei (1317), a fresco by Lippo Memmi of Siena*, also pictures from sup- pressed monasteries in the neighbourhood : 8, 9. Mainardi, Madonnas; 18. Filippino Lippi, Annunciation (two round paintings) \ 16. Fra Paolino, Ma- donna \ 18. PintuHcchio, Madonna with two saints. — To the left of the exit into the court is the Gappblla dbl Psbtosb, 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 Colleoiata, of the 12th cent., altered in the 15th hyOiuliano da Majano, and now entirely modernised. It contains frescoes of the 14-1 5th centuries.
On the entrance-wall, 'Martyrdom of St. Sebastian, a fresco of colos- sal proportions by Benozxo Qotzoli^ 1465 ; Annunciation, two wooden figures (14th cent.) by Martinus Bartolamaei of Siena. In the N. aisle, scenes from the Old Testament (some in bad preservation) by Bartolo di Fredi of Siena, 1356; in the S. aisle, Life of Christ by Bama 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 ♦Capfblla 8. Fima, which contains the bones of this local saint, who
to sum, S. GIMIGNANO. 4. BouU. 15
died at the age of 15 years. The chapel was designed by OiuHamo da Ma- Jano ; altar-piece (recently restored) by Benedetto da Majano. The two ♦Fres- coes on the side-walls, representing the vision of the yonthftil saint nnd her burial, by Dom, OhirlandaJOy 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-picco by Piero del PoUaJuolo of Florence, 1483; to the right of this, Madonna and fonr saints, by Benozto QozmcU; on the left wall, same subject by Ta- magni; adjacent, ♦Marquetry (Mntarsia^) choir-stalls of 1490. — The Ora- TOBio S. Giovanni contains an Annunciation by Dom. QhirlandajOy 1482, a work of no great importance.
Opposite the cathedral is the Paulzzo dbl PobbstI, with an imposing loggia (now a theatre). It is surmoiinted by the Torre delta Bognosa or ddV OrologiOj which indicates the height beyond which private Individuals were prohibited from building.
The Via S. Matteo 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, Prcposto 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 Pea- 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 Hospitalj with numerous ma|Kca vases, and the church of 8. Oiro- lamo (behijid the high-altar, Madonna and saints by Vineenzo Ta- magnij 1522, with a glory by a later painter) , and finally , to the left of the gateway, the 12th cent, church of 8. Oiacomo , 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. Agostino, begun in 1280 (chief entrance usually closed ; sagrestano, Via Nuova 17).
This church owes its fame to the ♦Frescoes in the Ciioib by Benozzo OozzoU (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 alone repay a visit to S. Qimignano (the finest are: St. Augustine as teacher of rhe- toric in Rome ; Death of St. Monica^ ♦St, Augustine on the bier). — The Gappblla 8. GuGLiBLMo, to the right of the choir, contains a Nativity and Death of the Virgin, by Bariolo di Fredi^ in which several touches of real Italian life are traceable. — To the left, in the Cappslla del S. Sagka- MKNTO, are frescoes by Vineenzo da 8. Qimignano. — On the N. side of the church, St. Geminianus and three worshippers, a fresco by 8eh. Mainardi^ a pupil of Dom. Ghirlandajo; farther on, St. Sebastian, the deliverer from the plague, the effects of which are symbolised by Hashes of light- ning, by Benozzo OozzoU, 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 frescoes by 8eh. Mai- nardi, representing Saints in simple groups.
From S. Agostlno we return to the market-place, which is ad-
16 Routed. MONTE OLIVETO. From Florence
joined by the Piazza dblla Cistbena , distinguished by the two low towers of the Ardinghelli , on the right. The Via del Castello 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 obserred.
From the Piazza della Clsterna the Contiada dl San Giovanni descends to the right to the Palazzo PratelleH, 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. Giovanni Evan- gelistaj a Johannite church of the 12th 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 s/4 ^r. to the venerable church of S, Maria Auunta di Callori^ or Cellole, situated outside the Porta Matteo, and dating from the iith, or perhaps from the 10th cent., containing remarkable capitals and carious 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 Riggioni, 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 ChiaiM,. Several tunnels. 65 M. Arhia. This district is one of the bleakest in Italy, the chief fea- tures being grotesquely shaped hills of sand, and barren fissured mountains, interesting to the palaeontologist only.
79 M. Asciano; the pleasant little town {Alb. del Sole^ clean; 7400 inhab.), IV2 M» *o *^® 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 *Monte Oliveto Maggiore (6 M.; a drive of i^/4 hr. there, and 172^^* back; carri- ages at the Alb. del Sole, fare 10-12 fr.). The road, leading by Chiusure, 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 Treatly enriched by donations, still affords an excellent idea of a great
to Siena. ASCIANO. 4. Route 17
establiahment of the kind. The monka mast have been wonderfiilly energetic to hare been able to transform the sterile chalk-soil here into a smiling oasis, ^neas Sylvias Piccolomini (Pias II.; p. 28) gives an interesting description of the monastery in his ^Ctommentaria^.
The walls of the Monastkbt Goukt are scorned with celebrated *Frescoe8 by Luca Signorelli (1497) and Ani. Bazzi, called 8odoma (15U5), representing scenes from the legend of St. Benedict. The order of the pictares does not correspond with the date of their execation. The series begins with the first pictare on the wall opposite the entrance (adjoining the entrance to the charch), representing St. Benedict's departure from home, by Sodoma. The earliest part of the series are the frescoes on the entrance-wall, execated by Signorelli^ eight in namber: Totila kneeling to the saint ^ Soldier in disgaise, attempting to deceive the saint; Temp- tation of the fasting monk ; Punishment of two monks addicted to dainties ; Resnscitation of a dead man whom Satan has thrown from a wall; Bxor- cism of Satan ; Overthrow of the idol ; Besascitation 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 RicdOj but all the other pictures are by SodomOy 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 Pinturicchio in the Cathedral library at Siena, and, in the others, features that recall Leonardo da Vinci. — The Ghuboh (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 Oiov. da Verona (1502-6). — 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 Buoneonpeuto^ 41/2 M. to the S.W., on the Arbia, The churches contain a few ancient pictures of the Sienese school.
Fbou Asciano to Gbossbto, 59 Vi M., branch-line in SVa lirs- (fares 11 fr., 7 fr. 70, 4 fr. 95 c.) — 8 M. A Giovanni d'Asso (tolerable inn). The Ca- nonica contains six small and ancient paintings of the Sienese school. Mte. Oliveto is reached hence in li/a hr. (p. 16; a car with one horse may be obtained). — 14 M. Torrenieri, on the old road from Siena and Buoncon- vento (see above), via 8. Quirico, Radicofani, and Bolsena (p. 65), to Rome.
— [About 5Va M. to the S.W. of Torrenieri (omnibus 2 fr.) lies Kont- aleino (_Albergo del Oiglio, 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 Palazzo Municipale 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 Monaztery 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 Bobbia (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, on the E. side of the town. — The railway -station of Monte Amiata (p. 18) lies about 8 M. to the S.E. of Montalcino. To the 1?. of Gcutelnuovo delP Abate, within about 21/2 M. of Monte Amiata, is <Sf. AntimOy which was an independent abbey down to the 13th century. The handsome church was built of white alabaster and travertine in the lltb cent., and its rich portal dates from 1292.
About 4 M. to the S.E. of Torrenieri (omnibus !»/« fr.) Ues S. auirico iAlbergo del Lepre, tolerable), which was the residence of an imperial governor during the Hohenstaufen regime and was fortified by Siena in 1472. The handsome * Collegiate Church in the Lombard style was founde-
Babdkkkb. Italy II. 10th Edition. 2
18 Routed. MONTKPULCIANO. From Florence
in tlie 8th cent.; highly ornate porch of 1298; interior disfigured in the 17th cent. ; choir-stalls of the 16th century. The adjacent Misericordia church contains a high- altar-piece hy Sodoma. The Palazzo Chiffi, erected in 1686-87, 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?u of Vig- fM>nt, 8V2 M. to the S. of Quirico, were much frequented in ancient times, and again during the Renaissance period, hut are now neglected. The ante-chamber of the bath-house contains an ancient votive stone. Among the famous mediaeval visitors were St. (Catharine of Siena and Lorenzo il Magnifico. — From 8. Quirico to Pienza (p. 20) 41/2 M.] —
21 H. 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. of Gastelnuovo dell'Abbate (p. 17) — [By omnibus in 3 hrs. to (kuM del Piano (2V2 fr. ; Locanda Amiatina), where a guide may be obtained at the Huni- cipio; thence on horseback in 3S/4 hrs., or on foot in iVs hrs., to the summit of the *Mo&te Amiata (5646 ft.), which affords an admirable survey of the whole country between the Tyrrhenian Sea, the Apennines, and the Giminian Forest (p. 73). The rock-formation is volcanic and interesting to geologists. A pleasant return-route leads through beautiful woods to VivOy a suppressed Camaldulensian monastery, now the property of Gount Ger- vini, where a one-horse carriage may be hired of the miller. — From Vivo to Stat. Monte Amiata 11 M., or to Torrenieri 17 M. The latter road leads by Ga*iiffKone d^Orday not far from the Baths of Vignoni (see above), and by S. Quirico (p. 17).J —
28 M. S. Angelo and Cinigiano. The train follows the right bank of the Oreta^ the E. affluent of the Ombrone, and crosses the latter. — 32V2 M. Monte Antico. At Paganieo the train quits the Ombrone and begins to thread its way among the hills. 42 M. Bocea Slrada, a vUlage (1640 ft.) on the right ; then Sticeiano. At (53 M.) MonU Pescali the line unites with the Haremme Railway , to the N. of Grosseto (p. 3).
82^2 M. Rapolcmo. The village, to the right, possesses baths which are frequented iii summer. The country becomes more attractive.
90Ys M. Lucignano ; the medisval village lies on the hill to the left. The improving cultivation of the soil indicates the proximity of the charming valley of the Chiana. To the left, in the distance, the chain of the Apennines. — 94 M. SindLuiiga; on the right the village, where Garibaldi was captured on his march to Rome, 24th Sept. 1867. — 98 M. Torriia, Montepulciano becomes visible to the right.
103 M. Montepulciano; the lonely station is 6M. from the town (omnibus in lY2hr., meeting nearly every train ; fare2fr.); the road passes through several small villages.
Montepulciano. — Albsrqo Maszocco (BnuziciieWz)^ with trattoria, Via Garibaldi 32, tolerable, R. l-li/s fr., D. 2-3 fr. —The Wine of Monte- pulciano is justly celebrated. The red wine is strong and somewhat rough. ' Vino santo' is a sweet white wine (2 fr. per bottle). Vermouth is a white 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, lies conspicuously on the slope of a mountain (2070 ft.). It was the birthplace of the scholar and poet Angelo Ambrogini (1454-94), surnamed Politianua after this his native place ('Respubllca Po- litiana'), the friend of Lorenzo il Magniflco and preceptor of his chil- dren. The beautiful situation as well as the monuments of the place repay a visit. The sights may be inspected in 4-5 hours.
to SiefM, MONTEPULOIANO. 4. Route. 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 Oaribaldij then Via Cavoutj and lastly Via Politiano. -- In the Via Garibaldi, No. 32, on the left, is the Palazzo Taruyi (containing the above- mentioned Alb. 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. Agostinoj of the 17th cent., with curious touches of Gothic. — In the Via Cavour, on the left, Chiesa del Oeaiiy 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 Piazzbtta di S. Mabia, with the small church of 8. 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 Ohiana. — A road hence descends to the left In 12 mln. to the —
*Madonna di 8. Biagio , In the valley, designed by Antonio da SangaUo and begun in 1518. The fine marble chapel of the high- altar, by Qiovanozzo and Liaandro Albertiniy dates from 1584.
Returning to the hill, and again following the main street, we next reach the Piazza Gbande. The inteiesting fountain in the centre dates from 1520. On the left is the —
Palazzo Municipahj of the 14th cent., resembling the Palazzo Pitti at Florence, and containing a few pictures and curiosities.
Ante-chamber of first floor: Madonna, John the Baptist, and saints, of the school of Delia Bobbia. — Piotdbb Gallery on the second floor. I. Room: Maiteo da Siena (?), Madonna. II. Room: 9. 8eb. del IHombo^ Pope Paul III.; 80. Paechiarotto^ Madonna-, *86. Umbrian School (ascribed to Raphael) , Portrait of a lady. A collection of dies once used by the engraver Cerbano is preserved here.
On the W. of the piazza is the Cathedral, with a ruinous facade.
In the Imt£BIOB, 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 the top of the monument.
To the right, opposite the Palazzo Munlcipale, is the Pala&zo Contueci , by A. da Sangallo , and adjoining it the Palazzo Nohile- Tarugiy attributed to the same master.
We next enter the Via Ricci, where on the right rises the •Pa- lazzo Bombagli, a Gothic brick building. — Crossing the Piazzetta della Misericordia, with the church of 8. Francesco (Gothic portaP and fine view, we now descend the Via del Poggiolo. Immediate'
2*
20 Soute5. SIENA. Cabs,
to the left in this stieet is the eDtrance to the Oratorio della Mi- Btricordia, which contains a Christ in a glory and an Annunciation over the high-altar of the school of the Della Robbia.
A visit to PiKNZA is most conveniently made from Montepulciano : abont 9 M., one-horse carr. there and back 10, two-horse 20 fr. Gomp. p. 18.
Pienza {Albergo Francis poor), a small town with about 2000 inhab., was originally called CorsignanOy but suhseqnently named the *town of Pius^ after Pius II. (^neas Sylvius Piccolomlni, p. 28), who was bom here on 18th Oct. 1405, and who adorned the town with very handsome buildings^ chiefly designed by the Florentine Bernardo Rossellino and the Sienese Francesco (Oieeeo) di Giorgio (1439-1602). As all these buildings date from about the same period (1460) and are situated in the same piazza (del Duomo), they afford a more compact survey of early-Renaissance architecture than is to be obtained in most Italian towns. The chief edifices are the Cathedral y with its studiously simple facade; to the right of it is the Vescovado or episcopal palace; opposite the cathedral the Palazzo PubblicOy with a colonnade; to the right the finest of all, the *Palazzo Piccolominiy 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 1462. — The right transept of the cathedral contains a Madonna with four saints by Hatteo da Siena; the choir-stalls, carved in the Gothic 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 Pietro. 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 Pnxvobiscum , a silver censer in the Gothic 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 II., 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 Montepulciano^ beyond which is the Lake of Chiusi , connected with the other by a oanal. The lakes exhale unhealthy malaria in summer.
IO8V2 M. Chianciano. — 114 M. Chiusi, see p. 60.
5. Siena.
HoteU. *Gband,H6tbl Rotal db Sibnne (PL a; E, 3), Via Cavour, with its back to the Lizza (p. 36), R. from 2-3, D. 4, B. IV2, L. & A. 1, omn. 1 fr.; *Gband Hotel (Continental (PI. b; E, 4), Via Cavour 15. opposite the post-office, R. from 2V2, L ft A. 1, B. IV4, luncheon 2Vs, D. 4»/2, omn. 1 fr.} Aquila Kera, Via di Citta (PI. 1), 5), a good house in the Italian style, similar charges. — Soala (PL d ; D, 4), Piazza 8. Giovanni, opposite the Baptistery (p. 26) unpretending, but with large rooms (l'/? fr.); Trb Mori (PL F, 3) , Via Garibaldi , near the station , for moderate require- ments, R. I1/2 fr.; Il Sasso, with restaurant. Via Cavour, near the post- office, well spoken of. — For a prolonged stay: Pension ChiusarelUy Via S. Domenico, near the Protestant church ; J. Oatti^ Palazzo Bianchi, Via de* Servi ; Masini^ Via Cavour 12, well spoken of: Francesco Tog- nazzi^ Via Sallustio Bandini 19; Mme. Marion^ Via Ricasoli 37; iVw- quiniy Via delle Belle Arti 19 (pension at each 6-7 fr. per day, even for a short stay).
Trattorie. Aquila Nera^ see above; <8fa.«o, see above, good; La Tos- ina (formerly J^inerva), Via del Re 4, with rooms (1-2 fr.), unpretending;
a^|i^ ^
History.
SIENA.
5. RouU. 21
Scala^ see above. — Wine and fine view at TallianVi^ Via delle Belle Arti 31, and at the Ficucfietteria il Con/oriabile, Via del Castoro, near the Piazza del Duomo (sometimes open in the evening only). — Beer at Ba^ der'Sy on the Lizza (p. 35).
Caffi (Sreeo, near the Casino de"* Nobili (p. 25).
one-horse
By Day
Ifr.
80 50
50
two - horse one- horse
Ifr. 50
1 -
- 60
50
At Night
Ifr. 50
1 -
— 60
50
two -horse
Ifr. 80 1 30 - 70
4 —
3 —
Cab Tariff: /» the town : to or from the sta- tion
— first half-honr ....
— each additional Vv hr. Beyond the town^ as far as 2 M.,
for one hour .
— each additional hour. Box above 22 lbs. 30 e. Yetturini. Turillazzi and li'at. Ceccarelli^ Via Gavonr 23 and 25; car- riage per day 25 fr., half-day 8-10 fr. Saddle-horses, per day TVz fr., half- day 5 fr.
Poat and Telegraph Office, Via Cavour 16, in the Pal. Spannocchi (PI. 25).
Baths. Swimming-bath near the Fontebranda (poor; water cold); warm baths at MatzeVe^ Via I>uprc 45.
English Church Service at the Grand Hotel Continental, from March to May.
Good Photographs at Cav. Paolo LombardPs, Alia Costarella No. 8, near the Caffe Greco. — Carved Wood (comp. p. 23): Cow, Ouidi^ & Querci^ Via Belle Arti 31, near S. Domenico ; Carlo Cambi, Via del Capitano 5, near the cathedral.
Principal Attractions. Piaxza del Campo (Vittorio Emanucle; 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 2-2V« fr.).
Siena J the capital of tlie province of that name, with 25,000 inhab. (incl. the suburbs), 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 ufacturing 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, but they contain many palaces and handsome churches. Next to Rome, Florence, and Ven- iiice, Siena is perhaps the most important town in Italy for the study of the art of the 13- 16th centuries.
SiKNA, the ancient Sena Julia^ or CoUmia 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 Camollia. The town attained to the height of its prosperity in the middle ages. After the death of the Countess Matilda (Ulo) her extensive dominions were dismembered, and the citizens of Siena, as well as those of Pisa, Lucca, and Florence, succeeded in estab- lishing their independence. The government then fell into the hands
22 BouU 5. SIENA. History of Art.
of the nobility, but was wrested from them by the people in 1183. The ensuing conflicts, however, terminited in favour of the nobles, and Siena became the leader of the Ohibelline party in Central Italy, while Florence was the stronghold of the Guelph faction. Farinata degli Uberti and the Ghibellines 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 Aperto, on the Arbia (6 M. distant), with the aid of the German troops of Kins Manfred of If aples. 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 privileges, and, notwithstanding several attempts on the part of the nobility to re-assert their influence^ its constitution remained unchanged. In the 14th and 15th centuries Siena numbered nearly 100,000 inhab. , and vied with Florence in wealth and love of art. At length the supremacy was usurped by tyrant«, such as (about 1487) Pandol/o Petruecit snrnamed II Magnifico, whom Macchiavelli represents as a pattern of a despot. In 1493, when Charles VIII. 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 18th 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 j 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 Rosskllino and FiiANCKSGo Di GiOBGio have been correctly designated as the architects of the Pieeolonriniy SpannoccMf and Nerved palaces. The most interesting of the Renaissance churches is the small round church degli Innocenti, ad- joining the Sped ale 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. KiccolA Pisano, the most famous sculptor of the 13th 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 dblla Qubecia (1374-1438), the earliest representative of the Renaissance style.^
FdintiBg was the favourite art of the early Sienese. As early as the
Piaszadel Campo. SIENA. KouU. 5, 23
13th cent, they could boast of Ducoio di Buuninskgna, a painter whose works far surpass those of Cimahue in beautv and gracufulnoss. Oii bis completion in 1310 of the ^Majustas\ or Triumphant Madonna, for the high-altar of the cathedral of Siena, the picture was carried to the church in solemn procession (p. 38). An equally important master was Simumk Uabtihi (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 Naples, Orvieto, Assisi, and Avignon, as well as in the Palazzo Pnbblico 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 Bbbma, Luoa Thom K, and Lippo Vanni, without however exhibiting much individuality. The easy narrative style and the imaginative allegory were cultivated by the brothers Piktbo and Ambboqio Lobbnzbtti (both of whom pro- bably died of the plague in 1348), and the approach of the Sienese 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 Taddko Babtuli (13o2-1422?), 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 I5th cent, the city did not give birth to a single master of note. The painters Dohbnico di Babtolo , Lobbnzo di Fietbo (nicknamed Vkcchibtta), Benvencto and Matteo di Giovamki, and others of 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 the century, owing to contact with neighbouring schools, whose representatives were frequently invited to Siena, and to the intro- duction of the study of Florentine, Umbrian, 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- Pacehia^ Faechiarotto ^ and others, were Baldassabb Peruzzi and Oio- VANANTOMio Bazzi , sumamcd II Sodoma. 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. S(5doma (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 are marvellous^ but, in spite of his strong sense of the beautiful, his works are apt to pall upon the taste owine to the superficiality of their composition. With Dom. Beggapumi (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^ d. 1516, and Giovanni^ d. 1529) distinguished themselves in this branch, and their modern representative is Qiusti^ whose pupils Gosi, Guidi, and Querci are mentioned at p. 21.
Ill the centre of the town , at the union of the three hills on which it stands, Is the picturesque ^iaua del Campo, now offi- cially called Viiiorio EmanutU (PI. D, 5), which has been men- tioned by Dante (Vm%. xi. 134). It is semicircular in form, and depressed towards the centre, somewhat resembling an ancieu theatre. The popular assemblies and festivals of the ancient re-
24 Route 5. SIENA. Palazzo Pubblico.
public took place here , and it is here that the Palio horse-races (p. 21) are now held. — The piazza is enclosed by pinnacled pal- aces. On the diameter of the semicircle rises the —
*Falauo Pubblico fPl. 22; D, 5), a huge brick edifice of four stories , erected iu 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.) 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 Federighi. 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/s-i &• ; best time 10-2) is embellished with numerons frescoes of the Sienese school. Among those on the Obound Floor are a Coronation of the Virgin, by Bano di Pietro^ 1445 j a Ma- donna with SS. Ansano and Galgano, and another with St. Leonard, both by Sodoma; Madonna with saints, by Vecchietia; a Risen Christ, by So- domay 1535 (?), in the room of the Sindaco.
On the FiBST Floob, the custodian first shows the Sala del Oban CoNsiGLio (or del Afappamondo , or delle Baluire) , 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 Ricci by Bimant Martini (1328) \ beneath , Madonna by Guido da Siena, the date of which , 1221 , appears to be spurious (prob. 1281 \ for- merly in S. 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 Pieiro and S. Catarina by Vecchietia, — The vestibule of this hall is adorned with frescoes by Taddeo Bartoli, representing ancient heroes, Judas Maccabeeus, 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), a^oined on the right by a font by TwHm, 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. PiffeHo (1519). — To the right of the Sala del Consiglio is the Sala dblla Pace , or dei Nove , with frescoes by Ambrogio Lorenzetti, painted in 1337-43, representing ^Good and Bad Government* , three pictures which are 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. ()ne 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 heads of Peace, Justice , and Concord in the first of the series. — Adjoining is a room with portraits of the eicht popes and thirty-eight cardinals to whom Siena haa given birth. — Another Room contains some frescoea xently transferred from other buildings, a Madonna by Matteo da JSiena^
Casino de' Nobili. SIENA. 5. Route. 25
1484, and S.Bernardino preaching in the Campo (p. 23), by Hano di Pietro^ interesting for its representation of the piaeza at that period. — TIiu ad- joining Sala di Balia, or db' Prbtori, is adorned with oiitentati(»u» *Frc«coc« from the history of Pope Alexander III. by SjHnello ArHino (1406} includ- ing a naral victory of the Venetians, and the Kmp. Frederick Rarharo.ssa and the Doge leading the Popovs horse). In the centre of the room are two fine coffers, one carved by Barili^ the other adorned with paintings said to be by Fra Angelico. — The last room is the Sala dbl Ct)Nci8T0Ro, with ceiling - paintings by Beeea/wmiy a fine marble doorway by Jaeopo delta Qutreia (above which is the Judgment of Solomon by Lnea Oiordano), Florentine 'Arazzi* or tapestry (partly of the 16th cent.) on the walls, and modem busts of statesmen and other illustrious citiicns of Siena.
The rear of the palace, abutting on the Piatta <f«| Mercato (PI. D, 5, 6), or vegetable market, is also very picturesque. The piassa com- mands a good ricw of the environs.
At the E. end of the Piazza del Oampo is the Palazzo del Go- vemo (p. 30 ; facade towards the Via Ricasoli). — In the centre of the piazza, opposite the Palazzo Pubblico, rises the marble *Fonie Gajay a modern reproduction (1868) by 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 delta Quercia 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 CittI, 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 Slenese masters of the 15th cent., such as Ant. Federighi (who executed the figures of S. Ansano, S. Savino, and S. Vittorc, and the stone bench on the right), Lorenzo di Mariano (stone bench on the left) , and Vecchietta (figures of SS. Paul and Peter). — The N. prolongation of this street towards the Porta Camellia is the Via Cavour (p. 85). — A little to the N. of the Loggia is the Piazza dell' Indipcndenza, with a Statue of Italia by Sarrocchi , in memory of Slenese patriots who fell In the struggle for the union of Italy (near PI. 27; D, 5).
Proceeding to the left, past theCaflfe Greco, and then ascending the Via i>bi Prllegbini, 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 Magnifico (PI. 18; D, 5), erected in 1508 for the tyrant Pandolfo Petrucci (p. 22), from designs by Giacomo Cozzarelli. The bronze ornaments and flag-brackets on the outside are in admirable keeping with the style. One room is embellished with frescoes by Finturicchio^ discovered in 1882.
In a straight direction we obtain a fine survey of the choir of the loftily situated cathedral, under which is the old baptistery,
26 Routed. SIENA. Cathedral.
forniiiip; a kind of crypt, now the church of *B. GiOTanni (PI. 5), with a fine, hut uufloished Gothic facade (after 1317).
The marble *Foht is an admirable early-Renaissance work, designed by Jaeopo della Quercia (1416) , who also executed the statuettes of John the Baptist and the four prophets, and one of the six bronze-gilt ^Beliefs from the history of John the Baptist (Zacharias led out of the Temple, 1430). The others are by Lorenzo Qkiberti (Baptism of Christ and John the Baptist brought before Herod, 1427), Donaiello (Head of John the Baptist brought before Uerod and his guests, 1427) , and Turino di 8ano and his son Qiovanni di Turino. The last also executed the figures of Charity, Justice, and Prudence ) those of Faith and Hope are by Donaiello. — The frescoes by Sienese painters of the 16th cent, are of inferior value. — Over the high-altar is a Baptism of Christ by And. and Raf. PuccinelU 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 by a church of S. Maria Assunta. The present building was hegun 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 ediflce 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 cathedral 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 261/2 yds., length of transept 55 yds.) The ♦Fa- cade, constructed in 1284-1380 from a design by Giovanni 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 141)0) over the arches, and the pilLirs with the half-columns will at first produce an unfavourable impression on northern travellers, but they will lind 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 Perino del Vaga, 1549. Over the entrance is a graceful tnbune of 1483, borne by two columns. The •Basins for holy water are hjAnt.Federighi, a pupil of Jac. della Quercia, 1462^63.
The marble **Pavemknt is quite unique, being covered with 'Graffito' representations from designs by eminent artists: scenes from Old Testament Si'i?r7di^^!Iz6MA9T\ Maccabttus, Solomon, and Joshua by Do-
S^n^I^pi Tvfiiri^^ll^?;*^*"^ * sacrifice, Adam and Eve, Moses on Mt. Sinai, etc., hyBecca/um; the symbols of Siena and the towns aUied with
Cathedral. SIENA. 5. Route. 27
it, Hermea Triamegistus, Socrates and Crates, the Sibyls, and other tigures by masters of less note. The execution varies. The oldest scenes aie simple outlines engraved on the white 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).
Lbft Aislb : At the entrance-wall , statue of Pope Marcellus II., by
D. Cafagqi. — 4th Altar (of the Piccolomini), with sculptures by Andrea Bregno (1485) and statues of SS. Peter, Pius, Gregory, and James, by Michael Angelo^ 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 (i49T). Over the door: Coronation of Pius III. (Piccolomini*, 1508), who reigned 27 days only, by Ber. PinturicckiOt who also painted the frescoes in the library (p. 28). — Farther on is the Monument of Bandino Bandini, with the Risen Christ and angels, attributed to Michael Angela.
The *PnLPiT, 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 Hiccolb Pisano. his son Giovanni y and his pupils Ai'nol/o and Lapo (1266-68). The flight of steps was designed by Bernardino di Oiaeomo (1543).
The Lbpt Tbansept contains the Cappblla S. Giovanni, with a portal by Marinna. In the interior are a ^'Statue of John the Baptist by Dona- tello^ 1457; statues of SS. Catharine and Ansanus, by Neroccio (1487) and Qiov. di Ste/anOj respectively; a font, perhaps by Jacopo delta Quercia; stucco enrichments on the walls by Peruzzi; and five small frescoes by Piniurieehio ^ 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 &. Mazzuoli respectively. — The chapel to the left of the choir contains a relief of the 11th cent., representing the Annunciation , the Nativity, and the Adoration of the Hagi, removed hither from the old church of Ponte alio Spino , about SVa M. from the town (p. 37). The bronse relief in the pavement in front of this work is by Donatella J and marks the tomb of Bishop Giovanni Pecci (d. 1426).
The Choib contains a high-altar executed from a model by Baldassare Peruzzi (1532); and behind it richly carved *Choir-stalls, reading-desk, etc., by Bartolo Iferani, surnamed Rtcdo (1567), and inlaid work (intarsia) by Fra Giovanni da Verona (1472). The bronze *Canopy is by Lorenzo di Pietro, surnamed Vecehtetta (1472); the angels, acting as candelabra, are by Gio- vanni di Stefano and Francesco di Giorgio (14^89) , the front row of stalls and the reading-desk by Raffaele da Bresda (1520). The frescoes, by Becca/umi (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 waggon of the Sienese. Over a neighbouring altar is the crucifix which the Sienese carried with them on that occasion. — To the left of the Ugh-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 Franceeco da Imola and Giav. Tnrini.
The Bight 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 1661, is richly adorned with lapis lazuli, marble, and gilding, and contains statues of St. Jerome and Mary Magdalene (said originally to have been an Andromeda) by Bemini. At the end of the right aisle is a statue ol Pope Paul v., by F. Signorini,
28 Routed. SIENA. Opera del Duomo.
In tho left aisle, as already mcBtioned, in the entrance to the cele- brated **Libnury of the Cathedral {lAbreria; fee V« fr.), formerly the Bala Piccolominea. erected by order of Cardinal Francesco Piccolomini, afterwards Pope Pius III., in 1495, and adorned in 1506-07 with ten frescoes by Pin- turieehio^ representing scenes from the life of jSneas Sylvius Piccolomini of Pienza (p. 20), afterwards Pope Fius II. (1458-64) : (1) Departure of iEneas Sylvias for the Council of Basle ; (2) ^neas Sylvias 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) ^neas 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 ^neas Sylvius; (6) ^neas Sylvius created a cardinal by Pope Calixtus III. ; (7) ^neas Sylvius elected Pope Pius II. ; (8) Pius U. at the diet of princes in Hantua; (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 assorts 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 Brera at Milan (No. 3), by the Duke of Devonshire at Chatsworth (No. 4), and by Sign. Baldeschi at Perugia (No. 5 ; p. 49). — The. ^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 8ano di Pietro). — The S. side-entrance of the cathedral is surmounted by a relief of the Madonna by Michelotto.
Opposite the S. side of the cathedral , in the corner where the steps ascending from S. Giovanni terminate under the arches of the uncompleted nave (p. 26), is the *Opera del Dnomo {deUa Metro- politana ; PI. 12; C,o), which contains several interesting works of art.
In the entrance-passage is the custodian's bell (i/z fr.).
The hall on the Ground Flook contains a famous antique ^Group of the Graces J found at Rome in the reign of Pius II. and presented by him to the cathedral library, but removed thence in 1857 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 G(^Ja (p. 26) by Jacopo delta Quereia, representing a Madonna, the Virtues, the Creation of Man, and the Expulsion from P&radise, which are among the master's finest works, are unfortunately much damaged. Sculptures from the Cappella 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 * Graffiti 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 Duccio di Buoninsegna : on the left the Triumphant Madonna with the Child and saints, the once highly revered 'Majestas', which was placed over the high-altar in 1310 (p. 23), with the inscription: Mater Sancta Dei^ sis caussa Senis requiei^ sis Ducio vitay 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 Ambr. 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 Sam di Pietro)^ showing the original form of the Palazzo Pubblico (p. 24).
Adjoining the Opera is the Palazzo Beale (PI. 23), erected by
S. Maria delta Scala, SIENA. 5. Route 29
Bern. Buontalenti in the 16th cent., now the seat of the prefeetuTe. — Farther on, in the Via del Capitano (see below) which diverges here, is the Palazzo Pecci (PI. 20), a Gothic brick building of the 13th century. About 1360 It was appointed the official residence of the Capitano diGiustizla, 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 facade of the cathedral are the church and hospital of S. Maria della Scala (PL C, 5), of the 13th century. Over the high-altar of the church is a Risen Christ , a statue in bronze by Vecchietta. The choir-stalls are by Ventura, the organ by B, PeruzzL 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 Domenico di Bartolo (1440-43) and other masters. Pleasing view from the windows (fee ^2 ^^0- — 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 *wlth a charming interior in the form of a Greek cross' (Burckhardt).
The above-mentioned Via del Capitano 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 Chigij now Piecolomini (PI. 16; C, 5), on the right, which contains two saloons adorned with frescoes by Bernhard vanOrley, a Fleming who joined Raphael's school. The column with the wolf in the piazza dates from 14iB7. — Not far off, in the Via di Cittli, which diverges here to the left, is the Palazzo Piecolomini J now Nerucci (PI. 19; C, D, 5), erected by Bernardo Rossellino in 1463 for Catharine, 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 - Qalletti^ 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 Capitano, is the * Palazzo Buonsignori (PI. 15; C, 5), a hand- some Gothic edifice of the 14th cent., in brick, with a rich fa^de, restored in 1848. The vestibule, court, and staircase are in a heavy rococo style. — At the church of 8. Pietro alle Scale (PL 9 ; C, 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 C) 6), with the B. Collegio Tolomeif formerly a monastery and now a much frequented grammar-school (Liceo), and the church of —
S. Agostino (PI. C, 6), remodelled by Vanvitelli in 1755, the entrance to which is in the Liceo, to the left.
Over tlie 2nd altar on the right, a CruciQxion by Pietro Perugino. Massacre of the Innocents by Matteo da Siena (14^), in a chapel on the right. Statue of Pius II. by Dtfpi*^. Altar-piece, an Adoration of the Magi »^"
30 Route 5. SIENA. Palazito del Oovemo,
Sodoma. At the back of the choir, on the left, the *Legend of S. Agostino Novello in three sections, by Lippo Memmi^ probably his best work. Also pictures by Salimbeni^ Rutilio Manetti, and others.
About 250 paces beyond the Porta Tuft (PI. B, 7) is the Cimi- tero delta Misericordia , containing among its monuments a good Pieti 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. Uaria del Carmine (PL B, 5), a handsome brick edifice, with campanile and cloisters, hy 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 JB. Istituto Toscano dei 8ordo~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 S. 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 (PI. 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 Rosseltirw, 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 y 52,000 in number, the oldest dating from 736. Under glass are a number of interesting specimens of these documents, Autographs of celebrated men (Pius II., Leo X.), Miniatures^ etc. There is also a valuable collection of the Covers of the old Treasury Register* (BiccheiTie), in chronological order, painted with scenes from sacred and profane history, and affording an admirable survey of the development of Sienese art. They include works by Dietisalvi^ Dueeio^ and the Lorenzetti.
In the vicinity is the Vrhiversity (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. (^neas 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 Outdo Rent. On each side of the 3rd altar are ornamental sculptures in marble by Lorenzo di Mariano, surnamed II Marrina; on the left: Nativity of Christ by Beccafumi. The choir contains gilded wooden statues, attributed to Jacopo della Quercia.
The Via Rioaboli, which passes the Loggia del Papa, tra* verses the crest of the S.E. hill and leads to Porta Pispini and
S. Spirito, SIENA. 5. RouU. 31
Porta Romana, the two S.E. gates. — Immediately to the right in this street is the Fonte di PantanetOy dating from 1352, recently restored. To the left, a little farther on, the Via di FoUonlca descends to the Fonte di FoUonica, constructed iu 1239 and situated in a garden far below. — After 5 min. more, a few paces beyond the church of 8. Qiorgio (PL E, 6), the Via db' Pisfini 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 Feruz%i.
The Ist chapel on the right (Gappella degli Spagnuoli) contains, above a St. Rosa 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 SS. 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 della RobUa (1504). — Over the door leading to the sacristy, Crucifixion, by Sano di Pietro. — Over the 3rd altar to the left, Coronation of the Virgin by Pacchia. — In the Cix)I8tbb8 (sagrestano 6-6 soldi): Crucifixion by Fra Paolino (1516).
The Fonte d^ 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 (PL 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, Concezione, or Servi di Maria (PL D, 8) , erected in 1471, with a beautiful interior (1511-33) attributed to Bald. PeruzzU
First altar to the right: Madonna, by Coppo di Marcovaldo^ 1261. Fourth altar to the right : Massacre of the Innocents, by Matteo da Siena^ 1491; above. Adoration of the Shepherds, by Taddeo Bartcli, — In the right transept, above the first door leading to the sacristy: *La Vergine del Popolo\ by Lippo Memmiy an able work. — At the back of the high- altar, *Madonna del Manto', ascribed to Qiovanni di Pietro^ 1436. The Coronation of the Virgin, by Fungai (1500?) , is one of his earlier works.
The Porta Romana (PL 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 Baffaele da Firenze, 1502.
Opposite the N. side of the Palazzo del Govemo (p. 30) the Via S. Vioiiiio leads to the E. to the church of the same name and to the University (PI. 28; E, 5). The entrance to the latter is in the corner to the right ; in the corridor is the monument of the cele- brated jurist Niceolb 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 (PL 7 ; E, 5) dates from 1594. — Traversing several streets to the E. we rea«h the Piazza i>i S. Fbanoesco (PL F, 5) , in which rise the church of S. Francesco and the Oratorio di S. Bernardino.
32 Route 5 SIENA. Oratorio di 8. BemardirhO.
The churoli of 8. Ihranoesoo , now andergoing restoration , has fine cloisters of 1518, in which, adjoining the side-en trance to the church , are architectural sculptures from tombs of nobles dating from the 14th century. To the left of the entrance to the seminary is a relief of the Madonna by CozzartUi, The chapel contains a *Madonna nourishing the Child, by Lorenzetti (wall facing the windows), and a Madonna and saints by Bama (left wall). Farther on in the cloisters are some relics of a fresco of the Madonna by Am- hrogio Lorenzetti,
The ^Oratorio di S. Bernardino (PI. F, 5) possesses admirable pictures, especially by -Sodoma. Afternoon light best. The *custode' lives at No. 6, adjoining (fee 1/2 fr.)-
LowsR OsATOBio : Scenes from the life of St. Bernardino, of the close of the 16th century. — *Uppbb OratoBio : Presentation in the Temple, Salutation, Assumption, and Coronation of the Virgin ; SS. Anthony, Bern- ardino, Louis, and *Francis, by jSodoma, 1518-32, the single figures being of great beauty. Betrothal and Death of the Virgin, by Beccafumi^ 1518. Katiyity of theVirgin, and Annunciation, by Oirol. del PaceMa^ 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 Beccafumi^ 1537.
The Via del Rossi leads straight to the Via Cavoue, which with its prolongation, the Via Gamollia , extends from the Casino de' Nobili (p. 25) to the Porta CamoUia, 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, and also adorned with a wolf. Farther on are the Palazzi Paimicri (1540), Bichi (1520), with a fine loggia with modern paintings, Oori (1677), and *Spannocchi (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 Salirabeni, with a statue of Sallustio Bandini (1677-1766), the drainer of the Sienese Maremme, by Tito Sarrocohi, erected in 1880.
To the left diverges the Via dblle Belle Arti, which contains the Art Institution and the Library and leads straight to the church of S. Domenico (p. 35).
The *l8titnto delle 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. Corbidob, to which the attendant directs us: 1-15. Pictures of the 13th cent., still in the Byzantine style J 16. Margaritone d'Arezzo^ St. Francis; 17. Guido da Siena^ Madonna; 22-24. Dticeio di Buoninsegna^ Madonnas; 39. Ambrogio Lorenzettiy Annun-
IttUuto deUe Belle ArtL SIENA.
5. Rouie, 33
ciation (1344); 56,58. Works by Pietro LcretuMi; 59. Uppo Mmnmi; 62. KieeUb di Begna^ Crucifixion : 604. P. LorenttUi, Madonna and saints ; *86. Lippo Memmiy Madonna and four saints. — II. Corridor: 404410. Becea- fumif Cartoons for the pavement of the cathedral \ 394. Ascribed to AU>. DUrtr^ Portrait of an old man ; 380. MoroM^ Portrait \ 495. Stetnwytky St. Jerome. — III. Corridor : Pictures by Taddeo BarMi^ Oiovaimi di Paolo , Bono di Piotro (the ^Sienese Fra Angelico'), Noroccio di Bart. (Landi)y etc. 188. Pietro di CHovanni^ St. Bernardino. — IV. Cabinet : 265. Bono di Pietro^ Ma- donna and St. Calixtus; *874. Sodoma, Scourging of Christ (fresco); 875, 876. Oirolamo Oomga^ Flight of JEneas, Ransoming prisoners. *Wooden pilaster by A. Barili. — V. Cabinet: 269-280. Paintings by Sano di Pietro; 152- 166. Andrea di Vanni^ Triumphs.
We next traverse Room vI. and enter Room VII., which contains prise- works by pupils of the Academy. In the middle is a Madonna and saints bj Pietro Lorenxetii (1329), transferred from panel to canvas. — VIII. Cabinet : 122. Taddeo Gaddi^ Madonna; 123, 124. BpineUo Aretino^ Death and Coro- nation of the Virgin. 346. Antique sarcophagus with Nereids. — IX. Cab- inet: 132. Lippo Memmi, SS. Michael, Jerome, and John the Baptist; 162. Sano di Pietro, Coronation of the Virgin. — X. Cabinet: 176, 178. Two large altar-pieces by Sano di Pietro^ Madonnas and saints ; *366. PaceMarotto,
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Annunciation; 170. Taddeo di Bartolo^ Annunciation ; 138. Lnea di Tommi^ Madonna (1387). — We now return to the door and enter the —
XI. Large Hall. To the right and left of the entrance, •362, 363. Sodoma, Christ on the Mt. of Olives, Christ in Purgatory , two frescoes brought from 8. Croee. To the left: 307. Franeeseo di Oiorgio, Nativity; 361. Fungaiy Madonna and saints; 371. PinturiecMOy Holy Family; *3§6. 8o- donuiy Judith; •347. PaeekiarottOy Madonna and 88. Onuphrius and Eras- mus ; 346. BeeeafunU, Fall of the angels ; 310. Franeeeco di QiorgiOy Coron- ation of the Virgin; 344. Gir. del Paeehia, Annunciation and Visitation (af- ter the picture by Albertinelli in the Ufflzi); •343. SodomOy Descent from the Cross ; 342. Beecafumiy Christ in Purgatory ; 326. Fungaiy Madonna and saints; 831. Pinturicchio, Holy Family; 329. Pacehiarotto, Ascension; 314. Francesco di Giorgio, Crucifixion. — XII. Room : *459. Domenichino, Land- scape; 454. Jan Bmeghely Sesrpiece; 412. Pahna Giovane, Brazen Serpent; 414. Old copy of Raphael's Madonna della Perl a (in Madrid); 478. Caravaggio, Morra-players ; 419. Palma VecehiOy Madonna ; 422. PinturieehiOy Holy Family; 426. Lueas (VanaeA, Lucretia; 427. Copy of AnAerger, Charles V. ; 429. Mo- rone, Portrait (1458) ; 430. Beeeafumiy St. Catharine ; 436. Altdorfer, Martyr^ dom of St. Christina of Bolsena ; 437. Bart, de Bruyn , Portrait ; Sodoma, 444. Holy Family, 440. Body of Christ and two angels, 441, 442. Madonnas, 439. St. Catharine, 443. Two guild-brothers worshipping the Cross; 447. Paris BordonOy Annunciation ; 445, 451. Fra Bartolommeo, Two saints.
Two rooms on the first floor accommodate the Gallbbia dsllb Stahpb, the bulk of which consists of old Italian engravings, though there Is also
Baedeker. Italy IT. 10th Edition. 3
34 Routed. SIENA. BihlioUca ComunaU,
a number of Diirer** wood-ehgravii^s. The second room contains the bust of Ck)unt Gori Tannilini (1880), the donor of the c«rflectlon ; to the left is an engraved Pietk from a drawing by Michael Angelo (1647).
Trayellers who desire to visit the Monte Oliveto Mag^ore (p. 16) must obtain a ^permesso^ from the *Ispettore* of the Istituto delle Belle Arte, which they should forward to the 'Sopraintendente* at the convent.
The BibUoteoa Comimale (PI. 1 ; D, 4), containing 60,000 vols, and 5000 MSS., was founded in 1663 (open dally, 10-2, and 5 or 6 to 8). In the 17th cent. Siena possessed sixteen librarieis, and in 1654 even one for women.
The chief objects of interest are : the 'Greek Gospels, 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^ilt; 'Treatise on architecture "bj Francesco di Giorgio^ with sketches and drawings by the author^ 'Sketch-books of Baldasiare Pentzxi and OiuUano da 8angallo\ letters of St. Catharine.
Beyond the library, to the left, we descend the Via Costa S. An- tonio, and enter the first side-street to the right, which leads straight to the upper entrance of the Honse of St. Catharine (PI. 3; D 4) : 'Sponsas Christi Eatherine domus*. Visitors knock at the door to the left (1/2 frO< 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 with painters. Her festival is on 30th April.
The different rooms in the building have been converted into small chapels or Obatobibs, which belong to the ConfraUmitit di 8. Oaterina. Above the altar in one of the Uppsb Obatobibb , once a kitchen , is a portrait of the saint, by Fungai-^ the other pictures are by Salitnbeni 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. Perutti. — The Obatobio del Cbooipisso contains the wonder-working Crucifixion, a painting by Oiunta Pitano (?), from which St. Catharine, according to the legend, received the stigmata. — Below is the Chubch (key kept by another custode), containing the following paintings : Oirol. del Pacehia, 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 I6OI; over the altar, ^Statue of St. Catharine by Neroceio; above, *Angels by Bodoma.
On leaving the church we come to the Via Bbninoasa (formerly dei Tiniori; PI. D, 4), which is still 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 CozzarellL 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 —
8, Doftunieo, SIENA. 5. Route. 35
B. Domenieo (PL D, 3, 4), a lofty l)rick edifice in the GotUc style (1220-1465), the maBsive substructions of which rest on the slope of the hill, with a oampanlle dating from 1340.
The Imtsriok ia destitute of aisles, and liaa a transept and open roof. At the entrance, to the right, is the Gappblla dbllb Voltb (closed), con- taining an altar-piece of St. Catharine by Andrea Vannl. — Farther on, to the right: Monoment of the mathematician Giiu. Pianigioni (d. 1800), by Becheroni. — Third altar: St. Peter the Martyr, by SaUmbeni. 1679. — The *Ghapbl or St. Gathaumb , in which the head of the saint is preserved in a silrer reliqnary enclosed in a shrine dating from 1466, is adorned with admirable frescoes by Sodoma (best light about midday). On the wall near the altar, St. Catharine in ecstasy, supported by two sisters (the so-called *STenimento% or faint), and an angel bringing her the host; on the wall to the lefk , The prayer of the saint saving the soul of a decap- itated culprit; to the right, Healing of the possessed, by Franee*eo Vanni, 1663. The two saints on the right and left of the entrance are by the same master; the ceiling was executed by Sodoma. — The pavement of the chapel is richly decorated with graffito representations on marble. — Last altar to the right: Nativity of Christ by Frane. di Giorgio^ executed under the influence of Luca Signorelli, to whom the work was formerly attributed ; the upper part is probably by Matieo da Siena, the foreground by Fungai.
Choix. The beautiful *Harble Ciborium at the high-altar, hitherto ascribed by the Sienese to Michael Angelo , is more probably the work of Benedetto da Majano. ^ A beautiful *View of the lofty and imposing Cathedral may be obtained from the door at the back of the high-altar. — The 2md Ghatbl to the left of the high-altar contains to the right: SS. Barbara, Mary Magdalene, and Catharine by Matfo da Siena, 1479; in the lunette ahove, a Pietk by Oirol. Benvenuto; the Madonna with saints to the left is by the same master, 1606; the lunette representing the Adoration of the Magi is by Matteo da Siena. — The Snd Chapbl to the right of the high -altar contains numerous old tombstones with coats- of-arms, many of which belong to Germans who studied at the university in the l&th and 16th centuries.
We now return by the Via del Paradise and the small Piazza Giuseppe Pianiglani, in which stands the little church of S, Maria deUe Nevi (PI. 6 ; £, 4), with a charming Renaissance facade (to- wards the Via Oavour), and a good picture by Matteo da Siena (Ma- donna with numerous saints, 1477), to the Via Cavoub (p. 25), which farther on contains the Pcd. Moeenni, Pal. Ciaia, and others.
We next come to the small Piazza S. Petronllla (PI. £, F, 3), on the right, whence the Via Oaribaldi leads to the Porta S. Lorenzo and the railway-station. — The streets to the left of Via Gavour open into the Idua (PI. E, 2, 3), a small promenade which was laid out in 1779 on the site of a former fortress erected by Charles V. , commanding good 'views of S. Domenico and the Cathedral. These walks extend as far as tbe entrance to Fort 8t. Barbera, built by Cosimo I. in 1560, open to the public and commanding a fine view.
Farther on, the Via Cavour takes the name of Via di Cahollia (PI. F, 1, 2). We diverge to the right to the old monastery di Cam- pansij now the poor-house (PI. F, 2 ; ring); the cloisters are adorned with a fresco by Matteo Baldueei, Handsome rococo church.
We foUow the Via Camollia for some minutes more ; opposite a small piazza we turn to the left under an archway, and descending the Via Fontegiusta, arrive at the little cburch of —
Fonteginfta (PI. F, 2), belonging to a brotherhood (if closed,
3*
36 HouteS. SIENA. ^eursions,
ring the bell to the right), and built by Francesco di Cristofano Ft- ddi and Oiacomo di Giovanni In 1479. The vaulting, borne by four marble columns, dates from 1482; the N, Portal from 1489. Beautiful •High-altar by Lorenzo di Mariano (1517), one of the finest existing sculptures of Raphaers time. The simple but fine bronze holy-water basin is by Oiov, delle Bomharde (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. Peruzzi^ the Sibyl announcing 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 Camollia, to the right, No. 48, opposite the small Templar church of 8, Pietro delta Maggione, 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 Oaaervanza (see below) ; in the valley below , outside the Porta Ovile (PI. F, 4), Is the picturesque Fonte Ovile. In about V2^r. we reach the Porta Piapini (PI. F, 8; p. 31). — About V2 M. beyond the Porta Camollia, on the road to CoUe, stands the Palazzo dei Turchi^ generally known as the Pal. dei Diavoli, a fine brick building of the close of the 15th century.
Exonraions (most of them best made by carriage). — About 3Vs ^' to the N.E. of Siena, beyond the railway-station, is situated the suppress- ed Franciscan monastery of rOsservansa, erected in 1428 and enlarged in 1436 by Cotzarelli. The N. aisle of the church contains a ^Coronation of the Virgin, by Andrea delta Mobbta; at the back of the high-altar, in which is preserved the silver reliquary of S. Bernardino, by Ant. Fed- erighi. are two *Statues, Hary and the Archangel Gabriel, of the same school. Pandolfo Petrucci is interred in this church (d. 1612; p. 22). In the sacristy is a Pieti in terracotta, by CozxarelU.
S. Oolomba, Oelsa, and Xarmoraja are most conveniently visited on horseback; there and back, with stay, in 6Vshrs. ; horse 6fr.; 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 2Vs M. and then diverge to the left by the road descending between two cypresses into the valley. This road leads us to the villa 8. Colomba (i^/2 M.), designed by Bald. Perutei^ now the property of the Collegio 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 (3"/4 M. from Colomba), a castellated villa, also designed by Bald. Perutziy 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 Republic of Siena and Bishop Hugo of Volterra. The piazza in front of the church affords a fine view of Volterra, CoUe d'Elsa, S. Gimignano, etc.
The Oertosa di Pontignano, 6 H. from the Porta Ovile, was founded in 1343, fortified in 1383, and suppressed in 1810. The church was mod- ernised in the 17th century. *View from the Parocchia.
SIEOI. 6, RouU. 37
B. Ahmuio in XtoHuutt 9 M. from Porta Pispini, is reaehed by a good road diverging from the high-road to the left aboat IV4 M. beyond the Tavema cTArbia, near the bridge over the Arbia. The parish - church eontaiBB a Madonna by Bald. PenuH. Visitors should apply at the par- sonage for a gnide with the keys of the (8 min.) MarHrio di S, Aruano, a handsome brick edifice by Bald. Pentsxi.
The Abbasia di B. Bugenio, IV4 M. to the 8. of the Porta S. Marco, commonly known as II Monattero^ is an ancient Benedictine monastery said to have been founded by Wamfried, a Lombard, in 750, 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 mined by restoration. *View from the garden.
The high-road next leads to the Otteria d$lla Volt$j about 5 M. beyond the Porta S. Marco, whence a road diverges to the right to (4 M.) Oetinale, 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 (*Bomitorio') above the villa. Permessi in the Palazzo Chigi at Siena, Via di Cittit.
About IVs M. beyond the Osteria della Volte lies the venerable church of 3. Qiwanni di Ponte alio /Bpinoj dating from the beginning of the lith century. About 3 M. further is Rotia^ the church of which con- tains a holy-water basin of 1332. We may then proceed to (2 M.) Torri or S. MutHola a Torri in Val-di-Mene^ 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 Bosia (along the road to Massa Marittima, and then to the left) lie the ruins of the Cistercian monastery of *B* Oal- gaao, founded in 1201 by Ildebrando Pannocchieschi, Bishop of Volterra. 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 ohftteau of *Belearo, to the W. of Porta Fontebranda, reached by carriage in V/t hr., commands a splendid view of Siena and its envi- rons. On the ground-floor is a ceiling- painting by Bald. Penuti: Judg- ment of Paris. The frescoes in the chapel, by the same master, have been sadly injured by recent restorations.
6. From Florence to Perugia vi& Arezzo and Teron- tola (Chiusi, Rome).
103 M. Bailwat. Bxpress 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^ 54Va M., in 2-4 hrs., fares 10 fr. 85 c, 7 fr. 65 c, or 9 fr. 85, 6 fr. 85, 4 fr. 45 c. s thence to Cortona, Yl^lz M^ in Vs-^A hr- i fares 3 fr. 45, 2 fr. 45 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 ExpBBss to Bomb quits the Perugia line at Terontola (see B. 9), where passengers for Perugia generally change carriages.
Flotenee^ 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. Comj3to66i. To the left rises the mounUin- chain of the Pratomagno. 10 M. Sieei. I2V2 M. Pontassieve, at the influx of the Sieve into the Arno ; to the left a beautiful glimpse of the valley of the Sieve. The train passes through a short tunnel.
AR E ZZ 0
to Perugia, AREZZO. 6. Route, 39
be mentioned: C. Oilniui Matemat (d. 9 A.D.)t the friend of Ansiutiu and patron of Vir^ and Horace \ the Benedictine monk Outdo Aretino or Ouido Mfmaeo (1000-1060), the inventor of our present system of musical notation; Franetaeo Petrarca, the greatest lyric poet of Italy, bom of Florentine parents in 1304 (d. 1374); Pieiro Aretino j the satirist (1492-1607) , several members of the noble family of the Accolii^ jurists and historians; in the 15-17th cent.; A. Cesalpini, the botanist and phvsieian (1619-1603), Franc. Redi^ the physician and humourist (d. 1698). — Areszo has also pro- duced several artists: Margaritone (about 1236). a painter and sculptor of no great importance ; Bpinello Ar$Uno (1318-1410), an able pupil of Giotto, whose style he steadily followed and rendered popular (his best worlcs are in S. Miniato near Florence, in the Campo Santo at Pisa, and in the PaiazKO Gomunale in Siena); at a later period Oiorgio Vatari (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-l4th cent, were fulfilled by Florentine and Sienese masters, and Qiotto, Lippo Memmi, Lorensetti, and others were employed here.
Leaving the station, we follow the Via Guide Monaco, which leads straight into the heait of the town. In the Piazza Quido Mo- naco is a statue of Ouido 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 Guide Monaco ends in the Via Cavoui. Here, in the small Piazza Umbbbto, Is a Monument to Count Fo88omhroni (b. at Arezzo 1754, d. 1844; PI. 1; p. 43).
The church of 8. Eranoeaoo (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 Magdalene, by Spinello AreOfM (see above), perhaps the greatest of the followers of Qiotto. The wheel-window, by Ougliekao da MarsUia (c. 1600) represents St. Francis receiving the rules for his order. — The Left Aisle, recently freed from whitewash, contains frescoes by Spinello AretinOy sadly injured ; the best in the restored chapel of St. Anthony of Padua. At the end is the tomb of Antonio BoseUl (d. 1467). — At the end of the wall on the right is an Annunciation by Spinello Aretino (c. 1885).
In the Choik : 'Frescoes by Piero delta Firmcesea^ the master of Luca Signorelli (best light in the evening). They narrate the legend of the Holy Gross, according to which a seed of the tree of knowledge, planted upon 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, he surpassed all his contem- doraries. His pictures , however, are stiff and destitute of gracefulness. — The Evangelists on the ceiling have been attributed to JBicei di Lo- renzo. — The chamber at the bottom of the Campanilk, entered from the choir, also contains frescoes by Spinello Aretino: Madonna enthroned, St. Michael overcoming the dragon, and St. Michael appearing to Gregory the Oreat above the tomb of Hadrian (castle of S. Angelo) during the plague at Rome ; opposite, Gregory distributing alms, St. iEgidius hunting, the Mass of St. Gregory.
The Via Oavour forms a right angle with the Oobso Vittorio Emanuble, the principal street of the town. Ascending this street, to the left, we observe on the right the interesting church of —
40 RouU 6 AREZZO. From Florence
8. Maria della Pieve (PI. 3), i^onded at the 1)eginning of the 11th cent., which retains the original choir, Been from the Piazza Yasarl ; the tower and faQade were added by Marchlone in 1216, but the latter was left unfinished till 1330. Above the main portal are a Madonna between angels , and figures of the months ; and at the 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 the 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 Pletro Lorentetti of Siena (1320). The font in front is perhaps of the same date.
At the back of the church is the picturesque Piazza Yasabi, 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 Vasari in 1573. — Adjoining the choir of S. Maria della Pieve is the building of the Fratemith della Misericordia (PI. 6) , now occupied by the 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 Vasari's Loggie we now return to the Coaso, which we reach just opposite the Palazzo Puhhlico (PI. 7). This edifice, built in 1322, and adorned with numerous armorial bearings of the ancient Podestk, is now used as a prison.
A little farther on the Via delP Orto diverges to the left, near the entrance to which, No. 22, a long inscription indicates the house (PI. 8) in which Francesco Petrarca was born (p. 39). Adjacent rises the —
*Catliedral, a fine specimen of Italian Gothic, begun in 1177, with later additions; facade unfinished.
The Imtesios, which has no transept and is of handsome and spacious proportions, contains stained-glass windows, dating from the beginning of the 16th cent., by Omllaume de Marseille \ the middle window in the choir is modern. O. de Marseille also painted the first three arches of the nave, the others being by Salvi Castelucd (1668). In the Bight Aisus 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 sarcophagna (lid modem), with the bones of several martyrs of Arezzo. Above are a Gothic tabernacle and a fresco of the Crucifixion by Bema (c. 1380). — On the High Altab, marble ^Sculptures by Giovanni di Francesco of Arezzo and Betto di Francesco of Florence, executed in 1869- 1375: Madonna with 8S. Donatua and Gregory, and bas-reliefs from their lives. — In the Left Aislb, at the E. 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 Vasari 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 8. Ambrogio at Milan (d. 1827). — Close to the door of the sacristy is a St. Magdalene, al fresco by Piero della Francesca. The large Chapel of the Madonna^ erected in 1796 , con- tains five ♦Terracottas by Andrea della Robbia.
to Perugia. AREZZO. 6. Route, 41
The Marble Statue of Ferdinand de' Mediei in front of the cathe- dral was erected by Giovanni da Bologna in 1595. In the piazza (No. 1) is the Palaxzo ComunaU (PI. 9), with old armorial bearings.
We now follow the Via Ricasoli, and turn to the right into the Via SassoYerde, at No. 12 in which, the PalasM Capel di Ferroy is the small municipal Pinaooteoa Bartolini (open 10-3; V2 ^'^1 containing ancient frescoes, old and modem oil-paintings, and engravings, but little that is particularly striking. In the first large room (No. lY.) : *No. 8. Luca Signorelli , a large altarpiece with the Madonna, David, and St. Jerome, and the kneeling donor, the jurist Niccolo Gamurrinl (painted about 1520). There are also some good portraits, a St. Rochns, and drawings by Vasari.
Above the door of the church of 8. Domenico fPl. 10) is a Ma- donna *al fresco' by Angelo di Lorentino (c. 1480). The interior contains a Crucifixion byParri Spinello, and, on the right, a painted Gothic *Tabernacle, with coats-of-arms, by Giovanni di Francesco of Florence.
In the Borgo di S. Yito, 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 *l[iueiim stands at the corner of the Yia Gari- baldi and the Yia S. Lorentino (adm. daily 9-4 ; fee V2 fr.).
Boom I. Black Etruscan vases, with reliefs ; glass \ stone-weapons \ in the middle, Greek vases, with representations of the battles of the Ama- zons and the Abduction of Hippodamia. — B. II.: Bronze statuettes, coins, etc. — B. HI. Cinerary urns , fragments of vases of red glazed clay
( Vasa Arretinay p. 38), and numerous moulds. — B. IV. Mediaeval articles and migolicas with designs after Baphael ; 37. Carved ivory casket of the 7th cent.; bronzes; in the middle, seals; above, Benaissance figure from
a fountain. — B. V. Weapons, various utensils; in the middle, a bronze reliquary by Forzore (148$). — B. VI. Antique urns and reliefs (62. Lady at her toilet). — BB. VH-XI. : IJatural History collections. B. VH. and VIU. contain a paleeontological collection, chiefly from the Val di Chiana.
The same building also contains the Town Libbaby, which comprises a few MBS. (open 9-12 and 2-5).
In a small piazza adjoining the Yia Cavour stands the church of 88. Annnnziata (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 Yia Cavour is the Badia di 8. Fiore (PI. 13), also situated in a small piazza, which is now the seat of the Acca^ demia Aretina di Scienzej Lettere ed Arti. The Libeaby, 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 (God the Father and the four Evangelists) were painted by Vasari at the age of seventeen (1529); below is the Madonna appearing to St. Bernar-
42 Route 6. FOJANO. From Florence
dino, attributed to Bartolommeo della Oatta. — The cloisters to the left contain some indifferent frescoes in chiaroscuro (life of Guide Monaco and St. Bernardino) and a view of medi»yal Rome. In the garden are the insignificant remains of a Roman amphitheatre.
About V4 M. from the Porta S. Spirito (oatside which we take the avenae to the left, and then at the corner, after 3 min., the road to the right) 18 situated the church of B. Karia delle Oraaia , with an elegant early-Renaissance porch borne by columns , by Benedetto da Majano (t)^ and a handsome marble altar by Andrea della Robbia.
Railway from Arezto to Foseato, see B. 8.
From A&bzzo to Stia and Pbatovboghio, 28 M., railway in 2 hrs. (fares 6 fr. 10, 3 fr. 60, 2 fr. 80 c). — At (6 M.) Oioviy the first station, the line enters the valley of the Amo^ which it thenceforwards ascends. — 9 M. aubbiano*^ 12Vi M. Sanla Mama; 16 M. Raesima.
iSVs M. Bibbiena (Albergo Amorosi^ carriage from the station to the town 1/2 fr.), pleasantly situated on a hill above the Arno, was the birth- place of Cardinal Bernardo Dovizio, sumamed Bibbiena (1470-1620), the patron of Raphael. A little to the N. of the town is the former monastery- church of Madonna del Sttuo^ 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 Xa Vema (about 7Vs M. ; carriage 8 fr.) } comp. Baedeker*s Jforthem Italy.
221/s M. Poppi, on a hill (1425 ft.) on the left bank of the Arno. 23i/2 M. Porrena,
28 M. PratoveedUo-Stia. The station lies between Pratoveeehio (1410 ft. ; Alb. Baetieri) and Btia (1460 ft. j Alb. dOla Stasione Alpinaj 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 Casentino or upper valley of the Arno. Stia has an old ana partly Romanesque church. — About V/t M. to the S.W. of PratOTecchio is the large ruined castle of i2om«»a, mentioned by Dante in the Inferno (xzx). For farther details see Baedeker^t Northern Italy.
From Abezzo to Monte Sansavino, I2V2 M., diligence daily, in 2 hrs. The small town of —
Konte Bansavino iAlb. del Sole, by the Porta Fiorentina, tolerable) was the birthplace of the famous sculptor Andrea (Contucci da) Sanso- vino (b. 1460, d. 1529). — The church of 8. Chiaba, in the principal piazza, contains (left) groups of St. Anthony and the ^'Madonna and Christ with four saints, designed by Bansovino and executed by the Rolhia^e. On the right SS. Sebastian, Lawrence, and Rochus, by 8an»ovino ; ^Adoration of the Shepherds by the Robbid'e; on the central pillars Sienese paintings of the 15tii cent. \ to the right and left of the nigh-altar are prophets by Vasari. In the *^Rtiga Afaestra\ or principal street, on the right, is the Pal. Mvnicipaley erected about 1517-, the Sala del Consiglio contains a carved *Door of the 16th century. Opposite the town-hiul is a *Loggia by Ant. da Sangallo the Elder. On the right, farther on, is the church of the Misericordittj containing a monument of 1496. On the right we next observe 8. Agosiino, with a fa9ade 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), 9Vs M.; or a pleaaant round may be made by Fojano and Betolle to TorrUa^ another railway- Station (p. 18; one-horse carr. 8-10 fr.). — Fojano {Alb. della Vitioria, tolerable) is 8 M. from Monte Sansavino. On the right, near the entrance to the town, is 8. Franeeeco^ with a fine loggia, dating from the end of the 16th cent.; in the interior are sereral Delia Robbia's. 8. Domenieo and the Collegiata in the town also contain Robbia's ; the latter possesses a Coronation of Mary by Luca Signorelli (?). — At Betolle is the Villa of Mnt Paaerini^ containing a valuable collection of Etruscan antiquities
to Perugia. CORTONA. 6. Route, 43
(golden bracelet with rams* heads, huge dish with contests of the gianti and Bacchic scenes, etc.)> One-horse carr. to Torrita (V4 hr.) 2i/r8 fr.
On leaving Aiezzo we obtain a beautiful retrospect of the town. To the left is the chain of hills which separates the valleys of the Arno and Chiana firom the upper valley of the Tiber. Beyond a tun- nel the train runs str&ight across the plain to (62 M.) Fraisinetto and (66 M.) Castiglione Fiorentino, 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 carefully 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 Fossombroni, who combined the pursuits of a scholar and a statesman (p. 39). The Chiana, Lat. Clania, 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 Paglia 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 (3/4 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-lol4, with a handsome altar of 1519) and leads to the low-lying S.W. gate of the town (p. 44).
Cortona. — Albbsoo della Stslla, at the W. entrance of the town^ Alb. Kazionale, farther up in the Via Xaxionale, both clean and good. (Enquiry as to charges had better be made beforehand.) Gomp. the small Plan 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 Etmscans, 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 SiGNOKELLi , One of the most distinguished painters of the i5th 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, 58), he was a zealous student of anatomy *, in the embodiment of the nude, in the conception of movement and foreshortening he surpasses all his contem- poraries. On the other hand, his deficiency of refined pictorial sentiment forbids the full development of plastic vigour in his pictures. .He there- fore prefers extensive fresco-paintings to easel-pictures as a suitaDie neia
44 iJotrfe 6, COBTONA. From Florence
for hU abilities. FrMcoes of this kind he hu executed in the Sixtine Chapel at Rome (1506; p. 288), at Monte Oliveto (1497; p. 17), and at Orvieto (1499; his principal work, p. 63). His native town, where he held several municipal appointments and lived almost constantly for the laat twenty years of his life (d. 15!^, still contains a number of his works, none of which, however, are of much importance. — Cortona was also the birthplace of Pietro Berettini, surnamed Pietro da Cortona (1596-1669), the painter and decorator, who was chiefly employed at Bome and Florence.
From the S. entrance of the town, which we have reached "by the road, the Via Nazionalb leads in 3 mln. to a semicircular terrace on the left, commanding an unimpeded view of part of theTrasimene 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 *Assumptlon by Bart, dtlla Qatta (?); on the right , *Hadonna with St. Peter Martyr and a Dominican monk , by L. Signorelli (1515) ; on the left, Coronation of the Virgin, by Lor, di Niccolh (1440), presented by Cosimo and Lorenzo de* Medici ; on the right, *Madonna with saints and angels, an early work of Fra Angelico,
The Yia S. Margherita, which ascends steeply to the right, see below. The Via Nazlonale leads straight to the Piazza Vittorio Emanublb, 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 8. Agostino, with a Madonna and saints by Pietro da Cortona fbe- yond this the street leads to the S.W. gate. Porta S. Agostino, p. 43).
Turning to the right from the Piazza Vltt. Em., we immediately reach the small Piazza Sionobelli, 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 hy various public offices, and con- tains the Accademia Etrusca , founded in 1726 , which possesses a *MusEUM OP Etbusoan Antiquitibs, well worth visiting. (Fee Y2-I fr. to the custodian, who lives close by.)
The gem of the collection is a circular Etruscan *Candelaibnim (lam- padario)^ 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 ithyphallic satyrs, with dolphins below them, alternately with eight sirens; between each pair of lamps a head of Bacchus. — An encaustic painting on slate, representing ^Polyhymnia', is said to be ancient. — Remarkable Etruscan Bronzes, a Votive Hand with numerous symbols. Vases, Urns, Inscriptions, etc.
The PoNBUMi LiBBART,in the same building, possesses a fineHS. of Dante.
The Via Casali descends from the Palazzo Pretorio to the —
*Cathbdbal, a handsome basilica, ascribed to AntorUo da San- gallo , altered in the 18th cent, by the Florentine Aless, Oalilei.
The Ghoia contains a Descent from the Gross, and ^Institution of the Last Supper, with predella, by Lvca JSignorelli, very quaint compositions (1512). Also a Pieta, a Conception of Christ, and a Nativity, by the same master. — In the Sagbistt, a Madonna by the same. To the left of the choir, an ancient sarcophagus, representing the contest of Dionysus against the Amazons, erroneously supposed to be the tomb of the Consul
-uinius (p. 46).
to Perugia. TERONTOLA. 6. Route. 45
Opposite the cathedral is the* BaptUtery^ formerly a Jesuit church, containing three pictures hy Fra Angelieo da Fiesole ; the Annun- ciation and two *Predelle, representing scenes from the life of the Yirgin and S. Domenico.
Passing the colonnades of the theatre in the Piazza Signorelli, yre follow the Via Dardano straight to the Porta Oolonla, where we obtain the host survey of the ^Anoibitt Etruscan Town Walls, constructed of huge blocks, and for the most 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, Niecolh^ with a small entrance-court planted with cypresses.
The iMTBBioB (i/i fr.) contains a freely-restored fresco and an 'Altar- piece, painted on both sides (in front the Body of Christ borne by angels and snrroanded by saints ; at the back, Madonna della Seggiola with SS. Peter and Paul), by Luea JSiffnorelU. — The sacristan will point out a direct route, ascending hence by steps to S. Margherita.
The church of S. Mabghbrita, a Gothic building by Niceolh and Giovanni Piaano, 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 Ceeehetti; near S. Margherita, remains of Roman Baths, erroneously called a ^TempU of Bacchus^i outside the gate of S. Agostlno, an Etruscan tomb, the 'OfoUa di Pitagora\
The visitor may (by presenting a visiting-card) possibly obtain access to the private collection of Sig. Colonnese in the Palazzo Madama, Via NazionaJe 6: beautiful half-length picture of St. Stephen and a Nativity by Lvea Signareili.
76 M. Terontola, 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 Logo Trasimene, the ancient Lacus Trasimenus (845 ft.), is 30 M. in circumference, and 8-14 M. across, and is surrounded by wooded and olive-clad slopes, which as they recede rise to a
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46 Route?, PERUGIA.
considerable height. The lake contains three small islands , the Isola Maggiore with a monasteiy, 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 flsh. 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 country far and wide in his progress, and directed his course towards the S. , passing the Roman army stationed at Areaszo. The brave and able consul followed incautiously. Hannibal then occupied the heights which surround the defile extending on the "S. side of the lake from Borghetto to Passignano, upwards of 6 H. in length. The entrance at Borghetto, as well as the issue 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 defiJe. 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. No course remained to him but to force a passage by Passignano, and the vanguard of 6(XX) 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 ibfiOO 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 k tunnel. 80 M. Tuoro; 83 M. Passignano, Two tunnels. 89 M. Magione, with an old watch-tower of the time of Fortebraccio and Sforza j 97 M. EUera,
103 M. Perugia^ picturesquely situated on the hill to the left.
7. Perugia.
Arrival. Omnibus to the town (1 fr., in i/s hr.; 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. *Gbamd H^tbl db Pbbousb, 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. — Gbandb Bbbtaonb or Posta, at the beginning of the Corso Vannucci, R. from 2, D. 4, B. Vh, L. & A. 1, omn. 1 fir. — Second class: Albbbqo A *R£8T. Bbllb Abti, Via Danzetta, a side-street of the Corso, R., L., A
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History of AH, PERUGIA. 7. Route. 47
A. IVafr.. unpretending bat clean) Alb. A Rbst. Bblyedbrb, VU Sette, another side-street of the Oorso.
Bestaurants. Progreuo^ Via Mazsini 81 (PI. B, C, 4), near the Piazza Sopramuro; see also above. — Beer at Via Baglioni 39 a.
Cafifl. *Baduelj Tratimeno^ both in the Gorso \ MelinelU^ in the Piazza S. Lorenzo, opposite the cathedral-fountain.
Post OfAoe (PI. B, 4, 6), Via Baglioni 33. — Telegraph 0/Jiee at the Prefettura, in the Piazza Vittorio Emanuele. — JHligmtce Office^ Corso 38; to UmUrUde (p. 67), daily at 7 a.m. and 4 p.m., 3 fr. ; to Todi (p. 55), daily at 5.30 a.m., 5 fr.
English Churoh Service at the Grand Hotel. — Italian JYotestant Churchy Piazza Vittorio Emanuele.
Perugia is well adapted for a summer-resort , and apartments are not expensive. — At least a day or a day and a half should be devoted to the town. Guides are not indispensable, and dilettanti are cautioned against purchasing their ^antiquities'.
Ftrugia, the capital of the province of Umbria, with 17,000 in- hab. (including the villages 51,400), residence of the prefect, of a military commandant , and a bishop , and the seat of a university, 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 14-1 5th 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.
Perusia was one of the twelve Etruscan confederate cities, and not less ancient than Cortona, with which and Arretium it fell into the hands of the Romans, B. C. 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 straggle was compelled by the former to sur- render (bellum Perusinum), the town sujQTered severely , and was finally re- duced to ashes. It was afterwards rebuilt and became a Roman colony under the name of Augtuta Pemsia. 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 Oddi 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 U. Leo X. caused him to be executed at Rome in 1520. In 1540 Paul III. erected the citadel, *ad coereendam Perusinorum audaeiam\ as the inscription, destroyed during the last revo- lution, recorded. In 1708 the town was captured by the Duke of Savoy, on 31st Hay 1849 by the Austrians, and in 1860 by the Piedmontese.
Umbrian School of Painting. As early as the time of Dante an Um- brian artist , the miniature painter Odbrisi of Oiibbio , was celebrated, and art was practised in Gubbio, Fdbriano^ Perugia^ 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 rendered more attractive by frequent use of decorative ad[juncts.
48 Router. PERUGIA. History of Art.
Setting aside the painters of the 14th cent., who were dispersed among various small towns, we find that Ottaviano Nelli of €M)bio (16th cent.) was the first able representative of this school. Works by this master are preserved both at his native town and at Foligno. Nelli was, how- ever, eclipsed by Oentile da Fabriano (b. abont 1360), who probably had studied the Sienese masters in his youth, and who afterwards un- dertook long journeys («. g. to Venice and Rome) , thus establishing his reputation throughout Italy. His style not unfrequently resembles the Flemish. Besides Gubbio and Fabriano, other Umbrian towns possessed local schools of painting, such as Camerino and Foligno. The latter, about the middle of the loth cent., gave birth to Niecolb AltmiM^ 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 Pkeuqia, 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 Fioreruo di Lorenzo^ a younger master and perhaps a pupil of Benedetto.
This improved style was brought to maturity by Pibtbo Vahnucci of CittJi della Pieve (1446-16Q4) , sumamed Pkbuoiho , 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 1602-5 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 Bbbnabdiho Bbtti, sumamed Pintubigghio (1454-161B). 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 Pietro. 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. 1644) and Eusebio di S. Giorgio. 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 Pemgia (Sala del Pinturicchio, No. 23, p. 50), have been attri- buted to Raphael himself. Of Sinibaldo Ibi and Tiberio d^ Assist ^ 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 Alfanif 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. RouU. 49
tury tbe Umbrian school was completely merged in those of Borne and Florence.
At the entrance to the upper part of the town, on the site of the citadel, which was removed in 1860, extends tte Piazza Vittorio Emanuelb (PI. B, 5) , in which rises the Prefetturaf 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 the principal chain of the Apennines extending from Gubblo 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 Yittorio Emanuele runs the Gorso Vannucci to the left, leading to the cathedral-square ; and the Via Baglloni to the right , leading to the Piazza del Sopramuro (p. 53).
We follow the CobsoYannucci, the busiest and handsomest street in the town. On the right (No. 8) is the Palazzo Baldeachi (PI. 21 ; B, 4) ; on the 2nd floor is preserved a 'Drawing by Raphael (Pintu- riochio?) for the 5th fresco in the library of Siena Cathedral (p. 28 ; fee V2 ^'0-
On the left, farther on, is the *Collegio del Cambio (PL 31; B4 4), the old chamber of commerce, with the *UDrBNZA dbl Camsio, containing celebrated frescoes by Perugino , dating from his best period, 1500. (Adm. from 9 a.m.; custodian 1/2 ^r.; best light in the morning.)
On the wall to the left of the door. Isi Arch: to the left, Fabius Haxi- mus, Socrates, and Kuma Pompilius^ with Prudence above; to the right, Farias Camillas, Pittacas, and Trajan, with Justice above. 2nd Arch: to the left, Lucius Sicinius, Leonidas, and Horatius Codes, with Valour; to the right, Scipio, Peridea, and Cincinnatus, 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 , aa a revelation of love. — Right wall. 1st Arch: to the left, Prophets, to the right Sibyls, aa the heralds of hope; above, Jehovah. Tbe 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 360 ducats for his work from the guild of merchants. The exquisite carved and inlaid work ('tarsia') of. the ludicial benches, doors, etc., by Antonio MereatellOy which are amongst the finest Renaissance works of the kind, also deserve notice. — The adjacent Chapxi. contains an altarpiece and frescoes by Oiannieola Nauni.
Immediately adjoining the GoUegio is the *Palazso Pubblico (or ComumUj PI. 22; B, 4), a huge edifice of 1281 and 1333, re- cently skilfully restored, with its principal facade 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 Dnomo are a griffln and a lion in bronze (14th cent.); below are chains and bars of gates, commemorating the victory gained by the Perugians in 1358 over the Sienese. The chief
Baxdsksb. Italy II. iOth Edition. 4
50 Route?. PERUGIA. Palazzo Pubhlieo.
entrance is in the Ck>rso. On the 2nd floor is the Sala dblla Statis- TioA, -with a fine Renaissance door, in a lunette above which is a Ma- donna by Fior. di Lorenzo, On the same floor is the Sala dbl Oapi- TANO DEL PoFOLO, an apartment of noble dimensions. On the 3rd floor is the municipal •Piotubb Gallbby (Pinaeoteca Vannucci)^ formed since 1863 of works collected from suppressed churches and monaster- ies , and of great yalne 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 nnimportant pictures and also works of art for sale. Adjoining it is the Sala dbi Gihblii (A): i. Meo da /Siena, Madonna and saints, a drawing. TSo. 2. Two saints, and No. 3. The Apos- tles (the latter as predelle) evidently belong to the same work. 15. Am- hrogio Lorenzetti, Madonna and four saints \ •26. Margaritone d^Arezeo (1272X Large cracifixion ; 22-24, perhaps by the same master. — Sala B (formerly the Cappella dei Decemviri) , with frescoes by Benedetto Bonfigli. 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 atid the Martyrdom of St. Herculanus on the occasion of the capture of Perugia by Totila. On the adjacent wall is the Burial of St. Herculanus. — From the corridor (C) we enter the Sala dei Stagghi (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 Taddeo Babtoli (£): Sienese pictures of the 15th cent., most of them valuable. Taddeo Bar- oili (14C6): 9. Madonna with angels and saints; 10. Descent of the Holy Ghost. Tom. d'Areangelo of Cortona: Exploits of the condottiere Braccio Forle- braccio (frieze). — Sala del Anqelioo (F): •1-20. Fra AngeUeo da Fiesole, Fragments of a large altar-piece (Madonna with angels, Annunciation, Saints, Miracles of St. Nicholas of Bari); ^21. Piero della Francesca, Madonna and four saints, with the Annunciation above. — Sala del Bonfigli (Q). Bonfigli: 7. Annunciation, with St. Mark ; 10. Adoration of the Magi; 13. Ma- donna with angels playing on instruments. Giovanni Boceati 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. (ktporali , Chnst and the Madonna in glory (fresco). •14. Mc- cold Alunno , Gonfalone of the Brotherhood of the Annunziata (1466). — Sala di Fiobbnzo di Lobbitzo (J): •4. Fiorenzo, Adoration of the Magi (among whose followers is the young Perugino to the left); 24. Pei'uginoj Coronation of the Madonna. — Gabinetto di Fiobbnzo di Lobbnzo (L): •2-9. Ftorenzo, 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 Pbbugimo (M). Ca rcUtoli, Marble bust of Perugino. Pentgino: 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 Pintubiochio (N). Perugino: 2. Transfiguration; "3-5. Predelle ; 6. Madonna and saints. ^7. Spagna, Madonna and saints. '^PintwiccMo: 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 Pietik; in the predelle, scenes from the lives Qf 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 Borne). Eusehio 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 Giamnicolo Manni b di Bebto
Cathedral. PERUGIA. 7. Route. 51
(O). — 8al4. dslla Souola di PBBuaiNO CP): 36. A{fani^ Holy Fiunily, designed by Raphael. -^ The following rooms are the Sala Doxbhioo Al< FANi, Sala della Torbb, and Sala Obazio Alfani.
The Bihlioteoa Puhhlioa, which has recently been transferred to this PalaExo, contains about 90,000 vols., and some fine MBS. of the ll-15tk cent., with miniatures.
In the Piazza dbl Munioifio rises the *Fonie Maggiore , dat- ing firom 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 NUeolh and Qiovanni PUano and Amolfo del Camhio (1280; two of the statuettes are modem substitutes). — The W. side of the piazza is occupied by the Episcopal Palace (PI. 30), behind which is the so-called Maetiit deUe Volte (PI. 32), a relic of the Palazzo del Podestll, which was burned down in 13!29 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 heayy dimensions. — On the right of the entrance is the tomb of Bishop Baglioni by AgosUno di Ducdo (1461) , beyond which is the Gappklla S. Bbsnahpino, with a Descent from the Cross, the master- piece of Baroedo (1569) \ the painted window representing the Preaching of St. Bernardino of Siena is by Consiantino di Bosato and Arrigo Fiam- tningo of HaUnes (1566*, restored in 1863). ~ Opposite, in the left aisle, is the Gatpblla dbll^ Anello, which down to 1797 contained the cele- brated SposaUzio by Perugino, now at Gaen in Kormandy. The beanti^ fally carved stalls were began by Oiulio da Majano and finished by Do- menico del Tassc in 1491 ; the elegant tabernacnlam was ezecated by the goldsmith Cesarino del Boscetto, in 1519. — Farther on in the nave is a Pietit in relief, by Agoetino di DuecioO), — In the Bioht Tkansbpt, a marble sarcophagus containing the remains of Popes Innocent III. (d. 1216), Urban IV. (d. 1264), and Martin IV. (d. 1286). — The adjoining Wiittxbp Ghoib contains an *Altar-pieee by Luea SignoreUi: Madonna with SS. John the Baptist, Onuphriua the Hermit, Stephen, and a bishop as donor. Be- low the 2nd window to the left: Christ imparting his blessing, and saints, by Lod&vieo di Angela.
In the LiBBABT are preserved precious MSB., such as the Codex 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, 0, 3, 4), with a bronze statue of Pope Julius III. by Vine. Danti (1556). — From the N. angle of the Piazza Danti the Via Vecchia descends to the "^Arco di Augueto (PI. 2; 0, 3), an an- cient town-gate with the inscription Augusta 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, maybe distinctly traced.
The small space in front of the Arco di Augusto is called the Piazza Fobtbbbaccio (PL 0, 3); to the left is the Palazzo Qaler^a, formerly Antinori, by Alessi. — A little to the N. lies the church of 8. Agostino (PI. 5 ; 0, 2), to the right of which is an oratory con- taining seveoral pictures by Alfani, Scaramucci, etc,
4*
52 Router, PERUGIA. Vniver0ity.
From the Palazzo Qalenga the Via dell' Uniyersitli leads in a few minutes to the University (PI. B, 2^, established in 1320 in a mon- astery of Olivetans, which was suppressed by Napoleon. It possesses a small Botanic Oarden^ Natural History and Art History ColUctions,. and a Museum of Etbusoan and Roman Antiquities (curator, 8ig. Angelo Lupatelli').
The Museum of Antiquities is on the first floor. On the Staircase are Etruscan and Latin inscriptions and unimportant Roman sculptures. The Corridor chiefly contains Etruscan urns and a few casts from antique and Renaissance sculptures. *No. 279. Terracotta urn in the form of a recumbent man, who is being seized by a goddess of death with the features of a flend; the hollow interior once contained the ashes of the deceased. The OaJbinetto di Antiqttaria 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 i^iatic 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 Ouardabassi Collection, at the end of the second corridor, contains various interesting objects from Etruscan graves. In the 1st Boom, 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 CiHsHano: Central Room, Coffin of Bishop Baglioni, with a sumptuous velvet covering (i5th cent.) •, episcopal vestments of the 16th cent. ; richly carved slabs from the confessionals of S. Agostino, perhaps by Bctrili; voting-urn used in municipal elections, with the arms of the Ouilds (l6th cent.). 2nd Boom (to the right), Reliquary containing the remains of the condottiere Braccio Fortebraceio , who fell at the siege of Aquila on 5th June , 1424 (formerly in S. Francesco dei Conventual!) ; Seal of Card. Bembo by Lan- tirio di Perugia; Madonna by Agostino di Duceio^ and other terracottas', fine marble •Belief of St. Francis, by Luca della Rohbia; bust of one of the Baldeschi family (15th cent.); weapons; majolica. In the 3rd Boom, (to the left) three masterpieces of enamel-work (^champs lev^'): a goblet which once belonged to Pope Benedict XI. (d. 13041, and a cup and plate or saucer executed by Catalortio 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 0>r^ ridor contains medieeval sculptures; statues from the Maest^ delle Volte by Agostino di Duecio; and a model of the Fonte Maggiore (p. 51).
The NaturcU History Collections are unimportant.
The University Church, the key of which is kept by the curator of the Museum, contains mediaeval 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 Fortebraceio , is situated the architecturally interesting church of 8. Angelo^ 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. AgnesCj adorned with frescoes from the later period of Perugino and his pupils.
Ascending from the Piazza Fortebraceio (see above) by the Via Pinturicchio to the S.E. (or from the Piazza Danti, p. 51, by the Via Bontempi to the E.)i crossing the Piazza de' Gigli, and then taking the first side-street (Via Raffaello) to the left , we reach *8, Severo (PI. 14; 0, 3), formerly a convent of the order cf CamaldoU,.
S. Severo. PERUGIA. 7. Route. 53
now a college, in the chapel of which i2aj>Aa«2 painted his first fresco, probably 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 wad seriously damaged, and of late has been restored by Consoni , resembles the upper part of Raphaers Disputa in the Ya^ tican; above, Ood the Father (obliterated) with three angels and the Holy Ghost ; below, the Redeemer and the saints M aurus, Placidus, Bene- diet, Bomuald, Benedict the Martyr, and John the Martyr. The inscription (added at a later period) runs thus : Raphael de Urbino dom. Oetaviano Ste- phano Volaterrano Prior e Sanctam Trinitatem angelos astantes sanetosque pinriLA.D. MDV. At the sides, lower down, St. Scholastica, St. Jerome, St. John Ev., St. Gregory the Great, Boniface, and St. Martha, by Pietro Perugino. Inscription: Peirus de Castro Plebis Perusinus^ tempore domini SUvestri Stephani Volaterrani a dextris et tinistris div. Chriitipherae sanctos ianetoique pinxit A, D. MDXXI.
A vaulted passage under the clock of the Palazzo Pubblico (p. 49) leads from the Corso Vannucci 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 (PL 10 ; B, 4), contains (PI. 18) the Hou$e of Perugino (? ; denoted by a tablet).
We continue to descend the Via de' Priori, passing the mediae- val Torre degli Sciri, or degli Scalzi (PI. 34 ; A, 4), and the Madonna della Luce (PI. 4), a pleasing little Renaissance church of 1518, and reach an open space on the right. Opposite us here rises the —
*Oratorio di S. Bemardino {CorCfraiemitd. della Oiustisia; PI. A, 3). The facade , executed by Agostino di Duecio , a Florentine sculptor, in 1459-61 , 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 fa^de.
Immediately adjacent is the church of S. Franoeico doL Con- Yentnali, or del Praio (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 Oorso, and parallel with it, stretches the Piazza del Sopramuro(P1. 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 delPodestcL (PL 29), dating from 1472; adjoining it is the Old University, 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 the left, passing the substructions of the old citadel , where an ancient gate , called Porta Marzia (PI. 33 ; C, 5), with interesting sculptures , and the
54 Route 7. PERUGIA. S, Pietro de' Casinmai
Insoriptions Augusta Perusia and Colonia Vibia, whicli was removed from its old site to make way for the fortress, has been re-erected. — We turn to the left here, and follow the broad main street with an avenue of acaoias, at the end of which, to the left, rises the small Gothic church of 8. Ercolano (PI. 6 ; 0, 5), with an altar consisting of an ancient sarcophagus.
Following the Cobso Catouk , the continuation of the Via S. Ercolano , to the left , we reach a small square in which stands the church of —
S.Domenieo (PI. 7; C, 6), originally a Gothic edifice of the 13th and 14th cent., built by Oiov. Pisano in 1304, and almost entirely re-erected by Carlo Maderna in 1614, with a lofty campanile, part of which has been taken down.
In the Left Tbanskpt ia the ^Honument to Pope Benedict XI., who fell a victim to the intrigues of Philip IV. of France ^ and died in i304f from eating poisoned figs. It was executed by Oiovannt Pitano^ and is one of the most famous monuments of its kind •, above the recumbent figure Qf 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 (1439). — The Choijb, with a rectangular termination, contains a huge Gothic window filled with rich stained glass, the largest of its kind in Italy C218 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 S, Pietro^ richly decorated by Agostino di Duccio (1473), and reach the old monastery and church of —
*8. Pietro de' Casinensi (PL 13 ; D, 7, 8 ; entrance in the first court in the corner diagonaUy 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 Navx, above, are eleven large pictures by Ant. Vasillacchi, sur- named VAliense^ of Perugia, a pupil of Tintoretto and Paolo Veronese, exe- cuted in J 592-94. — The Right Aisle contains several Umhrian pictures. The chapel of St. Joseph, adorned with modern frescoes, 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 Saisoferraio, after Perugino, and a Holy Family after Bonifacio of Venice. Above the door leading to the Sacristy, Three saints, also after Perugino by Sastoferrato. — In the Sacmstt (shown by the custodian , 5 soldi) are five small half-figures of *Salnts, 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 ♦Choie Stalm, in walnut, are admirably carved and inlaid (tarsia) by Stefano da Bergamo, 1535 j the doors at the back are by his brother Bamiano. — Under the arch of the Choir, on each side, are ambones (pul- pits) in stone, with reliefs on a golden ground, by Frane. di GvidOy 1617-21.
EXCURSIONS FROM PERUGIA. 7,Ro%de. 55
The Lsrr Aislb, beginning at the upper end by the choir, contains a pictare by Buonfigli (?), Mary with the body of Christ and two saints, 1469. In the adjoining chapel is a marble altar with reliefs, partly gilded, by Mino da FUsoU , 1473. In the next two chapels : pictures by O. Reni^ Oiorgio Vth $ariy and others. Between these, on the wall of the aisle: Jndith, by Satto- ferraio. Then, Adoration of the Hagi, by Eusehio di 8. Oiorgio; Annan- oiation, after Raphael, by Sauo/errato; Pieti, a late work of PerttginOy part of a large dismembered altar-piece from the church of 8. Agostino.
Close to S. Pietro , on the opposite side of the street, are the gardens of the Passeggiata Pubbliea (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 folloTTing private collections : the collection of Aw. Romualdiy Via del Bufalo, No. 5 (near the Alb- ergo Gran Bretagna), comprising bronzes, coins, cameos , drawings and paintings by An. Carraceij Perugino('f)j eto. (for sale). — The Qalleria Monaldi (PI. 26 ; B, 5), in the palazzo of that name, at the corner of the Via Bagllonl and the Piazza Vittorio Emanuele , and the OaUeria Menieoni (PI. 25; 0, 6), 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 ^1- E, 3), con- taining a monument to the champions of liberty in 1859.
Outside the Porta 8. Gostanzo, on the road to Assisi, lies the church (restored) of S. Costanzo CPl. D, B, 8), dating from the ilth cent., with an ancient portal. — About 8 M. to the E. of Perugia, »/4 M. on this side of Ponte S. Qiovtmni (p. 72), the first station on the route to Foligno and Rome, the Ahgibvt Etkuboam Nsobopolib of Perueia was discovered in 1840. Carriage there and back, a drive of V/2-2 hrs., 12 fr. — The most interesting of the tombs, and one of the handsomest, though not oldest in 1^. Etruria, is the *Sepolcro de* Volnmnii (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 original positions, but most of them are now preserved in a chamber built above it. The custodian is to be found at the neighbouring Villa Baglioni (fee >/« fr., for a party 1 fr.).
The convent of MonUfiormtino. between Perugia and Assisi, contains a Madonna by Giov. BanH (1489).
Fbom PERnoiA TO ToDi, about 28 K. (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 Narni, and 19 M. to the E. of Orvieto, lies —
Todi iPotta. at the gate), the ancient TJmbrian Tuder^ a high-lying town (1495 ft.) with 4-5000 inhab. (commune 16,500) ; 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 BMiUca, 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 Toum Ball in the Piaaza. The church of S. Fortunato pos- sesses a handsome portal. The finest building of all, however, is the pilgrimage-church of *3. Maria delta Consolazione, 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 exception of the choir, which is semicircular. The exterior is remarkable for lU simple and massive style, and the interior for its symmetrical proportions and the delicately graduated ornamentation of its pillars. Being one of
56 RouU 8, CITTA DI CASTELLO. From Arezsio
the noblest creations of the Renaissance period, this edifice was naturally attributed to Bramante. Documents, however, name Cola di Matteuceic da Caprarola (1606) as the architect, and JMldauare PeruzH as his ad** viser. The progr£S8 of the building was remarkably slow , and it was not completed till 1604. — Todi was the birthplace of Jacopone da Todi (d. 1906), author of the *Stabat mater dolorosa*.
Fbom Todi to IYabnz, 28 H., by the villages of lUuaro^ Cattel Todino, and Ban Oemine. About IVs H. from the last, on the ancient, now abandonee! Via Flaminia, are the interesting ruins of the once prosperous Carsulae. Prom San Gemlne (7'/2 M. from Nami) two roads descend gradually to the beautiful valley of the I^era, one leading S.B. to Temi (see p. 84), and the other S. to JTarni (p. 87).
8. From Arezzo to Fossato.
84 H. Kail WAT (Ferrovia delt Appennino Cmtrale) : one through-train daily in about 5 hrs. (fares 12 flr. 25, 7 fr. 65 c.).
Arezso, see p. 38. — For a short ^stance the train follows the line to Rome (p. 20), bnt it soon diverges and begins to ascend more rapidly towards the hills to the E. of Arezzo, affording a picturesque retrospect of the town and plain. It mounts as far as the Scopettone, the W. parallel chain of the Umbrian Apennines, separating the valleys of the Amo 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, — 19^2 M. Ville Monterchi, situated in a hollow, from which a steeper ascent leads to (201/2 M.) Citerna. — 24 V2 M. An- ghiariy 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 Tiber, and reaches (28*72 M.) Borgo S. Sepolcro (Alb. Venezia), a little town at the foot of the MonU Maggiore (4430 ft.). The churches and the Palazzo del Oomune contain several pictures by Piero della Francetca (b. 1423 ; teacher of Luca Signorelli ; comp. p. 39) and Raffaello dal ColU (16th cent. ; a pupil of Raphael), both of whom were born here. In 8. Antonio Abbate, a fine Crucifixion by Sig** norelli, originally a church-banner.
From Borgo 8. 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 Tiber, neir the village of /ve Balze^ about 16 M, to the N., may be visited from Borgo 8. Sepolcro.
The railway proceeds to the S.E. along the left bank of the river. 31 M. 6f. OiusUno; 331/2 M. 8dci L€ma, a little to the right of the village of that name.
38 M. Citt^ di CasteUo (Locanda la Cannoniera), with 7000 inhab. (commune 24,000), occupying the site of Tifemum Tiberi- num, which was destroyed by Totila. In the 15th 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 early-Renaissance period, but few mediaeval monuments.
io Fatsaio. GUBBIO. 5. Route. 57
Of the numerous chuiclies 8, Domenico alone has preseryed a Gothic character. All that remains of the old Gathbdbal of S. Flobido, founded in 1012, is the campanile and the N. portal ; the present building, an admirable specimen of the Renaissance style, was began in 1480 and completed in 1540. Bramante has been frequently named as the builder, but Elia di Bartolommeo Lorn- bar do is mentioned in the records as the architect.
Among the secular buildings, the Palazzo Comunale^ built in the 14th cent, by a certain Angelas of Oryieto, in the style of the Florentine palaces, retains most closely its original form. The Vitelli, 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 S, Egidio, The small summer-house (Pa- lazzino) of the latter deseryes special notice.
The PiNACOTECA, newly opened, now contains the more impor- tant paintings and works of art formerly in the churches.
Siapbael, it is well known, painted hit first independent works for churches in Ciiik di Gastello, but they haye 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 (So. 32) the Trinity and (170. 16) the Creation, painted on linen. An Adoration of the Shepherds by Luea Signortlli^ a Coronation of the Virgin of Signorelli's school (iTo. 8), and several terracottas by Luea delta Rol^bia and his school, are tdao noteworthy.
The church of iSf. Cecilia contains a Madonna by Luea Signorelli, and the Palazzo Maneini a *Natiyity by the same master, as well as seyeral other yalaable pictures.
Beyond Citt?t di Castello the train follows the right bank of the Tiber. 43 M. 8. Secondo , at the mouth of a lateral Yalley. On a height to the right, 1^/4 M. from this station and as far from C45y2 M.) Treatina, the next, lies CanosciOy a frequented pilgrim-resort. Be- yond (50 M.) Montone Monte CasteUi we cross the Tiber and reach (53 M.) Umbertide (Alb. Guardabassi), a small town on the left bank of the Tiber, the yalley of which is here somewhat narrow. In the church of S. Croce is a Descent from the Cross by Luea 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 yalley of the Assino, crossing the stream six times. — 57 M. 8erra Partueci; 59i/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 MorUe d'Ansciano.
70 M. Otibbio (^Albergo del Giardino , formerly the Leon d'Oro ; Rosetta or Colomba, both in the Piazza Vittorio Emanuele and well spoken of), with 5000 inhab., lies at the foot and on the slopes of Monte Calvo, at the entrance to a gorge flanked by steep cliflEs.
58 HouU 8, QtJBBlO. From Arezto
The town presents quite a mediaeval appearance , and the proximity of the Apennines also gives it a different character from most other Italian towns. Oonspicnous among the honses is the huge Palazzo dei Gonsoli, and a'bove them towers the church of S. Ubaldo.
Gubhio is the ancient Iguvium or EuffuJHumy mentioned hv Cicero and CflBsar. It wMi dentroyed by tbe Gotlu, wa« besieged in 1166 by the Emp. Frederick I., then became an independent state, afterwards belonged to the duchy of Urbino, and with it finally accrued to the States of the Church.
Gnbbio was the native place of Oderiii, a famous miniature painter (d. about 1300), who is called by Dante in his Purgatorio (xi,80) n^Onor d'Agobbio'* ; but no authentic work by his hand now exists. In the 14th and 15th cent, a branch of the TJmbrian school flourished here, and among its masters, whose renown extended even beyond their native place, were Guido JtOmerucei (1280-1345?) and several members of the ITelli famUy, particularly Oitatiano Nelli (d. 1444). — Gubbio occupies a still more important page in the history of Artistic HANDiCBArrs. Like Urbino, Pesaro, and Faenea, it was noted for the manufacture ot Majolica^ 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 Qiorgio" 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 dbi Consoli, a huge pinnacled edifice with a tower, erected in 1332-46 by Oiovanello Maffei of Gubbio, surnamed QattaponCj 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 Va fr).
The Palazzo Pretorio, now 'Residenza Municipale\ contains several collections recently united here (fee y^i fr.).
On the first floor are the so-called Eugubian Tablets y 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 formula 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 *Hajolicas.
The third side of the piazza is occupied by the modern Palaxsso Ranghiasei'Bmncaleone. — Cor^te Fabiani-Beni, 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 dbi Duom, an old Go- thic edifice, which was remodelled by Luciano LauranfMj the archi-
' of the palace of Urbino. The colonnaded court is almost an
to Possnto. GUBBIO. S, Route, 59
exact reprodnction of that of Urbino. The interior is quite a ruin and accessible only with difflcnlty.
Opposite the entrance to the conrt of the Pal. del Duchi rises the CATHBD&A.Z. OP SS. Mabiano b Jacopo Mabtub , 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 pieiures In the interior (flrit altar on the left) is a Ma- donna with SS. XJbaldo and Sebastian , by Smibaldo /N of Gubbio. By the 2nd altar a ^Coronation of Mary Magdalene by Timoteo delta Vite. The sacristy contains a Flemish vestment, presented by Pope Marcellns II.
, The church of S. Maria Nuoya, situated near the E. end of the Via delle Fonti, running above and parallel with the Gorso , at the comer of the Via Nelli, contains an admirably-preserved Madonna by Ottaviano NtUij 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 Corso Garibaldi to the fine Gothic church ot8. Giovanni (13th cent.). — At the other end of the Corso is the church of 8. Pietro, with a 12th cent, facade (decayed). — 8. Domenico, 8. Agostino (frescoes in the choir ascribed to Ottaviano Nelli), and 8. Maria delta Piaggiola (outside the Porta Vittoria ; over the high-altar , *Madonna by Qentile 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 y 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 modem gateway on the left, towards a farm.)
73 M. Padule. Beyond (781/2 M.) Branca we cross the Chiascio and traverse the valley of that stream to —
84 M. FosmtOj see p. 109.
9. From Florence to Kome vi& (Arezzo) Terontola and Chiufli.
195 M. Railway. This is the shortest route from Florence to Rome. Express in V/f7^/4 hrs. (fares 39 fr. 5, 27 £r. SO e.); ordinary train in 12V4 hrs. (fares 36 fr. 60, 24 fr. 80, 16 fr.}) no change of carriages.
From Floreneeio 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. bank of the Trasimene Lake (oomp.- p. 45).
82 M. Castiglione del Lago, lying to the left on a promontory extending into the lake, possesses an old palazzo of the Duchi della Comia, built by Alessi.
60 RouU 9. OHIUSI. From Florence
86^2^* P^nicolCj a small place with nnimportatit frescoes in its churches by Perugino and his school. The line takes a W. direction and joins the line from Siena in the valley of the Chiana (R. 4).
93V2 M. ChiluL — The Razlwat STAnoN CRettauraiU) is about li/s H. from the town, on the hill to the right. ^Posto^ (seat in a carriage) to the town i fr., two 'posti' lijj fr.
Aquila d'Oro, well spoken of; Corona, Via Porsenna 1, unpretend- ing and moderate; Etrdria, at the station.
Travfellers who wish to inspect the Etruscan Anxiquixibs should en- quire for the custodian , who sella ticketa for the museum (Vz ft.) where ' he is generally to be found, and accompanies visitors to the tombs (2 fr. ; or, for the whole day, 8-4 fr.). The road to the tombs is very muddy in wet weather. — Travellers are cautioned against making purchases of Etruscan antiquities at Chiusi, as ^antiquities^ from Etruscan tombs are largely manufactured here.
ChitMi (5000 inhab.), the ancient Cluaium^ one of the twelve Etruscan capitals, frequently mentioned in the wars 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 Val di Chiana was gradually drained, and the town- recovered from these disasters. The walls are mediaval; 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 Bomana^ also called Porta di S. PUtrOy affords pleasing views of the S. portion of the Chiana Valley, Citti della Pieve, the mountains of Cetona, to the N. the lakes of Chiusi 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 Mubeo Etbusoo, founded a few years ago, con- tains a valuable colleotion of objects found in the Etruscan tombs around Chiysi, 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 Etruscan and Roman inscriptions.
The great attraction of Chiusi are the Etbubcak Toicbs (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 Oranducay 3 M. ; near it, the ^Deposito della Scimiaj with mural paintings representing gladiatorial com- bats. The Deposito del Poggio Gajelli, which is supposed, but without authority, to be the Mausoleum of Porsenna mentioned by Pliny and
to Rime. CITTA DBLLA PIEVE. 9. Route. 61
Vurro, is 3 M. distant and much dilapidated. To the N.W., the Depotito deUe Monachef 2 M. ; then, to the S.E., the Lepotito dd ColUf with muial paintings, 1 M. from the town.
Near 8. Calerma, on the way to the station, are small cata^ comhs of the early-Christian period, and near them a Roman tomh.
Aboat 31/3 M. to the S.W. of Ghiusi lies the little town of Barteano (about 1970 ft), abore which riaes an aneient ca«tle. The VUia 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 Ghiusi station in 1 hr. to the (5 M.) loftily situated town of OiUi della Pieve (1010 ft.)> with 6000 inhab., the birth- place of IHttro Vannucei (1446-1524), surnamed P«r«j^»o after Perugia, which was the chief scene of his labours (comp. p. 48). The town possesses sev- eral of his pictures, but they are workB 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 DUeiplinaii^ or 8. Maria dei Bianehi^ 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 76 ducats. — In the Caihtdral (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 8. Agostino^ belonged originally to the church of 8. Antonio. All these pictures are by Perugino. — Outside the Orvieto gate is the church of ^Sf. Maria dei Bervi^ containing remains of a Cruci- fixion by Perugino, dating from 1517.
The road leading from Citta della Pieve in an B. direction to Perugia (31 M.) was formerly much frequented.
About 7Va M. to the S.W. of Chiusi (carriage in IV4 hr.), and at the same distance to the W. from Cittk della Pieve, lies the small town of Oetona, commanded by a medieeval castle. The Palatzo Terroti 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 gilded urns*, an 'Elephant's tusk with archaic reliefs from the Odyssey, etc. — Picturesque grounds at the back of the palace.
The Railway descends the Ghiana valley. IO4Y2 M. FiculU ; the village, 2^2 M. distant, lies on a hill to the right. Ill M. AUerona, Near Orvieto the Ghiana 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).
II8V2 M. St9it..Orvieto (440 ft.), at the base of the hill oc- cupied by the town, to which a cable-tramway (^Funieolare\ 5min. : 30 c.), 520 yds. in length , ascends at a gradient of 27 : 100, pass- ing through a tunnel under the Fortezza.
Orvieto. — Qband Hotel dbllb Bblle Abti (Palazzo Bisenzi), Corso Cavour, well spoken of-, B. from 3, D. 5, d^j. 3, B. 11/2% L* ^ A. IVs) omn* ly* fr. — Alb. dItalla, near the Piazza del Popolo, fair; Aqdila Bianga, Via Garibaldi, behind the Palazzo Comunale , unpretending , E. 2 fr. — *Locanda VaUntini^ Via 8. Andrea 17, unpretending. — Caffi Benedetti, Piazza Vittorio Emanuele.
The Wine of Orvieto is esteemed both here and at Rome.
Photograph* of SignoreUi's frescoes sold by Armoni, near the Cathedrr
62 Bouie9.
ORVIETO.
From Florence
Omcto (1165 ft.; SOOOinliab.; whole parish 16,000), a smaU town and episcopal residence , on an isolated tufa rock, the Urbi- bentum of Procopius , was oalled Urba Vetut in the 8th cent. , and thence derives its modern name. In the middle ages it was a great stronghold of the Gaelphs, and often afforded refuge to the popes.
From the E. entrance to the town , where the terminus of the cable-tramway is situated, near the old castle mentioned helow, runs the Corao, the principal street of Orvieto. Two mediaval towers rise in this street ; opposite the first of these is the Via del Duomo, which leads us straight to the Piazza S. Maria with the far-famed —
**Cathedral (PI. 1), a magnificent example of the Italian Gothic style, and one of the most interesting buildings in Italy, founded in consequence of the *Miracle of Bolsena' (comp. p, 66). The first stone was solemnly laid by Pope Nicholas IV. on 13th Nov. 1290, and the edifice begun under the supervision and according to the plans of Lorenzo Maitani of Siena. The work progressed so rapidly that in 1309 Bishop Guido di Farnese was able to read the first mass in the church. It consists of a nave and aisles, with transept and rectangular choir. It is 114^2 yds. long and 36 yds. wide, and like the cathedrals of Florence and Siena is constructed of alternate courses of black and white marble. This cathedral , like those in other towns, once constituted a great arena for the display of artistic ^kill. The guardians of the building were unwearied in providing ' its ornamentation , and like the curators of modem museums
to Rome. ORVIETO. 9, Route. 63
who are zealous in their endeavours 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 embellishment 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 *Ba8-Bslikfb 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 Kew Testvnent: Ist pillar to the left, from the Creation down to Tubal Gain*, 2nd, Ahraham, ge- nealogy of the Virgin \ 3rd. History of Christ and Mary ; 4th, Last Judgment with Paradise and Hell ; aoove are the bronze emblems of the Evangelists , by Lor. Maitani. Above the principal portal, a Madonna 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 ot prophets, and above, of the Apostles, executed by Sienese sculptors.
Above the doors and in the three pointed gables are *Mosaig8 on a golden groxmd, of various periods (14-19th cent.): Annunciation, Nup- tials of the Virgin, Baptism of Christ, Coronation of the Madonna; the latter, the principal picture, is the highest.
Tne *Interior is at present undergoing restoration, and, except to the Cappella Nuova (see below) , admission is oiily granted by leave of the superintending engineer (Pal. de' Papi, to the S. of the Cathedral; p. 64). 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 01 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, Madonna and St. Ca- tharine, a fresco by Oentile da Fahriano. Before this stands a marble "^Font, the lower part by Luca di Giovanni (1390), the upper by Sano di MatUo ii^ffl}. — In the Navb, to the right, a fine marble holy water basin in the Benaissance style; in front of the columns, statues of the Apostles, by MoMCOy Scalzay Totij Oiov. da Bologna^ and other masters. — In the Chois, frescoes from the life of the Virgin by Ugolino d'llario and Fietro di Puedo. By the high-altar the Annunziata and Archangel, by Mocehi^ 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 Mary, executed by Jfosehino when 15 years of age, from designs by 8ammieheli\ to the right. Adoration of the Magi, by Motea.
Right Transept. The "^^Cappella Kuova, containing a miraculous image of the Virgin (Madonna di S. Brizio)^ may be entered from 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 Barone, the superintendent of the cathedral-mosaics, having heard tiiat the ^famous painter and monk' I^a Angelico da Fiesole was not engaged during the summer in Bome (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 Bignorelli, These **Mural Paintings are the chief attraction here. The first fresco to the left of the entrance shows the overthrow of Antichrist, who is represented in the foreground, preaching ; the two devout figures, in the comer to tUQ
64 RouU 9. ORVIETO. From Florence
left, are said to be portraits of Signorelli and Fra Angelico. The wall on the side by which we enter has been skilfully covered with represen- iations of (left) the Last Judgment, and (right) the Fall of the Condemned. — Next in order are the Besurrection of the Dead and the Punishment of the €k>ndemned} then, on the wall of the altar, (right) Descent into Hell, and (iefi) Ascent into Heaven, and lastly, adjoining the first picture, Paradise. — Below these pictures runs a series of scenes from Dante^s 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 during the 15th 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 -wiih Michael Angelo, who, according to Vasari, borrowed several motives from these works for his Last Judgment in the Sixtine Chapel. — Siffnorelli also completed the decoration of the vaulting, and painted the ^Entombment in the niche behind the Pieta of Scalza (1572).
Opposite, in the Le/t Transept, is the Cappklla dbl Cospqiialjb, 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 Vieri 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 Ugolino. Over the altar on the left, a Madonna by lAppo Memtni.
Opposite the cathedral are Corbie Faina'a private collection of Etrascaii antiquities, and, to the right , the *Opb&a del Duomo (PI. 2) , containing the Museo Municipale. Tickets are obtained at Aimoni's photograph -shop (p. 61), at the corner of the Piazza S. Maria and the Via del Duomo.
Gboumd Floob. Room I, Weapons, bronzes, pottery, etc., from the Etruscan Necropolis (p. 65). Plan of the excavations. (The formation of an Etruscan Museum in the Palazzo 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 Oiardino Pubblico. Reconstruction of an Etruscan tomb.
The F1B8T Floob 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-, 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 (14th cent.); two snecimen frescoes by Signorelli, represent- ing himself and a certain Niccolo 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 dei Papiy or Palazzo Soliano, founded by Pope Boniface VIII. in 1294, with a large meeting-hall. — In the street behind the latter is the Pa- lazzo Marsciano ('degli Uffizi goyemativi')* hy Ant da SangaUo.
The Via del Duomo leads to the N.W. from the cathedral to (8 min.) the Piazza del Mercato, with the Pal. del Popolo or del Ca- pitano, the rear of which is interesting (12-13th cent.). — S, Oio- venaU(P], 5), at the N.W. angle of the town, is an 11th cent, church, with early-Gothic choir, altar of 1170, and fragments of old ftescoes (1312, 1399).
to Rome, ORVIETO. 9. Route. 65
The Oorso leads to tlie Piazza Maggiore, nowVittonoEmanuele, witli the Palazto del Comune (PI. 4), dating from the 12th cent. , the still nnflnished facade of which was renewed by SeaUa in 1585. — Adjacent is the church of 8. Andrea (PI. 3), with a twelve-sided towei of the 11th cent and a restored facade. In the interior are paintings of the 14th and 15th cent., and a late-Gothic pnlpit, the ornamentation on the back of which dates ftom the 9th century.
In the S. transept of 8. Domenieo (PI. 6J is the monument of Cardinal de Braye, by Amolfo di Cambio (1282) ; the crypt was built by 8ammicheli,
The Fortress, constructed by Cardinal Albornoz in 1364, and sit- uated at the N.E. entrance of the town (p. 62), has been conyerted 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. Patrizio, which was begun by 8angallo 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 V2-I fr-D*
On the N.W. slope of the hill on which the town stands, below the ancient town-wall, an extensive *Etni8can Hecropolis 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 5th cent. B. C, and some of them were found intact. Their fa^des, 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 2V2 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 for 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 Volsiniij the birthplace of Sejanus, the favourite of Tiberius. It was one of the twelve capitals of the Etruscan League, and after various vicissitudes was at length conquered an*
Baedeker. Italy II. 10th Edition. 5
66 BouU9. LAKE OF BOLSENA. From Florence
destroyed by the Romans. The spoil is said to have included 2000 statues. Its wealth has been proved by the discovery, in the vicinity, of numerous 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 11th cent, and embellished with its fine Renaissance facade by Cardinal Glov. Medici, afterwards Pope Leo X., in 1503. Above the doors are two terracotta reliefs by Andrea deUa Bobbia,
Interior. To the right of the choir is a hast of S. Lncia, of the school of the Robbia^ heneath a wooden cmciflz of the 14th century. A portal in the left aisle dates from the 11th cent.; the reliet represents the Five Wise Virgins and the Adoration of the MagL Beneath the church, in the space before the entrance to the Oataeomib*^ stands a terra- cotta altar, of the school of the Bobbia-y to the right, above the stone with which St. Christina was drowned, is the Aitar del Miracolo (see be- low), beneath a canopy of the 8th century. Adjacent is the Tirnib of the Sainty below a modern canopy. The church also contains a small Mtueum, with inscriptions and glass vessels from the catacombs, Lombard anti- quities , and a terracotta *Statue of St. Christina, dating fi-om the be- ginning of the 16th century.
The ^Miracle of BoUena\ the subject of a celebrated picture by i2apfta«I 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 had just consecrated. In commemoration 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 Mustum Comunale, in the Piazza, contains a Roman sarco- phagus, with the triumph of Bacchus.
The LakeofBolsena, the ancient Locus VultinimsiSy 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 m far as Orvieto. The lake abounds in fish (its eels are mentioned by Dante, Purg. xxiv, 24) ; but the banks, 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 Biseniina and the rocky Afartana. 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 wa« erected by the Farnese family and embellished by the Carracci. It contains the relics of St. Cniristina, a native of Bolsena.
From Bolsena the road ascends towards the 8. on the bank of the lake, through woods, to (7 M.^ MonUi/iMeone (p. 69).
The Railway fbom Obyieto to Obtb and Rome now traverses the wooded valley of the Tiber, the broad, stony bed of which bears traces of numerous inundations. To the left lies BaschL 125i/2 M. Castiglione Teverinoi the river is crossed. 135 M. Attigliano (junction for Viterbo, p. 69); 138 V2 M. Bassano Teverino, on a hill to the right.
to Rome. ORTE. 9. BouU. 67
The small Lake of Battano, formerly Laeut YadimMiSj now maeh di- minished in extent, is famoos in ancient history as the scene of the great victories of the Romans over the Etruscans, B.C. 909 and 283. Pliny the Younger r£p. viii. 20) has described the lake with its 'floaUng islands'. — About 3 H . farther to the W. is Bomarto , picturesquely situated on a precipitous rock, near the ancient PcUmartium^ where extensive exca- vations have been made.
The train passes through seyeral toniiels , 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 r*£att. i^estourant;, 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 ot 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 8. Vito and OtricoUj 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 M. QaUese, Farther on, high above the left bank, is the small town of Magliano,
152 M. BorghettOy with a ruined castle on the height to the right. The Tiber is crossed by the handsome Ponte FelicCj 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 5 M. to the S.W. of Borghetto (carriages at the station) lies CiTitik Castellana (Alb. Natalucci, good table), picturesquely situ- ated 600 ft. above the sea, near the site of Faleriij the town of the Falisciy which was captured 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 So- manu8 and his son Cosrrma ; 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 1500 from a design by 8angaUo, 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 Palerii (pronounced FAUeri), 3 M. distant. Near the citadel ihePontedel Terreno is crossed to the left, where tombs honeycomb the rocks on all sides , this being the more direct route to Fa- leHum Novum or Cokmia Junonia, founded by the Romans about 2«), •it«»*e* in the plain, 3 M. to the N. of Civlti CasteUana. Etruscan and Boman tomw
5*
68 Route 9, SORAOTE.
are here seen side by side. The town was nearly in the form of a triangle, li/s M. in circnmference ) the well-preserved walls are protected by strong square towers and penetrated by gates , one of which on the W. (Porta di Oiove) U still in good condition. Another gate towards the S. E., the Porta del Bove, is also worthy of a visit •, near it are the theatre (of Roman construction), the piscina, and what is regarded as the forum, at the back of the theatre. — At the Porta di Giove, within the walls, is the *Ahbadia di S. Maria, of the 12th century. In the nave, antique columns*, in 1829 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 has also been recently discovered.
Givitii 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 J3. Orestes formerly called 8. Reit(i)o and in the 10th cent. S, EdistiOy a village about V2 ^i"- from the summit.
*Soraote, mentioned by Horace (Oarm. i. 9: Vides ut alta stet niffe candidum Soracte) and Virgil (^n. xi, 785: Summe deum sancti custos <9o- ractis Apollo), is a limestone-ridge, descending precipitously on both sides, extending 3-4 M. from N.W. to S. B., and culminating in several peaks of different heights. On the central and highest summit (2260 ft.) stands the church of 8. Bilvestro. On the slope which gradually descends towards the S. E. is situated the village of 8. Oreste. Leaving the miserable village to the right, the path ascends gradually to the left, and in i/t hr. reaches the monastery of 8. 8ilvestro (2120 ft.), founded in 746 by Carlo- man, son of Charles Martel and brother of Pepin. The summit, 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 N.). — We may descend from S. Oreste to 8iitnigliano (see below) in about 2>/2 hrs. (mule 6 fr.)
The Borghetto and Civit^ Castellana road next leads to (7V8 M.) Nepi (p. 74). Halfway a track diverges on the right to Caprarola (p. 73).
Beyond Borghetto, to the right, CivltJii Castellana (p. 67) be- comes visible for a short time. The train crosses to the left bank of the Tiber. 160^2 M. 8Umigliano,&nAiQ6'M.. Poggio Mirteto, both sit- uated in the mountainous district of the Sabina, where olive-trees abound. 172 M. Passo di Correse, The name is a corruption of CureSj the ancient Sabine town, where Numa Pompilius was born, the ruins of which are in the vicinity.
The line follows the left bank of the Tiber to (180 M.) Monte 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.) Castel OiubiUo (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; then Rome again, with the dome of St. Peter, becomes visible to the right. A wide circuit round the city is described, and near the Porta Magglore fv. 180) the so-called temple of Minerva Medica (p. 180) is passed.
195 M. Romcy see p. 111.
69
10. From Attigliano to Vlterbo.
The Etrngcan Towns in the neighbonrliood of Viterbo.
Fbom AmaLiANO to Vitbbbo, 25 H., railway in IVi-^Vs l^r* (fares 4 fr. 55, 3 fr. 20, 2 fr. 5 c).
Attigliano J see p. 66. — The train crosses the Tiber, passes (31/2 M.) Sipiniano and (IOV2 M.) Qrotte S. StefanOj and reaches —
I672 M. MontefiMcone. The station, at which omnibuses 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 *8. FlavianOy a church of 1030, restored by Urban IV. in 1262, in the Gothic and circnlar styles combined. The subterranean chapel contains the tomb of the Canon Johannes Fugger of Augsburg, with the inscription —
E$ty Est, Est. Propter mmium est^ Johannes de Fkte., 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 ^Est" On the doors of the hostelries where the best wine was to be had. On the door of the inn at Monteflascone ('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 Est Est (1 fr. per 'flaschetto'').
The little town (2010 ft. ; Albergo Oaribaldiy 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 Glminian 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 Voltumnaej 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 Sammicheli.
To (71/s H.) BolseiMy see pp. 66, 66. 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 H.) 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 Monteflascone and Viterbo, 8/4 M. to the £. of the high-road, near the Casale del FontanUe, are the ruins of Ferento, the Etruscan FererUinuniy 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, a 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 N. of the town, outside the Porta Fiorentina. „ . ^w #■.
Hotels. Albbboo Grahdoet, at the Porta Fiorentina, R. from 1V« f"
70 Route 10. VITERBO. From Attigliano
alao reatanrant and ea£6\ Anoblo (tolerable, B. IVs tr.), Tbb Be, both in ikd Piazsa; a^acent. Albbbgo & Tbattobia Sohbmabdi; Albbboo Piccolo Pabigi, near the station. — JSchenardft is tbe best caft^.
Poat Office, Piazza del Plebiscite. — PnoToaBAPHS at Ltonardo PrknCty S. Giovanni in Zoccoli 7, and PolozzVs, Vicolo della Ficanaccia.
ViterbOj an episcopal residence with 16,000 inhab. (commune 19,000), surronnded by ancient Lombard walls and towers, is sit- uated in a plain on the N. side of the Giminlan 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. Yiterbo, 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 PlebiscitOj 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 Boman antiquities: also the ^Decree of Desiderius, king of the Lombards', and the Tabula Cibellaria, forgeries of the notorious Annius of Viterbo, a Dominican monk who died at Borne in 1502 ; medieeval sculptures , including a ^Sphinx from S. Maria in Grado (1285)-, portrait-bust in terracotta (1510); an Aquamanile of the 12th cent. ; and a few paintings (*Pieta from the church of 8. Francesco, painted by iSeb. del Piombo under the influence of Hichael 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. Angelo, 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 dell' 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 medieval 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 medieval buildings to the left is the dilapidated Episcopal Palace of the 13th cent., in which, by order of Charles of Anjou, the Conclave elected Gregory X. pope in 1271, John XXI. in 1276, and Martin IV. in 1281.
The Cathbd&al of S. Lobemzo, a handsome basilica of the 12th cent., was restored in the 16th century.
Imtebiob. The fantastic capitals of the columns should be noticed. ^ t the end of the right aisle is the new tomb of Pope John XXI. ; the
to Viterho, VITERBO. 10. Route. 71
ancient tomb of 12T7 is oppoaite, in the left aisle, behind the door. In the sacristy is a fresco. Christ with four saints, ascribed to Lormso da Vitetito HITS). — At the high-altar of this church, in 1279, Count Quido de Mont- fort, the partisan of Charles of Aigou , assassinated Henry , son of Count Richard of Cornwall, King of the Germans and brother of Henry III., in order thereby to avenge the 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 yersions of the story mention the church of 8. Silvestro (now del Gesti) as the scena of the crime.
Passing tliiougli the aicbway to the right of the Palazzo Pub- blico (p. 70), we reach in a few yards the elegant portal of the church of the Madonna della 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 Qrande, begun in 1206. The Via Vittorio EmanutU and the Via 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. 3rd. — The Vicolo della Ficunaccia and the fol- lowing street lead to the little Romanesque church of 8. Oiovanni in Zoceoli (11th cent.) and thence through the Porta S. Matteo to —
8, Maria della Verit^r, in which the chapel to the right is adorned with ♦Frescoes by Lorenzo da Viterbo (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 fifom the 15th century. Fine monastery- court. The foundations of a palace built by Frederick II. have been excavated between S. Maria della Yeritk 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 IV. (d. 1268), to the right, and Hadrian V. (d. 1276), to the left; to the left of the high-altar is a cardinal's tomb of 1536, and in the left transept another of 1445.
Outside the Porta Fiorentina lies the Oiardino Pubblico, with its gay flower-beds , and busts of Victor Emmanuel , Cavour, and Garibaldi.
EXCT7B8IOM8. About 11/4 M. to the K.E. of Viterbo, towards Orte (one- horse cab Vs^'O) is the handsome pilgrimage-church of S. If aria delta QueretOi the fa$ade of which is said to have been designed by BramanU, One of the two courts of the a^oining Dominican monastery has a Renaissance loggia supported on Gothic foundations; both courts have interesting fountains. — About 1V4 M. farther on is the small town of Bagnaia^ with the charming * Vma Lante, built in the 15-16th cent., the aummer-residence
of the ducal famUy of that name (visitors admitted! carr. to the Querci » and back, with stay at both places, 2 fir.).
and Bagnaia i
72 Route 10. CASTEL D'ASSO. Excuraions
About 3 H. to the W. of Viterbo ifl Bvlicame , a warm salpharoas spring, mentioned by Dante (Inf. xiv, 79) and still used for baths. The attractive road thither (>/4 hr. ; turn to the right behind the Palaazo Pub- blico) commands a fine view of Viterbo.
Several expeditions InterestiDg both to antiqnarianB and to lovers of the picturesque may be made from Yiterho to the surrounding ruins of ancient Et&usoan 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, I21/2 M. to the W., on the road to Oorneto (p. 4), and a diligence also plies thither thrice a week in 3 hrs.
ToBcanelIa(625ft. ; Mancinellt)y the ancient Toscania^ is a small and mediaeval-looking town of 4000 inhab., with walls and towers. Outside the Viterbo gate is a picturesque ravine, with 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, Marian 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 modem 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 Campanari, late husband of the proprietrix, and his father conducted many of those extensive excavations which have filled the museums of Europe with Etmscan vases, goblets, mirrors, etc.
Oastel d'AsBO, popularly known as Castellaccio , 6 M. to the W. of Viterbo, may be visited on horseback or on foot (guide necessary; lighta 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 TombSy 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 hiU are the picturesque ruins of a medieeval castle and the scanty remains of an ancient village, probably the CcuteUum Axia of Cicero.
About 9 M. to the S.W. of Viterbo, with which it is connected by diligence, lies Vetralla, near the Roman Forum Cassii, At the entrance to the little town, near the Osteria (bargaining advisable), is S. FrarhceseOy a basilica of the 12th cent., with a tomb of the 14th. From Vetralla a visit may be paid (with guide) to the ♦iVc-
from YiitTho. SUTRI. 10, B(Me. 73
cfopUis of Norehia. We follow the road to Corneto for about 21/4 M. , and then a rough track OTer a hleak moor for 3 M. more. The valley of graves here is similar to that of Gastel d'Asso, but more imposing. Two of the tombs are Greek in style. On the other side of the valley a town named OreU stood in the 9th cent. , of which only the ruins of the castle and church now remain. — > BiedOj the ancient BUrOj now a poor village^ 4^/2 M. to the S. of Yetralla, possesses similar rock-tombs and two ancient bridges. The scenery is striking.
The high-road from Viterbo forks at Vetralla : the W. branch proceeds vi& Monte Romano to Oorneto (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 travarsed by tourists. It gradually ascends the wooded height of Mona Ciminius, once considered the impregnable bulwark of central Etruria, until the Consul Q. Fablus, 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 72 l^^- through wood to the little hill- town of Caprarola (about 6000 inhab.). The lofty *PaLazzo Farnese here, built about lc47-49 by Vignola for Cardinal Alexander Far- nese, nephew of Paul III., is one of the most magnificent chateaux of the Renaissance.
The chateau is the property of the ex-king Francis of Naples , whose steward, Dr, K. Ohlsen^ has carefully maintained the building and filled the rooms with works of art. The ground-plan is pentagonal , with a central rotunda 1 the round central court, with its arcades, is adjoined by five wings of equal size. The chief facade looks towards the town (N.E.). The saloons and other apartments are adorned with frescoes of scenes from the history of the Farnese family, allegories, etc., hj Federigo^ Oiovanni, and Taddeo Zueearo and Antonio Tempesta. The fine view ranges across the hilly country with the ancient Etruscan cities of Nepi, Sufri, and Falerii, to the Soracte ; in the distance rise the dome of St. Peter's and the Vols- cian hills, to the £. the Apennines, and to the S.S. the Abruzzi. The beautiful gardens are embellished with fountains and statues, and with the charming Palazzina, also designed by Vignola. — The fruit trees cultivated by Dr. Ohlsen enjoy a wide reputation.
Farther on, on the road to Rome, about I2V2M. from Viterbo, is Bonciglionej a beautifully situated little town, commanded by a ruined castle.
About 272 M. to the S. of RoncigUone, on the road from Ve- tralla (p. 72), picturesquely situated on the crest of an isolated volcanic hill, is Sntri, 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 (Claustra Etruriae). In 383 it became a Roman colony. The deep ravine contains numerous Etruscan tombs, and, on the S. side.
74 RouU 10. NEPI.
fragments of the ancient walls. Three of the five 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. Furius Camillus), now bmlt up. Outside the Porta Romana, at the foot of an eminence near the Villa 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 d^ 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 Bracciano and Trevignano (p. 391).
The road from Vetralla intersects the road to Rome , 5^2 M. to the E. of Sutri and 121/2 M. to the S.E. ofRonciglione, and reaches, 3 M. farther to the E., the little town of —
Vepi, the Etruscan Nepete or Nepet, afterwards Colonia Nepenais, now an episcopal seat and surrounded by mediaeval walls and towers. The elegant Renaissance Pala%zo MunicipaUj in the market-place, contains a few Roman sculptures and inscriptions. The Cattedrale dates from the 11th cent., but its crypt is older. The picturesque ruined CasteZto, 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 Walla,
A road, beginning beside the imposing aqueduct which crosses the Rio Faliseo at the entrance to the town, leads to the right to (*/i M.) Oastel S. Elia. The ancient church of *S, Blia, built about 1000, containing nu- merous frescoes of the lith 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 (7i/2 M.) Civit^-Castellana (p. 67).
11. From Perngia to Foligno and Orte (Borne),
77 M. Railway in dy^-i^A hrs. (fares 14 fr. 5, 9 fr. 75, 6 fr. 90 c. ; ex- press 14 fr. 96, 10 fr. 56 c). — The most interesting points are Assist, Spoleto, and Terni. It is sometimes advisable to exchange the railway for the road ; in this way the Tomb of the Volumnii may be visited by driv- ing from Perugia to Assisi, and the temple of Glitumnus between Fo- ligno and Spoleto (pp. 80, 81). — Fbom Pbrugia 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 8. Qiovanni. The train crosses the Tiber, the ancient frontier between Etruria and Umbria, and the Chiaseio. 13 M. Baatia.
15 M. Assiai. The town lies on a hill to the left (omn. V2fr-)*
ASSISL 11. BouU. 75
Before ascending to Assisi the trayellez should visit the magnifi- cent church of *S. Maria dboli Anobli, about Vi 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 1573 It was con- tinued by QaUazzo Al€99\ and completed by Qiulio DantU The nave and choir were re-erected after the earthquake of 1832 , but the dome had escaped injury.
The Intbbios contains, below the dome, the Oratory of the saint (called Forliuncula), the cradle or the Franciscan order, on the fasade of which is the '*Miracle of Roses', a vision of St. Francis, a fresco by Fr. Over- beck (1889); built in on the other side, to the left, is part of an altar of the 9th century. — In the Cappella di S. Oiut^ppe in the left transept is an altar with terracotta reliefs by Andrea della Robbia (Coronation of the Virgin, St. Francis receiving the stigmata, St. Jerome). — To the E. of the sacristy is a Ifttle garden in which the sainVs thoniless roses bloom. Adjacent are the Cappella delle Rosey containing frescoes from the life of the saint by Tiberio d'Assui (1518), and the hut of St. Francis, over which an oratory was erected by Bonaventura and adorned with frescoes by Lo Spagna.
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.
Asaisi. — Hotels. *Albbboo dki. Subasio (PI. a ; C, 3), with a fine view, adjoining the monastery of S. Francesco, B., L., & A. 2y8i B. 1, luncheon 2Vai J>.%]ltit,\ "^Leons (PI. bj D, 3), near the Piazza; Minkeva, near the Porta 8. Pietro (PI. C, 3), unpretending.
Photographs from Giotto's frescoes sold by P. LungM^ in the Piazza near S. Francesco , and by 0. Carloforti, Via Portica 8.
Asaisi (1050 ft.), a small town and episcopal see (pop. 3200), the ancient Umbrian Assishan, where In B.C. 46 the elegiac poet Pro- pertius, and in 1698 the opera-writer Pietro Metastasio (properly Trapassij d. at Vienna in 1782) were born, stands in a singularly picturesque situation.
It is indebted for its reputation to St. J^anct«, 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 of /^anci«- ccms y which speedily 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 diffused. St. Francis is said to have been favoured with visions, tike 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 Seraphieiu. St. Francis died on 4th Oct., 1226, and in 1228 was canonised by Gregory IX. He wrote several works. Dante (Paradiso 11, 5()) says of him that he rose like a sun and illumined everything with his rays. In the iSth 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 OP THE FsANCisoANS ou the brow of the hill, which was finished soon after 1228 upon massive substructures. It was suppressed in 1866, but a few monks have been allowed tc
76 Route 11. ASSISI. From Perugia
remain here till their death. Part of the building has been con- verted 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 chnrch. An official acts as gnide. Besides several frescoes of the 16th and 17th cent, in the refectories, the *Ghoir-Stalls by Domemco da 8, Severirio, 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 *yiew of the luxuriant valley is enjoyed.
The two "'Ghu&ches, erected one above the other, are objects of great interest. The Cryptj with the tomb of the saint, was added in 1818, when his remains were re-discovered.
The "'LowEB Chu&ch, 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 Tedeaeo ; but after 1232 FUippo 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 15th century.
To the right of the entrance is a tomb of the 14th cent., with an urn of porphyry, beside which is the magnificent *Tomb of the Queen of Cyprus', of the dose of the l3th cent., the recumbent figure on which probably represents Jean de Brienne, king of Jerusalem and Byzantine emperor (d. 1237). — The adjoining Gappblla di S. Antonio Abbatk contains the tombs of a count of Spoleto and his son (i4th cent.). — Opposite the entrance is the Gappblla oxl Gsocefisso , with some unimportant fres- coes*, by the pillar to the left, consecration as cardinal of EgidiusAlbornoz (d. 1367), founder of the chapel , who is buried here. Fine stained-glass windows of the 14th century.
The Nayk was painted by predecessors of Gimabue. The hexagonal Gappblla di S. Mabtino, the first on the left, is adorned with frescoes of scenes from the life of the saint, by Sinume MarUno of Siena. — Above the pulpit : Coronation of the Virgin , by QioUi$M, — To the right of the nave are (1) the Gappblla di S. Stbfano , with frescoes from the life of the saint, by Dono dei Doni (1560)^ (2) Gappblla di S. Antonio da Padova, the frescoes in which have been repainted; and (3) the Gappblla di S. Maodalena, adorned with frescoes, representing scenes from the life of the saint and of Maria .£gyptiaca, by a Pupil of CHotto, who did not scruple to paint copies here of his master's pictures at Padua.
The BioHT Tbansbpt contains on its right wall ^Scenes from the life of Jesus, by Oiotto, assisted by his pupils. Adjacent, *Hadonna with angels and St. Francis, by Oimabue. — 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 Conqueror. — On the K. transverse -wall: Miracles of St. Francis and the Annun- ciation, by Giotto f Saints and Madonna, by Simone Martino, — At the end of the S. transept is the Gappblla dbl Sacramento, with frescoes from the life of St. Nicholas, by a Pupil of Giotto, 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 aulting, containing the famous *Fbkscob8 of Giotto, illustrative the vows of the Franciscan order : poverty , chastity , and obed-
toFbligno. ASSISI. 11. Route. 77
ience; the foarth painting is an apotheosis of St. Francis. The first pic- tare 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 atid shield, while on the right angels, with penances as their weapons, are combatting the demons of lost. Obedience, enthroned between Prndence 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 LsFT Tbansbpt contains Scenes from the Passion, on the right wall, and in front, on the left wall, a 'Madonna between 8S. Franeis and John, by Pietro Loreiuetti. — In the Gapfklla di S. Giovanni, to the left, is a Madonna with saints, by Lo Spagna (1516).
In the Saobistt, over the door of the second apartment, is a portrait of St. Francis, dating from the close of the 13th century.
The Crypt (p. 76) is approached by a double staircase, and is lighted with candles when visited by strangers. — Behind the tomb stand colossal statues of Popes Pius VII. and IX.
The ♦Uppee Ghuboh (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 Giunta Pisano). In the 8. Tbansett, as we enter from the lower church , are a Crucifixion , Scenes from the Apocalypse, angels, and saints^ in the Choib, Assumption and Death of the Virgin, and a bishop's throne of 1260$ in the X. Tbansbpt, 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 Recognition of Joseph by his brethren ^ on the N. side, sixteen scenes from the New Testament, from the Annun- ciation to the Descent of the Holy Ghost, by Pupils o/ Cimabue, show- ing gradual improvement in execution. The lower section contains twenty-eight scenes from the life of St. Francis, probably by OioUo 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 saint's arms, as the latter is constructing a manger for the Christmas festival; 14. Miraculous production of a spring of water; 16. Sermon to the birds; 16. PredictJB 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 man; 22. A doubter convinced by the stigmata; 33. Parting from St. Clara; 24. 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 street ascending thence to the Via Principe dl Napoli, which leads us the Civile Nosooomio (a hospital.on the right, No. 11), the cha
78 Route 11, ASSISI. From Perugia
of which is adorned with frescoes by Mezzastria (p. 80) and Matteo da Qualdo (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 MonAe Frumentario.
In the Piazza Yitto&io Emantjelb rises the beantiful portico of a Temple op Minbbya (PI. 9; D, 3), with six columns of traver- tine, converted into a ^Church of 8. Maria della 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 ^2 fr-)*
The Chiesa iVuova (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 bom.
The Piazza S. Rupino, in the upper town, is embellished with a Statue of 8t. Francis, by Giov. Dupr^, erected in 1882.
The Cathed&al op S. Rupino fPl. E, 3), named after the first bishop (240), was completed in 1140, and the crypt in 1228. The ancient facade 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 Niccolb Alunno, ♦Choir-stalls by Oio^ vanni da Sanseverino (1520).
From the cathedral an unpaved road descends to the left to the Gothic church of S. Chiara (PI. E, 4), near the gate, probably erected by Fra Filippo da Campello 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 Cappuccinl, 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 Cappuccinl , at the E. end of the town, are the ruins of a Roman Amphitheatre (PI. F, 3).
A magnificent *yiB"w of the town and environs is obtained from the Castello or Bocca Maggiore (PI. D, E, 2), above the town, reached from the piazza in about ^2 ^'* ^^^ 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 Umte Subasio (3610 ft.), at the back of Assisi, is sitnated the hermitage delle Carceri, to which St. Francis was wont to retire for devotional exercises. Near the little chapel are a few apart- ments built in the i4th cent., and the rock-bed of the saint (on foot IV2, with donkey 1 hr.). ^
to Foliffno. SPELLO. 11. RouU. 79
From Assisi to Spello a Tery beautiful driye of 6 M. (one- horse carr. 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, but they are not visible from the railway.
22 M. Bpello, with 5000 inhab., picturesquely situated on a mountain-slope, is the Ancient Hiapellum (^CoUmia Jidia Hispelhim), 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 Booca da Vicenza (facade later), contains good paintings.
The b^nltier to the right of the entrance is formed of an ancient cippus. To the left the Cappella del Sacramento with *Fre8coe8 by Finturieehio (1601) : on the left , the Annnnciation (with the name and portrait of the painter); opposite to q0 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 Pieti, on the right a Madonna by Perugino , 1521. — In the Sacbibtt, a *Madonna by Pinturicchio.
8. Francesco (or Andrea)^ consecrated in 1228 by Gregory IX., contains in the right transept an altar-piece, Madonna and saints, by Pinturicchio (1508), with a copy of a letter by O. Bagliorhc to the painter painted upon it.
Among other antiquities the ^House of Propertius' is shown, although it is certain that the poet was not born here (p. 75). In the Pal. Comunale and on the church-wall of 8. Lorenfso are Ro- man inscriptions. The church of 8. Qirolamo, outside the town, contains an interesting Betrothal of the Virgin by Pinturicchio. The upper part of the town commands an extensive view of the plain, with FoUgno 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 0/* M.) 40 c. — Inns. *Po8TA, by the gate, R. from 2, D. 4, L. & A. 1 fr. , with restaurant and cafd; Tkattobia Falgohb, both in the main street, the Via della Fiera.
FolignOj 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 Niceolb di Liberatore^ surnamed VAlunno^ the head of the school of Foligno (p. 48). Public grounds behind it.
The Corso Cavour leads straight to the Piazza Vittorio Ema- nuele.
The first side-street on the right conducts us to the Pinaco- TBCA, in the old Ospixio di Mendicity ^ which contains a few Ro-
80 Route 11. FOLIGNO. From Perugia
mftn scalptares (relief with circng games) and some paintings by Umbrian masters: Pier Antonio Mezzattrit of Foligno, 1. Madonna and angels, 3. Madonna with SS. John and Dominic, 4. Crnci- flxion, 5. Madonna with SS. Francis and John ; in the middle, 67. Dona deiDoni, St. Catharine. — Hence we follow the Via Umberto I. , pass through the gate on the right , and tarn once more to the left to the chnrch of S, Annunziata (beginning of the 16th cent.), which contains a Baptism of Christ, by Perugino'^ in the sacristy is an *Entombment by Moniagna (oi Lorenzo Lotto ?).
In the Piazza Yittorio Emanuele is the side-facade of the Cattbdbalb S. Fblioiano, with a Bomanesqne portal (1201). The interior was modernised in the 16th and 17th centuries. To the left of the choir is an octagonal chapel, by AntorUo da Sangallo (1627); some of the columns in the crypt date from the 9th cen- tury. — Opposite the side-portal is the Palazzo Orfini , with a Re- naissance facade, unfortunately much injured. On the E. side of the piazza rises the Palazzo del Oovemo , the seat of the Trinci in 1398-1439. The chapel on the upper floor (custode in the Munl- cipio, at the other end of the market-place) contains frescoes by Ottaviano Nelli (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 8. Maria infra Portas , in this piazza , with a portico of the 8th cent., contains numerous but mostly faded frescoes of the Umbrian school. The Gothic church of 5. Domenico , opposite , is now a riding-school.
The Seuola d^Arii e MesUeri, 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 Clitumnus'. — In the Piazza S. Niccol5 is the church of S. Nicool6, 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 Scutovivo^ with cloisters built in 1229, resembling those of S. Paolo Fuori at Rome (p. 352).
About 5 H. 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. Bilvestro and 8. Michele^ dating from the 12th cent., have facades by Binellut (1195) and Bodulfut (1201) respectively. The former is undergoing restoration as a ^national monument.
From Bevagna (or from Foligno direct, 6 M.) we may visit the lofty Montefaloo (Alb, delV Orto^ poor*, PostOf near the gate), probably on the site of the Umbrian Urvinum Hortense^ one of the best places for the study of Umbrian painting. The church of 8. Leonakdo, by the Porta di Spoleto, contains a Madonna and saints by Franceico Melamio of Montefalco (1516). In S. AaoBTiNO are a Madonna, St. James, and St. John of the Umbrian School (1522; left wall), and Gl^od the Father, Madonna, Apostles, and Saints • BenoMxo OozeoU (?right wall). — The church of *S. Fbancbsoo, built in
to Orte. TREVl. 11. Route, 81
the 14th cent., with a portal of 1685, containB numerous iateresting paint- ings. On the entrance-wall. Annunciation and Nativity, hy Ptrtmiino; wall of left aisle, Madonna and saints by Tiberio d^Astiti (1610)^ Crucifixion, Miracles of St. Anthony, School of Btnozzo Qoztoli; Madonna, an arch- angel, four saints, VmbriiM School (1506); last chapel in the left aisle, Crucinxion and Christ appearing to Mary Magdalene. School of Oiotto, The choir is adorned with 'Frescoes by Benotto QogzoU (1462), representing the legNid of St. Francis, with portraits of popes, cardinals, and church-fathers ; below tiie window, portraits of Dante, Petrarch, and Qiotto. The frescoes on the wall of the right aisle are still partly concealed by the whitewash; the most important are those by Bcnozto OozzoH (1452 ; Crucifixion, Christ blessing, four chureh-fatherSj Madonna and four saints). — The Pinagot£ca, in the principal piazza, adjoining the Municipio, contains three saints by Lo Spagna (?), a Madonna by Benozzo OozzoH (?), and numerous other unimportant works. — The church of S. Fortunato, 1 M. beyond the Porta di Spoleto, also possesses several interesting paintings. In the Cappella di 3. Francesco (to the left in the court), Legend of St. Francis, by liberio d^Aszisi (1512); in the nave, seven angels by Bcnozzo OozzoH; in the choir, Madonna and saints, by Franc, Jfela»zio (1528); right aisle, *Madonna adoring the Holy Child, Angel with a musical instrument, by Ben, OozzoH (1460). — A walk round the walls of the town afifords magni- ficent *VisW8 of the Umbrian plain.
The Railway traverses the luxuriant, well-watered valley of the ClitumnuSj whose herds of cattle are extolled by Virgil, to —
30 M. Trevi (^Locanda, near the Porta del Lago, poor). The small town, the ancient ISrebia, lies picturesquely on the steep slope to the left. The Pinacoteca in the Municipio contains three works by Lo Spagna (1. Coronation of the Virgin, 61. St. Cecilia, 65. St. Catharine). The church ofS. Emiliano, of the 12th cent., possesses an interesting portal (St. iEmilian between two lions) and three richly-ornamented ♦Altars by Rocco da Vicenza (1521).
About Vs ^* beyond the Porta del Lago lies the church of S. Mas- ting (key at the Cafd Cecchini). In the outer chapel is a *Madonna in glory, surrounded with four saints, by Lo Speigna (1512); above the entrance, Madopna and two angels, by Tibcrio d^Azziti; in the interior, St. Martin by Lo Spagna (? to the left), and Madonna, St. Francis, and St. Anthony, of the School of Foligno (to the right). — The church of S. Mabia dsllb Laobixb, >/4 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 Oiovcmni di Oian Piciro 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 Pcmginos 1st chapel to the right, Annunciation, UrnXniain School.
The small village of Le Vene, on the Clitumnus, 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 8, Sdhatore , lies with its back towards the road, about 2y2 M. from Trevi. Near Le Vene the abundant and clear Source of the Clitumnus, 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 choir of which is adorned with frescoes by Lo Spagna (Coronation of the Virgin, Babdkkjck. Italy II. 10th Edition. 6
S2 BouU 11, SPOLETO. From Ptmgia
Legend of St. James of ComposteUa ; 1526). Beantifnl road through richly cultivated land.
40^2 M. SpoletO. The town is >/« ^> distant ; one-horse carr. V2 fr.
*Albbroo & RxsTOXAZioHB OX FiLiPPo LcoiMi , in the upper town, near the theatre, R., L., A A. 2>/s, luncheon 2Vti !>• 3fr. ; Posta, in the lower part of the town, near the railway-gate. — Trattoria della FerroviOf to the right of the gate. ~ *C<;^f4 dtlla Aaziane and Birreria^ Corso Vitt. Emanuele. — £athSy Piazza S. Laca.
SpoletO, the ancient Spoleiiumj 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 vigorously repelled the attack of Hannibal, as Livy relates (22, 9). It subsequently became a Roman munieipium, suffered severely during the civil wars of Sulla and Marius, and agun at the hands of Totila and his Goths, after the fall of the W. Empire, though Theo- doric the Oreat favoured it. The Lombards founded a duchy here (as in Benevento) in 569, the first holders of which were Faroald and Jriul/. After the fall of the Carlovingians, Outdo of Spoleto even attained the dig- nity of Emperor, as well as his son Lambert , who was murdered in 898 . In 1156 the then prosperous town was destroyed by Frederick Barbarossa; and in the beginning of the 13th cent, it was incorporated with Uie States of the Church. The Cattle of Spoleto, known as La Rocca, originally founded in pre-Roman times, was rebuilt in 1364 by Oardinal Albomoz, 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^AnmbaUj or Porta deUa 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 —
^Cathedral 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 v^ith Mary and John, a large mosaic by SoUtmm (1207). The richly ornamented portal, of the 11th cent., bears on the left the name of Orcgorius Meliorantius, The lower part of the tower contains many ancient fragments.
To the right of the vestibule is a Baptistbbt (CappeUa Eroli), con- taining frescoes in the style of Qiulio Romano; the travertine font, with sculptures from the life of Christ, is of the 16th centurv.
The Int£SIob of the cathedral was restored in 1644. In the chapel immediately to the right of the entrance are some fragments of frescoes by Ptninricehio and a Oruciaxion (1187), from 88. Giovanni e Paolo. — The Guois contains ^Frescoes by Fra Filippo L^i. 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 Fit, Lippi (d. 1469). The monument was
toOrte. SPOLETO. IL Route. 83
erected by Lor. de^ Medici^ the epitaph is by Poliziano. Opposite is the monament of an Orsini, by Ainbrogio da Milano (1489). — The Wintbr- Ghois, in the left aisle, contains good carving of the 16th cent., and a Madonna by Lo Spagna.
In the Piazza del Duomo , in front of the cathedral , probably stood the palace of the Lombard dukes. Adjacent is the tasteful ChUna della Manna (VOro, founded in 1527. — On leaving the ca- thedral we proceed in a straight direction , slightly ascending, to the Palasio Arroni (on the left) with a fine portal and Graffiti of mythological scenes (16th cent.j and to the Palazzo Pubblico, containing several inscriptions and the small Pinaeoieca,
On the entrance-wall, early medieeval sculptures. — Rook 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 Spagna, — R. IV. Bight wall. Ma- donna, by Bern. CampelloiiSOQ) ; Adoration of the Holy Child, by Lo Spagna (V).
On the other side of the Palazzo Pubblico, and in some of the neighbouring houses, Koman 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 Mebcato, 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. AnaanOj 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 of 88, Oiovanni t Paolo, 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 convent of 8. Paolo (13th cent), now a poorhouse ; adjacent is 8. Madonna di Loreto, 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 iSf. Oiuliano, 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 Crociftsso, formerly 8. 8alvatore. 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 and consoles with which they are adorned and also the three magnificent windows
G*
SiBouUll. TERNI. From Perugia
wMch pierce the facade are the work of the Christian architects. In the interior the nave was separated by twenty Doric columns from the aisles, which were built up on the conyersion 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, Ponziano,
The Conte Francesco Toni'a 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 *Ponte delle Torti, built of brick, which is used as a viaduct, uniting the town with Monte Loco. 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 j 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 *Prospeot is ob- tained, embracing the fortress and town, and the spacious valley.
The ascent of Honte Lnco, IVz hr., is somewhat fatiguing. Befresh- menta at the Franciscan convent near the top (adequate remuneration expected). The hermitages are now used as summer^ wellings. 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 CittJt di Gastello and Guhbio. In the other directions the view is intercepted by the mountains in the vicinity. Towards the E. these are overtopped bj' 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 Qratie^ an ancient resort of pilgrims.
The Railway now ascends for 8/4 hr. to its culminating point on Monie Somma (2230 ft.). — Passing through a long tunnel , it reaches (51 M.) Oiuncano.
58 V2 M. Temi. — The town is about V4M. from the station. The hotel- omnibuses meet the trains j a seat in a carriage Cun posto') to the piazza 30-60 c, box 20 c.
Hotels. ^Edbopa A Inohiltbbra, in the piazza, with restaurant, R. from 2, A 1/2, B. 11/4, dej. 2V«» D- incl. wine 5 fr. ^ Italia ; Alb. Nuovo with trattoria.' — Ca/4 Elvezia^ near the Europa.
to Orte. TERNI. 11. RouU. 85
Gabkiaqb to the Waterfalls P/*, back V«^'0: ^ person 6. 2 pers. 7, 3 pers. 9fr., etc. (bargaining advisable)*, or at the hotels 7, 10, and 15 fr. respectively, besides which a fee of 1-1 Va fr. is expected. — Guidb (qnite nnneeessvy) 3 fr. — The traveller should 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 Velino 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.
Temi, situated in the fertile vaUey of the Nera, with 15,900 inhab. (incl. villages) and several manufactories, is the ancient IrUercmmaj 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 Pubblico, palaces of theUmbrian nobility, etc., are objects of interest. Pleasant walk on the ramparts, whence the beautiful NeraVaUey is surveyed : to the left Collescipoli, to the right Gesi, opposite the spectator Narni.
The Watebpalls of Tbeni may be reached on foot in IY2 hr. { 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^ Southern Italy) gradually ascends to the S. , across the plain of the Nera, to (5^2 M.) /Sftroncon*, 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 line 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. — li M. Piedilueo (55 min. from Teml; 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 (1/2 hr. ; y^i fr.) is not always to be had without delay. A road (2 M.) is being made.
To reach the Watssfallb from the station of Marmore CRail. Re- ttaurant) we turn first to the right, and 80 paces beyond the pointsman's hut "So. 214, cross the railway. Paying no attention to the 'Custodi delle Gascate^ 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 waterfalls. The New Road (4^2 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 and Aquila road, which crosses the Nera just outside the gate, traversing garden? and olive-plantations ; after 2 M. (near a small chapel on the right),
86 Route 11. TERNI.
broad road to the left descends into the valley of the Nera, while the high-road ascends gradually to the right. The former descends in windings past the village of PapignOj picturesquely situated on an isolated rock, (8/4 M.) crosses the Nera, and on the right bank, near the villa of Count CasteUi-Graziani, reaches the new road mentioned above (1-1 1/4 M. to the falls).
The celebrated falls of the Velino (which here empties itself into the Nera), called the **Caseate delle Hannore, 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 eon- tinnally raises its bed^ and the plain of Bleti (1400 ft.) is therefore frequently exposed to the danger of inundation. In ancient times Hanius Cnrins Dentatus endeavoured to counteract the evil by the construction of a tunnel (B. C. 1771), 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 5 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 finest 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 fuU 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 farther 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. 11. Route. 87
*Lake of PiedikieOj IV2 M. farther on. Following the road, which skirts the indentations of the lake, we arrive at the village of Pie- diUieo, with its ruined castle, in V2 ^^- (tolerable inn). On the opposite (8.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 Ceti, 5 M. to the N.W. of Terni , to the right of the S. Gemine and Todl road (p. 55), with remains of ancient polygonal walls and interesting subterranean grottoes. To the left, CoUeseipoU.
66^2^ Vanii (^AngelOj tolerable), the ancient Umbrian Natnia (originally Nequinum), birthplace of the Emperor Nerva, Pope John XIII. (965-72), and Erasmus of Narnl, surnamed Gattamelata, the well-known 'condottiere' of the 15th century. It is picturesquely situated, ^4 M. from the station, on a lofty rock (1190 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 Town Hall contains the Coronation of Mary by Ohirlandajo (formerly in the monastery of the Zoccolanti , the strictest branch of the Franciscans), spoiled by retouching.
From Nami vi& Perugia by Todi, see pp. 66, 55.
From 17ami a road leads to the N.W. to the (6 H.) venerable and finely situated Umbrian moantain-town of Amelia, Lat. Ameria (inn outside the gate), mentioned by Cicero in his oration Pro Boscio Amerino, with admirably preserved *Cyclopean Walls and other antiquities (1890 ft.).
The train turns towards the narrowing valley of the Nera, and passes close to the ^Bridge ofAugustui (on the left), which spanned the river immediately below Narni in three huge arches , and be- longed to the Via Flaminla (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 Mon^ ioro 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 Kingdom of Italy and the Papal States. — Near —
77 M. Orte (^RaiU Restawrant) we reach the main line from Ghiusi to Rome (see p. 67).
12. From Bologna to Rimini, Faleonara (Rome), and Ancona.
127 M. Bailwat in S-Ti/a hrs. (fares 23 fr. 10, 16 fr. 16, 10 fr. 40 c.t express 25 fr. 40, 17 fr. 80 c.) — Beautiful views of the sea between Biminl and Cattolica, and beyond Pesaro. A seat on the left should therefore be secured. — From Bologna to Romb, 300 M., express in 13»/4 hr*. (vi^ ^or- ence in 13 hrs.). This train diverges to the 8.W. at Faleonara, the last station before Ancona.
88 RouU12, 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 TJmhria); but without a visit to them the traveller's acquaintance with Italy would he 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). Urhino, 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- binoy Ancona, Maeerata, and A»eoU are called the Mabchbs (Le Marehe). In Roman times the 8. part as far as Ancona was called Picenum, while the V. part belonged to Umbria (comp. p. 93).
From Bologna via (22 M.) Jmola to (26 M.) Casta Bolognese, . junction for the hranch-line to BavennOj see Baedeker'a Northern Italy, The line follows the ancient Via .Emilia , which ran from Placentia to Ariminum.
We cross the river Senio, the ancient Sinnus,
31 M. Taenia (*Alb, Firenze, 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 BoU, was the scene of Sulla's victory oTer Carbo. 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 Cathsdbai. OP S. CosTANzo, a handsome basilica of the 15th cent, named after Oonstantius, the first bishop of Faventia (313). It contains the tombs of Giov. Bosi (d. 1542; 1st chapel to the right) and Africano Seve- roli (d. 1522; 5th chap, on the right), both \ijBariloio; 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 deW Orologio ; the fountain in the centre, embellished with bronzes, dalps 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 Pinacotboa.
At the end of the Vbstibule : Colossal group of Mary with the two SS. John, by Alfonio Lombardi. — Room I. To the right: Pace da Faenza, Madonna with saints (14th cent.)*, ^Lionardo 5<;ate««, Madonna with angels and saints (1484)*, Crucifixion, St. Dominic and St. Peter; Oiamibattista Btriueei, Madonna with saints (1506); Bagnaeavallo , Betrothal of St. Ca- tharine; PatmeMMono, Madonna with saints (1^); PaUneMBOHM, Bearing ' the Cross (1635) ; Done Doiti, Two heads. — Room XL Giaeomo Bertveei
to Ancona. FORLI. 12. Route. 89
the Younger^ Madonna with saints (1565), Descent from the Gross \ Cctiffnola^ Baptism of Christ; MicheU Mcmxoni^ Martyrdom of St. Entropius; Ti^lo^ Judith ; Arrail( Fmtoni, Bethesda; Massimo d'Azeglio^ Landscape; &tUdo Bmi, Madonna, with 8S. Francis and Christina; Van JDpck^ Two royal portraits. — In the Small Rooms: Two fine *cassoni*, formerly belonging to the Manfredi, and a wax-mask of the Dominican Paganelli. — In the Boom to thk bight op thk Entsanoi: Marble *Bu8t of John the Baptist, and wooden statue of St. Jerome, both by D4maUilo; terracotta bust of the 16th cent., and a Madonna of the school of the Robbia.
In the Via Torricelli, at the end of the piazza, to the left, He the old Palazzo Manfredi and , opposite , the church of 8. Michele^ with tastefnl brick ornamentation.
The street beside the clock-tower crosses the hridge to the Borgo. The second church in it, to the right, La Maggiof%e, contains a fine fresco hy Oirolomo Pennaxicki 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 Amonej then the Montone, which, united with with the Boneo (Bedesis), falls into the Adriatic near Ravenna.
40 M. TotU (^AW, Ma^iniy tolerable; 8, Marco ^ small, good cuisine; Vapore, unpretending but well spoken of), the ancient Fomm 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 Athauif, king of the Visigoths, with Oalla Plaeidiay sister of the Emp. Honorius was solemnised, was long an independent state in which the Gnelphs retained their ascendancy down to 1315. The Ordelaffi then usurped the supreme power, which they retained till 1480, when they were succeeded by Oirolomo Riario^ a favour- ite of Siztus IV. This prince was assassinated in 1488, and his widow. Caterina Bforta^ was afterwards banished by Cesare Borgia. At length, in 1504, Pope JuUtu II. annexed the city to the States of the Church. — Forli was the birthplace of the poet Cornelius Oallus (d. B.C. 27), of the historian Flaoio Biondo (15th cent.*, p. 128), and of the talented painter Melozto da Forli (end 6t 15th cent.) , who was closely allied to Piero della Fran- cesca, was recognised by his contemporaries as a master of perspective, and was afterwards engaged at Rome.
The Piazza Vitt, Emanuele , the principal square (comp. Plan, p. 90) is enclosed by handsome palaces. Here, too, is the church of —
S. Mbbcubialb (so named after the first bishop of Fori!). In the 3rd chapel to the right, Palmezzano^ Crucifixion, with saints and the donor ; 6th chap, to the right, Palmezzano, 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 by Alessandro de' Bigni (1536) ; in the sacristy, Tura, Visitation. ^— Opposite the church is the restored Municipio, with a tasteless tower of the 18th century.
Proceeding southwards from the piazza, we reach the Catsedbal OF S. Cboce. 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. The painter is bur- ied in the chapel. At the end of the S. aisle, to the left, is a St. Se'
90 Route 1^. CESENA. From Bologna
astian by Rondinelli. A reliquary of the 14th cent., and the sculp- tures of the principal door (15th cent.) also deserve notice,
88. Biagio e Oirolamo 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^ Madonna and saints, with Qirolamo Riario and Cath- arina Sforza and their sons (1486). The frescoes in the dome are also by Palmezzano. J
The Pinacoteca and other municipal art- collections are preserved in the Ginnasio Comunalb, in the Piazza di S. Pellegrino. The school of Fori! is represented in the Pinacoteca by Melozzo and Pal- mezzano, and also by Agrestij Menzocchi, Morolini, and Cignani. The names of the artists are attached to each painting.
In tlie Coubt: Monament to the anatomist Morgagni (d. 1771), nnveiled in 1875. On the Staibcas£ : Sarcophagus of the 14th cent. \ Sarcophagus of St. Marcolinus, by Antonio BoselhHi (1458). Fine door-frame and lunette, Madonna with angels (formerly in the cathedral), by Simone di Oiov. Ohini.
Pinacoteca. Passing through a corridor with engravings we enter Boom I. To the left: 5. Marcello Venusti^ Reaurrection (restored); 20. Tapestry from the design of a Lower Rhenish master (ascribed to Perugino} ; 35. Tapestry from the design of a South German master (ascribed to Wohl- gemuth)'y 34. Cigoli^ St. Francis: Fra Angelico, 48. Christmas night, 45. Christ on the Mount of Olives ; 44. Simone Memrni^ Two saints ; 54. Bassano, Adoration of the Shepherds/ In the middle: Hebe, by Canova. — Lakoe RooH. To the right: 77. Cagnacci, St. Valerian: 86. Ouereino^ Annun- ciation; 90. Rondinelli, Madonna; *92. Francia, Adoration of the Child; 93. Agostino Carraeci, St. Francis; 96. PalmezeanOy Portrait; 108. Cignani, Portrait of himself; *Melogzo, *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, Gtod 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 Ceesar Borgia; 168. Cagnaed, S. Mercuriale. — In the Small Rooms: Medals (among which is the portrait of Catharine Sforza), fayence, Pre-Roman 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 Fori! through the Apennines viS, 2ioeea 3. Caseiano and 8. Benedetto to Florence.
The Railway to Rimini crosses the Roneo and passes (45 M.) Forlimpopoli, the ancient Forum Popilii ; to the right, on the hill, Bertinoro, with its productive vineyards. It then passes Polenta and crosses the 8avio (the ancient Sapis),
52 M. Cesena (Leon d'Oro, R. 2V2 fr- ; CappeUo), with about 10,000 inhab. (incl. villages 38,300), is surrounded by beautiful leadows and hills, and boasts of several interesting palaces.
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^»^t:T ADeltea Lei
ioAncona. RIMINI. 12. Route. 91
Caesena is one of the most ancient episcopal sees in Italy, where 8t. 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 rulers is alluded to by Dante, Inf. xxvii, 52
Cot\ eom^ ella sie^ tra il piano e il monte^
Tra Hrannia ti vive e state franco. On Ist Feb., 1377, the town was cruelly sacked by Cardinal Robert of Geneva, and subsequently by Gesare Borgia after which it was incor- porated with the States of the Church.
In the Piazza is the handsome Palazzo Pubblico^ -with a statae of Pins VI., who was born at Oesena in 1717, as well as his successor Pius VII. in 1742. — The Cathedral contains two marble altars of the 15th and 16th centuries. — The Library, 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 Pinaeoteca 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 Gesena.
On an eminence , 3/4 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 Piaciatello, the upper part of which, called Urgone, is identical with the Rubicon of the ancients, the boundary between Italy proper and the province of Gallia Cisalpina, and memorable for its passage by Gsesar at the beginning of the civil war between him and Pompey, B.C. 49.
The most recent investigations tend to show that the Rubicon has entirely quitted its ancient course. It appears originally to have fallen into the Fwmicino, farther S., while at the present day its upper part (TJrgone) unites with the Pisciatello. Most of the towns and villages of this district have in turn laid claim to the distinction of possessing the Rubicon within their territory. Kor 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 Uso (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; 60^2 M. Savignano. The train crosses the TJso. 63 M. S. Arcangelo, where Pope Clement XIV. (Ganganelli) was bom in 1705 (d. 1771). The Marecchia is next crossed.
69 M. Bimini. ^ *Aqutla d'Oao, in the Corso, R. A A. 2V2, luncheon 2V4, omn. from station «/* fr. •, Albeboo Ndovo, also with omnibus at the station; Italia, at tlie Pescheria, fair. — Trattoria d*Europa^ Piazza Cavour; Ccfffk 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 the beach.
Rimini, beautifully situated on the Adriatic at the mouth of the
92 Route 12. RIMINI. From Bologna
Ansa and Marecchia, with 11,000 inhab. (incl. villages over 37,000), and extensive fisheries and silk manufactories, has of late come into notice as a sea-bathing place. Handsome public rooms with a caf^ and restaurant, and numerous lodging-houses have been erected on the pleasant promenade on the beach.
Rimini y the ancient Ariminutny a town of tlie Umbrians, became a Roman colony in B.C. 269, and formed the frontier- fortress of Italy in the direction of Oanl. and the termination of the Via Flaminia from Borne, constructed in 220. The town was extended and embellished by Julius Geesar and Augustus. During the Exarchate, it was the northernmost of the Pentapolis Maritimay or 'Five Maritime Cities', which were ruled over by one governor. The other four were PesarOj Fano, Sinigaglia, and Aneona. 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 Oiovatmi it Sciancato (Hhe lame'), surnamed also LancilottOy put to death his wife, Franeesca Polenta of Ravenna, and his brother, JPaolo il Bello (an event from which Dante derived the episode of 'Franeesca da Riminr 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 Aneona. Under Lewis the Bavarian they became vicegerents of the emperor, but Cardinal Albomoz afterwards succeeded in reducing them under the power of the pope. The Ualatesta family, divided into the Pesaro and Rimini branches, distinguished themselves as condottieri, but also as patrons of learning. The most famous scion was Bigismondo., 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 Itotta. — 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. Francbsco (JDuomOf Tempio del Malatesta; PI. 3; C, 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 BasiniOy the Parmese poet; Oiiuto de' Conti; Oemisthius 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 Intebiob was said by Pope Pius II, to resemble a heathen temple rather than a Christian church. To the right of the entrance is the Tomb of Sigismondo (d. 1468). Most of the plastic ornamentation of the chapels was executed by Agoitino di DucHo of Florence; a few works are by Fiero Bernardo Ciuffagni. — Isx Chapbl on the right: above the altar, ''*■. Sigismund of Burgundy, patron-saint of the founder; by the pillars,
to Aneona. RIMINI. 12, RouU, 93
allegorieal figures of the Tirtaea. ~ 2md Chapsl of *hk Bbucs OSantaario*, shown by the sacristan), containing a (restored) ^Fresco by Fiero delta Franeesea CPetri de Burgo optu liSV): Sigiamund Halatesta kneeling before his patron St. Sigismand, with La Rocca, built by hiin, on the right In the Gappxlls. di S. Miohblx, the 3rd to the right, is the Tomb of I§oUa (d. 1470), erected in 1400, with the motto Hempus loquendi, tempus tacendl\ The archangel on the altar, by Oiuffagni^ is a portrait of Isotta. By the pillars, angels playing on musical instruments. — 4th Ohapxl on the right: by the pillars, the planets and other fantastic representations from a poem by Sigismondo in honour of his mistress. — 4th Ghapkl on the left: by the pillars, allegorical figures of the sciences. — 3rd Chapkl on the left: Children's games, probably by Simome Ferrucei, a pupil of Donatello. — The 2md Chaprl on the left is closed. — The Ibt Chapki. on the left, restored in 1868, is named the Cappella deir 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. G, 5), the ancient forum. A stone Pedestal here, erected by Sigismondo and restored in 1560, commemorates Ossar^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 Gobbo d'Auqubto, which intersects this piazza, leads to the S. to the Porta Romana, and to the N. to the Piazza Gavour and the bridge of Augustus.
The ♦PoBTA Romana or Arco titAugtuto (Pi. D, 6) is a triumphal arch of travertine, of simple design , erected to Augustus in E.G. 27 out of gratitude for the restoration of the Via Flamlnia , 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' Anflteatro, the second side-street of the Gorso from the Porta Romana), which, however, scarcely merit a visit.
The Palazzo dbl Gomunb (PI. 9; B, 5], in the Piazza Gavour, contains a small picture-gallery, comprising : Domenico del Ohirlan- dajo (school-piece), SS. Yincenzo Ferrerio, Sebastian, andRochus; Oiovanni Bellini, Piet^ (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(Pl. 10), erected in 1857, is the ancient Palace of the Malatesta, 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 Gambalunga to the E. of the Piazza Gavour, founded in 1617 by the jurist Qambalunga, contain'
94 BouU12. PESARO. From Bologna
23,000 Yols. and several MSS. The small Afii^^o Archeologico here contains the *Tomb of a woman, a heima of Pan and other antique sculptures, and tombstones of the 10- 11th centuries.
At the end of the Gorso the Mareechia (the ancient Ariminus) is crossed by the flve-arched *Pontb d'Augusto (PI. A, B, 4), one of the finest ancient structures of the kind. It leads to the Sorgo S. Giuliano, where the Via /Emilia united with the Via Flaminia, which led to Rome. Here, too, is situated the church of —
S. Oiuiiano (PI. 6 ; A, 3, 4), containing the Martyrdom of St. Julian, an altar-piece by Paolo Veronese ^ and an old picture by Lattanzio della Marca (1357), the Life of the saint.
In the Castello di S. Leo^ 18 M. to the W. of Rimini, the notorious im- postor Cagliostro (Giuseppe Balsamo) died in confinement in 1794. From S. Leo a bridle-path, much frequented by fishermen, leads yi& Camaldoli and Vallanibrosa to Florence.
About 12 M. from Bimini is situated the ancient republic of San Ka- rino, the smallest in the world (32 sq. H. in area , with 80(X) 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 (Albergo 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 £rom 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 Bavknna, 31 H., narrow-gauge railway along the coast in li/a 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 Orustumius Rapax of Lucan), and reaches (75 M.) Riceione. 81 M. CaUolica , 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 TavoUo and passes the ViUa Vit^ loria , situated on the left , on the road to Rimini. We then cross the Foglia^ the ancient haurus or Pisaurus,
9OY2 M. PeSI&ro. — •Albkego Zongo, near the Piazza, with restaur- ant; starting-point of the diligence to Urbino (see p. 96). ^ C<iffi della Piazza^ in the piazza, next door to the Urbino diligence-office (4 fr.); del CommerdOj in the Corso. — Carriage from the station to the town, one- horse 80 c, two-horse 1 fr. ; one-horse carr. to TJrbino about 12 fr.
Pesaroy with 11,000 inhab. (with suburbs 21,000), the ancient Pisaurumy 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 tTmbrians and Etrus- cans, and a Boman colony as early as B.C. 184, was destroyed by Vitiges the Gk)th , and rebuilt by Belisaritts. In the iSth 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*£stey "'^isort of Francesco Maria II., it became a centre of art and literature, ■vas visited by Bernardo and Torquato Tasso. The former of these
to Aneona. PESARO. 12. Route. 95
a,athor8 completed bis ^Amadis* here. In 1631 the town was annexed to the Papal States. — The figs of Pesaro are excellent.
The Via Branca, to the left in which is the Teatro Rossini^ leads to the Piazza, just on this side of which a side-street dlyerges on the left to the Alb. Zongo , while on the right is the handsome portal of the former church of S. 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 1465, and completed by the Rovere. The architects were prob- ably Qirolamo 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 Constanzo Sforza and Camilla d*Aragon.
Opposite is situated the more modern Palazto dei 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 Oiulio Perticari (1779-1822), by P. Lorandini. — At the other angle of the piazza is the Palazzo del Municipio, the vestibule and entrance of which face the Piazza Mamianl. it temporarily (until completion of the Ateneo, see below) contains an admirable Majolica Collection (650 pieces; many from Pesaro, Urbino, Gastel Durante, and Gubbio, by Maestro Oiorgio')^ two pictures by Zoppo (a Pietk 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 Vecchia), is the Palazzo Almerici, with the Atbnbo Pbbaresb.
In the Vkstibulk are votive stones of the matrons of Pisanrum, among the moat ancient Latin monuments extant. In the conrt 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 BiBLiOTBOii Olivieri. The latter contains 36,000 volumes and 1400 HSS., amongst which are letters of Tasso and others. — In the Musbuk are ancient clay images and lamps-, ivory earrings (early Christian reliefs of the Expulsion from Paradise and the Stoning of Stephen, and a slab from the throne of Maxi- minian in Ravenna); early Italian bronzes and coins (aes grave from Ve- tulonia); an image of Mithras in vitreous past«.
In the Palazzo MachireUi (first turning to the left from the Albergo Zongo) is the Lieeo Comunale, In which is a sitting figure of Rossini by Marochettl, erected in 1864 by two admirers. Baron Salamanca of Madrid and G. Delahante of Paris.
In the Via Rossini, in which stands the small house where Rossini was born, is the old Cathedral (closed at present). Close by, in the hall of the Vescovadoy is an early-Christian NymphsBum.
The present cathedral , 8. Francesco , in the Via Roma , has a Gothic portal. It contains a Madonna enthroned, with four saints, by Giovanni Bellini (1495). — *S. Giovanni BaUista, in the Via Passeri, was begun by Giovanni Genga in 1615, and finished by
96 RouU 12, URBINO. From Bdlcgna
Bartolommeo in 1543. — 8, AgosiinOf in the Corso, has a Gothic portal of 1413.
On the N. side of the town stands the Roeehetta (now a powder- magazine), built by Giovanni Sforza. — Opposite the spacious Lunatic Asylum (Manicomio or Ospizio degli Incurdbili) are the small Orti Oiuliy 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 IVt H. from Pesaro rises Monte 8. Bartolo^ where the Roman dramatist L. Attius is said to have been interred. On the top lies the *Villa Imperiale, belonging to the Principe Albania at whose town-house entrance- tickets may be obtained. Alessandro Sfona 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 Geuga. The *2nd Boom was de- corated as an arbour, with figures of Daphne and landscapes, by the brothers DoiH; on the ceiling is the duke with his army. In thd 8rd Boom are the Coronation of Charles Y., and allegories after designs by Angelo Bronxino. 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 stucco ceiling, is embellished by paintings by Rafftullino del Colle, representing the duke being crowned with a garland, Calumny (after Apelles), and the Christian virtues. — Eleonora Gonzaga caused Oirolamo Qenga to erect a new palace about 1530, near the old bouse, with an inscription on the facade to the effect that it was built for her husband Francesco Maria *a bellis redeunti animi cgus 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 Qirolamitani; one of the finest ''Views in the environs is obtained from an eminence behind the monastery.
The Munidpio of the littie coast-town of Oradara, 7 M. to the IT.W. of Pesaro, contains a Madonna and saints by Giovanni Santi (1484) ; in the Roeca is a terracotta altar by Andrea della Robbia.
An EzcuBSioN to Urbino 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 Cappone', 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, in which the inn and caf^ are situated.
Urbino (*Albergo deW Italia)^ the ancient Vrvinum Metaurtnse^ celebrated as the birthplace of the greatest painter of all ages, Raphael 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 situation is picturesque.
to Ancona. URBINO. /l>. BouU, 97
In the 13th cent, the town came into the posseMion of the lionUfeltro family, and under Fbdbbioo Hontbfbltbo (14£4-62) and his son Chtidobaldo (1482-1606) attained to such prosperity as entirely to eclipse the neigh- bonring courts of the Malatesta at Rimini and the Sfoma at Pesaro. Federigo Montefeltro, who distinguished himself as a condottiere in the feuds of the 16th cent., married his daughter in 1474 to OioTanni della Rovere, a nephew of Sixtus IV., and was in consequence created Duke of Urbino. His court was regarded as a model aniong the princely courts of that period. It was yisited 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 , eealously fol- lowed his example, with the able assistance of his beautiful and ta- lented wife Blizdbtta Qonzaga. 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 Covni Baldassar Coitiglione in his *Gortigiano\ the ideal of a courtier. In 1497 Guidobaldo was expelled by Oetare Borgia^ the son of Alexander VI., after whose death, however, he returned to Urbino in 1508. He died in 1606 and bequeathed his dominions to his nephew Fran- ceKO Maria delta Rovere^ the favourite of Pope Julius II. In 1626 the duchy was incorporated with the States of the Church, when Urban VIII. per- suaded the last and childless Duke Francesco Maria 11, 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 Francesco^ and Melozzo da Forli. Even for- eign painters , like Justtu 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. Timoteo Viti, or dblla Vitb, of Ferrara (1467-1523), 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 firescoes at Cagli (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 1600, but under what tuition is unknown. Another native of Urbino was Fbd- bbioo Baboocio (1028-1612) , 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 Mbboato , or market- place, where the Gorso Dnoale, in which the inn is situated, ends. — The Via Pncinotti 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 Barocdo; to the left of the high-altar, the Lord's Supper, also by Fed. Baroccio. In the sacristy: SS. Martin and Thomas h, 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 Ohrist by Piero della Franceecay elaborately executed in the miniature style. — The Cbtft (entered from the right comer of the small piazza between the cathedral and the palace) possesses a Pietii by Qiov. da Bologna.
The ♦♦Ducal Palacb, erected by Luciano Laurana of Dalmatia in 1468 by order of Federigo Montefeltro, and completed by Baccio Pintellij is now used as a 'Residenza Govemativa*, and con- tains the archives. The requirement of strength , coupled with
Babdbksb. Italy II. 10th Edition. 7
98 Route 12, URBINO. From Bologna
the nneyenness of the ground, has given rise to the irregularity 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 medieval tombstones and a relief (Pietk) 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 MUanOj etc. The corridors and rooms contain a collection of inscriptionB from Rome and the Umbrian municipia, early- Christian and medisval sculptures, and a small Picture Oallery.
The Collection of Inscriptions was made by the epigraphist Fabretti. — Of the BcnlptnreB the chief are 72 reliefs with representations of engines of war (after Francesco di Giorgio'), by Ambrogio da Milano (1464), which formerly decorated the outside of the palace. Farther on in B.00X I. are fonr chimney-pieces and a marble 'Lavatojo'. Boom II. Fr. Ztiechero, Pieti; two crucifixes of the 13th cent. 5 St. Clara (14th cent.). Boom III. Tapestry worked in Urbino by masters from Flanders 5 to the right, Pal- meriniy Madonna ; stucco-reliefs by Brandano. Farther on is the Sala dkoli Angbli, 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 Baphaers skull. The studio of Duke Federigo should be visited for the sake of the in tarsias, 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 Borne.
Picture Gallery. To the right: 38. Baroccio, Kadonna, with saints; 25. Viti, St. Sebastian ; 23. Paolo Ueeello , Legend of the desecrated Host. Fine chimney-piece. — 22. Oiuliano da Rimini. Madonna, with saints ; *2. Oiovanni Santi, Madonna with SS. John the Baptist, Sebastian, Jerome, and Francis , and the Buffi family ; Piet^ ; 18. Fiero delta Francesco, Archi- tectural piece; *1. Jttsku vAn Gent, 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. ApoUonia; 53. Sassoferrato, Madonna; 52. Fra Camevale, Madonna; Titian, Last Supper (damaged), and the Besurrection (late works).
Opposite the palace rises an Obelisk, facing which is the church of 8. Domenico , with a pleasing portal and a terracotta relief of the Madonna, with SS. Dominic and Peter Martyr, by Luca delta 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 S, 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. Gentogatti (15th cent.).
The Contrada Raffaelo leads hence to the Fortezza. No. 278 on the left is the house in which Raphael was born. It was purchased '^ 1873 at the suggestion of Count Gherardi , aided by a donation
toAncom, URBINO. 12. Bottle. 99
from Mr. Morris Moore, and now belongs to the *R. Accademla RaffaeUo'.
The rooms are adorned with engrayings from Baphaers pictures. In one of the rooms id a fresco of the Madonna (removed from the court; entirely repainted), by Giovanni Santiy possibly representing Vagia Ciarla, Baphaers mother (fee >/< fr.).
From the beginning of the Gontrada RafTadllo the Via Bramante leads to the church of 8, Spirito , containing a *Piet^ and ^Descent of the Holy Ghost by Luca Signorelli , originally a chnroh-banner, of 1495.
Returning to the market-place, and descending the Via Bal- bona, we follow the Via della Posta Vecchia, the first side-street to the right, and then the Via S. GioTanni, the first street to the left, which leads straight to the Oratorio della Confraternity 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. Seve- rino and his brother, of the school of Giotto (1416). — The neigh- bouring church of 8. Oiuseppe contains a Nativity by Fed, Brandano,
In the Tkeatrej once famous for its decorations by Qirolamo Oenga, the first Italian comedy was performed. This was the *Ga- landra' of Cardinal Bibbiena (1470-1514), the friend of Pope LeoX. and patron of Raphael.
The hiU of the old Fortet%a (ascend the Contrada RaffaeUo , at the top take the Via del Maceri to the left, and knock at No. 1461 ; fee 25-50 o.) 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 Ubbino to Fobsombbonb (p. 101) ilVs M. ; no regular communi- cation (carriage 10 fr.). The *Ck)rriere del Furlo* passes through Fossom- brone at 11 a.m. Oarriage from Urbino to Gubbio 40 fr.
The Railway fbox Pbsabo 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 modem statue of fortune on the public fountain. It afterwards prospered, and is now a pleasant little town (20,000 inhab., ind. suburbs), surrounded by ancient walls and a deep moat. The once celebrated harbour is now unimportant. Pope Clement VIII. (Aldobrandlni) was bom at Fano in 1536. The first printing-press with Arabic type was s^t 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 which (In the mediaval Palazzo deUa Ragione) is the Theatre, formerly one o^
7*
100 Rofde 12. FANO. From Bologna
the most famous in Italy, rebuilt 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 Collegio 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 €k>rso. 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 Gathbdbal of S. FoBTUNATO, the four recumbent lions in front of which formerly supported the pillars of the portico. The portal dates from the 13tb century.
In the iMTXiuoB the chapel of 8. Girolamo (the 2nd to the left) contains a monument of the Bainalducci family ^ nearly opposite (4th to the right) is a chapel adorned with sixteen frescoes by Domenichino, once admirable, now disfigured by restoration. — In the chapel of the sacristy, a Madonna with saints , by L. Carracei. — In the court of the Veicowado, behind the cathedraJ, are some sculptures of the 13th century.
Farther on we come to the *Abch op Augustus, 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. Maria Nuova, with portico.
Intbbiob. Ist chapel on the left: Oiov. Santi, Visitation; 2nd chapel: Perugino, Annunciation, 1498. 3rd chapel on the right: *Perugino, Ma- donna and saints, 1497; admirable predelle, recalling Raphaers style.
8. Croce , the hospital-church , contains a *Madonna with four saints, by Giovanni Santi. — S. PaternianOj dedicated to the first bishop of Fano, a handsome structure, possesses a Betrothal of the Virgin, by Chiercino. — 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 Reni. — In 8. Agostino is a painting of S. Angelo Custode, by Ouercino. — In the vestibule of 8. Franeeseo (closed) are the monuments of Pandolfo III. Malatesta (d. 1427; to the right), perhaps by L. B. Albtrti, 1460, and his wife Paola Bianca (d. 1398; left).
Interesting excursion to the Monte Cfiove, by a good road (4 M.). At the top is a monastery, where visitors are lodged. Splendid view of the Adriatic.
Fbom Fang to Fossato vil Fobsombbonb and the Fdrlo Pass, corriere
daily: to Fossombrone 2V2» to Cagli 6V2, to Sphieggia 10, and to Fossato
12Vs hrs., including halts for meals. The road is identical with the ancient
Via Flaminiay constructed in B.C. 220 by the Censor C. Flaminius (who fell
* the Battle of the Trasimene Lake , see p. 46) , in order to secure pos-
'on of the district of the Po which had been recently wrested from the
to Aneona. FOSSOMBRONE. 12, Route. 101
GanlB. The road quita Fano hj thd Arch of Aagastos and the Porta Ma^ore, and skirts the K. hank of the Metaurus^ the fertile valley of which is well cultivated. About 1 H. from Fossomhrone, near the church of S. MarHHO al Piemo, was once situated the Boman colony of Forum SemproMi^ of which hut scanty remains now exist. After its destruction by the Goths and Lombards, the modem Fossombrone sprang up.
15V2 M. FoBsombrone (Tre Be; Pavone)^ long in possession of the Malatesta family, accrued to the States of the Church under Sixtus IV. It i» now a busy Uttle town with 9000 inhab. and silk-factories , prettily situated in the valley, which contracts here, and commanded by a castle. — From Fossombrone to OWMno, see p. 09.
The Via Flaminia about 2 M. from Fossombrone crosses the Metaunu^ which descends from the Talley near 8. Angelo in Vado from the N., and follows the left bank of the Candigliano, which at this point empties itself into the Metaurus. The valley soon contracts; to the right rises the hill of Pietraiata, occasionally named Monie d^AsdriAale. Here , according to the popular tradition , was fought the memorable battle of the Metaurus in which, B.C. 207, Hasdrubal, whilst marching to the aid of his brother Hannibal with 60,000 men , was signally defeated and slain by the consuls Livius Salinator and Claudius Nero. This was the great event which decided the 2nd Punic War in favour of Home.
The valley now becomes still more confined and is bounded by pre- cipitous slopes. At the narrowest part , where the rocky walls approach so near each other as to leave space for the river only, is the celebrated *Furlo Pass (Furlo from forulut = passage , the ancient petra inter eita), a tunnel 17 ft. wide, 14 ft. high, and about 32 yds. in length. The founder of the work was the Emp. Vespasian (In A. D. 76), as the inscription preserved at the X. entrance records (Imp. Caesar. Augustus. Vespasianus. pont. max. trib. pot. VII. imp. XVII. p(ater) d(atri(s) cos. VIII. censor, /aciund. euravU). — A little beyond it is the small church Badia del Furlo. At the confluence of the Candigliano and Burano, 8 H. 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. Oagli (ItaliUy in the Piassa, charges according to bargain) occu- pies the site of the ancient borough of CaleSy or Calle. B. Domenico contains one of the chief works of Oiovanni Banti^ Raphael's 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 B. Angelo Minore also possess several pictures. — Travellers beyond Cagli are generally conveyed in smaller carriages. About 6 M. beyond Cagli is Gantiano, 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 Ponte a Botte, constructed in 1805.
431/3 M. Schieggia, an insignificant place, lies at the junction of the roads to Fossato and Foligno, and to (6 M.) GuDbio (the latter leading over the pass of Monte Calvo; carriage 6-6 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 leadfl via Oostacdaro and Bigillo (stalactite caves) to —
55 M. FossatOf a station on tiie Ancona and Borne line, p. 109.
Beyond Fano the train crosses the river Metaurus (see above), celebrated as the scene of Hasdrubars defeat (B.C. 207); then the Cesano, near (105 M.) stat. Marotta.
112 M. Sinigaglia or Senigallia (^Alhergo Boma, near the har- bour ; Trattoria del OiardinOy near the Municlpio), the ancient Sena
f02 Rrjmun, AJICONJL Ariels.
fJallk/jf •with 22.!'00 zzihab. (in^lndiii^ Tillages), duefly occupied '.u tiling. The tovn va« destroyed bj Pompey dving the Civil W4tr t^eCveefi Jtuios and Si:lijL It wis ui episeopal see as early as th/ff itli <xxtt., but was afterwards fireqneotly deTtstated by fiie and iwrd, Kf tLat it DOW presents quite a modern appearance. Pope Koe JX. ^Coute Jfastai-Feiietti) was bom bere on I3tk May, 1792 y. ih7'6j. A fair, iiistitnted in the 13th coit., is held here from -y.th July Uj %tb Al^ . aDijaally ; it was once the most frequented Itt Itaiy, bat has long since lost its importance. In summer Sini- I5*^;a fj a Uwonnte sea-bathing place. — The monastery-chnreb of K Marta dUU Oraxic (2 M. distant) contains in the choir a picture by /Vmyifl^ (retouehed), and over the 3rd altar on the right a small HiAffJtaz by Pitro dtUa FraneeMca.
i i'i^.f M, Mr/nUmaraano. Pleasant view of the promontory of At^/HUL, rising from the §c». The train crosses the £saio. At (VZ'Z H.) %Ui. FaUcnara passengers for the line to Rome change KM[T\ii.%*:ik (fe<3e B. 14j. The town lies on the hill to the dght.
127 if. AnKma^ see B. 13.
13. ABeona and iti Environs. Odmo. Lorato.
B«tcls« •VITT9WA (PI. b; C, D, 3), in the Corso Vittorio Emaauele, mt-M mu-A up, K. 2>/r, D. o fr.; Ais. Beai^ dkixa Pack (PI. *; C, 3) wiS y/^A rT«t»arai3t, B. .^V«, I>. *, <ann. Ifr.; *1Iilaso (PI. c; C, 4), Corso di P'/fU PU, t<»uiiD^ciaJ, with restaurant and garden. Hotel-onmibuses at tb« tUUUa, — Cafe. ;a{<>r9K»( ^ Leva, in the Oorso. — Trattoria. Lecn dOrOf in tti« O/rtfK
Tmit OfUe (PI. 20; 8^ o'clock), Piazza Roma. — meantph OfiSte
Cata. Ow^horu cab from station to town, xncL laggsge, 1 at nieht Uh fr.i imo-hor$e V/t or 2 fr. - For 1 hr. iy.-2 fr.; each «/, hr. more, 06 ^50 c, — Beyond the town, 2 fr. 50 or 3 fir. GO c. for 1 hr.r each i/, hr iw/zre, I fr. 15 or 1 fr. 70 c. ' '* "•
Tramway from the station through the Via Kazionale to the Piazza 4«1 Teatro and the Piazza Cavonr.
Steamboats of the Peninsular and Oriental Companw on F»id. mornings f// hriodlsl and Alexandria; on Sun. to Venice. SocieUt Riuwite FlorS>- /IiOHatino, on Hon. mornings to Zara in DalmaHa, in 9hrs.; on Mon afl^rooons to Tremiti, Viesti,3ari, Bnndisi, the Piripus, and Constanti- nople ; </n Tu*rs. nights to Venice, in 12 hrs. Austrian Lloyd^ to Zara and I' i Mine erery alternate Sat.; to Trieste every alternate Sunday.
tea Baths, near the raUway-sUtion. Warm Baths, Piazza Stamura (PL K, 4).
MtUh Viee^Misnl, Big- ^AO>*rt P. Tomauini (also American Consular Ag«ntj, "^
Aneona^ the capital of a provinc^e, with 28,000 inhab. find suburbs 47,700), of whom upwards of 6000 are Jews, and possessing an excellent harbour, i« beautifully situated between the promon- tories of Monit Astagno (PL C, 6) and Monte Guasco (Pi C 11 Hince 1860 the government has improved the harbour and endeav- oured to foster the trade of Ancona, but business has declined >^omewhat of late years. Silk and oil are largely manufactured here
Ancona was founded by Done Greeks from Syracuse, and thence named Doriea Aneon (i.e. *clbow% from the form of the primontory). u wm
102 Route 13. ANCONA. Hotels.
QaUica^ with 22,500 inhab. (including villages), chiefly occupied in fishing. The town was destroyed by Pompey during the Civil War between Marius and Sulla. It was an episcopal see as early as the 4th cent., but was afterwards frequently devastated by fire and sword , so that it now presents quite a modern appearance. Pope Pius IX. (Conte Mastai-Ferretti) was born here on 13th May, 1792 fd. 1878). A fair, instituted in the 13th cent., is held here from 30th July to 8th Aug. annually ; it was once the most frequented in Italy, but has long since lost its importance. In summer Sinl- gaglia is a favourite sea-bathing place. — The monastery-church of 8. Maria delle Qrazie (2 M. distant) contains in the choir a picture by Perugino (retouched), and over the 3rd altar on the right a small Madonna by Piero dtUa Francesca.
1191/2 M. Montemardano. Pleasant view of the promontory of Ancona, rising from the sea. The train crosses the Esino. At (122 M.) Stat. Falconara passengers for the line to Rome change carriages (see B. 14). The town lies on the hill to the right.
127 M. Aneona^ see R. 13.
13. AjLcona and its Environs. Osimo. Loreto.
Hotels. ♦ViTTOEiA (PI. b i C, D, 3) , in the Corso Vittorio Emannele, well fitted up, E. 2V2, D. 5 fr. ; Alb. Rkale della Pace (PI. a; C, 3), with good restaurant, R. SVi, I>. 4, omn. 1 fr. ; *Milano (PI. c ; C, 4), Corso di Porta Pia, commercial, with restaurant and garden. Hotel-omnibuses at the station. — Oafd. Stoppani d: Leva, in the Corso. — Trattoria. Lecn d'Oro, in the Corso.
Poat Oftloe (PI. 20} 8-8 o*clock), Piazza Roma. — Telegraph Office^ Via del Porto.
Gaba. One-horu cab from station to town, incl. luggage, 1. at night IVa fr. •, two-horu IVj or 2 fr. — For 1 hr. 1 Y5r2 fr. 5 each 72 hr. more, 6(>^ c. — Beyond the town, 2 fr. 50 or 3 fr. 60 c. for 1 hr.; each »/« hr. more, 1 fr. 15 or 1 fr. 70 c.
Tramway from the station through the Via Kazionale to the Piazza del Teatro and the Piazza Cavour.
Steamboats of the Peninsular and Oriental Company on Fiid. mornings to Brindisi and Alexandria; on Sun. to Venice. Societit Rittnite Florio- Euhattinoy on Mon. mornings to Zara in Dalmatia, in 9 hrs. ; on Mon. afternoons to Tremiti. Viesti, .Bari , Brindisi, the Pirwus, and Constanti- nople ; on Tues. nights to Venice, in 12 hrs. Austrian Lloyd, to Zara and Hume every alternate Sat. \ to Trieste every alternate Sunday.
Sea Baths, near the railway - station. Warm Baths. Piazza Stamura (PI. E, 4).
British Yice-Gonsul, Sig. Albert P. Tomassini (also American Consular Agent).
Aneonaf the capital of a province, with 28,000 inhah. (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 somewhat of late years. Silk and oil are largely manufactured here.
Ancona was founded by Doric Greeks from Syracuse, and thence named Dorica Ancon (i.e. *elbow', from (he form of the promontory). It was
-'^'Stijaadb' SMa-TsxTCTTia.
1 • 14^00 %m
Cathedral ANOONA. 13. Route. 103
afterwardA a Roman colony, and the harbour was enlarged hy Trajan. In the middle ages it repeatedly recovered from the ravages of the Goths and others, and In 1532 was made over hy Gonzaga to Pope Clement VII., who built a fort and garrisoned it. Anoona is also frequently mentioned as a fortress in modern 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 GasCelfldardo (p. lOo), it was finally occupied by the Italians.
The Uabboub, an oyal basin of ahont 990 by 880 yds. in dia- meter, is considered one of the best in Italy. A handsome quay, called the Banehiney has recently been completed. The N. pier is of ancient Roman origin. At the beginning of it rises the well- preserved marble ^Triumphal Arcli (PL 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 obseryed. The new pier constructed by Pope Clement XII. , a continuation of the old, also boasts of a Triumphal Arch {^l. 1 ; B, 1), designed by Van- vitelliy 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 (^Magazzini Qer^erali, Pi. B, 5). The harbour is defended by several forts.
The ^Cathedral of 8. Ciriaco (PI. 6; C, 1), dedicated to the first bishop of Ancona, stands on the Monte Quasco (Pi. G. 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 GaCtuUus 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 dHArezzo^ has a beautiful (Go- thic portico, the foremost columns of which rest on red lions.
In the LxFT Aislk, in front, is a handsome tomb of 1530. In the Eight Transept the semi-Byzantine capitals have been preserved j the railing of the steps to the choir dates from the 12th century. In the Cbtpt, to the right, sculptures of the 13th cent.; relief of Christ between an ox and a lion, by Fhilippusf beneath, Head of Christ and St. George; tomb of the Franciscan B. Gabriel Ferretti (1456) ; 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 Savlour^s feet ; 4th cent.) ; farther on, Roman head; statue of St. Primianus; relief of Christ (12th cent.); sarcophagus of St. Marcellinus. — The cT&tpt of ths Left (modernised) Transept contains the tombs of SS. Cyriacus, Marcellinus, and Liborius, in the rococo style.
Pope Plus II. Piccolominl, while vainly endeavouring to organise
104 Route 13. ANCONA.
a crusade against the Turks, died in the Episcopal Palace^ adjoining the cathedral, in 1464. — Within a house at the foot of the hill are scanty remains of a Roman Amphitheatre,
The Palazzo Comunale (PI. 15; C, 2) has been frequently re- built; in the 13th cent, by Margaritont d'Arezzo, in the 15th by Francesco di Giorgio^ 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 8, 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 Gothic portal by Giorgio da Sebenico (1455). — The street next leads (r.) to the Prefettura, 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 Comachini. —Farther up is the church of 8, Domenieo (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),
Vestibule. Keystones from the doorways of houses and other reliefs of the 13th cent. ; also large groups , Cain and Abel from the old Palazso Comunale, etc. — Boom I. Roman antiquities and coins. — Boom II. Antique bronzes and vases; medals.
Upper Floor. Boom I. Paintings and drawings by Francesco Podetti.
— Boom II. *i. Carlo CrivelH^ Small Madonna ; 8. Titian^ Crucifixion (dam« c«ed); 9. Pellegrino Tibaldi^ Baptism of Christ; 11. Querdno^ Cleopatra; 13. Lorenzo Lotto, Assumption of the Virgin; 27. Oiccarelli, Belief of the Madonna; 80. G'uerctno, St. Pelagla ; *37. Zoren^ro Xotto, Madonna and saints.
The street descending to the right from the Prefettura leads to the Loggia dei Mercanti (Exchange, PL 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 (16th cent.). — Farther on to the right we reach the church of 8, Maria deUa Piazza (PI. 11 ; C, 3), with a rich ♦Fa- cade of the beginning of the 13th cent. ; the sculptures byFilippus.
— We return through the Via della Loggia to the Piazza t)EL Teateo (PI. C, 3), the centre of business, beyond which is 8. Agostino^ with a late-Gothio portal showing a Renaissance tendency.
From the Piazza del Teatro the well -paved Cobso Vittorio 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 Catoub, with a colossal statue of the minister in the centre (PI. 21 ; E, 4).
OSIMO. 13. Route, 105
EXCUBSIONS F&OM AnOONA.
The Province of Aneona, the ancient Pieenumy is a remarkahly fertile diBtriet, 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 Basso dUtalia (9815 ft.), and are covered with snow till July. Towards the £. glitters the broad Adriatic, on which numerous sails are visible in clear weather.
On the coast, 9 M. to the S. of Aneona, rises the * Monte Ctonero (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 (7M.) airolo (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-Foooia Railway (to Loreto, 1 5 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 I3/4 hr.) penetrates the heights enclosing Aneona by means of a tunnel. To the left, Monte Conero. 4 M. Varano.
10 M. Osimo {Alhergo della Corona, in the market-place ; om- nibus from the station to the town, 3 M., 75 c), the ancient Auximum, 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 Palat%o 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 perceiTe, to the right , Castel- fldardo, where on 18th Sept. 1860, the papal troops under Lamo- riciftre were totally defeated by the Italians under Cialdini.
15 M. Loreto (^CampaneUay or Postay in the principal street; omnibus to the town 60 c), situated on a hill at some dis- tance from the line, and affording admirable ^Yiews of the sea, the Apennines , and the proTince of Aneona, 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 Nazareth became an object of profound veneration after the year 336, when the aged Empress Helena, mother of Gonstantine, 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 Ptolemais WUe (kua Banta was miraculously transplanted by the hands of angels in 12»l to the coast of Dalmatia (the precise spot being between Fmme and
106 BouU13. 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 Becanati, 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: ~
^Beeo fra le tempeste^ e i JUri venii
Di queito grande e spazioso mare^
0 ianta atelkty il iuo gplendor nCha seorto,
Ch" illustra e sealda jmr Vumane mentf.
The *Chissa uella Gaba Santa has been repeatedly restoied since 1464. The handsome facade was erected under Sixtos Y., a colossal statue of whom adorns the entrance flight of -steps. O-ver 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 PaulV., 1605-21. The campanile , designed by VanviteUi , is a Yery 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 Intbiuob, to the left of the entrance, is a beautiful *Font, cast in bronze by Tibureio Vereelli and Giambattitta VitaUy 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, by J)omenichino, and the Archangel Michael, by Ouido Reni ; also a number of valuable pictures, frescoes, and sculptures.
In the centre of the church rises the ^Oasa Santa^ (or 'Holy House^), a simple brick-building, iSVa ft. in height, 28 ft in length, and 12Vs ft* in width, surrounded by a lofty ^Marble Screen designed by Brafnanie^ and executed by Andrea SansovinOy Qirolamo Lombardo^ Qiovanni da Bo- logna^ Bandinelliy Tribolo, Quglielmo delta Porta, etc., with bronze doors by Qirolamo Lombardo. This handsome work was begun under Leo X., con- tinued under Clement VII., 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^; smaller representations by Sangallo, Qir. Lombardo, and Qugl, delta Porta.
S. Side. Xativity, by Sansovino; David and Qoliath, Sibyls, Ado- ration of the Magi, by other masters.
B. Side. Arrival of the Santa Casa at Loreto, by Niecolb Tribolo; above it^ Death of the Virgin, by Domenico Aimo of Bologna.
K. Side. Kativity of the Virgin, begun by Sansovino, continued by Baeeio BandineUi and Safaele da Montelupo, Basreliefs : Kuptials 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 1796 it was carried off to Paris by the French.
• In the 1^. T&AM8EPT 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 Pomarando^ who also painted the now damaged frescoes in the dome.
In the Piazza in front of the church are situated the JestUis' College and the —
♦Palazzo Apostolico, begun in 1510 from designs by Bra-
ofAneona, LORETO. 13. RouU. 107
manie. It contains a small picture-gallery (Titian , Christ and the woman taken in adultery ; Vouety Last Supper ; Schidone, St. Clara ; QutfcinOy Descent from the Cross; Ann. Carraceij Nativity, etc.) j a hall with Tapestries after RaphaeVs Cartoons (Paul at Lystra, Healing the Lame, *Feed my Sheep', Elymas the Sorcerer, Holy Family, Miraculous Draught of Fishes, St. PauVs Speech); and a ^Collection of Majolicas^ chiefly from the well-known manufactory in Urhino (1 fr.).
The next station heyond Loreto Is —
I7V2 ^- Becanati, 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 Fala%%o Comunale. The Cathedral of S. Ftaviano y with a Gothic porch, contains the monument of Gregory XII., 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 Helvia Ricina (remains of an amphitheatre, bridge, etc., on the Poienta), Omnibus from Macerata to stat. Givitanova.
The train crosses the Fotenta. 23 M. Potenza Picena , named after a Roman colony, the ruins of which have disappeared. On the hill, 4^2 M. distant, lies Montesanto.
27 M. Porto CivitanovGy at the mouth of the Chienii,- the town of Civitanova lies 1 M. inland. — Thence to Pescara, Foggia, etc. , see Baedeker's Southern Italy.
From Poaxo CnritANOTA to Fabsiano, 69Vs M., railway in about 4 hrs. — The line at first ascends the fertile valley of the Chienti. The principal stations are as under.
17VaM. Macerata CPac*; Posta)^ a flourishing town with 20,3(X) inhab., capital of the province of Macerata, picturesquely situated on the heights between the valleys of the Chienti and Potenza^ possesses a university , an agricultural academy, etc. In the Cathedral a Madonna with St. Francis and St. Julian, ascribed to Pervgino. In S, Giovanni an Assumption of the Virgin, by Lanfranco. The Palazzo Munidpdle and the Pal. Compagnoni contain inscriptions and antiquities from Helvia Rieina (see above), after the destruction of which the modem towns of Becanati and Macerata sprang up. Macerata also has a modern triumphal arch, called the Porta Pia. The Biblioteca Comunale contains a small Ptnaeoteca, the chief treasures of which are a Me donna and 88. Julian and Anthony of Padua by OenUle da Fabriano (Kos. 36, 22), a Madonna by Carlo CriveUi (1470; l^o. 36). and a Madonna with saints by Alegretto da Fabriano (1368*, No. 39). Outside the gate, »/4 M. from the town, is the church of the Madonna delle Verginey ascribed to Bramante.
22 M. Urbisagliay the Roman Urbs ScUvia, with extensive ruins, am- phitheatre, walls, baths, etc.
28V8 M. Tolentino {Corona^ tolerable), the ancient TolenUnum iYcenwro, prettily situated on the Chienti^ with i2,CKX) inhab., was once strongly fortified. The Palazzo Munidpale in the Piazza contains a few Roman antiquities, the most important of which is a female portrait-statue of the time of the Flavian emperors. The Basiliea di S. Niecolb possesses a court of the 13th cent, and a Gothic * Portal, presented to his native town by Kiccol6 Mauruzzi, the celebrated condottiere (1436). A chapel in the interior is adorned with frescoes from the life of St. Nicholas, by Lor/^*^ and Jacopo da San Severino , aud another contains two paintings of tb
lOS RouUli. JESI. FromAneona
Venett&n school (the Fire at St. Markka at Venice, and the Plagae in Sicily). The church of 8. Frtmceseo. 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 S. Caterto, on the £. side of the town, possesses an early- Christian sarcophagus, embellished with reliefs (Adoration of the Magi, (3hrist as the Good 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 Fal, Gentiloni contains the proceeds of the ex- cavations carried on by Count Silver! 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 Fhilelphus, 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- tema. — 35 M. San Severino delle Karohe, 6 M. to the N.W. of Tolentino and about as far S. of Castel-Baimondo (see below), in the valley of the Potenza, arose from the ruins of the ancient Septempeda. In the church del Castello^ frescoes by Dioti$alvi d^Angeluzzoy and an altar-piece by Niecold da Foligno (1468) ; in the sacristy of the Duomo Nuovo a Madonna by Finturieehio, S. 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-Collio.
From (42 M.) Castel-Raimondo a road leads to the S. to (6 M.) Oamerino, the ancient Camerinum Umbrorum, once the capital of the IJmbrian 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 J3. 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 Rome in 1713).
47 M. Matelica, a town with 4000 inhab., pojssessing pictures by Pal- mezzano and Eusebio di S. Giorgio in the church of S. Francesco, and a small picture-gallerv in the Pal. Piersanti. — 64 M. Alhaeina. — 69*|2 M. FdbrianOy see p. 109.
14. From Ancona to Foligno (Orte, Borne),
80 M. Railway in 4-5V2hrs. (fares 14 fr. 60, 10 fr. 25, 6 fr. 60 c. ; ex- press 16 fr. 5, 11 fr. 25 c). To Rome (183 M.) in 81/8-12 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 righit a retrospect of the town and harbour), as far as (5i/2 M.) FcHconara (p. 102).
Here the train diverges to the S.W. into the valley of the Esino (Lat. JEsis), which it soon crosses at (IOY2 M.) Chiaravallej a small town with a Cistercian monastery.
171/2 M. Jesi (*Alb. Sr Trattoria della Speranza; Corona) f with 20,000 inhab. (incl. villages), now one of the most prosperous man- ufacturing towns of the province , was the ancient ^sis , 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 preservation. The Cathedral is dedicated 0 the martyr St. Septimius, the first bishop of Jesi (308). The 'alaxzo PubblicOy now the ' Prefettura, bears the town-arms within
to Foliyno, NOOEKA. U, BouU. 109
an elaborate Renaissance border. Jest was also the birthplace of the composer G. Spontini (1778-1851).
The valley contracts, and the train crosses the ri-ver twice. 26 M. Cattel PlarUo. Beyond (30 1/2 M.) Sena 8. QuiricOy nedLi McnUBo880, the valley narrows to a wild ravine, endangered by falling rocks. Long tunnel through the Monte R0880, 39i/2 M. A26aetna, Junction for Porto Givltanova (p. 107).
4472 ^- Fabxiano (Leon d'Oro; Campanajy 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 Tufieum 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 8. Niccolb, 8, Benedetto, 8. Agostino, and 8. Lucia, and the private houses Ca8a Morichi and Fomari, contain pictures of the Fabriano school, of which OeniiU da Fabriano (? 1370-1450; p. 48) was the head. — Railway to Porto Civitanova, see p. 107.
From Fabriano a mountain-road (9 M.) leads via the picturesque La Genga to the lofty Bassoferrato, situated in a fertile valley, consisting of the upper and lower town, with 2000 inhab. , and possessing interesting churches and pictures. OiambattUta Salviy sumamed Scuioferrato , was horn here in 1606; he was especially noted for his Madonnas, and died at Borne in 1685. 8. Pietro 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 Bomans and the allied Samnites, Gauls , IJmbrians , and Etruscans, in which the consul Decius heroically sacrificed himself. The Roman supreniiacy 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.) Fo88aio (junction of the line from Arezzo to Fos- sato, pp. 56-59) we enter the plain of the Chiascio, To the left on the hill, Palat%olof to theright) Pellegrino; to the left, Palazzo and 8. Facondino.
58 M. GualdoTadino, 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 Comuncde is a small picture- gallery with a Pietk by Niccol6 Alunno (1471) and works by native artists ; in the corridor are an ancient sarcophagus and a few in- scriptions. The church of 8, Franc€8co contains an altar-piece by Niccold Alunno (1471). The Cathedral has a fine rose-window; in the sacristy, pictures by Niccol6 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-screen of 8, Fran- cesco, and others of less importance (c. 1500) in the nave and choir
110 BouUU. VALTOPINA.
The Orfanoirofeo (Vtseovado AnUeo) contains poitraits of the bis- hops of Nocera from the let cent, of onr eia(?), painted in 1659. Near the town are mineral springs, knoim since 1510.
The train now enters the narrow VaU Topma^ crosses the brook several times, passes through a tunnel, and descends by Ponte Cen- teaimo to —
80 M. Folignoi thence to Bome^ see pp. 79-87 and 66-68.
SECOND SECTION.
B 0 M E.
Arxival. At the railway-station (Plan I, 25) numerous hotel-omnibuses are in waiting, for the use of which a charge of MV* f^> ia made in the bill. Open one-horse CcA for 1-2 pers. , 1 fr. ; at night 1 fr. 20 e. ^ Otwed one-horse Cab 1-2 pers. 1 fr. 20 c., at night 1 fr. 90 c.; each additional pers. 20 c, at night 40 c. ; Two-horse Carriage, for 1-4 pers., 2 fr., at night 21/2 fr. ; each addit. pers. 20 c, at night 40 c. ; small articles of lavage free, each small box 20 c, trunk 50 c. Porter (faeehino) 25-00 c. — Polios Omck (Questura): Via SS. Apostoli 17 (PI. II, 16). ~ Railway enquiry and ticket offices in the town, Via della Propaganda 8 and Corso 318; also That, Cook is Son, Piazza di Spagna 2.
Bmhaasiea and Oonsiuatee. There are two classes of diplomatic agents at Rome, those accredited to the Italian goTemment, and tiiose accredited to the Papal court. The offices of two of the former class alone need here be mentioned : Eitolish Exbasst, Ifarquts of Huffertn^ Via Venti Settem- bre, near Porta Pia; Amsbicait Legation, Hon. Albert O. Porter, Via Va- sionale 13 (office-hours 10-1). — Evoubh Gomsulatb: A. Roesler Fronts^ JSfg., consul, Piassa S. Claudio 96. Axbbioav Gonsulatk: Hon, Angmttme 0. Bourn, consul-general. Via Nasionale 13 (office-hours 10-2).
Hotels (comp. pp. vi, xx). The best and most expensive are in the Strangers* Quarter, Wween the Porta del Popolo and the Piazaa di Spagna, and also between the latter and the railway-station (some of them incon- ▼eniently situated). Several are closed during summer.
*HdTBL Qdibinalb (PL I, 25, A), Via Kazionale, a large hotel in the Swiss style, with lift, R. A L. 4-6, B. li/s, lunch 3, D. 5-6, A. 1, omn. 1, ^pension' 12 fr. and upwards ; *HdTXL pb Lohdbbs (PL I, 17, c), Piassa di Spagna 13, with lift, D. excl. wine 6fr.; *Bbi0tol (PL I, 22, x), Piasza Barberini, with lift-, *Ru88ia (PL I, 18, b), Via del Babuino 9, near the Piazsa del Popolo, with a lift and a pleasant garden, B. from 3, B. liAe, lunch 3,^. 5, ^pension* 10 fr. and upwards; Roma (PL I, i7,i), Corso 128, with Uft, R. 4, D. 5, B. IV* fr. -, Eubopa (PL I, 20, d). Piazza di Spagna 35. After these rank the *HdTBL Continbntal, Via Gavour & near the station, with lift; HdTBi. db i.a Villb (PL I, 18, o), Via del Babuino 196: HdTK. DB Pabis (PL I, 23, jr). Via S. Nicola di Tolentino, with lift; nvoHiL- TXBBA (PI. I, 17, /), Via Bocca di Leone 14, B. li/s, I>. 6 ft. x •HdTBt Rotal, Via Venti Settembre, opposite the Finance Ministry (p. 169, new, with lift ; HoTBL Mabimi, Via del Tritone 17, with lift. At all these, ^pension' for a prolonged stay, 10-12 f^. per day, and upwards.
Somewhat less expensive : Hihxbva (PL II, 16, m). Piazza della Mi- nerva 69, in the interior of the city, well spoken of, with lift, R. 3. B. IV4, D. with wine 5 fr. ; •Hotel Hassleb (PL I, 17, «). Via Bocca di Leone 68, 'pension' firom IIV2 fr., without lunch from 9 fr. (Feb. 1st- June Ist, 13 and 9>|2 fr.), frequented almost exclusively by Germans , with restau- rant ; Edbh Hotbl (same proprietor), Via Ludovisi 49, with lift; Allb- HA05B (PL I, 17, *), ViaCondotU 18, well spoken of; Molabo (PL 1, 19, ir). Via Gregoriana 56, R. from 4, A. 1, L. 8/4, b. 1*/., lunch 3, D. 6 fr.; H6TBL-Pmr8ioH du Midi, Via delle Finanze; Aholo-Ambbicaho, ViaFiat- tina 128; Vittobia (PL I, 19, 0, Via Due Macclli 24; Laubati, Via Na-
112 Prelim, Information. ROME. Restaurants,
sionale 153-150, not far from the Piazza Venezia, with lift, R. 8V21 L. »U^ A. V« fi*- ; MiLANO, Via Colonna 22 and Piazza di Monte Gitorio (PI. 1, 16), frequented by the Italian deputies, with a restaurant; Alibbrt (PI. 1,17, q), Vicolo d'Alibert, quiet, E. 2V2, A. V»fr. lCesaei (PI. I, 16, »), Via di Pietra? Italia (PI. I, 22, aa\ via Quattro Fontane 12, with Uft; Posta, Via della Vite 29 (PI. I, 16, 19), R. from 2 fr. ; H6tel bt Pension Cen- tbalb (PL I, 16, atf). Piazza della Rosa 9; GAyoua, Via S. Ghiara 5 (PI. II, 13, 16), R. from 2, •pension' from 7 fr. ; Obisntb rPl. I, 19, a 6), Via del Tritone 80, R. from 2, ^pension' from 71/2 fr. •, Hotel dd Sud (PI. I, 19, »), Via Gapo le Gase 56', Hotel dd Gapitole, Gorso 288-291, comer of the Piazza Venezia, ^pension' 8 fr., well spoken of, with a cafe-restau- rant; GoLONNA, Piazza Colonna; Sxnato. Via delle Goppelle 16, with re- staurant ; ALBEEao S. Ghiaba, Via 8. Ghiaro 18, R. 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.
Fensiona. Tellenbach, Via Due Macelli 66, near the Piazza di Spagna. with lifL pens. 7-9 fr. ; Avanzi, Via Gapo le Gase 75 ; Mrs. Mat, Via Lu-, dovifli 16 ; Lbbmann, Via Gavour 71 , 7-10 fr. according to the room ; Miss Smith, Piazza di Spagna 93; Pbnsion Fban^^aisb (Mme. Lavigne), Via del Tritone 86, with lift; Bbllevub di Pinoio, Via di Porta Pinciana 18, Eng- lish hostess, 8-10 fr. ; Mbs. Ghafh an. Via 8. Kicola da Tolentino 76, Ameri- can ; Pension TTnione, Piazza Honte Gitorio 121 ; Mad. Michel, Via Sistina 72; Kbdegbb, Via Nazionale 181, frequented by Americans, from 8 fr. per day; Pboobi, Via Quirinale 46. in the Palazzo Bospigliosi, with back en- trance towards the Via Hazionale (7 fr.); Bblvbdbbe, Via Porta Pinciana 18 (8 fr.).
Private Apartmenta. The best are situated in the quarter bounded by the Gorso 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 Gapo le Gase, Via Sistina, Via Gtregoriana, Piazza Barberini, and other streets on the Pincio. The most expensive, and often the least sunny, are in the Gorso, 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). Rent of two well-furnished rooms in a good locality 150^ 250 fr., one room 40^ 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. Rooms 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 roomB are let, the traveller must be prepared for a number of fruitless Snquirles. Those who engage apartments in the Gorso should come to an under- standing with regard to the windows for the Gamival. — House-agents: Karl PochaUky (German), Gorso 131; ToH^ Piazza di Spagna 53; MuUon d: Co. J 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 RottVSf Via Monte Brianzo 88; OentiWSj Gampo Marzio 24; and other large wood-fltores.
Rome does not yet possess a complete Dibectoby ; but much informa- tion is afforded by the GHtida Commerciale delta Oittd di JRoma, published by Tito Monad (10 fr.). An unknown address may be ascerttdned at the JJfficio di Anagrafe on the Gapitol, under the arches of Vignola, above the stairs leading to the Monte Gaprino (p. 208).
Restaurants (those of more moderate pretensions are called Trattorie;
comp. p. xxii). Handsomely fitted up and expensive (D. itprixjUxe 6 fr. and
upwards): — iVa««arr«, Piazza di Spagna 81; Spilhnann d: O)., Gorso 164;
Renaud, Via Frattina 97; Ca/^ di Roma (p. 113); Donep A mpoti, Via delle
^vertite 19. — The following are somewhat less pretentious : Mitano (see
^)t Monte Gitorio 13; Colonna^ Piazza Golonna, in the arcade to the
TraUork. R0M:£. PrtUm, Infornuition. 113
right i (k^/i di Kei»«ma, Gorso 288, near the PiaazaVenesia; ^»rr«r<aJ/or<«» <Cr Oo. (see belowj lunch from 3, D. from 4fr.).
Second clads, with good French and Italian cuisine : RmUtri^ Via Mario de' Fiori26i *CorradeUi^ Via della Croce 81, frequented by visitors of all nationalities; Panelli, Via della Croce 69} Oran Cairo^ Via del Tritone 182; SetuUo (see p. 112), Via delle Gopelle 16 ; Al Fagiano^ Piazaa Colonna, at the comer of the Via Golonna, often crowded (branch at Via Sistina 3); Le Ventte (Venetian cuisine), Via Gampo Marsio 69, with garden.
The Tkattoub are recommended to those who have some acquain- tance with the language and customs of the country : — Cervigni^ Via Mazio- nale 246; Fietro Mieea^ Via S. Andrea deUe Fratte 36 and Via Mercede 27 (Piedmontese cookery) ; Rosetta^ Via Giustiniani 22 and Via Rosetto 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 clean: Oc^iont, Via del Lavatore 40, by the Fontana Trevi; Tor- retta. Piazza Borghese; 2 rait. Europea^ Piazza Busticuccl 21 & 26, oppo- site St. Peter^s; Tratt. degli Artuti, Via della Vite 68 (German cooking and beer; also a few beds); Tr€ Re, Via della Bipresa dei Barberi 16, Hrst floor, near the Piazza Venezia; Bueci, Pescheria delle Gopelle 54-57 (fish and ^zuppa alia marinara'). — Meals supplied to private houses by nearly all the Trattorie and by BriecM, Via Gapo le Case 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: Caa*pa^ Via Venti Settembre 22; A><o»t, Via Venezia 10; Mei^ TomacelU 153, and others.
Osterid (wine-houses, comp. p. zxiv). The ordinary wines of the en- virons of Rome ( Vino dei Caslelli Bomani) 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 (fiaschetti). — The following have a good name for their wine at present: Jaeobiai, with buffet. Via di Pietra G6 and Via Quattro Fontane 114 (wine of Genzano); 0«<«nt, Via delle Conver- tite 11 (Genzano); PaUnnbella (Montefiascone , p. 69), Via della Palom- bella 2; Santovetti, Via del Quirinale 21 (Frascati); Salvatori, Via Uffici del Vicario 22; the OsUria, Via Belsiana 86 (Marino wine); Bottiglieria Romcma^ Via Umilta 74. There are also favourite Osterie on the Moi^e Teetaedo (p. 251) and by the Fbnie Molls (p. 336).
The best Tusoav Wihb Houses are duelli. Via dell^ Impresa 25, with a branch at Via del Tritone 172 B ; Campagnoli, Via della Missione 5, be- hind the Chamber of Representatives; Ficuchetterio Totcana, Piazza S. Lo- renzo in Lucina 30; Siedoli de 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 o. 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 Croce 78; Bumel <Cr Guichard Aini^ Via FraUina 116. Also by the LiQUoaiSTi : ^'AragnOy Gorso 237« Piazza Sciarra, and Piazza Monte Citorio 118-120; aiacosa, Via della Maddalena 17-19; Vine. AUili, Via del Tritone 88 (open till 2 a.m.); Morteo (see above). — Mineral waters may be obtained from CoffwrH^ Corso 20, and Mansoni^ Via Pietra 90.
Beer (birra), Birreria Morteo de Co. , Palazzo Ruspoli (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, ViaXazionale 46-48; *Sa9, Albreeht, Via di S. Giuseppe a Capo le Case 24 (Munich beer); Birreria Poli, Via Poll 90-96; MarameUo, Via del Gesu 59 ; Qambriwu-HalU, Corso 393, near the Piazza Golonna (Munich beer). — Roman beer is brew- ed and sold by Germans: Via di S. Giuseppe a Capo le Case 7; also at the cafds, etc.
Oafes. *Roma^ Gorso 426-433, somewhat expensive ; * Ufasionale^ Corso 372, adjoining the Palazao (Hiigi, and also at the comer of the Corso (179) and Via delle Gonvertite (excellent coffee at these two) ; Venezia, Gorso 289; CoUmna, Ca^i degli Specehi, Piazza Golonna ; 3. Chiara, Via S. Chiara, adjoining the Piazza Minerva i Capretari. Piazza CapreUri; CatielUno, Via Kazioaale 129; C^ffh Turco, PiazBa di Spagna 43 (also beer); Oreeo, Vio
Basoskjcb. Italy II. lOtb Edition. 8
\i4 Prelim. Information. ROME. Climate.
Oondotii 86, and Artisti^ Via Due Maeelli 91 > also reslaurant, both fre* qaented by artists •, CtuUlUno. Via NaMonale 184. — lees in all the eaf^s ; particularly good at the *aorh9tteria Ifapotetana^Yitk deir Impresa 22, to 4he N. of the Piazsa Coloima, 60 c. per portion, 90 c. per half-portton.
Oonfeetionerfl. Ranzi A iSinger, in the Piazza Golonna. comer of the Gorso (Ho. 349)} PmoU, Via del Tritone 68 ^ RamanoHi, Via Frattina 76, Gorso 283, and Via Nazionale 196 ^ Neuzarr4^ Piazza di Spagna (comp. p. 112). — Snolibh AMD VUNMBSB Bakskb : Cololueci^ Via della Croce91^ Lais^ Via della Croce 49*, Pwrego^ Via Nazionale 148; VtUan^ Via del Ba- buino 100 and Via Condotti 79a 5 DonaH (biscuits), Via Principe "Umberto 145. — Vaoohebib (dairies; fresh milk, cream, butter, and eggs daily): Via Venfi Settembre 141, with branch-establishment at Via Sistina 105 •, Via Muratte 14; Via del Tritone 14. — Gbogsrs: C7a<om', Piazza di Spagna 32; Cattrati^ Piazza Trevi89; Parentiy Piazza di Spagna 46; MamiU^ Via Due Maeelli 90; AeMno^ Monte Citorio 116. — Pbbsbbvbd Meats, etc.. Alber- Uniy Via Kazionale 66 and Via Grociferi 28; Dagnino, Via del Tritone 54- 56; Qwrrini.Yii, Frattina 109; Valazsa^ Via Muratte 11. — Fbuit Shops: Oangalanti, Piazza S. Lorenzo in Lucina 19; Poiidoro, Via del Tiitone 179; Melanot Via della Groce 9.
Tobacco (comp. p. zxiy) at the Regia dei Tabaeehi, comer of the Gorso and Piazza Sciarra ; foreign cigars 26 c. and upwards.
Ghratnitiea. As exorbitant demands are often made, the following aver- ages are given. In the galleries for 1 pers. 10 soldi , for 2-3 pen. 15s.,* for 4 pers. 1 tr. ; regular frequenters 5 soldi. To attendants ^n^o open doors of houses, churches, gardens, etc.. 58.; 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 cafds.
' Baths (iys-2 fr.; fee 25 c.) at the hotels: also Vicolo d'AIibert 1, Via Belsiana 64, Via del Babuino 96, Via Ripetta 116 ; Via della Vite 39, opposite the post-office; Via Volturno 87 (recommended in summer, from May on- wards). — J?ydropa«Afc Ettabiishments: Piazza Pia (PI. 1, 10); Via Grociferi 44.
Haibdbbbsbbb: Oiardinieri, Gorso 428; Lancia, Via 8. Giacomo 12; Pasquali, Via Gondotti 11; all with ladies' rooms. — Per/umerSy Gorso 890, 342, 348; Rimmel, Gorso 524; Bntgia, Gorso 344.
LiBUX d' Aibangb (10 c.) : Vicolo dello Sdrucciolo, near the Piazza Go- lonna; Via dei Pianellari, adjoining the church of 8. Agostino (p. 189); Via Belsiana; Via del Mancino, adjoining the Piazza Venezia (15c.); Vicolo del Goverao Vecchio; Vicolo Tata Giovanni; Vicolo Tribuna Tor de' Spee- ch! ; "Via Alessandrina ; Passeggiata di Ripetta ; in the colonnade of the Piazza of St. Peter, on the side next the Porta Angelica ; outside the Porta del Popolo, to the left.
Olimate (comp. Introd.). The mean temperature at Rome is 60" Fahr.; the greatest heat in summer being about 100*> 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 caiiiva prevails, all the Inhabitants who can afford it make a point of leaving the city. The prevalent winds are the 2'ra- fnontona, or north wind, which generally brings clear and bracing wea- ther , and the Seiroeco^ or south wind , which is relaxing and rainy. As the temperature usually falls rapidly after sunset, and c<ddfi are very easily caught, the traveller should not dress too lightly. Invalids should of course consult their medical advisers before ehoosing rooms, but even persons in robust health will do well to remember the Roman proverb : ''Dove non va il sole, va il medieo',
FhyBicianB. English: CAarles, Via S. Xicola da Tolentino 72; Drufn- mondj Piazza di Spagna 8; Gason, Via 8. Sebastianello 8; BaldWn, Piazza Trinity de' Monti 16; Young, Piazza di Spagna 20; iSfpurway, Via Gondotti 48; Thompton (American), Via Due Maeelli 60. — German: Brhardt (phy- sician to the German Kmbassy), Mario de' Fiori 16; Erhardt Jun., Piazza di Spagna 26; Fleisehl, Gorso 151 (3-4); Kraniehfeld, PiazKa di Spagna 44; Prof. Molesehott, Via Volturno 58; Neuhane, Via di Porta Pinctana 56 ;
Ltbrafiea ROME. Prelim. Information. 115
W^bety Vift SiAtina 86; OotOwrff, Piaua di Spagna 9 (atKiaaingen In sum- mer); Bmll (Danish), Piaasa di Spagna 20; WiUmer. Via delle (^uattro Fon- tane 17; Botdny (lOiyaician to the Ausirian Embassy), Gorso SCO; JTeld (homoeopath), Gorso 456. — Italian: G<ila»»i.^ PiazKa CapretariTO; ManautU Via de' Lncchesi 9; iVardmt, Pal. Doria, Via Plebiacito 112; Oeehini^ Pa- laszo Moroni, Via S. Kicola da Tolentino; UbtraK (homcDopath) , Via S. Cbiara 49. — Sdbgbons: Cecearelli^ Via Leecosa54; i>tira»te, Via S. Ba- silic 60. — - Oculists : Demioney Piazza Monte Citorio 121 (hours for con- saltation 11-1); Butin^liy Piazza S. Lorenzo in Luoina 17 (consultations 2-4). — AuBisT : De Rossiy Piazza di Spagna 71. — Dsmtibtb : Chamb4rlain (American) , Piazza di Spagna 51 ; Curtis (American), Piazza di Spagna ^, 1st floor; Gakusiy Piazza di Spagna 68 ; Van Marter (American), Via Kazio- nale 87 ; Martin, Gorso 388; aiehliny Via delle Garozze 8, 1st floor.
Ghamiats: Biuimbtrghiy Bvam$y A Co,, Via Condotti 64-^, patronised by the English and American embassies; Robert* A Co., Piazza di S. Lo- renzo in Lucina 36; Baker is Co. (proprietor Q. P. Pa$aarge) , Piazza di Spagna 42, patronised by the German embassy ; BoriiUy Via del Babuino 98; Oameriy Via del Gambero 39; Mariffnani, Gorso 436; other Italian chemists in every part of the town. — Suboioal Ikstbuxbnts aitd Ban- dages: Immeleny ViaFrattina 134. — Siok Kubsbs may be obtained at Via Palermo 35 (10 fr. per day; Roman Catholic) or on application to Miss Martin, Via Palestro 62 (5-7 fr.).
Bankers. English : Machean & Co., Piazza di S. Silvestro 81 ; Maquav, Hooker, d: Co., Piazza di Spagna 20 ; F. MotUagne-HandUy, Piazza di Spagna 79; Eddv, Piazza S. Silvestro 62; PUmden A Co., Piazza S. Glaadio 166. — Italian: Cerati, Via del Babuino 51:; Bpada, Via Condotti 20. — German : Natt-KoU> de 3ehumaeher, Via della Mercede 9; Sohmitt A Co., Via della Vite 7; Pucci, Jfoevrenberg, dc Oo.y Palazzo Chigi, Piazza Golonna; Roes- Ur-Franz, Piazza S. Giaudio 96; Fueter, Tognola, d: Co., Via del Tritone 46; Wagniire, Piazza Gapranica 78. — Money Changers in the Gorso, Via Con- dotti, etc. (comp. Introd.).
Booksellers. Piale, Piazza di Spagna 1; Loescher d: Co., Palazzo Simo- netti, Gorso 307, entered from Via del Gollegio Romano ; Spithoever, Piazza di Spagna 84; Libreria OentraHe, Pal. Bernini, Gorso 146: English, German, and French books at all these. Fratelli Boeca, Gorso 217; Fratelli Treves, Gorso 383: Poravta, Piazza SS. Apostoli 66-65. — Religious works and mu- sic, Via di Propaganda Fide 6. — Maps at BossCs, Gorso 401, and at Loe- scher^s (see above). — Old Books at Rossi*s, Via Bocca di Leone 25 , and Boeea's, Via del Giardino 110; also at Loescher's and Spithoever's. — BooKBiMDBBS. dingier. Via della Mercede 86; Olivieri, Piazza di Spagna 87 and Via del Babuino 49 ; Santinelli, Via Pi^ di Marmo.
Libraries. The principal libraries are the following:
1. BiBLiOTBCA Apostoliga Vaticana, See p. 319- Permessi issued di- rectly by the Cardinal-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. POBLio 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 wittiout permessi according to the conditions set 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 Utfizio dei Prestiti, on the ground-floor of the library). Biblioteca Alessandrina in the Sapienza (p. 197), entrance Via deir Univer- sity , 1st NoT.-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. Pbivate Libbabibs : Biblioteca Barberina (p. 171), open to the Public on Thurs. 9-2; elosed in Oct. — Biblioteca 8. Cecilia, Via de' Greci l^ daily 9-8 (music). — Biblioteca Chigiana (p. 154), admission by permesso, o
8*
116 Prdim. Information, ROME. Studios,
tainable through the traveller's consul, 10-12 •, closed in summer. — Bihlio- Uca Corsiniana (p. 9^), open to the public dally, except Sun. and Wed., Not. to Uarclfc 1-4, Apr. to July 2-5. ~ BiblMscm Sarti (p. 238), in. the Academy of St. Luke, daily except Sat. and Sun., in summer 8-2, in winter 9-3. — Biblioteea Vallieellana (p. 200), open on Tues., Thurs., and Sat., 10^. — BibKoteca Lancitiana Cp, ^6 \ medical works), in the Hospital of S. Spirito, daily, 9.30-2.30.
Lending Libraries. English books at PitUe"* and at Loesch€r*$ (see p. 115; one book weekly 1, monthly 3 fr.). — Reading Rooms. PiaU^ Piazza di Spagna 1 (English and American newsf^apers).
Newspapers, very numerous, 5-10 c. per number. The most popular with visitors are : lialie (in French , containing a list of the sights of the day) ; Fanfulla (similar to the Paris Figaro) ; Biforma , Capitan Frac€usa^ and Popolo Romano^ three government organs ; Diritio^ Tribunal opposition journals ; Capitale^ Messaffgero, and Don Chichotte^ radical \ Osservalore Ro- mano, Journal de Bome^ CivHtii Catolica, and Voce delta VeritA^ all clerical. BugaiUino is a condc paper in the local dialect. — The Italian Timet and Roman Herald (20 c.) are English papers published at Rome.
Guides to the Antiquities. Mr. R. 8. Fbrbee, publisher of the ^Bulletin Ck>mmentarium Rerum Urbanarum* (fortnightly), Via del Babuino 93, and Signor Olinio 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 at the bookselIers\
Kusio Sellers. Succeseori Landtherg^ Via Condotti 86, 1st floor (pianos and music for sale or hire); Boeeola^ Corso 140; Venturini A Co.^ Ck>rso 387; Ricordi, Corso 392; Bartolo, Via Condotti 70. — Strings: Berti, Via Tor Argentina 19; Rufini. 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 : M. Ramkilde^ a Dane, Ripetta 39 ; Alb, Cavanna^ Via dei 0reci 10.
Studios. ScuLPTOAs: Amiei^ Passeggiata di Ripetta 20; L. Ansiglioni, Via Venti Settembre 116; R. Cauer, ViaBrunetti 16; ChiaradiOy Via Hargutta 5; Daiueh, Via S. Giacomo 18; Ezechiel^ Piazza delle Terme 118; Feuerslein, Via Palestra 19 ; Qalletti, Via 0esu e Maria 21 : Gerhard, Passeggiata di Ripetta 33; Prof. Ouglielmi, Via Babuino 155; Hcueelriis (Dane), Via Mar- gutta 51; /OM, Via Hargutta 33; Jos. Kopf, Via Margutta 59; Macdonald, Via S. Nicola da Tolentino 22; Monteverde, Piazza deir Indipendenza ; F. Sehulze, Palazzo Barberini; Simmone, Via S. Nicola da Tolentino 73; Sommerj Monte Caprino 24a; Spies, Piazza S. Pietro in Vincoli 40a ; Storp (American), Via S. Martino a Macao 7; Volkmann, Piazza Dante 5.
Paintbsb : Aemi, Via Margutta 48 ; Alvarez, Via S. Martino 9 ; Brandt, Via di Ripetta 39; Brioschi, Palazzo Venezia; Coleman (American), Via Margutta 33; Corrodi (water-colours), Via del Tritone 62; H, Corrodi, Via degli Incurabili 8; Effenberger, Vicoh) S. Nicolo da Tolentino 13; Ferrari, Via Margutta 33; Glennie, Piazza Margana 17; (7mt0o{c< (English), Via del Basilio^; Hdbert, director of the French Academy (p. 149); Knilpfer , Pa- lazzo Venezia ; Koelman, Via deirOlmato 46 (miniatures) ; Kronberg (Swede), Via Margutta 33; Lindemann - Frommel (landscape). Via del Babuino 39; Likoenthal, Via Margutta 33 ; Mario de Maria, Pal. Lanza Vecchio. outside the Porta Pia ; Martens, Via Flaminia 44 ; Navone , Passeggiata di Ripetta 35 ; Nerly (landscapes and sea-pieces). Piazza S. Bernardo 109 ; Podesty, Pa- lazzo Doria, Circo Agonale 13 ; PradUla (Spaniard), Via Sistina 75 ; SchWs- <er. Via Venti Settembre 4; Schwarzer, Piazza S. Salvatore in Lauro 13; Sciuti, Piazza Mattel 10; L. Seitz, Piazza Gappuccini 6; Shade, Via Sistina 123; Siemiradski (Pole), Via Gaeta 7; Struit, Via della Croce 81; TiUon, Via S. Basilio 20; Vannutelli, Via Margutta 51a; Vedder (American), Via S. Basilio 20; Villegas, Pal. Villegas, Viale Parioli; Weckeeser, Piazza Barberini 43; Zielke, Via de' Maroniti 4.
International Association of Artists, Via Margutta 53. President: Jacovacci (painter). — Britisu Academy, Via S. Nicolo da Tolentino 22 A.
Shops. ROME. Prelim. Jnformaiion, 117
— British ahd American Abohvbolooigal Socibtt, Via delle Groce 76, with a good library. — Verbim Deutbchbb KiiNSTLERf Palazzo Serlupi, Via del Seminario 13.
Works of Art , both ancient and modern , are liable to government inspection on exportation. — Goods Aqbnts: C. Sl§in^ Via di Mercede 42; Giordani A jPerront. Piazza Golonna 370a; Roesaler, F)^ang, A Co., Via Gondotti 6; Tombinij Via del Oambero 6. —Packer ('Incasaatore') : Ferroni, Ripetta 228; Vineenzo Oiorgini, Via Mororiti 31.
Shops. Aktiquitikb: AugtutoCkutellani, Piazza di Trevi 86 (see below); Martinetti, Via Bonella 74; Bernard, Via Sistina 21 ; Innoeenti, Piazza Trinita de' Honti 13 A; Jfod, Fontanella Borghese 29.
Art, Works op. Societii Artistica, Via del Babuioo 136; D'Atri, Via Gondotti 7; PUani, Piazza di Spagna 23 (these chiefly for pictures) ; An- dreoni, Piazza del Popolo 17 (marble and alabaster sculptures) . See also Cameos, Casts, Copies of Bronzes, Engravings, etc.
Artists* Materials. CorteselU, Via Sistina 160 ; Juliana, Via Babuino 147; ZeeeOy Via Hargutta 53 a.
Artiolrs D£ Votage: Bar/oot (English saddlery), Via del Babuino 150 D and 152; Chiara, Via Giustiniani 17; Be' Angeli, Via Sistina 28; Old Eng- land, Via Xazionale 116.
Gakbos: SemHni, Via del Babuino 96; Angeliei, Via Sistina 19; Pia- nella. Via de' Maroniti 4, fourth floor; B' Estrada, Via Sistina 26; Ro»i, Piazza di Spagna 86, second floor.
Casts: ManUi, Via Frattina 16; Leopoldo Malpieri, Corso 54; Pado- velK, Via Due Xacelli 85 ; Lucignani, Via Sistina 111.
Clothino. For Gbntuembn: Gtuutalla, Corso 335 (large shop); Bavo- nelU A Co., Corso 300; Fratelli Boeconi, (3orso, adjoining the Piazza Go- lonna ; Old England, Via Kazionale 115. See Tailors. — Ladies'' Dress akd HiLUHERT: FratelU Ponteeorvo, Corso 172; Mauoni, Ck)rso 307; Compagnie Lyonnaise^ Corso 473; Catarina Tua, Corso 526; Madame Boudrot, Via Gondotti 81; Mentro-Oiubergia, Ciorso 60; Antonia Lupa, Corso 28; Ville de Ivon, Via dei Prefetti 48-52 ; Coeiama Federieo, Via S. Nicola da Tolen- tino 26 (for moderate requirements). — See Haberdashery.
Copies of An cibkt Bronzes and Marbles : BoeeheUi, Via Gondotti 74 ; Rdhrich, Via Due Macelli 62; Jfelli, Via del Babuino 139; Rainaldi, Via del Babuino 51 A (lirge stock, fixed prices).
Drapers: Todroe, Corso 418; Sehostal, Corso 158; Outset, Corso 244; Ouastaila, Via Golonna 20.
Dressmakers : Caterina Tua, Corso 526 ; Antonia Lupa, Corso 28 ; Mae- eoni, Corso 307; Coetanza Federieo, Via S. l^icola da Tolentino 26, I. (for moderate requirements).
Engravings at the Regia CdUografia, formerly the Stamperia Gamerale (moderate prices), Via della Stamperia 6 (PI. 1, 19, 7).
FuRNiTURB (carved). BarherUo, Via Sistina 130; Noei, Via Fontanella Boi^hese 29-34. — Intarsia: ZuceareUi, Via del Babuino 34.
Glows, Collars, and Xbok-tiss: Chanal, C!orso 143; also at Corso 227; Piazza S. Lorenzo in Lucina 39; Via della Vite 10; Via Frattina 15; Via di Pietra 77.
GoLDSMiTHB : *Ca*tellani , 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 Corso and Via Gondotti; Boni, Piazza S. Carlo, in the Corso; Aneorge, Fasoli, Pierret, Piazza di Spagna 72, 96, & 20; Freechi, Via Gondotti 56; Calvi, Via Sistina 15 (silver ornaments after ancient patterns).
Haberdashery: Maeini^ Corso 309; Carsana, Corso 136; Borgia, Via dei Prefetti 19. See also Clothing, Dressmakers, Roman Shawls.
Hatters: Betsi, Via Nazionale 137; Miller, Via Gondotti 16; Vigano, Via Monte Gatini 4; Monti (straw«hat warehouse). Piazza Firenze 29.
Jbwsllbbt, see Goldsmiths, Roman Pearls.
Lamps, etc. : Faueillon, Via di Propaganda 23. ». «.
Marblk-(3utters : OrUmdi, Via Sistina 75 G ; Faihi, Via Sistina 94; Pt^r- matiei, Via Sistina 81,
118 Prelim. Information. ROME. Theatres.
MiLLiNEBs, see Haberdashers, Dressmakers, etc.
Mosaics: De Felid, Piazza di Spagaa 99; Boeeheggiani^ ViaGondotii 14. Mosaics and cameos, at moderate prices, in the Stabilimeato, Piassa Bor>- ghese 106.
Opticians: HitMh., Corso 403; friotH^ Corso 419; Busdpi, Gono 157.
Photoosaphs : Loe»eher Op. 115) ; Stpithoever (p. 115 ; Brann's photographs, Anderson's views of Rome); Libreria Centrale (p. 115; Brogi^s photo- graphs): Molins^ Via Gondotti 38 (views of the Parker GoUectton, for archeeologists) ; Casali, Via Sistina 119; Befner, Via Frattina 133 (Semelli's photographs); Alinari d: Caok^ Gorso 90; Mosdoniy Via Gondotti 10a; OU- vterj, Piazza di Spagna 87 and Via Babuino 49 ; Piale, Piazza di Spagna 1.
Photographs for artistic purposes (reproduction of sketches, pictures, etc.) : Vasariy Via Poli 25. ~~ Portraits: AUssandri^ Corso 13; Le Lieure, Vicolo del Mortaro 19; Montabone, Piazza di Spagna 9; 8iBh«mboche^ Via di Mercede 54; Fotografia Jfaeionale, Via Oregoriana 30; Susctpi^ Via Gondotti 48; Delia Valle, Via della Groce 67.
Roman Peakls: Key, Via del Babuino 133; SartoUnij Via Frattina 97; Lacehini^ Piazza di Spagna 69.
Roman Shawls : AgosHni^ Gampo Marzo 3 ; Bianehi, Piazza della Mi- nerva 69 (also other Roman silk wares); Amadori, Gorso 316; Stsffoni, Pi- azza di Spagna 63.
Shobhakbbs: Berardi, Via Fontanella di Borghese 36; Oiangrandi^ Via Frattina 79; Jesi, Gorso 139; Rubini^ Gorso 33a; R«nner, Via delle Quattro Fontane 7; Pateita^ Via Due Macelli 30; FraUlli JfUnster^ Gorso 163. Boots and shoes are generally dear in Rome.
Small Wares, etc.: Merico Gagiati^ Gorso 167-169; Janetti, Via Gon- dotti 18; il. Gagiaiiy Gorso 350; Finei (t Bianchelli, Gorso 377; Old England ^ Via Nazionale 115; Fil. Haa$ A Figliy Via Gondotti 46, at the corner of the Gorso.
Stationkbs: Calzone^ Gorso, entrance in the Via Lata; Rieei^ Gorso 314, Piazza Golonna; Brenta, Pal. Odescalchi, Oorso.
Tailoks: Sehraider^ Piazza di Spagna 5; Mattinu. Corso 107, first floor; Mont^ Via Due Macelli 48; 0. Shgre^ Piazza di Trevi88; Foa A OtMitaUa^ Corso 105.
Umbbbllas, Son-shadbs, and Fans: Gilardini^ Gorso 409; Motta^ Gorso 334; Ouattari, Gorso 411.
Upholsterers : Levera, Via Gorso 895 ; Pepron A Co. , Gorso Vittorio Emanuele 53; Fil. Haas d: Figli^ Via Gondotti 46.
Watghmakebs: Kohell^ Via del Gambero 19; Kolbati^r^ Via Due Ma- celli 108; Oondret^ Gorso 144; Ifautmann. Via Boeca di Leone 84; Kohl- marni. Via Gondotti 69; Conti, Piazza di Spagna 53.
Weapons (permesso necessary, see p. xvii): Spadini^ Piazza Borghese 89.
Italian Alpine Olub, Roman Section, Via Gollegio Romano 36. (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 Teatbo Aboentina or Teairo Comunale (PI. II, 13, 16), Via di Tor Argentina, near S. Andrea della Valle. — Then follow the Teatbo GosTANzi (PI. I, 35), Via Firenze, and Teatbo Vallb (PI. II, 13, 15), near the Sapienza, for dramas. — Besides these there are the smaller theatres : Teatbo Metastasio (PI. I, 13, 75), Via di Pallacorda, near the Via della Scrofk, 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.
-lies frequent the boxes only, gentlemen the pit (plaSea). Particulars
■t admission, etc., are published in the hand-bills. Gomp. p. xxrv.
*iarionetU Theatre: Teatbo Goldoni, Via de' Soldati. — Ctifis Chan- numerous.
Church Festivals. ROME. Prelim. Information. 119
OabSf OmnibUMS, and Tramways, see Appendix.
Carriage Hirers. Belli, Via Margutta 27} PiscUeUii Vicolo degli Avigrion- esi 7. Charges rary according to the aeagon, hut the average may be placed at 90 fr. a day. The beat carriagea are obtained at the larger hotels, where, however, the charge is sometimes as high as 60 fr. a day. Gratuity to the coachman extra. — Saddle Homes. OairoU^ Via Margntta 38 ^ Jarret^ Piazza del Popolo 3 1 Franeesangeli^ Via Principe Umberto 183 \ PiereMy Via Firenze 43. Charge 10 fr. for half-a-day ; ostler's fee 1 fr.
Porters (FaUoriHi Fubblid). The best are those of the Impresa Bo- mana^ Vicolo Sciarra 60, with the name on their caps and a brass number on their coats. Porter with letter or luggage under 83 lbs., 25-75 e. accord- ing to the distance. There are also three other companies.
Post Office (comp. Introd., p. xxv), Piaaaa di S. Silvestro in Capite, a large new edifice, open from 8 a.m. to 9.30 p.m. (PI. I, 16} also entered from the Via della Vite). Poaie EutanU 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). Btaneh 0/fiees: at the railway-station (open till 10.30 p.m.), Piazza Barberini 10 (open till 10 p.m.)> Via del Babuino 106, Boreo Xnovo 136, Cono Vittorio Smanuele 61, Via Alessandrina 160 fopen 8-»). — Parcel Post at the general post-office and at Monte Citorto 132 (9-6).
Telegraph Office, open day and night, in the General Post Office building, Piazza di S. SUvestro in Capite. Branch Officer: Piasza Aracosli 3, Via Venti Settembre 118, Borgo Vnovo 86 (in summer 7*9, in winter 8-9); also at the Baiiway StatiOB (open night and day).
- -- \ Ohnrolies. AU Saints, Via Babuino, Piazsa di Spagna, designed
by Street (superseding the old Anglican Church near the Porto del Po- polo); services at 8. 30 a.m., 11 a.m., and 8 p.m., in summer 9 a.m. and 5 p.m.; chaplain, Canm Watson TFosm, M, A.. Via della Croce 81. — Tri- nity Church, Piazza 8. Silvestro, opposite the Post Office (p. 153); services at 11 a.m. and 3 p.m. : chaplain (1888-90), Rev, A. C. ThiselUm. — Ameri- can Episcopal Church of St. Pauly a handsome brick edifice by Street, Via Vazionale: services at 8.90 a.m., 11 a.m., and 4 p.m.; rector, Rev. Dr. 2f$- v*n, Via l^azionale 16. — Scottish PrcshpUriam Churchy Via Yenti Settembre 7, near the Quattro Fontane; services at 11 a.m. and 3.80 p.m.; minister, Rev. Dr. Gray, Via Venti Settembre 7, 2nd floor. — Weslepan Methodist Church, Via della Scrofa 63; services on Sun. 11 a.m. and 7.30 p.ni^ on Thurs. 7.30 p.m. ; minister, Rev. Henry Piggott^ Via delle Copelle 28. — American Baptist Church, Via Teatro Valle.-
Italian Protestant Ohnrches. Waldeneian Church, Via l^aalonale 107. — Free Italian Church (Signor Oavazzi), Via Panico 43, opposite the church of S. Angelo. — Military Church, Via delle Copelle 28; service every evening at Ave Maria (1 br. after suns6t); cbaplalA, Rev. Cap. Capellini, PosEO delle Comacchie 14. — Epieeopal Methodist Church, Piazza Poll. — Bapiisi Chapel, Piazza San Lorenzo in Lucina. — Baplitt Church, ViaUr- bana 154.
Anglo-Ameriean Olab, Via Condotti 21. — Enflish Olab, Via della Croce 78.
Ohurch Festivals. Since the annexation of Borne 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 these of the Holy Week, the benedictions, and the public processions including that of theFdte deDieu, have been discontinued. The Pope still officiates on high festivals in the Sistine 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 blaek veils or caps.)
The following enumeration of the various festivals, as they were celebrated prioe to 20th Sept. 1870, will still be found useful in many respects. Details are contained in the Diario Romano, published amally. The best work on the ceremonies of the Holy Week and their significa- tion is the Manuale delle cerimonie che hanno luogo nella settimana santa e
1 20 Prelim. Information. ROME. Church Festivals.
neir ottava di patqua al VaHcanc (1 fr. ; also a French edition), obtainable at the bookshopa mentioned at p. Ufi.
The Pope used 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. Poter*s, on Ascension Day from the Lateran, and on 16th Aug., the anniversary of the * Assumption of the Virgin*, from S. Maria Maggiore. The most imposing ceremonies were those of the HoV^f Week^ from Palm Sunday to Easter Day, the most important of which took place in the Sistine Chapel , accompanied by the music Clamentettioru', 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 Aracosli.
— 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. 8. Agnese Fuori (p. 342).
February 1. Illumination of the lower church of S. Clemente (p. 260).
— 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 Oesii ^I. II, 1^, S. Maria sopra Minerva (PI. II, 16), and other churches are celebrated. March. 8. Cappella Papale in the Sistine, to celebrate Leo XIII.^s instal- lation.
— 7. St. Thomas Aquinas, in S. Maria sopra Minerva (PI. II, 16).
— 9. S. Francesca Romana (in the Forum).
— 16. Festival in the chapel of the Palazzo Massimi (PI. II, 17) in
commemoration of a resuscitation by S. Filippo Neri (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. H, 80).
Wednesday. Cappella Papale in the Sistine, 8 p. ro. Tenebrse, Miserere.
Ifoly Thnrtday. Cappella Papale in the Sistine, 10 a. m. Towards noon the benediction 'TJrbi* 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. Tenebrse and Miserere.
Oood Friday. Cappella Papale in the Sistine , 9 a. m. (music by Pales- trina). At 8 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.
Easier Day. High Mass in St. Peter's, formerly 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.
Faster Monday. Cappella Papale in the Sistine, 9 a. m.
E€uter Tuesday. Cappella Papale in the Sistine, 9 a. m.
Saturday in Albis. Cappella Papale in the Sistine, 9 a. m.
April 25. Procession of the clergy from S. Marco (PI. II, 16) to St. Peter's at 7. 80 a. m.
Popular Festivals. ROME. Prelim. Information. 121
Hay 26. S. Filippo Neri. Gappella Papale in the Ghiesa Kuova, 10 a. m. AtieensUm. Gappella Papale in the Lateran. Benediction from the loggia. Whitsunday. Gappella Papale in the Sistine , 10 a. in. Trinity. Gappella Papale in the Sistine, 10 a. m.
Corptu Domini (FSte dc Dien). Procession of tlie Pope and clergy round the piassa of St. Pctcr^s, 8 a. in. 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. I'eter's,
celebration formerly by the Pope. S. Bonaventura, in S. S. Apnstoli. S. Ignasio, in Gesu.
St. Peter in Vinculis, in S. Pietro in Vincoli (PI. 11, 23). 8. Maria della Neve, in S. Maria Maggiore (PI. 11, 25). Assumption of the Virgin. 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 Popolo
(PI. I, 18), 10 a.m. yy- y
Elevation of the Gross, in 8. 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. 8. 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. CecUia. Gappella Papale in S. Gecilia in Trastevere (p. 331). Illuminafcion of the Gatacombs of Galliatus (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. Christmas Eve. G^pella 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 Gesu (PI. II, 16).
|
June |
24. |
|
__ |
28. |
|
— |
29. |
|
July |
14. |
|
— |
31. |
|
Aug. |
1. |
|
._ |
5. |
|
— |
15. |
|
Sept. |
8. |
|
_^ |
14. |
|
Oct. |
7. |
|
18. |
|
|
n7v. |
1. |
|
. |
2. |
|
- |
3. |
|
_ |
4. |
|
— |
5. |
Popular FestiTala (which have lost much of their former interest) : — Epiphaitt (6th Jan. ), celebrated in the evening in the Piazza Navona, since 1873 (formerly near S. Eustaehio) ; array of booths and prodigious din of toy-trumpets.
The Cabnival, 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 Corso^ 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 lighted immediately after sunset. A window in the Gorso is the best point of view. The liveliest scene is between the Piazza Golonna and S. Garlo. Balconies there are in great request (as high as 600 fr.) ; single places are let on stands fitted up for the occasion.
122 Prelim. Information. ROME. CoUectiom^ Villas, etc.
The OoTOBBB Fbstiyal, in the Tintage-fleawii, once famonfl, is celebrated with singingf dancing, and carousals at the osterie ontside the gates.
The Fbsta 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 Piasza deir Indlpendenza or the CSanapo Hilitare (p. 169). In the evening fireworks ('Girandola') in the Piazza del Popolo and elsewhere. — On the anniversary of the Foundation or 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 Soenes. The top of the Scala di Spagna (PI. I, 20) and the Via Sistina are the favourite haunts of artists' models, chleflv Neapolitans, whose costumes are a well-known subject of photographs and pictures.
The favourite haunts 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 Gampo di Fieri (p. 204).
The Oarrison of Home consists of 4 regiments of If^fantry (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 Benaglieri or riflemen (dark blue uniform with crimson facings, large plumed caps worn on one side , forming an ^lite corps like the Austrian Kaiserjager) t, 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 FUld Artillery and 1 brigade of Fortress Ar- tillery (dark blue uniform with yellow facings) ; and 1 brigade of ^n^ineers (dark blue uniform with crimson facings). To these we may add the Cara- binierif or gensdarmcs (p. xvi).
Collections, Villai, eU.
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.
Aecademia diS. l/wca(p. 238), pictures: daily, 9-3; closed In July and August.
Alhaniy Villa (p. 338), antiquities and pictures : Tuesdays, except in wet weather, from 12 noon; admittance by permesso, obtain^ able at the office In the Palazzo Torlonla , Piazza Yenezla 135, to the left on the ground-floor, on presenting a visiting-card.
Barherini, Pcdatto (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; 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.
CoUections, ViWaa, etc, ROME. Prelim. Jnfannation, 123
•CapiioUne Museum (^. 216): daily, 10-3, 50 c. ; on Sun., New Year's Day, Epiphany, Festival of the ConBtltution (p. 122), Ascension Day, Corpus Ohrietl Day, Festival of SS. Peter and Paul, Aug. 15th, Sept. 8th, and Dec. 8th, 10-1, free; closed on Easter Day, Sept. 20th, Nov. Ist, and Christmas. CasUllo 8. Angelx) (p. 274) : dally 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' Burrd (a street connect- ing the Piazza di Pietra and Piazza S. Ignazio; PI. I, II, 16), No. 147, second floor.
* Cataeombs of St. CcUmtus (p. 361) : daily, see p. 356. *Col(ynnaj Palazzo (p. 163), picture-gallery: Tues;, Thurs., &Sat.,
11-3. *Colos8eum (p. 234) : open at all hours ; the galleries closed after
11 p. m. (comp. p. 236). * Conservatori , Pedaee of (^. 215), new collection, bronzes and
pictures : times of admission same as for the Oapitoline Museum
(see above). Corainij Palazzo (^. 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, F»/fa, see below ( Villa Pamphilj). *Fame8inay 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. * Kireheriano, Museo (p. 156): daily, except public holidays, 9-3
(1 fr.). Sun. free. *LaUran, Ck)lle€tiom of the ($. 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. Mattei, Villa (p. 269): Thurs., after 2. 30 p.m. ; visitors write
their names in a book. Medici J FiWa (p. 149), collection of casts: Wed. and Sat., 8-12,
and afternoons till dusk. Museo Artistico IndustriaU (p. 151), daily, 9-3, except Wed. Museo delle Terme (p. 168), same as the Oapitoline Museum.
* Palatine Excavations (p. 242): daily, 9 till dusk; adm. 1 fr. ; on
Sun. and holidays gratis; closed in summer 12-3.
*PamphUjj 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 of(jp. 285), daily 8-11, by permesso.
124 Prdim. Information. ROME. Students' Permessi,
Quirinaley Palazzo del (p. 173), the residence of the King, daily, but part of it only is shown. *Rospiglio8iy Casino (p. 175), pictures: Wed. and Sat., 9-3. *Thermae of Caraedila (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^ Museo (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 visitorB apply to the Swiss guard (no gratuity) at the Portone di Bronze, opposite the chief entrance to the Vatican (p. 286), and are conducted to the office, where they write their nanaes 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 O/a fr.)- Besides the permessi for artists and scientific men mentioned below, there are ordinary permessi available for 5 persons. For Raphael's Stanze and Loggie^ the Picture Gallery^ and the SisHne Chapel ^ 9-3 o'clock on the first five week-days, festivals excepted. — For the Museum 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., Tues., Wed., Frid., 8-12), no permesso being required; comp. p. 319. Those who desire to study, draw, or copy in B.oman museums or pri- vate collections must procure a Permesso through their consul. For the Papal Museums permission is granted by Monsignor Macehi (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 BaphaePs Loggie.) 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 *Bevma' being in this case omitted. Eecellenza Revma^
Jl sottoscritto, che si trattiene a Roma con lo scopo di proseguire in questa capitale i suoi studj artistici (storici, etc.), si prende la libertit di rivolgersi con questa a Vra Eecellenza Revma pregando La perehi voglia aceordargli il grazioso permesso di far degli studj (dei disegni, delle notizie, etc.) nel Museo (nella Galleria) Vaticano. ^
Sperando di essere favorite da Vra Eecellenza Revma e pregando La di gradire anticipatamente i piii sinceri suoi ringraziamenii, ha Fonore di pro-
testarsi col piit prof ondo rispetto ^ w - r. „ « -«
^ -^ "^ ^ dt Vra Eecellenza Revma
Roma li . . . . Vmmo Obbmo Servitore
A Sua Eecellenza Revma N. N.
Monsignor Macehi
Maggiordomo di Sua Santitdi.
f)iary. ROME. Prelim. Information. 125
Biary.
(To be compared with the preceding Alphabetical List)*
Daily: Capitoline Museum (p. 216) and Palace of the Cousei- vatori (p. 215), 9-3, adm. 50 c.; Sun., 10-1, gratis. — Collections in the Lateian fp. 268), 10-3, in summer 9-1. — Museo Klrche- liano (p. 156), 9-3, adm. 1 fr.; Sun. gratis. — Forum Romanum (p. 222). Excavations on the Palatine (p. 242): adm. Ifr. ; Sun. gratis). Thermffl of Caracalla (p. 255) ; adm. 1 fr. ; Sun. gratis ; all three after 10a.m., closed In summer from 12 to 3. — Dome of St. Peter's (p. 285) 8-11. — Catacomhs of St. Callistus (p. 361), etc.
Daily y 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 Pamphilj (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) 9-8. — GaUeria 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 Dorla-Pamphilj (p. 355).
Saturdays : Casino Rospigliosi (p. 175) 9-3. — Galleria Corsini (p. 324) 9-3. — Galleria Colonna (p. 163) 11-3. — Villa Borghese (J). 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 must make a stay of 10-14 days at least.
126 Praim. Information, BOMB. Fortnight's VisU.
Summary of CUef Attraotiong .
Chdbchu : St. Peter's (p. 277), S. Giovanni in Laterano (p. 266), S. Maria Maggiore (p. 176), S. Lorenzo fuori le Mura (p. 343), S. Paolo fuori le Hura (p. 352), SiBtine Chapel (p. 287), 8. Agostino (p. 189), S. Glemente (p. 260), S. Croce in GeruBalemme (p. 181), S. Maria degli Angeli (p. 167), S. Maria in Aracoeli (p. 209). S. Maria sopra Minerva (p. 195), S. Maria della Pace (p. 191), S. Maria del Popolo (p. 147), 8. Maria in Traatcvere Op- 330), 8. Onofirio (p. 322), 8. Pietro in Vincoli (p. 182), 8. Prassede (p. 178).
Palacsb: Palazzo della Cancelleria (p. 199), Farnefie (p. 205), Giraud (p. 276), di Venezia (p. 162).
BuiKS : Fornm (p. 222), Colosseum (p. 234), Imperial Palaces {p. 244),
Cloaca Maxima (p. 248), Thermse of Titus and CaracaUa (pp. 237, 256), Pantheon (p. 193), Theatre of Marcellus (p. 203), Forum of Trajan (p. 240), Temple of Ifeptune (p. 166), Pyramid of Cestius (p. 252). — Catacombs of
St. Callistus (p. 361).
CoLLBonoMS OF Statubs in the Vatican (p. 306), Capitol (p. 216), La- teran (p. 268), ViUa Albani (p. 338), Borghese (p. 334), Ludovisi (p. 172).
PiGTUBBB : Raphael's Loggie and Stanze (p. Q&2)y galleries of the Vatican (p. 301), Palazzi Borghese (p. 186), Barberini (p. 171), Golonna (p. 163), and Dona (p. 166).
Pbombnaoss : Monte Pineio (p. 148), where a military band 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 ViUa Doria-Pamphilj (p. 355)-, and the Via Appia (pp. 264, 348). — The new Pat*4ffgiata Mar- gherita (p. 330) and Parco Regina Margherita (p. 336).
Points of Vibw on the left bank : The Pineio (PI. 1, 18 ; p. 148), Basilica of Gonstantine (PI. II, 20; p. 232), PalaUne (Pi. U,21; p. 241); on the right bank : *S. Pietro in Montorio (PI. II, 12 : p. 328), and the adjoining ^Passeggiata Margherita (p. 330; at least 1/2 br. before sunset).
A Fortnight't 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).
IsT Dat. The first part of this had better be devoted to what may be called an * Orientation Drive\
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 8. Giovanni in Laterano to the Piazza in front of the church, then through the Via Merulana, passing 8. Maria Maggiore, through the Via Ag. Depretis (Quattro Fontane) and the Via Kazionale 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 8. Maria in Trastevere, and through the Lungara to the Piazza di 8. Pietro; then through the
'o Nuovo, across the Pia/xa Pia, past the Castle of 8. Angelo, over nte 8. Angek), and through the Via Banco di S. Spirito, the Corso
Bibliography. ROME. Prelim. Information. 127
Vittorio Emanuele, and the Via Aracoeli to the Piazza in AraeoBli at the foot of the Capitol, where the cab may be diimlMed. Ascend to the Piatna del Gampidoglio (p. 210), visit the CapUoUnt Mmtum (p. 216) and the Forwn Romanum (p. 222), and lastly spend the evening on the Pindo (p. 148).
2nd Day (Hon. or Wed.). Galleria Borghese (p. 185; Hon., Wed., Frid., 9-3); Pantheon (p. 193); 8. Maria eopra Minerva (p. 196); Can- celleria (p. 199); Pal. Fameee (p. 206); Ponte Sisto (p. 327); S. Mana in TrasUvere (p. 330); 8. Pieiro m Montorio (p. 328); then, if time permit, a walk in the new Paueggiata Margherikt (p. 830), which may also be in- cluded in the programmes given below for the 3rd and 8th days.
3kd Day (Mon., Tues., Wed., or Frid.). 81. Peter'' » (p. 277) and the " Dime (p. 285; 8-10); Sitiine Chapel (p. 287; 9-3); Antiquities (p. 804; 9-3); 8. Onofrio (p. 322).
4th Day (Mon., Thurs., or Sat.). RaphaeVe Stame and Loggie. Vatican Picture OaUery (p. 293; Mon. to Frid. 9-3); Oalleria Cotsmi (p. 324; 9-3); Palatine (V. Hi). if , ^,
6th Day (any weeic-day). Mueeo Kir^heriano (p. 166) ; Forwn of Tra- jan (p. 240); Fora of Auguskie (p. 239) and Nerva (Golonnacce, p. 239); 8. Pieiro in Vineoli (p. 182); Thermae of Titua (p. 237); Cdlosaeum (p. 234); Arch of CoMtantine (p. 236) ; walk over the Caelius (p. 268), if time permit.
Gth Day (T«o8.). 8. Maria del Popolo (p. 147); Geeit (p. 197); Oatte- Ha Doria (p. 158; 10-2); Galleria Colonna (p. 163; 11-3); Quirinal (p. 174); 8. Maria degli Angeli (Thermae of Diocletian, p. 167) ; 8. Agnete fuori le Mura (p. 3^), if time left.
7th Day (any day). 8. Clemente (p. 260); Lateran, Museum (9-3), Church and Baptistery (p. 267); 8. Maria Maggiore (p. 1t6); 8. Prastede (p. 178); 8. Lorenzo fwn-i (p. 843).
8th Day (any day). From the Forum Romanum to the Janui Quadri- from (p. 248); Ctoaea Maxima (p. 248); Ponte Rotto (p. 280); so-called Temple of Fortnaa Virilie (p. 249) and that of Hereulee Victor (p. 249); 8. MaHa in Cosmedva (p. 249) ; by tramway to 8. Paolo fvori (p. 363) and back to the Porta 8. Paolo ; Pyramid of Ceetitte (p. 262); Monte Testaccio (261); over the AvenUne {8. Sabina^ p. 363).
9th Day (any day). 8. AgotUno (p. 186) ; 8. Maria delP Anima (p. 191) ; 8. Maria delta Pace (p. 191); second visit to 8i$iine Chapel and to RaphaeVe 8tante and Loggie or to the Picture OaUerp (9-3). Excursion to Ponte Molle (pp. 334-336).
10th Day (any day). 8. Maria in Aracoeli (p. 209); collections in the Paktee of the ConservatoiH (p. 211 ; 10-3) ; Thermae of Caracalla (p. 265) ; Via Appia, within and without the city (pp. 254, 348), and the Catacombs of Callistus (p. 361). Back by the tombs on the Via LaHna (p. 346).
11th & 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 ViUa Famesina , open only on the Ist and the 15th of each month.
13th & 14tu Days. Lastly, a day should certainly be devoted to the Alhan 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 literature 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 BiondOj and Lucio Fauno^ devoted them- selves with enthusiasm to exploration in this field. The most im- portant of the mediaeval works on Rome is NardinVs Roma Aniica (1666), edited by Nibby in 1818.
128 Ptelim, Infotmaiion, ROME. Bibliography.
Among modem workB we may mention the following: —
1. Italian. Nuova DueritioiM di Roma Antiea e Modfna lS30y by C. Fea.
IndicoMUm* Topoffroiflea di Roma Antiea (3rd ed., 1841) and other works
by Canina, Roma new Anno 1838, by Nibfiy (3 vols. \ 1843).
2. Fkbngh. Rome.^ DueripUon €t JSouvenir^ by Francu Wejf, a handsome
iUu3trated work, with 368 wood-cuts (3rd ed., Paris, 1875). Rome au BUcU d'AugtuU, by Dezobry (1844). Promenadei Arehiologiques^ by Boiitier (Paris, 1881). Rome et tes Monuments^ by Debleser (1882^ useful information about
church services and other ecclesiastical matters). Let AnUquit^t de la Yille de Rome au XIV^ XV^, et XYI^ siiclee, by
£. Milniz (Paris 5 1886).
3. Gehman. Gesehiehte und Betehreibung der Stadt Rom^ by Saehee (1824).
Beschreibunff Rome, by Niebuhr. Flatner. BtMeen. Ulritha. and others, a learned and extensive work forming the basis for all subsequent ex- ploration (6 vols., 183(^42). An abridgment of this work, in 1 vol., was issued by Flatner and Uhriehe in 1845.
Uandbueh der Rdmitchen Alterihamer, by W, A. Becker, a useful sup- plement to the foregoing (numerous references to classical authors).
Topographie der Bladi Rom im AUerthum, by ff. Jordan, with an ac- count of the present state of the excavations (3 vols.; 1871-85).
Topographie der Stadt Rom, by 0. RicMer, an excellent and learned survey, though somewhat crowded owing to its conciseness (1889).
Die Ruinen Rome, by Reber (3rd ed., Leipsic, 1879).
Darttellungen aus der 8ittengeeehiehte Rome in der Zeit von Auguet bie zum Auegang der Antonine, by L. Wedlaender, a valuable contri- bution to the social history of the imperial era (5th ed., 1881-82).
GeeehieMe der Stetdt Rom im Afittelalter, by Ferdinand Oregorovitu , a history of Rome in the middle ages, closing in 1535 (1858-72).
Oeeehiehte der Stadt Rom, by A, von Reumont, a history of Rome from its foundation to 1846 & vols. ; Berlin, 1867-70).
4. Emolish. Walke in Rome, by Augtuiue J, C. Hare (12th ed., 1887). an
admirable cicerone for the ordinary visitor to Rome (may be bor- rowed at Piale's library).
Rotne, Ancient and Modem , by the Rev. Br. Donovan (4 vols. ; 1842), based on the works of Professor Nibby.
Trane/ormation or The Marble Faun, by Nathaniel Ilaiothorne, contains much incidental matter of interest for the visitor to<Rome. — See also Georgee Sand's *'Dan%ella\ Sans Andereen'e ^Improvieatore"*, nnd Mies RoberW 'Mademoiselle Mori\
Archaeology of Rome, by /. H. Parker, profusely illustrated.
Architectural History of Rome, by J. H. Parker (1881).
Romae Antiquae Notitia, or the Antiquities of Rome, by Basa Kennel (1731).
Rtme under Pius IX., by 8. W. Fullom (1864).
Rome Illustrated, translated from the French of Francis Wey (see above ; new ed., 1887).
Architectural Antiquitiee of Rome, by Taylor ds Gresy (new ed., 1874).
Rome and the Campagna, by Bum (London, 1870), the best English work of the kind.
Historic and Monumental Rome, by C. 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 GeU (1846).
The Roman Catacombe, by the Rev. J. Spencer Northcote (new ed., 1859).
The City 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. Laneiani (illus.; London, 1888).
The reader need scarcely be reminded of the histories of Gibbon, Nie- buhr, Mominsen, Merivale, Ai-nold, Duruy, and Ihne.
Origin. ROME. History. 129
BOttory of the City of Borne.
Difflcnlt 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 ciyilisatlon, 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 difficult 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 » 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 was 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 Boma Quadrataj 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 for 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, 54): *flumen opportunum, quo ex mediterraneis locis fruges devehantur, quo maritimi commeatus acclpiantur, mare vidnuT
Babdbkxjb. Italy II. lOth Edition. 9
130 History. ROME. The Kings,
ad oommoditates nee exposittim nimia propinquitate ad pericula clasflinm extemarnm , regionum Italia medium , ad inciementnm arbis natum nnice locum'. The Tiber was navigable for sea-going ships as far as Rome, whilst its tributaries, such as the Anio, Neia, Ghlana, 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 Servius Tullius. 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 hills, 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 Wall, 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 £. side of the Esquiline, skirted the S. slope of the Caelius, 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 Mamertinus (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 Supeibus (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 "his they succeeded, although not without serious difficulty. It
The Republic. ROME. History. 131
was a haid 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 Etmscan 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 effect 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 from 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 Servius Tullius ; 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 Graeco- Aslatic 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 ot 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. Porcius Cato erected the first court of judicature (Basilica Porcia) in the Forum , and others followed his example. Speculation in houses was extensively carried on , and it was by this means that the Triumvir Orassus, among others , amassed Ms fortune ; for rents were high , and the houses of a slight and inexpensive construction. These insulae, or blocks of houses erected for hire, contrasted strikingly with the domuSj or palaces of the wealthy, which were fitted up with the utmost magnificence and luxury. Thus the tribune Clodius, the well-known opponent of Cicero , paid 14,800,600 sesterces (i. e. about 130,525t.) for his house. The ordinary building material consisted of sun-dried bricks (laterts), while the volcanic stone (tufa and peperino) of the neighbourhood was used for the more^ ambitious edifices. Among the comparatively few extant buildin'^
9*
132 HUtory. ROME. ThtEmptfOrs,
of the Republican period are the Tahularium of B. G. 78 (p. 221), the Ionic Temple at the Ponte Rotto (p. 249), and the tombs of the Sei^ioa (p. 257), Btbulus (p. 163), and CateiUa MeUlla (p. 349).
The transformation of the lepublio into a Militaby Dbspotism involyed the introduction of a ne^ 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 Martiua with the Pantheon (p. 193) and the Thermae ofAgrippa (p. 195), the Theatre of Marcellus (p. 203), the Portico of Octavia (p. 203) and the Mausoleum of Augustus (p. 184), the Basilica Ju£ia (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 EuboBa ('dpollino'). The administration and police-system of the city were also re-organised by Augustus , who divided Rome into 14 quarters (regiones)j 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- mous 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 Flavian Dynasty, which followed the Julian , has on the
The t!mperora. ROME. History, 133
other band perpetuated its memory by a number of most imposing works, above all the Colosieum (p. 234), which has ever been re- garded as the symbol of the power and greatness of Rome, the Therma of Titus on the Esquiline (p. 237), the Flavian Palaoe on the Palatine (p. 244), and the Triumphal Arch (p. 233) erected after the destruction of Jerusalem. Under Trajan j 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 fp. 240), with the column, and the reliefs afterwards employed to decorate Constantino's arch, bear eloquent testimony. Under Trajan the cxilminating 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 (j>. 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 , incursions of barbarians , famine , and pestilence sncceeded each other 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 Aurelitu (p. 154), the Arch of Sept. Severus (p. 228), the magnificent Baths of Caracalla (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 AureliaUj 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 two former were, however, erected by his rival Maxentius. Oonstantine manifested
134 HUtory, ROME. Rise of Christianity.
little partiality for Rome and ancient traditions, andthetransferenoe of the seat of empire to Byzantium (in 330) marks a decided tnm- 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 proTincial town. No new works were thence- forth undertaken, and the old gradually fell to decay.
The city was still divided, in accordance with the AnauSTAH Stbtbm, into fourteen regions, in enumerating which we shall name the principal ruins belonging to each: — 1. Porta Captna, Via Appia, within the city <p. 254); 2. CaelimonUum, Ceelius (p. 258); 8. Isis et SerapU^ Colosseum (p. 234), Baths of Titus (p. 237) ; 4. Templum Facts, Venus et Eoma (p. 233), Basilica of Gonstantine (p. 232), Temple of Faustina (p. 231) -, 5. Ezquiliae, Temple of Minerva Medica (p, 180) ; 6. Alta Semita^ Baths of Gonstantine (p. 174) and Diocletian (p. 167) : 7. Via Lata, between the modem Corso, the Quirinal , and Pincio (p. 148) ^ 8. Forum Romanum, the republican and imperial Fora (pp. 222, 237) and the Gapitol (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. 154), and the Temple of Neptune (p. 155) ; 10. Palatium, Palatine (p. 244) ; li. Circus Maximus, temple in the Forum Boarium (p. 250); 12. Piscina Publica , Baths of Garaca]la (p. 255) ; 13. Aventinus , Pyramid of Gestius (p. 252) ; 14. Transtiberim, Trastevere and the Borgo. According to the statistics of this period, Rome possessed 37 gates, from which 28 high- roads divei^ed, 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 Thermse, 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 Benaiasance, but for which even the monuments sUU extant would ere now have been consigned to oblivion.
The Catacomba, the earliest burial-places of the Chbistians, 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 Constantino 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 cecumenical council was held at Nicsea , 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 8, 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 8. Cecilia (p. 331). *■ bout the beginning of the fourth century 8, Alessio and 8. Ptisea *ihe Aventine are supposed to have been founded. Of these •>hes, however, and also of the edifices erected by Constantinb,
Early Middle Ages, BOME. Mstofy. 135
no trnstworthy record has been handed down to ns. To that monarch tradition attributes the foundation of the following churches — the Lateran, St. Peter* 8 ^ 8. Paolo Fuori, S. Croee in OerusaUmmej 8, Agnest Fttori, 8. Lorenzo Fuori^ and 88. Pietro e MarctlUno at Torre Pignattara (p. 345), — but probably errone- ously , with the exception of the first , which was styled 'omnium urbis et orbis eccleslarum 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 yicinity ; and this is accounted for by the fact that the Roman aristocracy at first dung 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 (tittdi) , be- sides numerous chapels, and among them arose the five PATBiAjacHAX Ghitbohbs, 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, Pietro, 8. Paolo, 8. Lorenzo, and the church of 8. Maria Maggiore founded by Liberius. Besides these , 8. Croee in Oerusalemme and 8. 8eba8iiano, 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 steadily increased, and at the same time the inroads of poverty made rapid strides.
In the 4th Century 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 Yandals and Goths are often erroneously held responsible for the destruction of all the great monuments of antiquity, which, on the contrary, Theodorie 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 Yandals , and In 537 it sustained its first siege from the Goths under Vitigea. 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 those of the Castle of S. Angelo, effectually repelled their attacks on the city. In March
136 HUtory. 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, Totilaj 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. Belisarius 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 Chnstans 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 AUtulf besieged Rome for two months 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 : —
^Kobilibna quondam fueras constructa patronis, Subdita niinc servis, heu male Boma ruis;
Deseruere tui tanto te tempore reges, Gessit et ad Grsecos nomen honosque taas\ and terminates with the words : —
'Nam nisi te Petri merltum Panliqne foveret, Tempore jam longo Boma 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 Great (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 acoomplish- ment of which would materially pave the way for their ulterior am- bitious schemes. In 727 the Lombard king Luitprand presented Sutri, which had been captured by him, to the pope, this being the first instance of a town being presented to the church, and this gift
The MiddU Agei. ROME. Bistory. 137
constituted a basis for the subsequent formation of the States of the Ghoroh. In 755, on the invitation of the pope, the Prankish king Pepin proceeded to Italy and practically put an end to the Byzan- tine supremacy. It is not known whether that monarch absolutely made over 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 111.^ and from that period dates the career of the *Holy Roman Empire' and the Mbdlstai. Histobt 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-caUed 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 mistiress 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 (lii, 565) : —
^Charlemagne had already set the example of carrying off ancient columns and sculptures to adorn his cathedral at Aix-la-Chapelle, and the popes, who regarded the greatest monuments of Some 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 even 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 Ceesar, Mark Antony, Augustus, and other masters of 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 a vast lime-kiln, into which the costliest marbles were recklessly cast for the purpose of burning limej and thus did the Romans incessantly pillage,bum, dfcmantle, and utterly destroy their glorious old city
138 History, ROME. Modem Times,
Leo IV. encircled the 'Lboninb City' with, a wall , and erected other useful stractures, which indicate a renewed period of pros- perity; but the ravages of the Saracens in the city and its en- virons soon prevented farther progress. When at length these bar- barians were Anally 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. £very tem- porary re-establishment of peace was invariably followed by new scenes of devastation, as when the senator BraneaUone 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 Quelphs and Ghibellines, Neapolitans and Germans , Orsinf s and Colonna'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. f Leo X, 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 modem 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 Popt9. 139
CHRONOLOGICAL TABLE.
|
B.C. |
Bom. Emp |
Popes ». |
A.D. |
Rom. Emp. |
Popes. |
|
U |
Jalins Ccesar |
238 |
Gordian III. |
||
|
murdered. . |
2U |
Philip the |
|||
|
28 |
Cresar Octa- |
Arabian. |
|||
|
vianus Au- |
249 |
Decius. |
|||
|
A.D. |
gustus. |
251 |
Gallus and |
||
|
14 |
Tiberius. |
Volusianus. |
Cornelius, |
||
|
87 |
Caligula. |
252 |
251-252. |
||
|
41 |
Claudius. |
253 |
.fimilianas. |
LuciusI.,252-253. |
|
|
54 |
Nero. |
Valerianus. |
Stephen I., 253-257. |
||
|
67 |
Martyrdom of |
257 |
|||
|
St. Peter. |
Sixtus II., |
||||
|
68 |
Oalba. |
Linus, 67-79. |
260 |
Gallienus. |
257-258. |
|
69 |
Otho. |
Dionysius, |
|||
|
Vitellius. |
268 |
Claudius II. |
25^269. ^ |
||
|
69 |
Vespasian. |
270 |
Aurelian. |
Felix I., 269-274. |
|
|
79 |
Titus. |
Anacletus, 79-91. |
275 |
Tacitus. |
|
|
81 |
Domitian. |
Clement, 91-100. |
276 |
Florianus. |
Eutychianus. |
|
96 |
Kerva. |
Probus. |
|||
|
98 |
Trajan. |
282 |
Carus. |
||
|
100 |
Euaristus. |
283 |
Carinus and |
||
|
109 |
Alexander I. |
Numerianus. |
|||
|
117 |
Hadrian. |
288 |
|||
|
119 |
Sixtus I. |
284 |
Diocletian. |
Cajus. |
|
|
128 |
Telespborus. |
296 |
|||
|
138 |
AntoninusPius |
306 |
Constantius |
Marcellinus. |
|
|
139 |
Hyginus. |
Chlorus and |
|||
|
142 |
Pius I. |
Maximianus |
|||
|
157 |
Anicetus. |
Galerius. |
|||
|
161 |
Marcus Au- relius. |
306 |
Constantine the Great |
||
|
168 |
Soter. |
(sole Emp. 324-337). |
|||
|
ITT |
Eleutherus. |
||||
|
180 |
Commodufl. |
307 |
Maximin II. |
||
|
190 |
Victor L, 190-202. |
Severus. |
|||
|
193 |
Pcrtinax. Didius Ju- |
Licinus. Maxentius. |
|||
|
lianus. |
308 |
Marcellus |
|||
|
193 |
Septimius |
309 |
Eusebius. |
||
|
Sevems. |
311 |
Melchiades. |
|||
|
202 |
Zephyrinus, 202-218. |
314 336 |
Sylvester I. Marcus. |
||
|
212 |
Caracalla (Geta d. 212.) |
337 |
Constantine II. Constantius. |
Julius L |
|
|
217 |
Macrinus. |
Constans. |
|||
|
218 |
Heliogabalus. |
Callistus L, |
352 |
Liberius. |
|
|
222 |
Alexander |
218-222. |
366 |
Felix II. |
|
|
Severus. |
Urbanus L, |
360 |
Julian. |
||
|
223 |
223-230. |
363 |
Jovian. |
||
|
230 |
Pontianus, |
Valenti- j^l |
|||
|
235 |
Maximinus. |
230-236. |
364 |
||
|
236 |
Anterus, 235-236. |
nian I. o g |
|||
|
238 |
GordianL&IL |
Fabianus, |
and >§j| Valens. m «, |
||
|
Pupienus and |
236-250. |
||||
|
jp3a |
(») The dates of the popes down to Constantine arc uncertain, having been handed down by vague tradition only.
140 Chronolog. Table of ROME. Emperors and Popes.
|
A.D. |
Bom. Emp. |
Popes. |
A.D. |
Bom. Emp. |
Popes. |
|
366 |
Damasus I. |
615 |
Deusdeditus. |
||
|
367 |
Gratian. |
619 |
Boniface V. |
||
|
376 |
Valentinian II. |
625 |
HonoriuB I. |
||
|
379 |
Theodo8ms(9ole Emp. 392-395) Arcadius. |
640 |
Severinus. John IV. |
||
|
388 |
642 |
Theodoras L |
|||
|
384 |
Siricius. |
649 |
St. Martin I. |
||
|
395 |
Honorius &. |
655 |
St. Eugene I. |
||
|
398 |
Anastaaius I. |
657 |
St Vitalianus. |
||
|
402 |
Innocent I. |
672 |
Adeodatus. |
||
|
417 |
Zosimus. |
676 |
Donus I. |
||
|
418 |
Boniface I. |
678 |
St. Agathus. |
||
|
422 |
GcBlestinus I. |
682 |
St. Leo II. |
||
|
425 |
Valentinian m |
684 |
St. Benedict II. |
||
|
432 |
Sixtus III. |
685 |
John V. |
||
|
440 |
Leo I., the Great, |
686 |
Conon. |
||
|
455 |
Petronius |
687 |
St. Sergius I. |
||
|
Haximos |
701 |
John VI. |
|||
|
455- |
Avitus. |
705 |
John VII. |
||
|
475 |
Majorianus. Lib. Severufl. |
708 |
Sisinnius. Constantine I. |
||
|
Anthemius. |
715 |
St. Gregory U. |
|||
|
Olybrius. |
Hilarius 461-468. |
731 |
St. Gregory III. |
||
|
Glyceriua. Julius Nepofl. Bomulus Au- |
Simplicius 468483. |
741 752 |
St. Zacharias. Stephen II. |
||
|
475 |
Stephen m. |
||||
|
gustulus. |
757 |
St. Paul I. |
|||
|
476 |
End of the W. |
767 |
Constantine II. |
||
|
BomanEmpire |
768 |
Philip. |
|||
|
483 |
Felix in. |
Stephen IV. |
|||
|
492 |
Gelasius I. |
772 |
Hadrian I. |
||
|
496 |
Anastasius II. |
795 |
St. Leo III. |
||
|
498 |
Symmachus. |
JRom. Emp. of |
|||
|
514 |
Hormisdas. |
Oerm. origin o |
|||
|
523 |
John I. |
800 |
Charlemagne. |
||
|
526 |
Felix IV. |
814 |
Louis thePious |
||
|
530 |
Boniface II. b |
816 |
Stephen V. |
||
|
532 |
John II. |
817 |
St. Paschalis I. |
||
|
535 |
St. Agapetus I. |
824 |
Eugene II. |
||
|
536 |
St. Silveriua. |
827 |
Valentinus. |
||
|
538 |
Vigilius. |
Gregory IV. |
|||
|
555 |
Pelagius I. |
843 |
Lothairc. |
||
|
660 |
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 VUI. |
||
|
607 |
Boniface III. |
875 |
Charles the |
||
|
606 |
S. Boniface IV. |
Bald. |
(a) From 395, the year of the death of Theodosius, the division of the Empire became permanent ; in the above table the Emperors of the W. Boman Empire only are enumerated.
(b) Thus far all the popes have been canonised.
(c) The names of a few English sovereigns, especially those who appear most prominently in papal history, have been added to this column to facilitate realisation of contemporary history.
Chronolog, Table of ROME. Emperors and Popes. 141
|
A.I>. |
Kom. Einp. |
Popes, |
A,D, |
Horn. Emp. |
Popei. |
|
m |
riiavles th<: |
niild*!ljr4iidO |
|||
|
Fat. |
10S7 |
Victor 111. |
|||
|
i |
Marinus I. |
ii.m |
UrbaQ 1 1. |
||
|
Httitrian 1]L |
i(m |
Pftacilttlja Ii; |
|||
|
SkpLen VL |
ikXi |
Ilonry V. |
|||
|
887 |
Amlilf. |
IJIS |
GiJljyiiiiB IL |
||
|
sal |
KumjuALjf. |
Hit) |
Callxtii* 11. |
||
|
m |
[Alfrijjl the |
jiojiifatti vr. |
ll'i4 |
UonoFiuj 11. |
|
|
^i-t^M nfEiiiL- |
Sti^pben VIT, |
1125 |
Lolhairt tif |
||
|
sm |
U«d,P7l 001] |
iLoniainiii 1. |
SftAony. |
||
|
TherfdoniJi 11. |
1130 |
Inngcent U* |
|||
|
m^ |
-lolin IX, |
||||
|
tm |
Louia [Le |
Bcuedict IV, |
iiai^ |
Cunrari ML |
|
|
ciajd. |
rif llolieL- |
||||
|
B03 |
f.ei. V. |
AliLureD. |
|||
|
L-bristciphoriifl. |
tua |
Cfntlesline H, |
|||
|
m |
Serfiua 111, |
1141 |
Lucius 11. |
||
|
Oil |
Conrad T. |
AnattUaiiifl 111. |
im |
Kllgt-OQ III. |
|
|
013 |
LoudonJii^. |
1152 |
Fn^derick I. 1 |
||
|
DU |
JoHii X. |
harbnn^^sa. |
|||
|
m^ |
Henry I. |
iL-ia |
Anafllatlu* IV. |
||
|
93S |
T,fio vr. |
1154 |
IHenry U. of |
Hitdriaii IV. |
|
|
029 |
Stephon Vlll. |
1153 |
FiiKliLiMl,,li:H |
Alexander til. |
|
|
BBi |
.ffiijn xr. |
JlBl |
-1189,1 |
Lucina m. |
|
|
9» |
OOiu L |
Len Vll, |
!lrt5 |
nrban 11 L |
|
|
Siepljen IX. |
ll^<7 |
GPt&CTy Vm. |
|||
|
Murinai ]], |
iiiirT |
Cle merit 111. |
|||
|
^1 |
An apt I ua 11. |
im |
Uetiiy VL |
||
|
Jutiu Xlf. |
nw |
ilmle.'iyne III. |
|||
|
969 |
Leo VHI. |
ll".fcH |
I'tiiJlpnf^wa |
InnocLrnt 111* |
|
|
m |
Bcutiiit^L V. |
bia a^^d |
|||
|
0(}fl |
Juha XUI, |
mho IV, |
|||
|
&7ii |
0th. . U. |
Ueiitillct VL |
laichcLr^OceiiP |
||
|
S74 |
Benedifi VJL flonifiica Vll. |
dti Lion, IM^ ^ll^Lj |
|||
|
84^ |
0^bL^ IlL |
Jobn XIV, |
12lL> |
Fredmck IL |
|
|
!B6 |
,loLii XV. |
1216 |
I John Lnck- |
ITunorhia HI. |
|
|
996 |
Gregury V. |
\m |
land, ll!>9^ |
Grefiury IX, |
|
|
990 |
Sylvcaltr 11. |
m\ |
lilfl.l |
CuelestiiKi IV. |
|
|
1002 |
Henry IL |
1>4B |
Innotcnt IV, |
||
|
1003 |
Jt>bd XVJl. |
iiu> |
Cihnrail rv\ |
||
|
.fylm XVIII. |
1254 |
InlerrffiHirn, |
AleAander IV, |
||
|
±m |
Btirtiud IV. |
m\ |
L>^au IV, |
||
|
1012 |
BtD edict VI [L |
im |
CJeineut IV. |
||
|
im |
Cnnrud U. |
Julm XIX. |
vm |
GrtiKOr>^ X. |
|
|
1033 |
Bcnedkt IX. |
im |
iiudntph Qf |
||
|
lomt |
Hfeury tlL |
Hapiburg, |
|||
|
1045 |
Gregorj- VI. |
1276 |
Innocont V. |
||
|
ClKuittiiL ii; |
lEdwai:)! I. nt |
UmMmi V. |
|||
|
\^ |
Damuus 11. |
Kiigiaud,l27^ |
Ji.hn XX, |
||
|
St. Leo IX. |
-i:i07,j |
or XXI, |
|||
|
im |
Victijr lit |
, 1277 |
Nkboliia 111. |
||
|
loae |
llfiury IV. |
n^i |
Martin IV, |
||
|
i05T |
Stephen X, |
vm |
Honorlns TV, |
||
|
1066 |
Bytiedkt X. |
rJ8B |
Kichoba IV. |
||
|
im |
[Willittiii tbe |
Nli:Lolas IJ. |
129-2 |
Adnlpli uf |
|
|
1C61 |
Oonnuiiff>rt |
AIcTtartdcp IL |
nu |
f^t Cu^l^^-itinfl V. |
|
|
1C1T3 |
1066^1067J |
Gr<iE(?ry Vll. |
i^m |
UuQifecii VUI. |
142 Chronolog. Table of ROME. Emperors and Popes.
|
A.D. |
Bom. Emp. |
Popes. |
A.D. |
Rom. Emp. |
Popes. |
|
1298 |
Albert I. |
1550 |
Engand,1553 |
Julius ni. (Joan. |
|
|
1303 |
Benedict XI. |
Maria de Monte). |
|||
|
1306 |
Clement V. |
1555 |
Marcellus II. |
||
|
1306 |
Henrf VII. of Luzemboarg. |
Paul IV. (Gian Pietro GarafEk |
|||
|
1314 |
Louis of Ba- |
1556 |
Ferdinand 1. |
of Naples). |
|
|
varift and |
1559 |
[Elizabeth of |
Pius IV. (Joan. |
||
|
Frederick of |
England, 1558 |
Angelus Medici |
|||
|
AuBtria. |
of Milan). |
||||
|
1316 |
[Edward III. of |
John XXII. |
1564 |
Maximilian II. |
|
|
1334 |
England, 1327 |
Benedict XH. |
1565 |
St. Pius V. |
|
|
1342 |
-1377.1 |
Clement VI. |
(Ghislieri of |
||
|
1346 |
Charles IV. of |
Piedmont). |
|||
|
Luxembourg. |
1572 |
Gregory XHI. |
|||
|
1362 |
Innocent VI. |
(Ugo Buon- |
|||
|
1362 |
Urban V. |
compagni of |
|||
|
1370 |
Gregory XI. |
Bologna). |
|||
|
1378 |
Wenzel. |
Urban VI. |
1576 |
Rudolph II. |
|
|
1389 |
Boniface IX. |
1585 |
Sixtus V. (Felix |
||
|
1400 |
Rupert of the |
Peretti). |
|||
|
Palatinate. |
1590 |
Urban VII. |
|||
|
1404 |
Innocent VII. |
(Giambattista |
|||
|
1406 |
Gregory XII. |
Castagna of |
|||
|
1409 |
Alexander V. |
Rome). |
|||
|
1410 |
Sigismund. |
John XXin. |
1590 |
Gregory XIV. |
|
|
1417 |
[Henry V. of England, 1413 -I4I2.] |
Martin V. |
(Nic. Sfondrati of Milan). |
||
|
1431 |
Eugene IV. |
1591 |
Innocent IX. |
||
|
1438 |
Albert H. |
(Giannantonio |
|||
|
1440 |
Frederick IH. |
Facchinetti of |
|||
|
1447 |
Nicholas V. |
Bologna). |
|||
|
1455 |
[Henry VI. of |
Calixtus m. |
1592 |
Clement VIII. |
|
|
1458 |
England, 1422 |
Pius II. (iEneas |
(Hippolyt. Aldo- |
||
|
Sylvius , Siena). |
brandini of |
||||
|
1464 |
Paul II. |
[James I. of |
Florence). |
||
|
1471 |
Sixtus IV. |
1605 |
England, 1603 |
Leo XI. (Alexan- |
|
|
(Francis della |
der Medici). |
||||
|
Rovere of |
PaiU V. (Camillo |
||||
|
Savona). |
Borghese). |
||||
|
1484 |
[Henry VII. of |
Innocent VUl. |
1612 |
Matthias. |
|
|
England, 1485 |
(Joann. B. Cibo |
1619 |
Ferdinand II. |
||
|
of Genoa). |
1621 |
[Charles I. of |
Gregory XV. |
||
|
1492 |
Alexander VI. |
England, 1625 -1649.] |
(Alexander Lu- |
||
|
(Boder. Borgia). |
dovisi). |
||||
|
1493 |
Maximilian I. |
1623 |
UrbanVIII.(Maf- |
||
|
1503 |
[Henry VIII. of |
Pius III. (Fran- |
feo Barberini). |
||
|
En|land,1509 |
cis Piccolomini |
1637 |
Ferdinand III. |
||
|
of Siena). |
1644 |
[Common- |
Innocent X. |
||
|
1503 |
Julius II. (Julian |
wealth and |
(Giambattista |
||
|
della Rovere). |
Protectorate, |
Pamfili). |
|||
|
1513 |
Leo X. (John de' |
1649-1660.] |
|||
|
Medici). |
1655 |
Alexander VII. |
|||
|
1519 |
Charles V. |
(Fabio Chigi of |
|||
|
1522 |
Hadrian VI. |
Siena). |
|||
|
(of Utrecht). Clement VII. |
1658 |
Leopold I. |
|||
|
1523 |
1667 |
[Charies II. of |
Clement IX. |
||
|
1534 |
(Julius Medici). Paul III. (Alex- |
England, 1660 |
(Giul. Rospig- liosi). |
||
|
[Mary I. of |
ander Famese). |
MAKTINUS V.
COLONNA
piusn. PIUSl
}4«B y^TTt^ 1508
PICCOLOMINI
EUGENIUS IV. 1431 y^ X ^*^
CONDOLMTERI
PAULUS n. «6* y ;:^ 1471
^2n
NlCOI.Al'S Y 1447 / ^ 1455
PARENTUCELLl
SIXTUS IV.
DBLLAROVBRE
CALIXTITS DI. 14-55 /^"^"X »*Sfi
INNOCENTIUS \Tn. MM ^TTX 14«2
ALEXANDER VL 1*92 y^^TT^ 1503
JULIUS D. lS03y<n>v 1S13
LEOX. LEO XI. 1605
]IAI)iaANUSllI.CLBMBNSyn
DELLAROVBRE
(UTRECHT) MEDICI
PAULUS 1534- x-T^V 15*0
URBAlfUSVltASTAGNA)
JULIUS m. MARCELLUS H.
1550 Xt4>V 1555 I 1555
PAULUS IV. 1S55 ^^^^ 1559
PIUSV 1566 j^ \ 1572
GREGORIUSXm. 1572 /" \ 1585
CBEGOHrosmiNlfOCBNTIX: ALDOBRANDINI
SIXTUS Y. 1585 XT"^ 15W
GHISLIERI
-h
BUONCOMPAGNO
CLEMENS Vm. [ PAULUS V.
1S82 /'~"*\ 1605 1605 /^SX 1621
GRBGORIUS Tf. 1621 >r^C^X 1623
BORGHBSE
LU DO VIS I
Ccof raph. ituit,.voii Wa^nw t T>cbc's, I
URBANTJSTm. 1623 j< X 164+
BARBERINI
CLEMBNS X. 1670 /^ X 1676
INNOCENTIUSX.
ALEXANDER TB.
1655 1655
INNOCENTIUS H. 1676 y^;^v 1689
ODESCALCHI
ALEXANDER Tm. 1691
OTTOBONI
CLEMENS IX.
1669
ROSPIGLIOSI
IMNOCENTIVS XH. PIGNATELLI
CLEMENS XI. 1700 /T^ 1721
INNOCENTIUS Xltt. 1721 X^^^ 1724-
BENEDICTUS XBI. 1724- /^Sr^ 1730
ALB AN I
CLEMENS XE. 1730 y^r\ 1740
BENEDICTUS XIV. 1740 ,d'W%. 1758
CLEMENS : 1758 y<T"\ 1769
CLEMENS XN; 1769 x^'arx 1774
LAMBERTIN
REZZONICO
CHIARAMONTI
PIUS DC. 1846 >^:rTr\ 1878
DELLA GENOA
4RTiT-WW-»V.TTT
GANGANBLLI
PIUS Vffl. 1829 / X 1830
GRECORinS XVI.
n^
CASTIGLIONE
CAPELLARI
Situation.
ROME.
Topography. 143
|
A.D. |
Bom. Emp. |
Popes. |
lA.D. |
Rom. Bmp. |
Popes. |
|
1670 |
Clement X. |
1766 |
Joseph II. |
||
|
(EmilioAUieri). |
1769 |
Clement XIV. |
|||
|
1676 |
Innocent XI. (Benedetto Odescalehi). |
(Giov. Ant. Gan- ganelli of Ri- mini). |
|||
|
1689 |
Alexander XIII. |
1775 |
Pius VI. (Giov. |
||
|
[WiUiam III. |
(Pietro Otto- |
Ang. Braschi). |
|||
|
and Mary U. |
huoni). |
1790 |
Leopold II. |
||
|
of England, 168&-17^.] |
1792 |
Francis II. |
|||
|
1600 |
Pius VII. (Gre- |
||||
|
1691 |
Innocent XII. (Ant. Plgna- |
Chiaramonti of |
|||
|
telli). |
[George IV. of |
Cesena). |
|||
|
1700 |
Clement XI. |
1823 |
England, 1820 |
LeoXII.(Annib. |
|
|
(Giov. Franc. |
della Genga of |
||||
|
1705 |
Joseph I. |
Albani). |
Spoleto). |
||
|
1711 |
Charles VI. |
1829 |
Pius vm. |
||
|
1721 |
Innocent XUI. (Mich. Ang. de Conti). |
(Franc. Xav. Gastiglione of |
|||
|
[George II. of |
Cingoli). |
||||
|
1724 |
England, 1727 |
Benedict XIII. |
1881 |
Gregory XVI. |
|
|
(Vine. Maria Orsini). |
(MauroCapellari |
||||
|
of Belluno). |
|||||
|
1730 |
Clement XII. (Lorenso Cor- sini). |
1846 |
Pius IX. (Gio- vanni Maria Mastai-Feretti |
||
|
1740 |
Benedict XIV. |
of Sinigaglia). |
|||
|
(Prosp. Lam- |
1878 |
Leo XIII. |
|||
|
bertini). |
(Gioachino |
||||
|
1742 |
Charles VII. of Bavaria. |
Pecci of Carpi- neto,b,2.March |
|||
|
1745 |
Francis I. |
1810, Cardinal |
|||
|
1758 |
[George III. of |
Clement XIII. |
1868. Pope 20. Feb. 1878). |
||
|
Ensland, 1760 |
(Carlo Rezzo- |
||||
|
nico of Venice). |
Rome^ the capital of the kingdom of Italy, with 345,036 Inhab. (3l8tl)ec., 1885 ; less than Naples), is sltnated (41°53'54"N. lat., 12** 29" E. long., meridian of Green-wich) in an undulating volcanic plain, which extends from Capo Linaro, S. of Civlti 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 cnrves. The banks of the Tiber are connected by Eight Bbidoes: the Ripetta Bridge, the highest; the new Ponte Umherto; the Ponte 8. Angdo^ near the castle of that name ; the Ponte Leonino, a suspension bridge, cross- ing from the Lnngara; the Ponte 8i8to\ the new Ponte Oarihaldi; a seyenth traversing the island between the second and third bends of the river, called Ponte 8. Bartolommeo (the ancient Pons Cestius) from Trastevere to the island, and thence to the left bank the Ponte
144 Topography. ROME. View.
de' Quattro Capi (Pons Fabricius); finally, below the island, a new bridge near the old Ponte Rotto. Other bridges are projected. The water of the Tiber, is turbid (the ^flavm TiberU' of Horace). The average width of the river is about 65yds. 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 Oampagna 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 Yolscian 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 Passlonist 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 ofViterbo, 3465 ft.); the nearest point to the right is the crater of Baccano, with the wooded hill of M. Musino (1320 ft.). "'he plain enclosed by this spacious amphitheatre of mountains, and
["^ Seven Hills. ROME. Topography. 145
intersected by the Tiber and the Anio, vhich descends from Tivoli and falls into the former IV2 ^* above Rome, contains a sprinkling of farms and villages, 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 Lbpt Bank of the Tiber, partly in the ancient Campiks Afortm^, 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 Hills 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 £rom 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 Quirinal (170 ft.). On the N. a valley, in which the Piazza Barberiniis 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 Vimindl (176 ft.). Both of these may be regarded as spurs of the third and more impor- tant height, the Esquiline (245 ft."), which, forming the common basis of these two, extends from the Pincio on the N. to the Calius. 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 hiU where it approaches the Ylminal, Palatine, and C»lius. 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 Cadius (165 ft.); in the low ground between the CsbHus, Palatine, and Esquiline is situated the Colosseum; and farther E., by the city-wall, between the Caelius and Esquiline, is -the Lateran.
On the Right Buhz. 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's, 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 della Lungara, constructed by Sixtus V.
The wall enclosing this area, which was inhabited during the imperial epoch by IV2-2 million souls, has a length of about 10 M.
Basdkkeb. Italy II. lOth Edition. 10
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 Corso, the chief centre of business.
II, The Eastern Quarters, including the Quirinaly 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, to theS., containing the chief monuments of antiquity.
V, 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 Vigr^la, 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 "^azza 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. Maria del Popolo, ROME. I. Strangera' Quarter. 147
flgures of Neptune and Tritons, opposite which is a similar structure adorned with Roma between the Tiber and the Anio. On each side of the latter is an approach to the Pincio (p. 148).
Three streets diverge from the piazza on the S. : to the right the Via di Ripetta (p. 184), parallel with the river ; in the centre the Corso (p. 152) ; and to the left the Via del Babuino, leading to the Piazza di Spagna fp. 150). — Between the two latter streets stands the church of 8. Maria in Monte 8anto, adjacent to which, on the right, is that of 8. Maria de^ Miracoli, both dating from the latter half of the 17th cent., with domes and vestibules, designed by Rinaldi, and completed by Bernini and Fontana.
*S. Maria del Popolo (PI. I, 18), said to have been founded by Paschalis II. in 1099 on the site of the tombs of the Domitli, the burial-place of Nero , which was haunted by evil spirits, was en- tirely re-erected by Baccio Pintelli (? or Meo del Caprina) under Sixtus IV. in 1477. The interior was afterwards decorated by Ber- nini in the rococo style. It consists of nave, aisles , transept , and octagonal dome, and contains handsome monuments of the 15th cent, (comp. p. lii) and other works of art. (The sacristan shows the choir and chapels j fee Y2 ^'^O
Right Aiblb. The ist Chapel , formerly delta Rovere, now Venuti^ was painted by Pinturicehio : •Altar-piece, Adoration of the Infant Christ ^ in the lunettes, life of St. Jerome. On the left, the tomb of Cardinal della Bovere, right, that of Cardinal di Castro ; on the pillar to the left, a bust of F. Catel, the painter (d. 1857) by Troschel. — In the 2nd Chapel : Assumption of Mary, altar-piece by C, Maratta. — 3rd Chapel, painted ^y Pinturicehio : above the altar. Madonna with four angels*, on the left. Assumption of the Virgin; in the lunettes, scenes from the life of Mary, in the predelle representations of martyrs in grisaille \ on the right, tomb of Giov. della Bovere (d. 1483) \ on the left, recumbent bronze figure of a bishop. — In the 4th Chapel marble sculptures of the end of the 15th cent, above the altai : St. Catibarine be- tween St. Anthony of Padua and St. Vincent; right, tomb of Marcantonio Albertoni (d. 1485) j left, that of the Cardinal of Lisbon (d. 1508).
Right Tbaksept. On the right, tomb of Cardinal Podocatharus of Cyprus. Kear it is a door leading into a passage, at the end of which is the sacristy, containing the former * Canopy of the high-altar of Alexander VI. of the year 1492, with an ancient Madonna of the Sienese school and the beautiful monuments of (left) Archbishop Rocca (d. 1482), and (right) Bishop Gomiel.
Left Aisle. Ist Chapel, on the left and right of the altar, two ciboria of the 15th cent. ; left, tomb of Card. Ant. Pallavicino (erected 1507). By an adjacent pillar the rococo monument of a Princess Chigi, by Posi (1771). — The *2nd Chapel was constructed under the direction of Raphael by Agostino Chigi in honour of St. Mary of Loreto, in the form of a Greek cross, with a lofty dome, in the style affected for such structures in the 16th century. On the vaulting of the dome are eight *Mosaics by Aloino della Pace (1516), from BaphaeVs cartoons : — *Around the central circular scene, which re- presents the Creator surrounded by angels, are grouped seven planet sym- bols and a genius leaning on a globe, separated by ornamental divisions. Each planet is represented by an ancient deity: Diana, Luna, Mercury, Venus, Apollo, Mars, Jupiter, and Saturn. They are pourtrayed in half- figure with appropriate action, and each is enclosed within a segment of the zodiac, on which rests an angel, either pointing to the Creator above or in the act of adoration. This association of gods and angels recalls the prophets and sibyls of Michael Angelo, each of whom is also accom- panied by a genius. But Baphael's composition'is entirely independent, with a distinct significance of its own , and one of a kind which showr
10*
148 I. Strangers' Quarter, ROME. Pineio,
the master's power in its highest maiiife8tation\ — The altar-piece, a Nativity of the Virgin, is by Sebastiano del Piombo, the other pictures by Salviati. Bronze relief over the altar, Christ and the Samaritan woman, by Lorenzetto; in the niches four statues of prophets: over the altars Qeft) "Jonah, perhaps designed by Raphael, and (right) Habakkak, by Bernini; at the entrance, (left) Daniel, by Bernini, and (right) Elyah by Lorenzetto.
Lbpt Transept : Tomb of Cardinal Bernardino Lonati (15th cent.).
In the Choia *Ceiling-frescoes by Finturicehio (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 *Tomb8 of the cardinals Girolamo Basso della Bovere and Ascanio Sforza by Andrea Son- iovino, erected by order of Julius II. (1505), *the 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 Claudius and William of Marseilles.
The chnTch gives a title to a cardinal. In the adjacent Angnstine monastery Lnther resided during his visit to Rome (1510).
If we ascend the Pincio by the approaches named at p. 147 (gates closed one hour after Ave Maria) , we observe in the first circular space two granite columns (columnae 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 are an antique granite basin, with a fountain, and ktl Eques- trian Statue of Victor Emmanuel IL, under a loggia.
The *Fiiicio (PI. I, 18), the collis hortorumj or 'hill of gardens', of the ancients, was probably called Mon8 Pincius from a palace of the Pincii situated here in the later period of the empire. Here were once the famous gardens of LucuUus, in which Messalina, 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 Mazzini in 1849) adorned with busts of celebrated Italians. — The projecting terrace at the summit (150 ft.) com- mands a magnificent ^Yisw of modem Rome.
Beyond the Piazza del Popolo and the new quarter in the Prati del Gastello, 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 hUls 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 facade 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 in the Corso, that with the dome to the left, S. Carlo in the Corso ; between '"- two appears the flat dome of the Pantheon, beyond which a part of
Villa MedieU ROME. I. Strangers' Quarter. 149
the Gampagna is vigible. To the left of this, on the height in the distance, rises the long, undecorated side of the church of S. Maria in Aracceli, 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 firont of which the upper part of the column of M. Aurelius in the Piazza Golonna is visible. Adjacent to the Capitol, on the left, is the bright-looking Villa Hills, shaded by cypresses, on the Palatine. Farther to the left a low brick-built tower on the Quirinal, the so-called Torre di Nerone. To the extreme left, and less distant, is the extensive royal palace on the Quirinal.
The N. side of the Pincio is supported hy 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 Ohtliskf which Hadrian once erected in Egypt to the memory of Antinous. It was afterwards bronght to Rome, and erected here in 1822. To the right of the walk leading to the S. exit is a monument by Ereole Rosa , erected in 1883 to the memory of the brothers Cairoli of Pavla, who fell In battle near Rome in 1867 and 1870. The monument to the left, in the form of a globe, commemorates Oalileo OalUeij who was confined from 1630 to 1633, at the instance of the Inquisition, in the Villa Medici (see below). — The exit is closed by an iron gate.
Leaving the Plncio by the S. gate , we observe to the left the Villa Medici. In front of it is an avenue of evergreen-oaks and a fountain, whence a celebrated view of St. Peter's, most striking towards evening or by moonlight, is obtained.
The Villa Medici (PI. I, 18), erected in 1540 by AnnibaU 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 fagsMde of the villa next to the garden is one of the ^Judgment of Paris% the subject of a famous engraving by Marc Antonio. The wing contains a Collectioit of 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.ff. 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. We 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 Bklvbdbre, whence a fine view, now somewhat circumscribed, is enjoyed.
The street passing the front of the Academy ends in the Piazza DSLLA Tkinita , where to the left rises the church of S. Triniti 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. Triniti de* Monti (PI. I, 20), erected by Charies VIII. of France in 1495, and plundered during the French Revolution, was
150 i. Stranp^s* Quarter. ROME. Piazza di Spagna.
restored by Mazois in 1816 by order of Louis XYIII. 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.
LsFT, ist Chapel : Cast of the Descent from the Cross, by Achtermann, 2nd Chapel: altar-piece al fresco, * Descent from the Cross, by Daniele 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: *Hadonna, 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 Seitx, -— Rioht, 3rd Chapel : Assumption of the Virgin, Dan. da VoUerra. 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 Ghost, School of Perugino. — In the TxANSKPT, which is supported by Gothic arches, paintings by Perino del Vaga and F. Zuccaro.
The convent connected with the church has been occupied by the Dames du Sacr^ CoBur (teachers of girls) since 1827.
We quit the piazza to the left by the Via Sistina, 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 Ca$a Zuccari, once the house of the family of the artists of that name (marked by a memorial - tablet in 1872; paiatings by Federigo Zuccaro 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 GaUery at Berlin in 1888.
The long Seala di Spagna (PI. I, 20; 'Gradinata di S. Trinitk 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 Plana di Bpagna (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 dd Babuino , containing the new English church of All Saints, in the Gothic style, by Street fp. 110), and also several hotels, leads to the Piazza del Popolo (see p. 146). John Oibaon, 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. in honour of the 'Immaculate Conception of the Virgin* , a dogma promulgated in 1854; on the top of the cipoUine column stands the
Fontana di Trevu ROME. /. Strangers' Quarter. 151
bronze statue of Mary; beneath are Moses, David, Isaiah, and Ezekiel.
At the S. end of the piazza is the Collegio di Propaganda Fide (PI. I, 19, le), founded in 1622 by Gregory XV., and extended by his successor Urban VIII. (whence ^Collegium Urbanum*')^ an establishment for the propagation of the Roman Catholic faith, where pupils of many different nationalities are educated as missionaries. The printing-office of the college was formerly celebrated as the richest in type for foreign languages. — On the right is the Palazzo di 8pagna^ or palace of the Spanish ambassador, whence the piazza derives its name. Opposite lies the small Piazza MignaneUi (PI. I, 20), a station of the omnibuses to St. Peter's and the Piazza Mon- tanara (Nos. 8 & 23, pp. 1, 2 of the Appx.).
Opposite the Scala di Spagna is the Via db' Condotti, with its numerous shops of Jewellery, mosaics, antiquities, and photographs. It terminates in the Cor so (see p. 152).
To the S.E. from the Piazza di Spagna runs the Via de^ Due MaceUij to the left of the Propaganda, and to the right the Via di Propaganda. The latter leads to S. Andrea delle Fratte (PI. I, 19) at the corner of the Via di Capo le Casej the next cross-street. This church was erected under Leo XI. by La Ouerra ; the tasteless dome and campanile are by Borrominif the facade was added in 1826 by Valadier.
Tbe pictures in the Intxbzob are poor works of the 17th cent.: the two angels by the tribune, by Bernini , were originally destined for the bridge of 8. Angelo. In the 2nd Chapel on the right is (on the right side) the monument of Mile. Falconnet by !/«'« Hosmer; on the last pillar to the right, in front of the aisle, the monument of the artist R. Schadow (d. 1822), by E. Wolff, In the 3rd Chapel to the left, by the right wall, is the tomb of Angelica Eauffmann (d. 1807) ; adjacent . by the pillar to the right, lies *Maler Hiiller' (d. 1825). The Danish archseologist Zoega and a converted prince of Morocco are also interred in this church.
In the Via di Capo le Case stands the church of 8. Giuseppe a Capo le Case (PL I, 19), adjoining which is the Musbo Artistico- Industbialb, an unimportant collection of terracottas, majolica, glass, iyory and wood carving, and other products of the artistic in- dustries of Italy (adm. daily except Wed., 9-3, 50 c). Descriptive labels are attached to the articles exhibited.
We follow the Via di Propaganda towards the S., passing in front of S. Andrea delle Fratte, and turn to the right into the Via del Pozzetto, and then to the left into the Via Poli (PL 1, 19). The last, which is almost immediately intersected by the Via deW Angelo Custode (p. 154), a new street connecting the Piazza Bar- berini and the Piazza Colonna, crosses the small Piazza Poli, skirts the Palaszo Poli^ and leads to the Fontana Trevi.
The 'Tontaaa di Trevi (PL I, 19), which vies in magnificence with the Acqua Paola, is erected against the S. side of the Mazzo Poli, and was completed from a design by Nice. Salvi (1735) m
152 1. strangers' Quarter. ROME. The Corso.
1762. In the central niche is a figure of Neptune, by Pietro Braeci; at the sides, Health (left) and Fertility (right) ; in front, a large stone basin.
The ancient Aqua Virffo^ now Aeqtta Verginty which issaes here, was conducted by M. Agrippa from the Gampagna, chiefly by a subterranean channel 14 M. in length, to supply bis 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 v., 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 Rome. The fountains in the Piazza di Spagna, the Piazza Navona, and the Piazza Farnese 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 MuratU (p. 166) leads to the W. from the Fontana Trevi to the Corso. Opposite the fountain is 88. Vincenzo ed Anasta^io (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 Corso.
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. 618, to the right, between the first two cross-streets, is the Pal. Rondinini (PI. I, 17, 18), the court of which contains an unfinished Piet^ by Michael Angelo. No. 18, the house opposite, was once inhabited by Ooethe ; inscription : *In questa casa immagind e scrisse cose immortali Volfango Goethe. ^1 Comune di Roma a memoria del grande ospite pose 1872*.
On the right, beyond the third cross-street, is the church of
The Corso. ROME. /. Strangers' Quarter. 153
8. Oiacomo in Augusta^ or degli Incurdbili (PI. I, 17, 2), with a fa^e by G. Maderna. It belongs to the adjoining surgical hospital, which extends to the Via 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- naldl. — [In the Via de' Ponteflci, 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. Gablo, in which, on the right, is S. Carlo al Corso (PI. I, 17), the national church of the Lombards, and the resort of the fashionable world, with a tasteless facade. It was erected in the 17th cent, by Onorio Lunghi and completed by Pietro da Gortona.
Ceiling-paintings in the Ihtkbzob by Oiaeinto Brandi. Over the high- altar is one of the finest works of Carlo Maraita : the Virgin recommending S. Carlo Borromeo to Christ. (The heart of S. Carlo is deposited ander this altar.) Chief festival of the church, 4th Nov.
The busy Via de' Condotti and other streets to the left lead to the Piazza di Spagna (p. 150); the Via della Fontanella di Borghese, prolonging the Via de' Gondotti towards the W., leads to the Palazzo Borghese (p. 184) and the Ponte S. Angelo (p. 274).
Farther on in the Gorso, on the right, No. 418 A, is the spacious Palazzo Ruspoli, bailt 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 Gorso, opposite the Via Frattina, rises & Lorenio in Lnciiia (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 Imtebios, by the 2nd pillar to the right, is the tomb of Nic. Poussin (d. 1665), erected by Chateaubriand; above the high-altar a Crucifixion by Outdo Reni.
Farther on, to the right, a little back from the street and partly concealed by other houses, is the unfinished Pal. Fiona (PI. I, 16, 8'). The passage to the court, entered from No. 4, Piazza in Lucina, contains some good reliefs of figures and ornamental designs from the Ara Pacis, set up by Augustus in B.G. 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 VU. levelled and widened the Corso for the horse-races; reliefs, see p. 219).
The Via delle ConvertUe on the left leads to the Piazza di S, Sil- vesirOf which is embellished with a monument to the poet ^^^^ MetaHasio (b. at Rome 1698, d. at Vienna 1782), erected in Ibbb
154 /. Sbrangers' Quarter. ROME. The Corso and its
In the N.W. comer of the piazza rises the veneiable choich of 8, SUvtstro in CapiU (PL 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 Offtee, 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 fa^de 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 Corso, to the right, is the Pal. Vbbospi (No. 374), now Toblonia (PI. 1, 16, iO), erected by Onorio Lunghi^ and restored by Alessandro Specchi. A loggia on the first floor is adorned with pleasing mythological frescoes by IV. Ai6ant, recall- ing the famous Famesina works (p. 323). — Opposite begins the wide Via dell' Angelo Gustode (see p. 151), which leads past the church of S. Maria in Via (by Mart. Lunghi, 1594; fagade 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 Boeconi, at the comer, was built in 1886-87.
To the right, farther on, at the comer of the Piazza Golonna, is the extensive Pal. Chigi, begun in 1562 by Oiac. della Porta, and completed by C. Madema. It contains a few antiques and a small collection of pictures, but is not open to the public. The 'Biblio- theca Ghisiana' contains valuable MSS. (adm., see p. 124).
The handsome *Fiazza Colonna (PI. 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. Piombino (PI. 22), and opposite the Corso the former post-office, with a portico of ancient Ionic columns from Veil (p. 389).
The "'Colanui of Marcus Anrelius, 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 96 ft. in height, and is approached by steps. In 1589 Siztus V. caused it to be restorea 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 Month Citorio, on the right side of which is the spacious Camera de' Deputati (Pl. I, 16, 24), begun for the Lu-
8id€'8treeU, ROME. 1. Stranger$' Quofier. 155
doTifii family by Bernini (1650), but finished under Innocent XII. by C, Fontana for the 'Curia Innocentlana', 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 provide 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 *Dogaiia di Terra (PI. I, 16, 18), 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* Conservator! (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 Muraite (p. 152), leading to the Fontana Trevi.
Farther on, also on the left, where the Corso expands into the 'Piazza Sciarra*, we reach the *Palaxso Soiarra-Colonna (No. 239 ; PI. I, 16), the handsomest palace in the whole street, erected in the 17th cent, by Flamimo Ponzio, with a portal of later date.
The PiGTCBB Gallbbt in this palace ia now shown only to vidton with a recommendation from high quarters. Principal works: Raphael^ Violin-player, dated 1518*, Palma V«cckio, Female portrait, signed ^Tam- bend"; Bern. Luini^ 'Vanity and Modesty", half-figures \ Caravaggio, Players; Peruffino, St. Sebastian*, Ouido JZent, Magdalene.
Opposite is the imposing Savings' Bank, by Cipolla (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 S. Ignaiio, designed by the Padre Qrassi, with a fa^de by Algardi. The building was begun by Card. Ludovisi in ^^26, after the canonisation of the saint, but not completed till 1675.
156 I. Strangers' Quarter. ROME. Museo Kireheriano.
Intebiob. The impression is marred by the had taste of the decora- tions, which, however, are less obtrosive than in most Jesuit 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. Gonzaga, 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 Bomano (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, Oom- mendatore D. Gnoli) 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 lihrary is especially important on account of its richness in modern works, in which most of the other Roman lihraries are deficient, and for its easy accessibility and convenient arrangements (comp. p. 116). — 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 hy 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 PigorinL
We first turn to the left, and enter the Cokbidob. The Shote-Cases in the centre contain small articles in bronze, iron, ivory, and bone, with a large collection of antique Roman and Italian bronze coins (Ms grave). The Cabinets by the walls contain terracotta figures (chiefiy 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.). 3rd 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. BooH. In the centre is the famous '^Ficoronian data, 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, ■^nd the victory of Polydeuces over king Amycus. The feet and the figures •■ the lid are of inferior workmanship ; on the latter the inscriptions : vios Plautios med Bomai (me Romee) fecid', and ^Dindia Macolnia fileai
Muaeo Kirekeriano. ROME. 1, Strangers' Quarter. 157
dedir (comp. Introd.)< — Also in the centre is an ancient *BrotuB Chairj inlaid with silver. By the windows are bronze figures of Bacchus and of a Youth intended for a pillar. The WaU-CM9s contain Egyptian wooden and bronze statuettes, Etruscan idols, small bronze figures of the Roman period, weapons, candelabra, etc. — The —
II. Room, to the left, at the end of Room I, contains early-Christian tombstones and sarcophagas-reliefs. In the centre is a piece of ancient wall, in a black frame, with a caricature of the Christians scratched upon it: a man with the head of an ass, affixed to a cross, with a man at the side, and the words 'AXi^afiivoc a«6rrt ^eov (Alezamenos worships God), found in the Psedagogium on the Palatine (comp. p. 347). This probably represents the sarcastic wit of an imperial page at the expense of some Christian companion. — The CabineU contain medieeval and Oriental cu- riosities forming part of the original Kircher collection.
The remaining rooms contain the Ethnographical and Prehiitorie Knaetim. In the long Cobsidob, which we next enter, are objects from the Polar Regions and from K. and S. America (with explanatory labels).
— Gabinkt at the end of the corridor : Embroidered mantle from Mexico, time of Fernando Cortez. — Then, to the right, are three parallel Cosbidobb, devoted to Australia, Polynesia, India, Japan, and Africa. •>- We now tarn to the right and enter the long Cobbioob parallel to the first-men- tioned, containing the Prehistoric (Collections. Objects of the stone period come first, followed by those from lake-dwellings and those of the bronze age. Among the most interesting objects are the cinerarv urns in the shape of the primitive peasants' huts (from Oometo) ; the models of meg ali- thic monuments (menhirs and dolmens) from Terra d'^Otranto \ a model of a Sardinian Ifurago^ or conical tower supposed to have been erected by the aboriginal inhabitants of Sardinia as a refuge in case of hostile attack.
— Farther on are American antiquities, including some rare Mexican masks with mosaic work.
From the section with the model of the Nurago we turn to the right into the room which contains the *Treasnre of Praeneite, found at Pales- trina (p. 383) in 1877 and purchased by Government. Next the door is a much patched antique vessel, ornamented with fantastic figures of animals. Under the windows are fragments of silver and bronze vessels. The chief objects are exhibited in the Cabinet in the centre: Ko. 1. Breast (or head) decoration, with 131 lions, horses, and various fantastic animals attached to it in rows, the details of which are most elaborately executed in granu- lated work ^ adjacent are two cylinders terminating in heads of animals, and enriched with the Grecian pattern in a similar style. Of the several ad- jacent golden cylinders, the finest is No. 4, embellished with two rows of figures of animals and exquisite arabesques. The small rod found in the cylinder lies alongside of it. No. 2. Golden fibula ; 26. Fragments of a silver bowl, with representations of four boats, Egyptian symbols and figures, and a battle-scene (in the centre), and inscribed with a Phoenician name in small characters (above the wing of a hawk); 25. Elegant silver bowl, the in- terior adorned with a central figure and two rows of gilded reliefs (royal hunting-scenes, horses, and birds), and terminating in a snake. 23. Large round silver^gilt goblet, with six snakes forming the handles •, the bowl is decorated with rows of figures of armed men , . wild beasts , and birds. 24. Silver-gilt bowl , the interior of which is enriched with two rows of horses, oxen, birds, and trees ; it was found adhering to an oxydised iron axe (No. 89, in Case Y), which has taken the impression of part of It. The two-handled golden vessel (No. 20) , the daggers numbered 27 and 28, and the ivory-reliefs, Nos. 45-49 and 51, are also fine. In Ccue V. are the largest objects of the treasure of Preeneste : 75. Fragments of a large cal- dron with griffins^ heads as handles; 72. Iron tripod, with bronze bowl, the margin of which is embellished with three human figures and three animals, in a very primitive style.
The Obsebvatobt, which acquired a European reputation under Pfadre Seeehi (d. 1878), is shown in the forenoon to visitors with an introduction.
158 /. Strangers* Quarter. ROME. Doria OaUery.
In the Corso, beyond the Piazza Sciarra, on the right, is the Palazao SimonetU (No. 307). Opposite is fi, HaroeUo (PI. II, 16), in the small piazza of that name, a chnich mentioned as early as 499, le-erected by Oiaeomo Sanaovino in 1519, and recently entirely modernised. The poor fa^de is by Carlo FontarM.
The 4th Ghafsl on the right contains paintings by Perino del Vaga^ completed after his death by Dan. da VoUerra and Pellegrino da Modena^ and the monament of the celebrated Card. Gonsalyi (d. 1824), minister of Pius VII., by Binaldi. Paintings in the Tbibdnb by Giov. BattUta da Novara; those of the 2in> Ghapsl to the left by Fed. Zuecaro.
On the right is the small church of 8. 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 Vignola) 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 Oorso. 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 *Palauo Doria, formerly Pamphilj (PL II, 16), an extensive pile of buildings, and one of the most magnificent palaces in Bome ; facade 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 "'Oalleria Doria on the 1st floor (Tues. and Frid., 10-2; during the Easter fort- night, daily; catalogues in each room; feey2^^0* 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 PeseUi (II. Room, 29, 39), a good specimen of early-Florentine painting, and the Madonnas of Nieeolb Rondinello (11. 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
^heir authenticity has been questioned , and the touch is certainly
mewhat different from Raphael's usual style, although the vigorous
Doria Qallety. ROME. /. Strangers' Quarter. 159
tone and breadth of colouring may be accounted for by Ms habit of fresco painting. Johanna of Arragon is a copy only (II. Gallery, 53), and so too is Titian's Periods of Life (I. Gall. 20). Porde- none's Daughter of Herodias (II. Gall. 40), and Lor. Lotto's portrait of himself (II. Gall. 34) , on the other hand , are admirable Vene- tian works. The portrait of Andrea Doria by Sebastian del Piombo is not Venetian in character, but is interesting from the faculty displayed by the master of imparting an air of dignity to a for- bidding subject. With this work the visitor should compare the por- trait of Pope Innocent X., by Velazquez (I, Gall. ; no number), and the coldly aristocratic portrait of Gianettino Doria by A. Bronzino (II. Gall. 31). The colouring of the former is strikingly rich, com- pletely eclipsing Piombo's massiyeness of style. The skilful manner in which the three shades of red are blended should be particularly noticed.
Qarofalo (or Oriolano , to whom the picture has recently been ascribed), though not a master of the highest rank, has produced an admirable work in his Nativity of Christ (II. Gall. 61). The landscape-painters of the 17th cent, are also well represented. In the landscapes of AnnibaleCarraeei (III. Gallery) we observe a con- flict between historic and scenic imagination , and the obtrusion of the former at the expense of harmony of effect. The pictures by Salvator Rosa (VII. Boom) are not among his best works, but Claude Lorrain's landscapes (III. Gall. 5, 13, 24, 34), are justly admired. His ^miir , and the landscape with the temple of Apollo, may be regarded as models of ideal landscape ; the effect is produced by the skilful gradations of distance: the foreground is inclosed by trees on both sides, the middle distance gently softened off , and the background formed by mountain outlines. — The Netherlands School of the 15th and 17th cent, is scantily represented, but some of the pictures, as Memling's Descent from the Cross (comer-cabi- net), and Lievens' Sacrifice of Isaac (II. Gall. 26), are worthy rivals of their Italian neighbours.
I. Room : also copying-room, to which the finest pictures in the collection are frequently brought. Antiquities: in the middle, a Cen- taur in pletra dura and rosso antlco (freely restored) ; four Sarco- phagi with (No.l) the hunt of Meleager, (3) history of Marsyas, (6) Diana and Endymion, and (no number) procession of Bacchus. Two fine circular altars; 2. Duplicate of the so-called Diana of Gabii in the Louvre ; 4. Archaic statue of the bearded Dionysus ; and a number of statuettes, some of fine quality. Pictures : 21, 22, 24, 25, 27, 29, 30, 34. Landscapes by O. Poussin and his followers ; on the entrance-wall, Perino del Vaga, Madonna; between the windows (no number), ** Velazquez j Pope Innocent X. To the left we enter the —
n. Room. 10. Franc. Francia, Madonna; *17. School ofOuido Rent J Judith with the head of Holof ernes ; *22. OuercinOy John
160 /. Stfangfirs' Quarter. ROME. Doria Gallery .
the Baptist at the Jordan ; 23. Sassoferrato , Mater Dolorosa ; 24. BondinellOj Madonna; 28. Pisanello^ Sposalizio; 29. Peselliy St. Sylvester before Maximlnas II. ; *34. Fra Filippo Lippi , Annnn- cUtion; 38. Piaanello, Nativity of the Virgin; 39. PeseUi, Leo IV. exorcising a dragon; *40. Ouereino, St. Agnes at the stake; *41. RoruiinellOj 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 Saracenij Juno placing the eyes of Argus in the peacock's tail ; 47. Qiov, 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 (ace. to C. and C; not Perugino"), St. Sebastian. — In the centre , Jacob wrestling with the angel, a group in marble, of Bemini*s school.
III. Boom fclosed).
IV. Room (very dark). To the right on entering: 33. Cara- vaggio, St. John; *17, 31. P. BrU, Landscapes. Over the door: 1. Paris BordonCy Mars, Venus, 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, "^5. OriAonte, Landscapes; 32. Scipio Pulzone (generally called Qaetano'), Betrothal of St. Catharine.
V. Room: 13. 0, Pousain, Palazzo Salviati and the Janiculus (p. 327); 21. Beccafumi, Betrothal of St. Catharine; 22. Holy Family and St. Catharine (not by Titiari); 25. Quercino, St. Joseph ; 27. Domenichino, Landscape; 31. PouBSin, 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. Bellini, 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 comer a 'Head of Serapis in marble.
IX. Room: Several interesting ancient portrait-heads; land- scapes by Momper, Tempesta, and Orizonte ; fruit-pieces by Wlccnte.
X. Room : Subjects from still-life.
We now enter the galleries. To the left is the —
I. Galleby: 2. Qarofalo, Holy Family; 3. Ann, Carracci,
Magdalene; 8. Quinten Massys, Two male heads; 9. Sassoferrato,
Holy Family; 11. J. Miel, Madonna; 13. Padovanir^, Descent
from the Cross; 14. Titian, Portrait (called Marco Polo) ; 15. A, del
J^oria Oallery, ROME. /, Strangers' Quarter, 161
5arto(?), Holy Family; 16. Honthorst, Lot and his daughten; 20. Titianj The three Periods of Life, a copy of the oilginalln London ; ♦25. CI. Lorrain , Landscape with the flight to Egypt ; ♦26. OarO' falo, Visitation; d2, 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 {f)y Angel; 50. 0, 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. Gallbbt (chiefly remarkable for its admirable portraits) : 3. Oiov, Bellini (or Rondinello}, Madonna ; '6. Fr, Franeia , Ma- donna; 11. Pordenone, Portrait; 13. Maxzolini, Christ in the Temple; 14. (not Titian'), Portrait; 15. Lor. Lotto, St. Jerome; no number, Quinten Massys, Money-changers disputing; 19. Ru- bens, Portrait; 21. 0. Saraeeni, Repentant Magdalene ; 22. Van Dyek (?), Portrait ; 25, 32, 60, 67. Brueghel, The four elements ; 26. Jan LievenSj Sacrifice of Isaac; 30. Rembrandt, Faun; ♦SI. Angela Bronzino, Gianettino Doria; ♦34. Lor. Lotto, Portrait of a bearded man; no number, ♦♦iSe&cutiancJe^Piom&o, Portrait of Andrea Doria; beneath, bust of Doria; ^40. Qiov. Ant. Pordenone, Daughter of Herodias with the head of the Baptist, a model of female rigour 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') ; *Qi. Qarofalo (Ortolano ?), Nativity ; 65. Old copy of Qiorgiones Concert (in the Pittl Gallery); ^69. Correggio, Allegorical representation of Virtue, unfinished dead-colouring in tempera; 78. Morone, Portrait; no number, ** Raphael, NaTagero andBeazzano; 77. Titian and his wife (according to C. & C. , 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. Gallbrt: 3, 8, 30, 35. An. Carracci, Landscapes with historical accessories ; 5. Claude liorrain. Landscape with Mercury's theft of the cattle; ♦!!. Bronaino, Portrait of Macchiavelli; ♦IS. CI, Lorrain, Mill ; A. Carracei, 14. Salutation, 15. Nativity ; Qerh. van der Metre, 18. Madonna, 22. Hermit; 19. A. Carracei, Pietk; ♦24. CI. Lorrain , Landscape with temple of Apollo ; 25. B. Schi- done. Angel healing St. Rochus; 26. Mazzola, Portrait; 27. Oior- gione{i). Portrait ; 28. P. Veronese, Portrait ; 31. Pra Bartolommeo (?), Holy Family ; 32. Dosso Dossi , Vanuozza , mother of CsBsar and Lucrezia Borgia (?) ; 34. CI. Lorrain, Landscape with Diana hunting.
Adjacent is a small Cobner-Cabutbt : *Memling, Entombment ; Basaiti, Holy Family ; Mostaert, Girl reading ; Rubens, Lady with a glove; Teniers, Rustic festival.
IV. Gallbry : Roman sculptures of little importance.
Babdkkbr. Italy II. 10th Edition. 11
162 /. Strangers' Quarter. ROME. S, Marco,
Opposite the Palazzo Dona rises the new Palazzo Odeiccdehi (comp. p. 166), erected in 1887-88 in the Florentine style. Ad- jacent is the Pal. Salviati, built hy Rinaldi and oocnpied from 1725 to 1800 by the French Academy of Art (p. 149).
On the S. the Corso is terminated by the Piazza »i Vbnbzta (PI. II, 16, 19; 48 ft. above the sea-level), to the right in which, at the corner, rises-the Pal. Bonaparte^ formerly Einuecmi (PI. II, 16 j 6), erected by De Rossi, where Madame LaBtitia, mother of Napoleon I., died on 2nd Feb., 1836. TKe piazza is named after the imposing *Palaxzo di Venezia, bnilt (1455) in the Florentine style, in which the effect is produced by massivenesB (p. xlix). The building was formerly attributed to Qiuliano da MajanOj 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 IV. 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 Venetia. 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 Venezia is the Falaszo Torlonia (PI. II, 19, 1), formerly Bolognetti, 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 Villa 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 Venezia we proceed straight through the narrow RipRESA DBi Babbebi, 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 (PI. II, 16), laid out in promenades. Here, on the right, lies —
S. MarcOy incorporated with the Pal. di Venezia. This church is very ancient, being supposed to dale from the time of Constantino. It was re-erected in 833 by Gregory IV. , and adorned in 1455 by Qiuliano da Majano (? 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.
Vestibule. Roman 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, Colorma. ROME. /. Strangers' Quarter, 163
dlatigaxed by restorations. The TiUBDint, with its handsome pareinent (opus Alexandrinum), lies a few steps higher than the rest of the church. The mosaics (in the centre Christ; left, the saints Hark, Agapetus, and Agnes ; right, Felicianus and Mark escorting Gregory IV.) date from the most de- graded period oi this art (abont 833) and have been justly described as * utter caricatures'. In the Biqht Aislb, 1st Chapel: altar-piece by Palma Giovaney 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 OrwelH, In the Lift Aislb , 2nd Chap. : altar-relief, Greg. Barbadigo distributing alms, by Ant. d^Este. 4th Chap. : St. Michael, Mola,
In the Piazza, in front of the church, is the so-called Madonna LucrtziOj the mutilated marble bast of a colossal female statue (priestess of Isis) which carried on conversations with the Abbate Luigl near the Pal. Yidonl (p. 198; no longer extant), similar to those of Pasqnin with the Marforio (comp, p. 201).
The Via di S. Marco terminates in the Via Aracali, which to the left leads to the Piazza Aracceli (p. 209) and the Capitol, and to the right to the Piazza del Gest (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 substructure. — 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 Capltollne Museum (p, 216). At the heginning of this street, to the left, is the Tomb of Caius Poblicius Bibulus (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 Eomanum (p. 222).
To the E. 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 Palaxzo Colonna (PI. n, 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 *Oalleiia Colonna on the llrst floor (adm., see p. 123; 1/2 fr- 0^ leaving) is entered from the Via della Pilotta, No. 17.
I. Room. From right to left. Tintoretto, Narcissus j Moroni, Portrait; ^Pietro Novelli, Marcantonio Colonna; Muziano (of Bres- cia, an imitator of Michael Angelo), Vittoria Colonna, the friend of Michael Angelo; Lor, Lotto, Card. Pompeo Colonna (?), a genuine,
11*
164 I. strangers' QuarUr, ROME. Pal Colonna,
but mncli damaged work ; Qiorgione (?), Giaoomo Sciarra ColoDna ; Pourbus, Franc. Oolonna; Tintoretto^ Angels in glory witli fon- busts; Moretto da Brescia (?), Portrait; Ag. Carracci, Pompeo Co- lonna ; Hieron. Bosch (not Cranach), Temptation of St. Anthony; Van Dyckf Lucrezia Colonna ; Dom. Ohirlandajo (?), Reconciliation between the Romans and Sabines ; *Bonifacio (not Titian), Madonna with saints ; *Pietro Novelli , Isabella Colonna and her infant son Lorenzo Onofrio, a good work, deserving notice apart from the rarity of the master; Dom. Ohirlandajo (or, according to C. «feC., Cosimo Rosselli), Rape of the Sabine women ; *Palma Vecchio, 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 flred into the city during the bombardment of 1849, descends to the —
II. Gallbbt, with ceiling -paintings by Coli and Gfherardi (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^ Fiori) and genii (by C, Marattcb). 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 (arehaistic style). Right wall : *Ruhen8j Assumption of the Virgin ; *8u8termam^ Fed. Oolonna ; Crist, Allorij Christ in Hades; Salviati, Adam and Eve; *Van Dyck, Don Carlo Colonna, equestrian portrait ; Quercino, Martyrdom of St. Emmerentia ; 8. GaetanOj Family group of the Colonnas (1581). Left wall : Tin- toretto J Double portrait ; N, Poussin , Pastoral scene ; Niccoll) 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 ; Wouverman(?), Chase and cavalry- skirmish ; I\r. 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).: Cahaletto, Architectural piece; Crescenzo d^ Onofrio, Landscape.
IV. Room. Ceiling-painting by Battoni and Imti (In honour of Martin V.). Entrance-wall: P. Veronese, Portrait of a man; Hol- bein (?) , Lor. Oolonna ; over the door , Bordone (not Bonifacio'),
88. Apottoli, ROME. /. 8ifangen' QuarUr, 165
Holy Family. Right wall: Albano, Rape of Enropa; *8pagna, St. Jerome; Domtnieo Puligo, Madonna; Ann. CarroMi^ Bean-eater; ParU BordonCj Madonna with saints. Exit- wall : Oiov. Bellini j St. Bemhard; Oirolamo Trevisani, Poggio Bracciolini; Bron»inOf Holy Family ; *Titian, Onnphrius Panyinins, an admirable study of the master's best period (name arbitrary). Window-wall : F. Mola, Gain and Abel ; 80990 ftrrato, Madonna ; Quido jBeni, St. Agnes
y. Room. Throne-room, with handsome old carpet.
YI. Room. Entrance-wall : ParmeggianinOy 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, AlbanOy Two landscapes ; OcntiU da Fabriano (or, according to G. & C, 8iefano da Ztvio)^ Madonna ; ^Qiulio Romano f Madonna (comp. p. Lvn); Jacopo d'AvansOj Gruciflxion; Oiov, 8anti (father of Raphael), Portrait; Luini^ Madonna (much damaged). Exit- wall : Fra. Fil, Lippi (?), Madonna ; Luca Longhiy Same subject ; 8, Bottieellij Same subject.
The beautiful Garden^ on the £. 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 Conatantine (?), which formerly ex- tended over the entire Piazza di Monte Gavallo (p. 173). The terrace commands a good survey of the city.
On the N. the Pal. Golonna 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. ApMtoU (PI. H, 19), facing the piazza of the same name, was founded by Pelagius I. in honour of SS. Philip and James , re-erected under Glement XI. in 1702 , and restored after a fire in 1871. The vestibule by Baccio PinteUi (?), the only part of the building earlier than 170^, contains (on the left) the monument of the engraver Giov. Yolpato 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.
IMTEBIOB. Right Aisle, 3rd Chapel: St. Anthony by Luti, 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 : *Honament of Clement XIV. by Ccmova^ on the pedestal Charity and Temperance. In the tribune, with altar-piece by Muratori (said to be the largest in Eome), are the monu- ments erected by Sixtus IV. to his two nephews, the Cardinals Biario, that of Pietro (d. 1474) on the left, and that of Alexander behind the altar , and partly concealed by the organ. On the yaulted ceiling of the tribune, Fall of the Angels, a fresco by Oiov. Odassi, in the rococo style, but of striking effect. Tlie older church was decorated by Mtlotzo da Forli. a fine fragment of whose frescoes is now in the Quirinal (p. 1TB), and othera are in the sacristy of St. Peter's (p. 284).
The passage in the monastery adjacent to the church contains a monu- ment to Michael Angelo, who lived and died in the parish of SS. Apostoli, and the tomb of Card* BeMoHon (d. 1472).
166 //. Eattem Quarter. ROME. Railway Station.
Opposite the front of the SS. Apostolils the old Pak Odescalchi, built by Bernini.
11. The Eastern Quarter. Qoirinal. Viminal. Esquiliiie.
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 Quirinal, Viminal, and a part of the Esquiline. According to the new division of the city by Augustus, this quarter comprised two districts, the Alta Semita (Quirinal) and the ^Jxquiliae (Esquiline). The building of Aurelian*8 wall shows that this quarter was afterwards extended. According to the mediaeval division these districts formed a single region only, named the Rione Monti, the most spacious of the four- teen quarters in the city, as it extended from the Porta Pia to the now closed Porta Metro via, 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 8et- tenibre). The second main street, intersecting this one and leading from the Pincio to S. Maria Maggiore (Via Sistirui 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 Yenezia it is continued by the Corso Vittorio Emanuele (p. 197).
On the E. side of the Piazza dbllb Terme (PI. I, 25) is the handsome Sailway Station, constructed by Miri^re and BiancM in 1872. Opposite the arrival-platform begins the wide Via Cavour, leading to the Piazza dell' Esquilino and the Forum (see p. 176). The main front of the station faces the Thermae 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 been incorporated in this monument. Adjacent is a copious fountain, "-^d by the Acqua Marcia, which has been recently restored. In
evening the piazza is lighted by electricity.
8, Maria degli Angeli. ROME. II, Eastern Quarter. 167
The TheniUB of Siocletiaii (PL I, 25), which give name to the piazza, were the most extensive thermae in Rome, and were construct- ed by Maxlmian 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 Nazlonale (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 Oara- calla (p. 255), and the number of daily bathers 3000. The front faced the £., 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 Angelo with the task of converting part of the Therms 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 RoTimDA 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 Rosa (d. 1673). In the Chapel , Christ appearing to Mary Magda- lene, an altar-piece by Arrigo Fiamingo.
We next enter the great Tkamsbpv. The niche on the right in the passage contains a colossal statue of St. Bruno, by Houdan; in the chapel on the left, the *DeUvery of the Keys, an altar-piece by Muziano. The transept (formerly the nave) is 100 yds. long, 29 yds. wide, and 90 ft. high. Of the l6 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 Ricdolini; Fall of Simon Magus, after F, Fann* (original in St. Peter's); on the left, *St. Jerome among the hermits, Muziano (landscape by BriT) \ Miracles of St. Peter, Baglioni. At the narrow end: chapel of B. Niccold Albergati. In the left half: on the left, Mass of St. Baail with the Emperor Yalens, Subltyra*; Fall of Simon Magus, Pomp. Baiioni; on the right, Immaculate Conception, P. Bianchi; Resuscitation of Tabitha, P. Costanzi. At the nar- row end : chapel of St. Bruno.
In the TsiBCMB (one of the monks acts as guide here, Va ^•)\ right, BomanelU, Mary's first visit to the Temple ; "DomenichinOy Martyrdom of St. Sebastian (fresco) ; left, PomaraneiOj Death of Ananias and Sapphira \ Ma- ratta y Baptism of Christ. The choir contains two monuments (L Pius IV., r. Ant. Serbelloni), designed by Michael Angelo.
The remaining buildings are still partly occupied by the Carthus- ians and partly by various charitable and educational institutions. A good view is afforded by the roof of the chnreh, to which visitors may ascend with the permission of the Prior.
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 court, with the inscrip- tion 'Ospedale Margherita per i Poveri Oiechi', we reach the new •MxjBBo DBLLE Tebme, which occupies several small rooms detached from the convent-court and part of the cloisters (adm., see p. 124}.
The following are among tbe 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 eflfect to other reproductions of the same type). — *Youthful Faun, with deer-skin, from Hadrian's Villa. — *Nude bronze figure of a youth leaning on a stajQf, with portrait- features pointing to the Hellenic epoch (found, like the following, in building the new theatre in the Via Kazionale). — **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 injury received in fighting, is masterly in execution. — *Bacchus, a youthful figure in bronze, with inlaid silver ornamentation, found in the Tiber in sinking the foundations of the Ponte Garibaldi. — Sleeping Hermaphrodite, fou^ in building the Teatro Gostanzi. — *Mural paintings and stucco ornamentation, from the house of a Roman citizen, found in the Tiber works at the garden of the Villa Fames'ina (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 Piaxza S. Bernardo, with the FoNTANONB dbll' AcauA Felice (PI. 1, 22), erected by Domen- ico Fontana under Sixtus V. The badly-executed copy of the Moses of Michael Angelo is by Proapero Bresciano, who is said to have died of vexation on account of his failure ; at the sides Aaron and Gideon by Oiov. Batt. della 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 Vbnti Sbttbmbeb , 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. Makia della Vittoria (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-, 6 s.). In the 3rd Chapel on the left, the Trinity by Guercino^ and a Crucifixion attributed to Cfuido Reni,
In the Via Venti Settembre, to the right , nearer the Porta Pia, is the Finance Office (PI. 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 (PL I, 22, 23),
altered to its present form in 1600 by C. Madema, Paintings on the
lateral walls from the history of Susanna, by Baldassare Croce ; those
♦he tribune by Cesare Nebbia. — Opposite, and standing a Uttle
ViaNatkmale. ROME. JJ. Ea$tem QuaHer. 169
baek, is the church of S. Bbbnabdo (PI. I, 22), « circular edifice, originally one of the corners of the Thermie 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 E. side of the station, opposite the departure-platform, the largest and best-preserved part of the Wall of Berrius (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 Kee- cenas on the Via Merulana (see p. 181).
Towards the K.E. , passing the new buildings now springing up in this quarter, we reach (10 min.) the Oampo Militare (PL I, 29, S2), the camp of the Praetorians of imperial Rome, originally established by Tiberius, but destroyed by Constantine 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- m», runs the broad Via Nanonale (PI. 1, 22 ; II, 19, 16), now one of the busiest streets of the city, and during tii6 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 Hdtel Quirmal and, farther on , the new American Episcopal Church of SU Pa%d^ a Gothic structure by SUreety with chimes (p. 119). The most im- portant cross-street is the Via Agoatino DepreU$ (Via QwUtro For^ tane) , 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 (Jfo. 154) is the GdUeria 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 8, VitalCj on a site considerably lower than the new street-level ; and farther on the handsome Palaz%o dclU BdU Arti, built as an exhibition-building in 1880-83 by Piacen- tinl, and the Palaszo Huffer, Farther on, to the left, are the new building of the Banca Bomana and the gardens of the ViUa 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 AntonelU^ on the right (No. 158; stair- case on the right of the court). To the S., behind the 17th cent, church of -Sf. Caterina di 8iena{F\. 11, 19, 14), rises the Torre delle MiUsue (PI. II, 19, 6), erected about 1200 by the sons of Petru-
170 //. Eastern Quarter. ROME. Pal, Barhenni.
Alexins, commonly called Torre di Neronej l)ecanse 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 chnrch of 8S, Domenieo e Sisto (PI. II, 19, 15), with its lofty flight of steps, hnilt by Yincenzo della Greca about 1640.
The Via Magnanapoli 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 chnrch of B. Agata in Suburra (PI. II, 22), dating from the 5th cent., but restored in 1633, and now possessing 12 granite columns only of the original edifice. It belongs to the adjacent seminary for Irish priests. The left aisle contains the MmufMnt of Daniel O^CotmeU (d. 1847 ^ who bequeathed his heart to this church), with a relief by Benzoni , erected in 1856. To the right of the entrance is the tomb of John Laacaris, 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, is a mediaeval tower of the Colonna, with im- mured fragments from the Forum of Trajan. At the next corner, to the left, stands a new Waldensiarh Church j and to the right the new Teatro Drammatico, We then skirt the S. facade of the Pal. Colonna (p. 163) and proceed between the Via della Pilotta (p. 152) and the Piazza SS. ApostoU (p. 163) to the Piazza di Venezia (p. 162).
The Via Agostino Defbetib (PI. I, 22), mentioned at p. 169, hitherto named the Via Quattro Fontanel 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 Quirlnale (p. 173) and the Via Venti Settembre (p. 168). To the left is the small church of 8, Carlo or S. 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 hy Cardinal Al. Albani, the friend of Winckelmann. [Hence to the Porta Pla (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 Quattbo Fontanb (PI. I, 22). At the end of it, to the right, at the corner of the Piazza Barberini, lies the handsome —
* Palazzo Barberini (PI. I, 22), begun by Madema under Ur- ban Vm., and completed by Bernini (p. lix). The court, laid out as a garden, contains a marble statue of 2%ort;aW««n, by E.Wolff, after a work by the master himself, erected here, near his studio, by his pupils and friends. — The principal staircase is to the left under
Pias%a Barberini. ROME. JI. Eastern Quarter. 171
the arcades; built Into it is a Greek *Toml)-relief ; on tlie 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 Galleria 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 RenVs Beatrice Cenci we hope to see a countenance Judith-like, and characterised by stern resolye, in- stead of which we encounter a pale, delicate face. Lastly, when we inspect Vurer^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. Rook: 16. Pomarancio^ Magdalene ^ 20. Parmeggianino^ Betrothal nf St. Catharine. — II. Booh: 33. After Raphael^ Madonna; 36. Innocsnto da Jmola, Madonna; 38. Titian, Cardinal Bembo, painted about 1540 but re- touched; 53. Francia(y)^ Madonna with St. Jerome; 59. Sodoma, Madonna; 64. Giov. Bellini (?), Madonna ; 68. MengSy Portrait of his daughter ; 69. Pon- tormo (after Morelli), Pygmalion; 72. Francia, Madonna; TB. ifcwacdoC?), Portrait of himself. — III. Boon : *1Q. Titian (? C. A C. ascribe it to Palma Veechio), ^La Schiava% female portrait; 79. CI, Lorram, Caatel Gandolfo; 81. Bronzino, Portrait; ^82. LHtrer^ Christ among the doctors, painted at Venice in five days in 1506 (*opu8 quinque diemm'); *86. Raphael, Portrait of the so- called Fomarina , so frequently copied, unfortunately marred by restoration ; 86. 8. Oaetano, Lucrezia Cenci, stepmother of Beatrice; 87. ^aniah School, Anna Colonna ; '^88. Outdo Reni, 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 Barberina (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 AbbS Pieralisi.
TheViaQuattroFontane, like the ViaSistina(;p. 150) and the Via del Tritone (p. 154), ends in the Piazza Babbbbini (PI. I, 19, 22). In the centre the *Fontana del Tritone, by Bernini, a Triton blowing on a conch. Ascending the Piazza, we come to the Via d' S. Nicola di Tolentino, with several new hotels, which leads to '
172 //. Eastern QuarUt, ROME. Villa Ludoviai.
ohuroh of that name, and then, under the name of Via S. Susanna, turns to the right to the Fontana dell' Aoqua Felice and the Piazza delle Terme (p. 166). — The second street to the left, on the N. side of the Piazza Barherini, is the Via di 8. BasiliOy which leads to the Villa Ludovisi (see helow) , and through the Porta Salara to the Villa Alhani (p. 838; 1 M.).
To the left of the Piazza Barberini rises the Piazza de' Cappuo- cini, in which is situated the church of 8. Maria della Concesione (PI. I, 23), or dei Cappuceini, founded in 1624 by Card. Barberini.
In the iNTSBiOB, over the door, a copy of OioUo's Kavicella (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 8rd, remains of frescoes by Domen- iehino. Orer the high -altar a copy of an Ascension by Lanfraneo, now destroyed. Beneath a stone in front of the steps to the choir lies the founder of the church, Card. Barberini ('hie jacet pulvis cinis et nihil') ^ on the left the tomb of Alex. Sobiesky (d. 1714), son of John III. of Poland. Last chapel on the left: Altar-piece by Sacehif in the first, one by Pietro da Cortona.
Beneath the church are four Bobial Vadlts (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 the 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), after Ave Maria.
A little to the N.W. is 8. laidoro (PI. I, 20), founded in 1622.
Behind, in the Corso di Porta Princiana is the VUla 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 Piruiiana (PI. 1, 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 di 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 LudOYiti (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 Prjnce« of Piombino, who sold the greater part of it in 1885. The magnificent '^Collection of Arwient 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 fi- on leaving) we proceed to the right to the —
I. Casino , containing a *Collection of valuable ancient sculp- tures.
Vestibule: 1, 3, 7, 8. Hermw; by the entrance-wall, to the right, 20. Head of Juno, very ancient j 18. Candelabrum in the form of a twisted
Piatxa del Quirinale. ROME. JI. Eaaiem Quarter, 173
treet 15. Sitiing statve of a Roman, by Zman. To the left of the entrance: 25. Female draped figure : 31. Tragic mask, mouth of a founUdn in rosso antlco. — 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 Qaul' in the (3apitol also belongs to this group ; see Introd. p. xxxiii). To the right of the entrance : *56. Warrior reposing riCars?), probably destined originally to adorn the paproach to a door*, 51. Statue of Athene from Antioch; 47. Oast of the statue of .£schines at liaples \ 46. Bust , name unknown x above it , *45. Head of a Medusa, of the noblest type; 43. Rape of Proserpme, by BwMni; above it , 42. Judgment of Paris^a relief, the right side restored accord- ing to Raphael's design; **41. The so-called *Juno Ludovisl\ the most celebrated, and one of the most beautiful heads of Juno \ SO. Xerenry, 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 iCthra (or Telemachus and Penelope commonly called Orestes and Eleetra^, by MMOaoi^ pupil of Stephanus (p. zxxvi)*, *9. Youthful Satyr; 14. Dionysus with a satyr; 15. Head of Juno; 21. Bronze head of Marcus Aurelius.
The Casiiio dbll' AnnoRA , to the W., which on the ground-floor contains a vigorous ceiling-fresco of *Anrora by Outretno^ and on the first floor a *Fama by the same, is seldom open to visitors. The entrance is in the (Torso di Porta Pinciana, opposite the Villa Malta (p. 172).
The prolongations of the Yla dl S. Basilic (p. 172) are the Via Sallustiaha and the Yia di Porta Salara, which lead in 8 min. fifom the Villa Lndovisi to the Porta Salara (p. 838), Here in an- cient times lay the magnificent Gardens of8aUust, the historian, ■which afterwards became the property of the emperors.
"We now enter the Via bel Quibinalb 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- drea, by Bernini. In a few minutes more we reach the *Piazza DEL Quibinalb (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 Ohelisk^ 48 ft. high, which once stood in front of the mausoleum of Augustus and was erected here in 1787 , and the two colossal marble **Sor86 Tamers from which the piazza formerly derived its name (Piazza di Monte Ga- ▼allo). These admirable groups once stood in front, probably at the entrance, of the Therms of Constantine (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 Fhidiae and Opm 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, is the Pal. of the Con- ndtaj erected under Clement XII. by Del Fuga , formerly the seat of a tribunal of that name, charged with the internal administration of the Papal States. It is now occupied by the offices of the MinUter
174 JL Eastern Quarter, BOME. Palazzo Regio,
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 line •Vihw of the town, with the dome of St. Peter's in the backgronnd. During the excavations preparatory to the construction of the steps and the road extensive fragments of the walls of the Therms of Constantine 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 Begio, formerly Apostolieo at Quirinale (PI. 1, 19), begun in 1574 under Gregory XIII. by Flaminio Ponzio^ 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 onr names in a book, and obtain an escort (1 fr.). Adjacent to the Sala Bbgia, with frescoes by Lan/raneo and Saraceni, is the Gappblla Paolina, erected by Carlo Madema^ and decorated with gilded stucco-work and copies in grisaille of Baphaers Apostles in 88. Vincenzo ed Anastasio alle Tre Fontane (p. 364) and with tapestry of the 18th cen- tury. To the right lies a suite of Dbawino and BBOBPTioiir Booms, 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. Overbeck (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 Botal 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 T?iorvaldsen's ^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 Chtido Rent. — In the Coubt a staircase ascends to the right under the ai*cades; 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. Madema. It contains rare plants and several antiques, and com- mands a fine view. — [Omnibus from the Piazza del Quirinale to S. Agnese Fuori, see p. 2 of the Appx.]
The •Palazzo EospigUosi (PI. II, 19), erected in 1603 by Card. Sevpio Borghese, nephew of Paul Y., on the ruins of the Thermas
8, Silvesiro dl Quirinale. ROME. JJ. EasUm QuaHer. 175
of Constantine) afterwards became the property of the princes Ros- pigliosi, relations of Clement IK., of Pistoja. The palace contains frescoes from the Baths of Constantino , a beautiful CL Lorram (Temple of Yenus), 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 Ca$ino, see p. 124 (Va fr.)*
We enter the coart by a gate in the Via del Quirinale and then aa- cend the steps to the left. Several small statues in the Qardbn.
Along the external wall of the Casino are placed ancient sarcophagus' reliefs (Hunt of Meleager, Bape of Proserpine, etc.)* By the door to the right we enter the —
PuHGiPAL Hall. ** Ceiling -painting by Guido Beni: 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 clouda in the background (p. Ilx). Op- posite the entrance is a mirror, in which the painting may be conveniently inspected. — On the frieze, landscapes by Paul Brilf and on the ends of the sides. Triumph of Fauna and Cupid (from Petrarch), by Ttmpetta, Right wall : Statue of Athene Tritogeneia with a Triton *, *Van Dyck^ Portrait.
Boom on the Right. In the centre a bronze steed from the Thermee of Constantine. Opposite the entrance, Domeniehino^ Fall of man. Left wall: *Lorenzo Lotto, Vanita. Right wall: *Duteh School, Portrait; Do- meniehino, Venus and Cupid •, *Luea Signorelli, *Holy Family. Entrance- wall : If. Carracei(^)^ Samson. — Roou to thb Left: entrance-wall, over the door, PMsignanOy Pieta; Ouido Reniy Andromeda; Portrait of JV:. Poutsin (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. Severua. On these two walls and the following: Christ and the Apostles, thirteen pictures, attributed to RuberUy probably only partly by him ; Domen- iehino, 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 —
8. 8ilvMtro ftl Quirinale (PI. n, 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 DoMS four oval frescoes by Domenichino : 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 PoUdoro Caravaggio 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. Pabt of thb Via Aoostino Dbpbbtis (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 right before reaching the piazza in front of the latter, enter the Via Urbana, and in a few paces reach —
8. Pudeniiaaa (PI. II, 25; open till 9 a.m.; custodian, Via
176 II, Eastern Quarter. ROME. 8, Maria Maggiore,
Qnattro Fontane 81 , to be found from 1 to 4) , traditionally the oldest clmrch in Rome , erected on the spot where St. Pudens and his daughters Praxedis and Pudentiana, 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. Pudens and Pudentiana; 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.
Intbbiob. 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 *Mo8aics in the Tribunk (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 Kome (p. xlv ; several of those on the right are modern). The Domb above the high-altar was painted by Pomarancio. The Aisles contain remains of an ancient mosaic pavement. In the left aisle is the Cappblla Oabtaki, over the altar of which is an Adoration of the Ma^, a relief in marble by OM- vieri. At the extremity of this aisle is an altar with relics of the table at which Peter is said finst to have read mass. Above it Christ and Peter, a group in marble by O. B. della 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. Xorenso in Fanispema (PL n, 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' EsauiuNO, the square in front of the choir of S. Maria Maggiore, stands one of the two OhtUsks 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 Yiminal to the Forum Romanum.
The facade of the church overlooks the Piazza S. Maria Maogio- BB, which is embellished with a handsome Column from the basilica of Constantino, 16 ft. in circumference, and 46 ft. in height, placed here and crowned with a bronze figure of the Virgin by Paul V.
**S. Xaxia Maggiore (VI. II, 25), also named Basilica Liheriana, 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 (loth Aug.). According to a legend which cannot be traced farther back than the 13th cent., the Virgin appeared simultaneously to the devout Roman patrician Johannes and to Pope Liberius (352-66) in their dreams, com- manding them to erect a church to her on the spot where tliey
8, Maria Maggiore. ROME. //. Eaatem Quarter. 177
should find a deposit of snow on the following morning (5th Aug.). The BasUiea Liherianay which they are said to have huilt in obed- ience to this vision , was re-erected by Sixtns III. (432-40), who named the chnrch 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 marble 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 lY. 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 medisval 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 Y. in 1586 and Paul Y. in 1611. The exterior of the tribune was remodelled by Clement X., and the final restoration was entrusted by Benedict XIY. to Fuga, '
The FoQade, 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 lY. 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. Panl, John, and James \ on the right SS. Peter, Andrew, Philip, and John the Baptist. Below, on the left, the vision ox Pope Liberius and the Patrician Jo- hannes \ on the right, the meeting of the two, and the tracing of the site of the chnrch 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 effect. The pavement of the Navb dates from the 12th cent, (p. xlvii) and the handsome ceiling was executed from designs by Oiul. da Sangallo. The architrave, adorned with mosaic, is supported by 42 Ionic columns, S3 in marble and 4 in granite, above which, and on the chancel arch, Kn** Mosaics of the 6th cent., in the ancient style (p. xlvi; good light eariy 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 HighrAltar^ 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 Tkibunb are * Mosaics by JaeobuM Torriii (1292) : Coronation of the Virgin, with saints, near whom ai-e Pope Nicho- las IV. and Card. Jac. Colonna (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 by Sixtus V. and Clement X. respectively. Bight Aislk: First chapel: Baptistery with fine ancient font of porphyry. Farther on is the Cap. del Crocefisso with 10 col- umns of porphyry, containing five boards from the ^Manger of the Infant Christ* (whence termed Cappella del Presepe). — In the Eight Transept ip
Baedbkbr. Italy II. 10th Edition. 12
178 II. Eastern Quartet, ROME. 8, Prassede,
the sumptuous ^Sibtinb Chapkl, constructed by Fontana, and of late gor- geously restored ; in the niche on the left, an altar-piece (St. Jerome) by Rihera; on the right, occupying the whole wall, the monument of Sixtus V., with a statue of the Pope by Valsoldo ; 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. Gaetano, by Bernini y and by the altar a relief of the Holy Family, by Ceeehino da Pietratanta (1480). — At the end of the right aisle, the (3k)thic monument of Card. Consalvi (Gunsalvus, d. 1299) by Oiov. Cosmos. Left Aisle. 1st Chapel (of theCesi): 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 Hich. Angelo : Assumption of Mary, altar- piece by Qir. Sermoneta. — In the Left Transept, opposite the Sistine Chapel, is the BoBGHESB Chapel, constructed by Flaminio Ponzio 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 Quido Beni^ LanfraneOy Cigoliy etc. The monuments of the Popes (1.) Paul V. (Cuuillo Borghese, d. 1621) and (r.) Clement VIU. (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 —
*B. Prassede (PI. II, 25), erected by Paschalis I. 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 0th cent.; p. zlvi) 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. — Bight Aisle. The 3rd chapel is the Chapel of the Column (\6.<iiQ& 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 S. Carlo Borromeo contains a chair and table once used by the saint. The 3rd Cap. Agiati contains paintings by the Cav. d*Arpino. — The marble spout of a fountain in the nave indicates the spot where St. Praxedis collected the blood of the martyrs.
CoNFESSio (keys kept by the sacristan) contains ancient sarcophagi
8. Bihiana. ROME. //. Eastern Quarter. 179
witb the bones of the sister saints Praxedis and Pudentiana on the right, and those of martyrs on the left, ^he altar is decorated with fine mosaic of the 13th century. Above it an ancient fresco of the Madonna between the sisters. — The Sacristy contains a Scourging by Oiulio Rtmumo.
To the S. and S.E. of the Piazza S. Maria Maggioie run two new thoroughfares', the Via Merulana, on the right, leading to the Lateran (p. 267), and the Via Ga&lo Albbbto , on the left. In the latter, to the left, is the church of 8. Antonio Abhate, 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 be blessed and sprinkled with holy water.
A cross-street leads to the right from the Yia €arlo Alberto to the church of 8. Vito and the Arch of OaUienus (PI. 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 Mazzini and Via Rattazzl lead to the left from the Via Carlo Alberto to th'e Piazza Manfredo Fantii, in which stands the handsome Aqaariam (PI. II, 28), built from a design by E, Bemieh in 1885 (adm. from 9.30 a.m., 1 fr. ; director. Prof, Vinciguerray
The Via Carlo Alberto ends at the large Piazza Vittoeio Ema- NTJBLB (PI., II, 29), which is embellished with flower-beds. Here, on the left, are considerable remains of a water-tower of the Aqua Julia (PL 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 Mario ^ has been partly restored, and is under the care of a *guardia degli scavf. — At the N. angle of the piazza rises the church of 8. Eusehio, 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 Bcdd. Croce,
Several new streets, not yet completed, lead from the Piazza Vittorio Emanuele to the church of S. Bibiana fPl. 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 Pbincipbssa Mabohbbita leads hence to the Piazza Quglielmo Pepe (with remains of the above-mentioned Aqua Julia) and the (10 min.) Railway Station (p. 166). On the right
12 ♦
180 JJ. EaaUm Quarter, ROME. Porta Maggiore.
It leads in 5 min. to the so-called Temple of Hinerva Kediea (PI. II, 32), the ruin of an ancient NymphsBum in the form of a decagon, 55 yds. in ciicumference, with deep niches in the walls, and originally covered with marble below and stucco aboTO. This must have belonged to some splendid bath-establishment, as many andent statues have been found in the vicinity. 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 middle ages the ruin was called Le QaUuzzt a name which has been conjectured to be a corruption of (the Thermas 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 S. Croce in Oerusalemme (see below); the Via Emanuele Filiberto, the street to the right, leads to the Lateran (p. 267); and the Yia Principe Euobnio, on the left, to the Porta Maggiore.
The * Porta ICaggioxe (PI. n, 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 Yespasian 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 XYI. — Two roads diverged hence : to the left the Via Praenestina^ and to the right the Via Labicana^ now named Via CasUina,
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 Ewrysaces^ 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 officiar. 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. Giovanni, see p 273, to the Campagna, see p. 345.
From the Porta Maggiore a road leads to (5 min.) S. Croce in Gerusalemme, passing under the arch of the Claudian aqueduct, and
S, Croce in Gerusalemme, ROME. II, Ea9tem Quarter. 181
skirting the wall on the inside. From S. Maria Maggiore to this church by the Via Conte Verde is a walk of 20 minutes.
8. Croce in Gemsalemme (PI. II, 36), one of the seven pil- grimage-churches, once named Basilica Sessoriana^ because the Sessoriumj 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 Cross. As early as 433 a Council met here. The church was rebuilt by Lucius II. in 1144, and was modernised under Benedict XIV. in 1743, by Qregorini, who added the poor facade.
INTSBIOR. The nave was originally borne by 12 antique columns of granite, of which 8 only are now visible. An ancient sarcophagus of basaJt below the high-altar contains the relics of SS. Anastasius and Geesarias. In the tribune are modernised ^Frescoes of the Invention of the Cross, as- cribed to PintuHcchio (according to G. £ G., by Fiorenzo di Lorenzo). The church contains numerous relics, including the ^Inscription on the Gro88\
To the left of the tribune a staircase descends to the Crypt^ where on the left is an altar with a marble relief (Pietk) ; 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 "^Mosaies , after Bald. Peruzzi , representing the Four Evangelists. In the centre, Ghrist. 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 Cistercian 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. Croce to the Lateran is a dusty and shadeless walk of 5 min. (p. 266).
From S. Maria Maggiore the Via Mkeulana (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. Martino, which, under different names , leads through a well-peopled quarter to the Forum. To the left is the Via di S. VitOj in which stands S, Alfonso d^ 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 S. Vito and the Arch 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 S. Pietro in Vincoli (see below).
In this neighbourhood, but scarcely accessible on account of the n w streets in progress, are the so-called Sett© Sale (PI. II, 26), consisting of seven, or rather nine, parallel vaulted chambers, which appear to have been used as reservoirs for the Thermae of Titus (p. 237).
182 i/. Eastern QuarUr. ROME. S. Martino ai MontL
Farther on in the Via Merulana j 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- bi cana (by which we may reach S. Olemente and the Therms 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 Cp. 366).
From the Via Merulana diverges the Via di S. Pibtro in Vin- coLi to the W. , leading to the church of — '
S. Martino 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 iNTEBioB, a basilica with a roof of straight beams, contains 24 an- tique columns. In the S. aisle six ^Frescoes by 0, PouMin^ from the life of Elijah, the patron of the order (marred by restoration). In the "S. aisle six smaller *Frescoes. Also two pictures representing the interior of the old churches of the Lateran and of St. Peter. — The Psbsbttbbidm is eleven steps higher; below is the Gbtpt. From the latter we enter a lai^e vault, probably once belonging to Thermee, 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 Gonstantine.
In 5 min. more we reach the church of *S. Pietro in Tineoli (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 (1/2 ^0-
Ihtebiob. 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 Aisle contains the monument (in the corner) of the learned Card. Nico- laus Gusanus (from Cues on the Moselle, d. 1465). Above it a relief: Peter with keys and chains, on the left the donor (Kic. Gusanus), right an angel. — On the 3rd altar to the left a mosaic of the 7th cent, with St. Sebastian.
8. Pieiro in VincolL ROME. //. Eastern Quarter, 183
At the end of the Bight Aislb 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 90 statues. Owing to various ad- verse circumstances the portion preserved here was alone completed. (Two statues destined for this monument are at the Louvre.) The statues of Hoses (who is represented by mediaeval Christian artists with horns owing to an erroneous translation of Exodus xxxiv. 86), Bachel, 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 Mcuo del Boseo is a failure-, the prophet and the sibyl at the side are by Ma/, da Montelupo. — To the right of the choir is St. Margaret, an altar-piece by Ouereino. — 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 Pollajttolif 1477), contains the chains of St. Peter, which are ex- hibited to the pious on 1st August.
The adjacent monastery of the Oanonlci Regolari is now the seat of the physical and mathematical faculty of the university. The handsome old monastery-conrt, by OiuUano da SangaUo, planted with orange-trees , is embellished with a fountain by Antonio da SangdLlo. (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 yiew.
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 BaaUiea of Con- atantine (p. 232), which is conveniently visited after the church of S. Pietro. To the right of S. Pietro in Vincoli is the church of 8. Francesco di Paola, with a monastery, now the B» Jsyituto Tecnieo,
III. Borne 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 Martiu8)y 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- iaeval 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 broad Via di Ripbtta (PI. I, 15, 14), with its prolongation the Via della Scrofa, leads to the S. in 16 min. to |S. Luigi de' Frances! and the Piazza Navona (Cirr
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 (11 Ferro di Cavallo), erected by Gregory XVI., and now containing the Direzione Centrale del Lotto y and studios belonging to the Aeca- demia di Belle Arti, or di 8, Luca (p. 238).
In the Via de' Ponteflci, a cross-street to the left, is the entrance (No. 57; on the right) to the ICausoleam of AuguBtufl (Tl. 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 Oolonnas ; and a theatre (Anfiteatro Vmberto L) is now fitted up within its precincts. A few of the tomb-chambers are still preserved. Fee V2 ^r- 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; 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. 275). To the left is the end of the Palazzo Borghese (see below).
A ^little farther on, the street takes the name of Via dblla SoBOPA (PI. I, 3 ; II, 3), which it retains as far as the Piazza of S. Lulgi de' Frances! (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 della Fokta- 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 Clementinoj 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 Qalitzin (PI. I, 13, 23), 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 limber to are in progress.
Turning to the left from the Via della Scrofa into the Via della Fontanella, we reach the Piazza Borghbsb, with the celebrated —
*PalaK>o Borghese (PI. I, 16), begun by order of Card. Deza
Palazzo Bofghese. ROME. III. Left Batik, 185
in 1590 by the architect Mart. Lunghi the Elder, and completed by Flammio 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 gronnd-floor and first floor the *Goi7BT is surronnded by arcades resting on clustered granite columns (permessi 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 Rainaldi, and some trifling antiquities. In the centre of the left side of the arcades is the entrance to the **0all6ria Borghese (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 Oldeb 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 Lorenzo 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'Oggionno, I. Room, No. 33; Christ bearing his Cross, by Solario, II. Room, No. 42).
Among the works ascribed to Rafhabl 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 Fomarina (II. Room, No. 65), the Madonna d'Alba (II, 39), Pope Julius H. (H, 18), and others ascribed to Raphael are copies ; the unknown Cardinal (H, 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 Angelo Bronzino. The IX. Room contains several Frescoes transferred hither from the Villa of Raphael, and ascribed to that master ; but they are unlike his workmanship, both in composition and execution.
The School op Fbbsara of the 16th cent, is copiously and well represented. A fine example of Mazzolinfs richness of colour-
186 ///. Left Bank. ROME. Falazto Borghese,
ing is his Adoration of the Magi (II, ^9). Doaso DossVs Giice (III, 1 1) conducts lis into a world of fancy, similar to that depicted by Ariosto in his Orlando. Lastly there are several excellent works by Oarofalo, the Raphael of Ferrara (II, 9 : Descent from the Cross).
The CoLOURiSTs op thb XVI. Cent, will not fail to attract the visitor. To Sodoma the gallery is indebted for a PietJi (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 (III, 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. TitianU 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). Oiorgione , 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 Carra^ici and the Naturalists, figure very numerously here. Domenichind^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. *Decoration8 in grisaille and gold, by Carlo Villani. Left: *1. Sandro Botticelli ^ Madonna; 2. Sodoma, Pieti, 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), Vaniti; *13. Solario (?), Ecce Homo; *^. School of Leonardo, Madonna; 16. Piero di Cosimo, Madonna with the Child, St. John, and angels; iS, Perugino, St. Sebastian; 19. /Sfodomo(?), Leda and the swan , an excellent copy of a celebrated picture by Leo- nardo; 21. Mazzolino, Madonna; 24. Portrait of Petrarch; 32. Luini (a copy) , St. Agatha ; *33. Marco da Oggionno , Youthful Christ ; 34. Perugino, Madonna (a copy), *35. Ridolfo Qhirlandajo (according to Passavant, by Timoteo della Vite), Portrait of a boy, erroneously called a portrait of Raphael by himself; 42. * Andrea
Palatto Borghese ROME. III. Left Bank, 187
Solario , Christ bearing tbe Cross ; 43. Fr» Francia (?), Madonna ; •53. Ant. PoUajuolo, The Nativity; *54. Lorenzo di Credi (?), Holy Family, a work of the highest rank 5 55. Fr, Francia (?), St. An^Lony ; 57. Fr. Francia^ Madonna ; 67. Garofalo (?)y Adoration of the Child.
II. Room. 6. Oarofalo, Madonna with St. Joseph and St. Michael; *9. Oarofalo, Christ mourned over by his friends; 18. Raphael J Portrait of Julius IT., 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 (?)y Portrait of Casar Borgia (?) ; 29. Giulio Romano (? more likely Bald. Pemtzi) , Venus ; 30. (?) Portrait of a woman ; 34. Andrea delSarto (?), Madonna; *38. Raphael^ Entombment (1507), his last 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 Y. ; 39. Raphael , Madonna di Casa d'Alba , an old copy ; 40. Fra Bartolommeo , Holy Family ; *44. Sodomay Holy Family ; 53. Raphael (?), Portrait of Perugino ; *54. Antonello da Messina , Portrait ; 55, 56, Oarofalo , Madonna and saints ; 59. Matzoliniy Adoration of the Magi ; 60. Oarofalo^ Ma- donna; *65. Portrait of the so-called Fornarina, a good copy of RaphaeVs original in the Pal. Barberini (p. 171), perhaps by Sasso- ferrato.
III. Room. 1. Oarofalo , Madonna; *11. Dosso Dossi^ The Sorceress Circe; 13. Solario (?), Mater Dolorosa; 14. Sofonisha Anguissola , Portrait of a woman ; 22. School of Raphael , Holy Family; 24. Andrea del Sario (?)y 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' 8 original at Dresden ; 47. Ann, Carrodici^ St. Francis ; *48. Sebast, del Piomboy 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, Cumiean Sibyl ; 4. Lod, Carraeci, Head; 10. Cav, d'Arpino, Rape of Europa; 14. Sch, of the Carracci, Entombment; *15. Guido Cagnacci, Sibyl; 21. Ag, Carracci^ Entombment; 33. Luca Giordano ^ Martyrdom of St. Ignatius; Carlo Dolcij 36. Madonna, 37. Mater Dolorosa, 34. Head of Christ ; 38. Sasaoferrato, Madonna.
V. Room. *11, 12, 13, 14. Francesco Albania The Four Ele- ment, landscapes vrith mythological accessories ; *15. Domenichino, Diana and her Nymphs practising with their bows; 25. Fed. Zuccaro, Christ bewailed by angels; 26. Caravaggio, Madonna with St. Anna and the Child Jesus; 27. Varotari (il Padovanino), Venus ; 28. Cav, d^Arpino, Battle.
ISS III. Left Bank. ROME. Palazzo Borghese.
VI. Room. 1. Valentiriy Return of the Prodigal Son ; •S. Andrea Saechi, Orario Qiustiniani ; 5. Ouercino, Return of the Prodigal; 7. Pietro da Cortona^ Giuseppe Ghislieri; 8, 10. Caravaggio^ David; 11. Saroecio, Flight of JEneas from Troy; *13. Titian^ Three periods of life, a copy by Saasoferrato (original in London); 18. Sassoferrato y Madonna; 24, 25. 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' I%orf) 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. Vanni^ 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 Villa 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 Luclan (Nigrinus , 0. 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. 8ch» 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; *16. Titian, St. Dominic; 20. Paolo Veronese, Venus with satyr and amorettl. — •*21. Titian, *Amor sagro e profane* or rather * Artless and Sated Love*, one of Titlan*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 Veechio, Portrait ; 30. Leandro Bassano , The Trinity ; ♦36. Qiov, Bellini (?), Madonna, an early work.
XI. Room. 2. Paolo Veronese (7)^ St. Anthony about to preach to the fishes; 5. Patma Veechio, Lucretia; 14. Andr. Sehiavor^,
~t Supper; 15. Bonifacio Junr,, Christ among his disciples;
S. AgosUno. ROME. III. Left Batik. 189
*16. Bonifacio y Return of the Prodigal ; 17. Titian y Samson (le- touched); 18. Bonifacio^ Christ and the adulteress; 19. Palma Vecchio (?), Madonna; •32. Palma Vecehio, Holy Family; 33. Por- denoney Family-portraits.
XU. Room. Dutch and German masters. 1. VanDyckf?), Cruci- fixion ; *7. Entombment , by the same (?) ; 8. i). Teniers, Genre picture; 9. A. Brouwer(?), Genre picture; 10. Dutch School (Pietcr Codde), Soldiers; 11. LeDuc^ Conversation-piece; ib. Brabant 8ch, , Mary's visit to Elizabeth; 17. Qherardo deUa NotU (Hont'^ horatjy Lot and his daughters; 26. Durer (?), Portrait (said to be of Duke Louis VL of Bavaria); 27. VanDycki?)^ Portrait; 44. Lucas Cranachy 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. Allori, Risen Christ; several portraits by Oiov. Bellini; Lor, di Credi, Madonna with the flower-glass; Fr. Franeia^ St. Stephen; Quereinoy Fe- male half-figure, and a Mater Dolorosa ^ Outdo Reni, St. Joseph ; School of Leonardo da Vinei^ Madonna; Lor. Lotto , Madonna with SS. Onuphrius and Augustine; Perugino^ Portrait of himself ; K*era, St. Stanislaus with the Child Jesus ; Qiulio Romano and his scholars, frescoes from the Villa Lante; SassoferratOy Madonna; Titian^ 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' Frances!, p. 193), we reach the Piazza di S. Aqostino.
•S. Agostino (PL I, 13), erected by Baceio Pintelli(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.
Intebios. On the entrance -wall a * Madonna and Child, in marble, by Jacopo TatH, sumamed Jae. Sansovino after his master Andrea Sanso- vino, surrounded by. numerous votive offerings. In the IsT Chapxl on tiie right , St. Catharine by Venusii ; in the 2nd , NuccVe 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 Chapel 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 Noris. — The Right Tbaksept contains the chapel of St. Augustine with an altar-piece by Ouercino: St. Augustine between John the Baptist and Paul the Hennit.
The Hian Altar 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 Oottardi.
The 2nd Chapel in the Left Aisle contains a ^Group in marble (St. Anna, Mary, and Jesus) by Andrea Samovino (1512). In the 4th, St. ApoUonia, altar-piece by Muziano. In the Nave, on the 3rd pillar to the left, *RaphaeVs Prophet Isaiah, holding a scroll with the words from Is. xxvi, 2, painted in 1512, but unfortunately retouched by Dan. da Volterra^ and now much iiyured. In the execution of this work the great master is said to have been influenced by that of M. Angelo in the Sistine Chapel.
To the right of the church ig the entrance to the BiblioUca
190 in. Left Bank. ROME. Palazto Lanceloiii.
Angelica, consisting of upwards of 100,000 vols, and 2945 MSS., (adm., see p. 116).
Proceeding from the Piazza S. Agostlno straight through the archway, we reach the Piazza S. Apollinabe (PL I, 13), in which are situated the Seminario RomanOj a kind of grammar-school, and 8, ApoUinare, an old church, rehuilt 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. Altempsj of the 16th cent., completed by the elder Lunghl, 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 Panleo lead to the (10 min.) Ponte San Angelo.
The Via della Maschera d^OrOj No. 7 in which is adorned with a frieze with paintings from the myth Of Niobe by Polidoro da Cara- vaggio (much damaged) , leads to the Palazzo Lanoelotti (PI. I, 13, i), erected under Sixtus V. by F. da Volterra, 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 **Di8cu8 Thrower y found on the Esquiline in 1761 , a marble copy of the bronze statue by Myron (p. 305).
The * Piazza Kayona (PI. II, 13), now officially named Cireo 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 Oreg. 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 8. Agnese; the interior, in the form of a Greek cross, and the campanili, are by C. Rinaldi, and the tasteless facade by Borromini. The Romans used to maintain that the Nile on the great fountain veiled his head in order to avoid seeing this facade.
8, Maria delV Anima. ROME.' ///. Left Bank. 191
Over the principal door is the monument of Innocent X. by Maini; to tbe 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 Bu£fered martyrdom. Two subterranean chapels with ancient vaulting still remain , one of them containing a good relief of the Martyrdom ot St. Agnes by Algordi (descent by a stair).
To the left of the church is the Pcdazzo Pamphtljf also erected by Rinaldi, now the property of Prince Doria. Opposite to it is the national church of the Spaniards, S. Oiacomo degli Spagnuoli (PI. II, 13, 23), erected In 1450, and recently restored.
On the S. side of the piazza is the Pal. Braschi , with the Pas- qnino (see p. 201). A little to the £. lie the Pal. Madama and the Pantheon (pp. 192, 193).
The Via di S, Agnese^ to the right of the church, leads to the Via deW Anima on the right, where on the left side is situated *S. KaiiA deU' Anima (PI. U, 13 ; open till 8V2 a-m., on holidays tUl noon ; when closed, visitors go round the church by the Yicolo 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 fa^de 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 0/ Marseilles^ now modem. The modem fresco^ of saints on the ceiling are by L. Beits (1875-82), and the stained-glass window over the chief portal was designed by him. — Right 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 Pietik in St. Peter's , by Ifanni di Baeeio Bigio. — Lxrr Aisle. Ist Chapel : * Martyrdom of St. Lambert, C. Saraceni. . 3rd Chapel: frescoes from the life of St. Barbara, Mich. Coxcie. 4th Chapel : altar-piece (Entombment) and frescoes by Salviati.
Choib. Over the high-altar, *Holy Family with saints, by 0, BomanOy damaged by inundations; on the right, "Monument of Hadrian VI. of Utrecht (preceptor of Charles V., d.l523), with figures of justice, prudence, strength, and temperance, designed hy Baldassare Peruxzi , executed by Michelangiolo 8anese and Niccolb Tribolo; opposite to it, that of a Duke of Cleve-Jiilich- Berg (d. 1575) by Egidius cS Biviire 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 Qerman Hospice connected with the church was under Austrian management from 1815 to 1863. Opposite the hospital rises the church of —
*S. Karia della Pace (PL H, I, 13, 3), erected by Sixtus IV. (1484) and Innocent VIH., restored by Alexander VII., and pro- vided by Pieiro da Cortona with a facade and semicircular portico. The church consists of a domed octagon, with a short nave.
192 III. Left Bank, ' ROME. S. Maria deUa Pace,
Over the let Chapel on the right are **RaphaeV8 Sibyls : to the left the Sibyl of CumaB ; 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 vrere 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 talent 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 heauty 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 Raphael 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 Chapel on the left are ^Monuments of the Ponzetti family, of 1506 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, by 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 *MoNA8TBRY CouBT, coustructed by Bramanie (p. li) by order of Card. Caraffa 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 o. ^
From the portal of the church the Via della Pace and the Via in Parione lead straight to the busy Via del Oovemo Veechio (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 the Palasso Kadama (PL II, 13), so called from Margaret of Parma, daughter of Charles V. , by whom it was once occupied. Previously and subsequently it belonged to the Medicis, afterwards grand-dukes
8. Luigi d£ FranctsL ROME. ///. Left Bank, 193
of Tuscany, l)y whose orders Maroeelli 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 Maaeari in 1888 with frescoes representing Appius Claudius C»cu8, 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. Luioi db' Fbancesi, to the right in which rises S. Luigi de* FranceBi (PI. II, 13), the national church of the French , consecrated in 1589, having been built on the site of several earlier churches. Fagade by Oiac. deUa 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.
Right Aisle. 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: ^Trescoes from the life of St. Cecilia, one of the most admirable works of Dameniehino (p. lix) ; on the right the saint distributee 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 Guido Reni. 4th Chapel, of St. Remigius : altar- piece, the Oath of Clovis,by Oiac. del Conte; frescoes on the right, Campaign of Clovis, by Oirol. Sicciolante (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 : *A8Sumption, by Franc. Bastano.
Left Aisle. 1st Chapel: St. Sebastian, altar-piece hjMasiei; 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 Plautilla Bricciy 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 Caravaggio, 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 Oiustiniani to the Piazza i>bl 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 Botonda^ or the **FaiLtheon, 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 stucco. The ground in the environs has gradually been so much raised that the pavement of the temple, to which five steps formerly ascended, now lies below the level of the piazza. Excavations made in 1875 in
Basdbioes. Italy II. 10th Edition. 13
19A III. Left Batik. ROME. Pantheon.
front of the edifice , wblch led to the discovery of two flue marble reliefs, have heen filled up again as they interfered with the street traffic.
The PoBTico (36 yds. wide, 14 yds. deep) is borne by 16 Corinthian colnmns of granite, 13 ft. in circumference, and 39 ft. in height; the tympanum 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 VIII. (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 feeerunt harbari^ feeerunt 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 Intebiob, 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 30 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 Csesar. 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. Under Gregory III. 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 the architrave of the portico.
In 609 the Pantheon was consecrated by Pope Boniface IV. as a Christian church, under the name of S. Maria ad Martyres (p. 368),
ParUheon. ROME. ///. Left Batik. 195
and in commemoration of the event the festival of All Saints was instituted (13th May, hut 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 8. Mafia Botonda, or La Botonda.
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 (hurled in S. Marcello, p. 157), by Thorvaldten.
To the left of the 3rd altar is Raphael' t Tonib (b. 6th Apr., 1483^ d. 6th Apr., 1520). On the wall is the graceful epigram composed by Card. Bembo: — Ille hie est Raphael, timuU quo tospite vinci Rerum magna parens^ el moriente mori. The Italian translation runs thus: —
^Questi i quel Raffaele^ cui vivo vinta Esser temea Natura^ e morto e»Unta\
A lengthy inscription beside it announces that Raphaers remains were placed in a new sarcophagus in 1833. The statue of the Madonna on the altar, by Lorenzetto, was executed in accordance with Raphaers last will.
The Pantheon is also the last resting-place of Ann. Carracci , Taddeo Zucchero, Bald. Peruzzi, Ferino del Vaga, Oioy. 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 hack of the Pantheon He the ruins of the Thermae of Agrippa, which, however, have no connection with it. A large part of these baths was exhumed in 1881-2; and the rear wall of a large hall, with recesses, was brought to light In the Yia della Palomhella. 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' Paatini 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 smaU theatre of that name, and reach Monte Citorio (p. 155); or, lastly, we may follow the Via del SeminariOj also towards the B., to S. Ignazio (p. 155).
Behind the Pantheon lies the Piazza della Minekya (PI. II, 16), where the church of S. Maria sopra Minerva lies on the left, and the Hotel 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).
*S. Maria sopra Hinerva, erected on the ruins of a temple of Minerva founded by Domitian, the only ancient Gothic church at Rome, was prohably 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 entrance- wall, on the right, the tomb of the Florentine knight Diotisalvi (d. 1482). — Lbpt Aislb. On the left, the tomb of the Floren- tine Franc. Tomabuoni, by Jiino da Fiesole ; above it the monument of Card. Giac. Tebaldi (d. 1466). To the right of the altar in the 3rd €hapel , * Sebastian, by Mno da Fie3ole(f). Over the altar: head of Christ, by
13*
196 III. Left Batik, HOME. S. Maria sopra Minerva.
rugino. In the 6th Chapel is (r.) the monument of the Princess Lante, by Tenerani. — Right Aiblb. 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. Qiov. 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 Angelico ; on the left the tomb of Urban VII. (d. 159()), by Anibr. Buonvicino. The 5th Chapel (Al- dobrandini) contains paintings hyAlberti; over the altar the Last Supper by Baroeeio ; monuments of the parents of Clement VIII. by Oiac. delta Porta. — RiOHT Tbanskpt. a small chapel on the right is first observed, containing a wooden crucifix attributed to Oiotto; then the *Carafia Chapel (recently restored), with a handsome balustrade , painted by Filippino 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 j on the wall at the back, the Assumption of the '^r- 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 the wall, adjacent to the latter, the *Tomb of Bishop Guiliel. Durantus (d. 1296), with a Madonna in mosaic by Johannes CosmaSy 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.) LeoX. and (r.) Clement VII., designed hy Ant. da San Oallo; that of Leo executed by Raffaele da Monte Lupo^ that of Clement by Qiov. di BaecioBigio; on the pavement the tombstone of the celebrated scho- lar Pietro Bembo (d. 1547).
In front of the high-altar, to the left, is Michel Angelo's •*Chri8t with the Cross, which was ordered by Metelio Vari and P. Castellan 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 Fritti. 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 Angelico da Fiesole, who died in the neighbouring monastery in 1455, with his portrait and the inscrip- tion : Hie jacet Venerabilis pictor Prater Joannes de Florentia Ordinis prae- dicatorum 14 LV. — In the Lbvt Transbpt is the Chapel of S. Domenico, with 8 black columns, and the monument of Benedict XIII. (d. ildO) by P. Bracci. A<\jacent, 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 Jaw, 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 Capitoline Museum (p. 216), and the obelisks now in the Piazza della Rotonda(p. 193), the Piazza della Minerva (p. 195), and the Piazza t'ermini (p. 166).
Oesii. ROME. III. Left Batik, 197
The Via de' StaderaH leads to the right from the Piazza Ma- dama (p. 193), passing the palace, to the Piazza S. Exjstachio. Heie stands the —
Uniyenitli della Sapienza (PI. II, 13, 25 ; entrance Via della Sapienza71), founded in 1303 by Boniface YIII., and after a rapid decline re-established by Eugene IV. It attained its greatest pros- perity under Leo X., and under Leo XII. and Gregory XYI. possessed five faculties, but there are now four only (law, medicine, physical science, and philology). It contains soTeral natural history collec- tions and the Biblioteca AUssandrina, 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 (8. Jvo), 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 deUa Palambella leads hence in a straight direction to the Pantheon (p. 193) ; the Via deUa ValU, to the right, leads to 8, Andrea and the Corso Vittorio Emanuele (see below). •
The wide Corso Vittorio Emanuele (PL II, 16, 13, 10), re- cently constructed through the most closely built quarters of med- isBval 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 Orazioli. We next reach the Pal. Altierij with its extensive facade, erected in 1670, bounding the N. side of the small Piazza dbl Gbsu (PI. II, 16), which is called after the church of that name.
♦Ges4 , 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 Nave is a *Ceiliiig-painting by Baciecio^ 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. Torionia in 1860. On the high - altar, with its four columns of giallo antico : Christ in the Temple, by CapalH ; on the left the monument of Card. Bellarmino with figures of Religion and Faith, in relief i on the right the monument of P. Pignatelli, with Love and Hop6. — In the Tbansept, to the left: *Altar of St. Ignatius with a picture by Pozzij 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 : God the Father, by B. Ludovisiy and Christ, by L. Ottoniy behind which, encircled by a halo 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 largest in existence). Beneath the altar, in a sarcophagus of gilded bronze, repose the remains of the saint. On the right and left are groups in marble 5 on the right the Christian Religion, at the sight of which heretics shrink, by Le Grog} on the left Faith with the Cup and Host, which a heathen king is in the act of adoring, by Thiodon. Opposite, in the tran- sept, on the right, the altar of St. Francis Xavier.
198 III. Uft Bank. ROME. 8. Andrea deUa VdUe.
The church presents a most imposing sight on 31 st Dec., on the festival of St. Ignatius, on 31 st July, and during the Quarant'ore (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 AracoBll 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 Palaazo Bolognetti(l?l. I, l6, d).
— Passing the monastery, and foUowing the Via di Aracaliy we reach (5 min.) the Piazza di AracoBll , at the foot of the Capitol (p. 208).
— From the opposite angle of the Piazza del Gesti, the Via del Oeait 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 Yalle (see helow). A few hundred paces to the W. of the Piazza Gesii the Gorso is crossed hy the Via di Tor Argentina, leading on the right to the Pantheon (p. 193) and on the left to the new Ponte Garihaldi (p. 202).
The small Via dkl Sudabio (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 (So. 13), the Palazzo Yidoni, formerly CaffarelU and Stoppani^ originally designed by Raphael. Charles Y. re- sided here in 153d 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 N. 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 CaUndariitm Praenettinum of Yerrius Flaccus, being five months of a Roman calendar found by Card. Stoppani at Palestrina. Admission not easily obtaiAfid.
Farther on in the Oorso Vittorio Emanuele is the church of *S, Andrea della Valle (PL II, 13), hegun by P. Olivieri in 1591 on the site of several earlier churches, and completed hy C. Madtma. Facade designed hy Carlo Rainaldi. The interior is well propor- tioned, but part of it has been whitewashed. See p. lyiii.
On the right the ^2nd Chapel (Stbozzi) contains copies in bronze of the Pietk (in St. Peter's) and the Rachel and Leah (in S. Pietro in Yinc.) of Michael Angelo, by whom this chapel itself was perhaps designed. — On the left the 1st Chapel (Babbbbini) is adorned with several marble statues of the school of Bernini: St. Martha by MoccM, John the Baptist by Pietro Bernini, 1S.a.Tj 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 Guardia and Pietro Paolo da Todi-, on the right that of Pius III. (d. 1503), executed somewhat later. — In the Domb: Glory of Paradise, by Lanfraneo; be- low, the *Evangelist8 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. 3d) \ in the vaulting itself, on the lef^ 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 \ below are six female figures representing the virtues (p. lix). The large lower frescoes by CtOalbrest (martyrdom of the saint) are of no great value.
Opposite this church opens the small Piazza deUa Valle , con- taining the Palazzo Capranica, which is occupied by the Prussian
Pal. deUa Caneelleria, ROME. IIL Left Bank, 199
enToy to the YatlGaD. The Via della Voile leads to the Piazza S. Eustachio (p. 197).
No. 141 in the Goiso Yitt. Emanuele, to the right, is the Palano MassIiiul alle Colonne (PI. II, 13, ii^, a fine stractuie by Baldassare Peruzzij 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 Gorso. The glimpse obtained of the double court is strikingly picturesque. On the second floor is the Chapel of 8. 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 Sehweinheim^ who daring the two previous years had found an asylum in the monastery of Subiaco (p. 381), established the first printing- office in Rome, from which they issued Cicero's epistles and other works, furnished with the name of the printers and the words */n aedibus Petri de MaximW. — The Massimi family claims descent from the ancient Fabii Haximi, and their armorial bearings have the motto ''Oun^ando re»tituU\
Farther on is the small Piazza di S. PantaZiEO (PI. II, 13), containing (right) the small church of that name, with a facade erected by Valadier in 1806. The Via Cuccagna, to the right, ends at the Piazza Navona (p. 190). For the Via di 8, Pantaleo, also diverging to the right from the Gorso, and its continuation the Via del Ooverno VecchiOj see p. 201.
On the left side of the Gorso Yitt. Emanuele, at the point where the Via BauUari diverges to the Palazzo Faruese (p. 205), is the little Palaszo Linotta or Palazetto Famese^ of which Bald. Perutni is said to have been the architect. Tasteful but sadly dilapidated court and staircase. — The Gorso 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 dblla Gancbllbbia (PI. II, 13), with the palace of that name and the church of S. Lo- renzo in Damaso.
The *Palaizo della Gancelleria (PL II, 13), an edifice 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 Fa9adb is constructed of blocks of travertine from the Golosseum. The chief portal, in an inharmonious baroque style, was added by Domemco Foniana, It leads into the •Goijbt, 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 Gard. 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 still permits to be occupied by the ecclesiastical authorities.
The N. part of the Gancelleria is occupied by the church of S. Lo- renio in Damaso, which has the above-mentioned facade in commo"
200 ///. Left Batik. ROME. Chksa l^uova.
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 Bramanie. 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 Cancellaria to the Campo di Fiorif see p. 204.
We continue to follow the Oorso Vitt. Emanuele. At the corner of the second street to the right is the Palazzo Sora^ formerly erron- eously ascribed to Bramante, and frequently altered. — To the light stands the —
Chiesa Nnova (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. MatUo da CUth di CaatellOy in- terior by Mart, Lunghi the Elder, fa^de by Rughesi.
The Interior , which is dark and unfavourable for pictures , is richly decorated. The admirable stucco-work is by Cos. Faniello and Creole Ferraia. The ceiling of the Nave, the dome, and the tribune are painted by Pietro da Cortona. — On the right, Ist Chapel, Crucifixion, Scip. Oae- tctno ; 3rd Chapel , deir Ascensione , altar-piece by Muziano. — On the left, 2nd Chapel, Adoration of the Magi, Ces. Nebhia; 3rd Chapel, Nativity, Durante AWerii ; 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 Chapsl of S. Filipfo Nbbi, beneath the altar of which his remains repose. Above is the portrait of the saint in mosaic, after the original of Quicio Rem preserved in the adjoining monastery. — Over the High Altar, with its four columns of porta santa, a Madonna by Rubens ; on the right *'SS. Ore* gory, Maurus, and Papia, on the left "^SS. Kerens and Achilleus, also by Ru^ens^ 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 by Flaminio Vacca,
The Sacristy (entered from the left transept) was constructed by Maru- eelli. On the vaulting : Angel with instruments of torture, by Pietro da Cor- Hona. Colossal statue of the saint by Algardi.
On 26th May, the festival of the saint, and after Ave Maria every Sunday from 1st Nov. to Palm Sunday, concerts of sacred music, to which men only are admitted, are given in the adjoining Oraiorium^ 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 Btyrromini, 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 Appello, the Tribunate Civile e Correzionale, and the Tribunale di Commereio are now established here. — The valuable Bibliotheca Vallicellana, founded by S. Filippo Neri, and gradually enriched by rare MSS., now belongs to the ^Societl^ Romana di Storia Patria* and is accessible without special permission (p. 116; entr. in the court, to the left at the top of the great staircase).
Farther on, to the left, lies the small Piazza Sfouza (PI. II, 10),
Palazzo BraschU ROME. ///. Left Bank. 201
with the Bohemian Hospital , the facade of which is adorned with sgraffiti. — The Corso Vitt. Emanuele is being continued to S.Gio- vanni de* Fiorentlni (p. 207). In the meantime we may follow the Via de' Banchi Vecchi, to the right, to the Ponte S. Angelo (p. 274).
From the Piazza S. Pantaleo (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 BraBohi, erected by MoreUi 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. II, 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 in the word 'pasquinade'. 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 Govbbno Vbcchio, in which, on the right, is the Pal. del Oovemo Veechio (PI. II, 13, 2(?), 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 Piasaui delV Orologio^ whence the Via Monte Giordano leads to the Palazzo OabrieUi , with a pretty foun- tain in its court. [Thence the Via di Panico leads to the Ponte S. Angelo.]
The Via del Govern© Veechio 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 Oorso Vitt. Emanuele the important Via di Tob Ab- QBNTiNA, mentioned at p. 198, leads to the S. to the Tiber. Fol- lowing it from the Via Nazionale we reach in 6 min. the piazza and church of S. Carlo a' Catinari (PI. II, 14), built by Rosati in 161?
202 Jll, Left Bank, ROME. PaloAzo Mattel.
in hononx of S. Carlo Boriomeo, in the form of a Greek cross, with a dome.
Ist Chapel on the right : Annunciation , by Lanfranco. In the spaces below the dome are the four cardinal virtues , by Domenichino. In the transept to the right, Death of St. Anna, Andrea Saeehi. Over the high- altar, Card. Borromeo in the procession of the plague at Milan, P. da Gortona ; tribune decorated by Lanfraneo. The other paintings are inferior.
Through the Via Giubbonari to Pompey^t Theatric see p. 205.
Beyond S. Carlo a' Catinari the Yla dl Tor Argentina (hitherto here called the Via di MortelUi) leads to the S. to the new Ponte Oaribaldi (p. 330). Two side-streets lead to the E. to the Pal. Cenei'Bolognem (PI. U, 14, 17) and to the old Ghetto (see p. 203). The Pal. Cenci 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 Ta&tabuoa (PI. II, 17), named after the grace- ful *Fontana delle Tartarughe (tortoises), erected by Qiac. della Porta in 1585, and embellished with bronze figures of four youths, hy 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, Yia di S. Caterina de' Funari 32; 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 Godbt, a great number of ancient reliefs are built into the walls. In the court are (r.) Mars with Bhea Silvia, and Apollo with the Muses ) and (1.) the Galydonian hunt and Rape oi Proserpine. In the portico. Sacrifice of Mithras, Apollo with the Muses, and a Bacchanalian 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 Yia de' Falegnami , we observe on the left, within the ancient Circus Fiaminius , the church of S. Caterina de' Fnnari (PI. n, 17), erected in 1564 by Qiac. deUa Porta, with a singular-looking tower. It contains a few unimportant pictures by A. Carracci (1st chapel on the right), Narmi, Venusti, Muziano, and Agresti. 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 Yia de' Falegnami ends at the Palazso BighetU. (Strozzi, PI. II , 17, 16) , where the Yia Delflni leads to the left to the Yia di Aracosli (p. 163), while the street to the right leads to the Piazza Campitelli. Here, on the right, is S. Maria in Campitelli (PI. II, 17), erected by Rainaldi under Alexander YII. for the reception of a miraculous image of the Yirgin, to which the cessation of the plague
Portico of Oeiavia ROME. JIL Left Bank. 203
in 1656 was ascribed. A smaller church of the same name, men- tioned in the 13th cent., formerly stood on this site.
The IiTTBBiOB, with its handsome projecting columns, is effectiye. >• 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 Luea Gior- dano; in the 1st Chapel on the left, two monuments resting on lione of rosso antico. In the S. transept is the tomb of Card. Pacca by Pettrieh.
From the S.E. end of the Piazza Gampitelli the Via di Tor de* Specehij skirting the foot of the Capitol, leads to the left to the Piazza Aracosli (p. 209), while the Via Montanara rans to the right to the small but busy Piazza Moittanaba {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 Marcelliu (PI. II, 17, 5), which was begun by Csesar, 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 Savellij whose palace stands on a lofty mound of debris within the theatre. In 1712 the palace was purchased by the Orsinij 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 medi»val 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 della Pescaria, in which, immediately to the N.W. of the Pal. Orsini and the Theatre of Marcellus, are the interesting remains of the Portico of Octavia (PL II, 17, i5), 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 columns, enclosed an oblong space, within which stood temples of Jupiter Stator and Juno. Columns from this structure are frequently seen built into other edifices. It was adorned with many admirable works of art
204 ///. Ltfl Bank, ROME. 8. Bartolomeo.
which fonned part of the Macedonian hooty, and it was here that the Medici Venus was found. In 770 the church of 8, Angelo in Pesearia was huilt on the ruins of the colonnade hy Stephen m., but, having heen frequently restored, it has lost its medisval 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 Ponte de' dnattro Capi (PI. II, 17), the oldest bridge now in Rome, built in B.C. 62 by L. Fdbriciu8j 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 (Isola JHberina 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 JBsculapius, 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; facade by Lunghi, 1625.
The Iktbsiob contains fourteen ancient colamnsi 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 i2th cent., on which a figure of Christ with a book in his hand, and the heads of two side- figures are alone distinguishable.
In the small Garden of the Monasteby (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 afilicted 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 iBsculapius 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 offerings.
The island was connected with Trastevere by the ancient Pons Cestius (Oratianus; 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 Gancelleria (p. 199) lies the Piazza Oampo di FioBT! (PI. II, 13), an important centre of business, espe-
Palaxxo Famese, ROME. III. Left Bank, 205
cially 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 be 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 Pompey (PI. II, 13, 14). In this piazza is the Pal. P(o 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. Numerous fragments of the ancient walls are incorporated in the modern building. The semicircular bend of the street by 8. Maria di OroUapinta (PI. II, 13, 5) distinctly shows the form of the ancient theatre. The Via de' Giubbonari leads hence to 8. Carlo a* Catinari (p. 201).
From the Campo di Fiore three parallel streets lead to the S."W. to the Piazza Fabnbsb, adorned with two fountains. Here is sit- uated the —
*Palazzo Famese (PI. 11, 14), one of the finest palaces at Rome, begun by Card. Alex. Farnese, afterwards Pope Paul III. (1534-45), firom designs by Ant, da Sangallo the Younger (p. Ivii), continued after his death (1546) under the direction of Michael Angelo (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 11. . 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 archsBological in- stitution, founded in 1875. The triple *Colonnade 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 Caecilia 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 TFbkscobs by Annibale Carracd , his finest work, consisting of mythological scenes with rich ar- chitectural painting, executed in eight years by him, his brother Lodovieo^ DomenichinOy and other masters. — The old banquet-hall has a ^Gelling in carved wood, designed by Michael Angelo.
From the Piazza Farnese a line of streets , called the Via di MoNSEKKATO and Via de' BancU 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 the Vicolo de' Venti leads to the Piazza di Capo di Febbo. Here, on the right, rises the —
Palazzo Spada alia Begola (PI. II, 14), erected in the ponti- ficate of Paul III. about 1540 by Card. Capodiferro, in imitation of
206 III. Left Batik. 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 *Ha8eo\ Opposite the entrance-wall : sitting *8tatue of Aristotle, a copy of a celebrated Greek work ; right arm and left leg modern. Then eight fine ^Beliefs, found in 1620 in S. Agnese Fuori le Mura, where they formed part of the pavement, with their faces downwards. Beyond the Aristotle, to the left, 65. Deedalus and Fasiphae; 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 Gapi- toline museum. Left wall : 68. Paris taking leave of CBnone ; 69. Hypsipyle finds Opheltes, who had been entrusted to her, killed by a snake; 70. Am- phion and Zethus ; 71. Bellerophon watering Pegasus. Also several busts, dmall statues, etc.
From the court a staircase to the right ascends to the Uppbb Floob. In the Akte-Chambke is a Colossal Statue of Pompey, found in the ponti- ficate of Julius ni. (1550) in digging the foundations of a house in the Vi- colo de' Leutari. The body was in the ground 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 for 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 Oallery. I. Boom, beginning opposite the entrance : 3. Bolognese School ^ Madonna 5 7, 12. French School^ Portraits \ 10. Camuceini^ Card. Patrizi \ 22. Co- ravaggiOy Portrait; 40. Scipio Oaetano-, Julius ni. — II. Boom: 1. Seb. del PiothbOy Astronomer ; 6. Baudin, Still-life ; 9. Brueghel^ Landscape ; 10. Ouido Reni^ Judith; 12. O. Poussiriy Landscape; 16. And. del Sarto, Visitation of Elizabeth (seriously damaged) ; 43. Leonardo da Vinci (a copy of the original in England), Christ and the scribes. — III. Boou : 2. Caravaggio^ St. Anna and the Virgin ; 4. Raphael^ John the Baptist, a copy ; 15. Brueghel^ Landscape ; 24. QuercinOy Dido*s death ; 26. BaciceiOy Design of the ceUing-painting in (>esu (p. 197); 29. Salvator Rosa, Landscape; 31. Titian^ Portrait; *40. Moroni, Por- trait; 48, *49. Marco Palmeztano, Gk)d the Father, and Bearing the Cross; 51. Titian^T), Card. Paolo Spada; 60, 70. Salv. Rosa, Landscapes; 63. Guido Reni, Abduction of Helen ; 67. Borgognone , Cavalry-skirmish. — IV. Boom : 4. Ouido Reni (ascribed to Giulio Bomano), Card. Bernardo Spada; 9. After Titian, Paul in. ; 10. German School, Portrait (1511); 15. Caravaggio, Laugh- ing angers head ; 18. German School, Portrait ; 26. Ger. Hontlwrst, Christ in the garden; 30. Caravaggio, St. Cecilia: 31. Maratta, Card. Fabricius Spada; 44. Andr. del SartoiJ), Madonna; 54. French School, Portrait.
Pursuing the same direction beyond the Piazza Capo di Ferro, we next reach the small Piazza de' Pellegbini. On the left is the back of the Pal. Santacroce, now a Monte di Pieth (PI. II, 14), or pawn-office, founded ip 1539, and established here in 1604. (Some of the numerous pictures pledged here are of considerable value.) On the right is the church of S. Trinith d£ Pellegrini, erected in 1614; the high-altar is adorned with a Trinity, by Ouido Reni. The neigh- 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.
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S.Oiov.de'Fiorentini. ROME. III. Left Bank. 207
From the Ponte Sisto towards the N.W., parallel with the river, mns the Via dbl Fontawonb, prolonged by the Via Qiulia (PI. 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 hermffi on the facade in a ba- roque stylo, terminating in colossal falcons' heads ; the court affords a good view of the opposite bank of the Tiber, the Villa Fameslna, andtheJaniculum. IntheVicolodellaLunetta, the next cross-street to the left, is the church of S. Eligio degli Orefiei, a graceful little circular structure, built in 1509 from a design by Raphael and re- newed in 1601. Farther on in theViaGiulia, on the same side, the Carceri Nuoviy a prison founded by Innocent X. ; then No. 66, the Pal. Saechetti (PL 11 , 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. CUoyanni de' Fioren- tini (Pi. II, 10), the handsome national church of the Florentines. The building was begun, by desire of LeoX., from a design by Jae. 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 AngelOy and on his death, Oiac, 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 8alv. 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 Rome.
This part of onr description of Borne embraces the sonthern 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, Ceelins, and the 8. slope of the Esqniline. This was the moat important quarter of the Bepnblican and Imperial city, bat lay waste and deserted from the early part of the middle ages down to onr own times. Recently it has lost mnch of its characteristic aspect owing to the construction of new quarters, consisting mainly of tenement honsea of the most Philistine appearance. A considerable part of it, however, extending from the Forum Romanum and the Fora of the Emperors to the Circus Haximus, the Thermee of Caracalla, and the Porta S. Sebastian©, is to be protected, under the name of Paaeggiata Areheologica, from the hand of the modem restorer. A number of ancient churches, which are extremely interesting to students of Christian architecture , as well as the imposing collections of the Capitol and Lateran, also attract numerous visitors.
208 IV. Ancient Rome. ROME. The Capitol.
The Capitol.
This is the smallest , hut histoTically the most important of the hills of Rome. It was originally merely the S. spur of the Quirinal, from which it was separated hy a slight depression, hut this hollow was greatly enlarged in eonsequence 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 (98 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 cellffl, 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 that 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 AracoBli , and the name of Monte CaprinOj 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 lith 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 Aracoeli, which was almost the only public work executed at Rome during the exile of the papal court at Avig- non. About 1389 Boniface IX. converted the palace of the senate
The Capitol, ROME. IV, Ancient Rome, 209
into a kind of fortiess, bnt its present form dates from the 16th 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 Borne.
From the Piazza Ajblaccbli (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 BELLE Tub Pile, 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. Caffafellij which was erected in the 16th cent, by Ascanio Caffarelli, a former page of Charles Y., 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.
*8. Kaxia in Araooali (PI. II, 20), a very ancient church, is men- tioned in the 9th cent, as 8. Maria 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 approacli the cliurch from the Piazza of the Capitol by the staircase to the left, at the back of the Capitoline Masenm, and on the first landing turn to the left. Over the door an ancient mosaic, the Madonna between two angels.
The Isterior is disfigured by modem additions. The naye 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 Augustoruni . The rich ceiling was executed to commemorate the victory of Lepanto in 1571.
By the wall of the principal Entbanoe, 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. BiOHT Aislb, Ist Chapel : 'Frescoes from the life of St. Bernardino of Siena , by Pinturieehio, restored by Camuedm. 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. — LsFt AiSLB. In the 2nd Chapel a manger (presepe) is fitted up at Christmas, i.e., 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. Th.is 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. CrivcUi by Donatello (much damaged).
Transept. On the right and left, by the pillars of the nave , are two *Ambones from the old choir, by Laurentiut and Jacobus Cosmos. The Chapel on the right belongs to the Savelli; on the right and left (the latter origi- nally an ancient sarcophagus) are monuments of the family, of the IStb cent, (of the parents and a brother of Honorius IV.). The left transept contains a rectangular canopy, borne by 8 columns of alabaster, caller
Babdekkr. Italy II. 10th Edition. 14
210 IV, Ancient Eome. ROME. The CapitoL
ike Cappblla Santa , or di S. Elena. Beneath the altar , which was destroyed during the French Revolution, but 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 Augustus. 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 of 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 Mattheeus of Aquasparta (d. 1302), the general of the Franciscans, mentioned by Dante.
Choik. To the left, the *Tomb of Giov. Batt. SaveUi (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 Oonti 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 IL, 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 Pigyptian 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 Conservator! 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 Constantino (p. 174), on the Quirinal. On the right Is the first ancient milestone of the Via Appia, and on the left the seyenth 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) J 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 Constantino, the first Christian emperor (see pp. 133, xxxviii). The pedestal is said to have been designed by Michael Angelo. Owing to its moderate height , the head of the statue is distinctly visible , whereas modern figures of the kind are often perched so high as to be almost indistinguishable.
The Capitol. ROME. IV, Ancient Rome. 211
Beyond this monument rises the Palaszo 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 Gori (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 Duea, with some deviations from the plans of Michael Angelo. On the right is the Palace of the Conservatori (PI. i), or town-^council, with its collections (see below ; a fire-engine station on the ground-floor), and opposite is the Capitoline Museum (PI. 12; 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 Gaprino (p. 221).
On the right of the Palace of the Senators runs the Via del CampidogliOy and on the left the Via deW Arco di Settimio Severo (p. 237), both descending to the Forum.
GOLLECTIONS OP THE GaPITOL.
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. man, p. 216). The principal door leads from the Piazza del Campidoglio into the GouBT. 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 Agrippina, wife of Germanicus, which In the middle ages was em- ployed as a measure for com ; inscription , Osaa Agrippinae M. Agrippae f. divi Augusti neptis uxoris Oermaniei Caesaria Matris C. Caesaris Aug. Oermaniei principia. By the left wall are alto- reliefs of Roman provinces, interspersed with barbaric trophies and weapons, which once adorned the lower part of the Temple of Neptune mentioned at p. 155; also a colossal head, perhaps of Domitian. — In the centre of the colonnade opposite the entrance, a statue of Roma ; at the sides statues of barbarians in grey marble. To the left, in the comer, a colossal bronze head ; right an antique
14«
212 IV. Ancient Home. ROME. The Capitol.
group, *Horee torn by a lion, said to have been restored by Michael Angelo.
In the Enteance-Hall farther on , opposite the staircase, 30. Modern 'columna rostrata', with the genuine fragment of an in- scription in honour of C. Duilius, the victor of Mylae, B.C. 260, placed here in the reign of Claudius and composed in a purposely antiquated style. Belowthe 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 Staibcasb 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 H.'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 Cobbidob containing the so-called Pbotomoteca, founded by Pius VH., 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 *New Capitoline Collection contains chiefly the bronzes and the yield of recent excavations.
I. Room op the Bbonze Utensils. Bronze Chariot j -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 smaller bronzes, Including a Hermaphrodite, from whose back springs an arabesque, designed as a bearer. The door in front of us leads to the —
The Capitol. ROME. IV. Ancient Rome, 213
II. Room, which contains the Collection of Coins. — The door to the left leads into the large octagonal —
III. DoMB Saloon, lighted from ahove, and constructed of iron and wood in the Pompelan style, by Yespignani. In the Vestihule, to the right: 2. Tombstone of Q. Sulpicius Maximua, a boy of IIV2 years , who , according to the Latin inscription , worked himself to death after having gained the prize over 52 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 MaBcenas fp. 182). 18. Youthful athlete pouring oil into his left hand ; 14, 16. Tritons, forming part of the following group. •IS. Half-figure of the Emperor Commodua, 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 comucopiae, 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-Constantine 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 modem restorations). Opposite, •69. Head of an Amazon. In the middle, between the pillars: 62-60. 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. Gallebt. To the right: 46. Colossal bust of Maecenas; •75, Fighting Hercules, with a portrait-head ; several fine ancient
Greek tombstones with female figures ; 70. ColossaV ** ■ * ' ^
with a Tyrrhenian sandal adorned with a pleasing
Tritons, Cupids, and Dolphins. — On the walls ol
Priest's boy with a sucking-pig for sacrifice. 125. ]
Mercury) playing with a tortoise (fountain-figure!
vase, richly adorned with acanthus leaves; 123. ti 2!|^| "
dog. On the sarcophagus to the right are several ! g c
Atthis (under glass) shows traces of painting and g
214 IV, Ancient Rome. ROME. The Capitol.
Anaereon^ tlie poet, found in the gardens of GaBsar, 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. KooM OP THE Tbbkacottas, chiofly 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, ^Priest's 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 sedlles Gneius and Quintus Ogulnius erected in B. G. 296, though more probably of an early mediSBval origin. An injury on the right hind-leg is supposed to have been caused by lightning, by which, according to Gicero, the figure was struck in B.C. 65, in the consulate of Manlius and Gotta; the twins are mod- ern. This work, with other bronzes, stood near the Lateran as early as the 9th century. 36. Small three-bodied -ffccatc. The* Thorn Extractor J a boy removing a thorn from his foot. Gilded Statue of Herctdes, 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 Gestius (eomp. 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 op the Etruscan Tbrbacottas, or the so-called Museo Italico, a collection of vases, terracottas (including two sar- cophagi with figures on the lids), bronzes, and various anticagllas 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 (Tinacoteca'), 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: *S9. Rubens,
Romulus and Remus. Right wall : 146. Giorgione, Holy Family j 6. Roma-
nelli, St. Cecilia; 7. Pietro da Cortona, Triumph of Dionysus j 65. Oaro/alo,
iJtfadonna and saints ; 127. Lorenzo di Credi, Madonna and Child; 13. Ouer-
j wo, John the Baptist; 14. H. Poussin, Flora (copy of the picture in the
"^vre); 16. Cfuido Reni, M. Magdalene; 20. Domenichino^ Cumsean Sibyl.
a Heri-w wall : 142. AWani, Nativity of the Virgin ; 26. Tintoretto^ M. Mag-
as a beai210. Oaud.lFerrari, Madonna ; 27. Fra Bartolommeo (?), Presentetion
The Capitol, ROME. IV. Ancient Rome. 215
in the Temple j 30. Oarofalo, Holy Family; 34. Guereino, Persian Sibyl ^ 70. Paolo Veronese^ Madonna and saints (copy); above, Lo Spagna^ Two saints (fresco). Left window-wall : 9. AU>ani, Magdalene \ 52. S. Botticelli^ Madonna and saints ; 65. Aff. Carraeci^ Holy Family ; 196. Cola delV Ama- trieey Assumption; 61. School of Raphael^ Holy Family; 195. Paolo Vero- nese, Ascension; 54. Oaro/alo, Coronation of St. Catharine; 2. Ouido Reni, A glorified spirit (unfinished). Entrance-wall : 91. O. Reni, Sketch for "No. 3; 76. P. Caravaggio^ Meleager ; 78. Fr. Francia^ Madonna (1613). On the right window-wall, above: Ten frescoes attributed to Lo Spizgna^ 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. Ouido Reni, St. Sebastian; 117. Ouerdno, Cleopatra and Octavian; 119. Lod. Carraceiy St. Sebastian; 128. Caravaggio, Fortune-telling gipsy. Short wall : ^143. Guereino, St. Petronella raised from her tomb and shown to her bridegroom. Left wall: 154. Paolo Veronese, Magdalene; 41. If. Poutsin, 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. Gentile Bellini (7), Petrarch; 129. Giov. 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. Fo» 2>ycjfc, Portraits ofThos. Killegrew and Henry Carew ; *134. Portrait of Michael Angelo, probably by himself; *106. Van Dyok, Two portraits; *^i. Guido Reni, Portrait of himself; Garofalo, 161. Annunciation, 201. Transfiguration, 204. Ador- ation of the Magi ; 223. Paolo Veronese, Madonna with angels.
The Sale del 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 Corridor, containing a collection of porcelain pre- sented by Conte CSini, and the old Chapbl, containing an altar-piece (Va- donna) by Agostino dPIngegno , 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 Slarcantonio Golonna, Alexander Farnese, Ro- splgliosi, Aldobrandini, and Barberini. ~ Laboe 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 Algardi^ 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 frafnnents 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 (hy Tadolini) and W. Senzen (by Kopf), two scholars who explained the Fasti, were placed here in 1888. The ancient hermse 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. Carracci. On the walls is tapestry woven at S. Michele. Bust of Michael Angelo, attributed to himself. Also busts in marble of Victor Emmanuel, Cavour, and Mazzini.
216 IV. Ancient Rome. ROME. The Capitol,
B. **Capitoline Hnsenm.
This museum was founded by Innocent X., and extended by Clement XII., Benedict XIV., Clement XUI., and Pius YI. 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 Municipale in 1882, sold at the entrance (3 fr.).
a. Ground Floor.
CouBT (Cortile). Above the fountain in the centre is the *Marforio, a colossal river- god holding a shell, probably repre- . sei^ng the Rhine or Danube, erected in the middle ages in the Via di Marforio opposite the Career Mamertinus, 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 Oranite Columns with reliefs, and two large Canopi (dog-faced baboons), all from the Temple of Isis (p. 195).
CoBBiDOR (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 iEsculati), 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 (PI. 2, 3) contain in- scriptions, sarcophagi, etc., of little general interest.
We return to the Corbidor (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 originally missing, the Hydra and leg of Hercules, were after- wards discovered and are now exhibited beside the restored group). — Adjacent, to the right, is the entrance to three rooms containing inscriptions and several interesting sarcophagi.
I. Room (PI. 5). In the centre : Ara, which stood in the market-
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place of Albano till 1743, with archaic representation of the ex- ploits of Hercules. 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 (^mensor aedificiorum'Jy 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. Seyerus 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. FiEST 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. 281). 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. ** Vying Oladiator, 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, recogDized 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 lias 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 : *6. Head of Dionysus, erroneously taken for a woman's (Ariadne's) ; 4. Ama- zon; 3. Alexander the Great; 2. Demeter. Wall opposite the en- trance: 16. Head of M. Jun. Brutus, the *tu quoque Brute' of Csb- 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. •lO. Satyr of Praxiteles^ the best of the extant copies (p. xxxii).
This is the figure which suggesled the title of Nathaniel Hawthorne's romance, The Marbie Faun (see p. 128), in the opening pages of which oc- curs a fine description of the statue.
218 IV. Ancient Rome. ROME. The Capitol.
9. Girl protectiug a dove; instead of the modern snake, there was probably a dog , or some other animal in the original. Entrance- wall: 8. Zeno, found in 1701 in a villa of Antoninus Pius at Civitk Lavinia.
II. Stanza del Fatjno. 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 arawith a rostrum, and the inscription ara tranquillitatis , found together with the Ara Yentorum 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.
III. Labge 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 Papias, found in Hadrian's villa in 1736 ; 3. Colossal basaltic statue of the youthful Hercules, found on the Aventine ; 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 op the Philosophees. On the wall valuable *ReliefSj six from the frieze of a temple of Neptune, with sacrificial imple- ments and parts of ships (Nos. 99, 100 102, 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 , formerly in the Museo Chiaramonti. Also 93 *Bu8t8 of Celebrated Characters of Antiquity, to some of which arbitrary names are affixed. 1. Virgil (?); 4, *5, 6. Socrates; 9. Aristides the ora-
Tk€ Capitol, ROME. IV. Ancient Rome. 219
tor; 10. Seiieca(?); 13. LysiasC?); 16. Marcus Agrippa ; 19. Theo- phrastuB; 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 Ahdera ; 41, 42, 43. Euripides ; 44, 45, *46. Homer ; 47. Epimen- ides; 48. Ou. 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. Arminius(?), erroneously named Cecrops; 60. Thu- cydides(?); 61. ^schines ; 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 C. Asinius Pollio ; ^82. iEschylus (?). The names of the basts by the window-wall are unknown.
V. Room op thb Busts op thb Empbbobs. 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 tor 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 Cassar; 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. Poppsa, 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. iElius Csesar, his adopted son; 35. Antoninus Pius; 36. Faustina the elder, his wife ; 37. M. Aurelius as a boy ; 38. I4. 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. Maximin; 63. Maximus, son of Maximin ; 64. Gordian Afr. ; 65. Gordian ; 76. Gallienus; 80. Diocletian (?) ; 82. Julian the Apostate (probably a Greek philosopher; the inscription is mediaeval). We next enter the —
220 JV. Ancient Rome, ROME. The Capitol,
VI. CoBEiDOB. At the left end : Beautiful marble vase on an arclialBtic •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 back of the visitor being turned to the window: (1.) 30. Trajan; (1.) *29. Pallas, found at Velletri, exactly corres- ponding to the statue (No. 1 14) in the Braccio Nuovo of the Va- tican; (!•) 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. iFemale 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 B[ercules 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.) *5. Cupid bending his bow (after Lysippus) ; (r.) 60. Flute-playing Satyr ; (1.) 3. Recumbent lion ; (r.) 61. Silenus; (r.) 62. Septimlus Serverus; (1.) by the window, 63. Roman matron (perhaps the elder Faustina) ; 64. M. Aurelius.
VII. Room op thb Dovbs , 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 BovillaB. 83a. Fragment of a representation of the shield of Achilles , inscribed on the back as the work of Theodores, found in 1882 near S. Maria della Vit- toria on the Esquiline; on the broad margin of the marble are
The Capitol. ROME. IV. Ancient Rome. 221
seven ty-flve 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 Vbntjs. 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 byLaspeyres, 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 *Tabiilariam , 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, now partly restored, descended hence to the Forum, where, to the left of the temple of Vespasian, the archway where it Issued is observed. From the colon- nade we may ascend to the left through the door marked 'Torr^
222 JV, Ancient Rome, ROME. Forum Romanum.
Capitolina' to the top (261 steps) of the Campanile of the Palazzo del Senatore (p. 211).
The Eonixn Roman wm.
(Comp. Sketch- Plan.)
In the most ancient times the Capitol and Palatine were sep- arated by a deep and marshy valley. The pavement hy the col- umn of Phocas lies 38 ft. above the level of the sea, and 22 ft. above the level of the Tiber, but was nevertheless frequently in- vaded by inundations. In consequence of the lowness of this valley , it was , as may well be supposed , a difficult and tedious task to raise the level and drain the marsh. For this purpose Tar- quinius Priscus, the fifth of the kings, is said to have constructed the Cloaca Maxima, which still renders good service (p. 248); and several canalicolae , or tributary drains which fell into the main channel, have recently been discovered. Tradition makes this hoi- i low the scene of the conflict of the Romans under Romulus against ' the Sabines under Titus Tatius after the rape of the Sabine women. i After the hostile tribes were amalgamated into a single state, they chose the Forum as its centre , and it was here that some of the ^ most famous scenes in the history of the Roman Republic were , enacted. On the N. side (S. Adriano) lay the Curia Ho stilia , or ^ council-hall , which is said to have been erected by King Tullus Hostilins ; while on the S. side, at the foot of the Palatine, rose the Temple of Vesta (S. Maria Liberatrice) , with its eternal fire , and the Regia, or dwelling of the Pontifex Maximus , the president of 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 this 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 Rbpublican 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 by butchers and other crafts- men , and afterwards by money-changers and goldsmiths. In the courseoftime a number of temples, public buildings, andmonuments
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Forum Romanvm. 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 hack 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 Mmilia^ and in 169 the Basilica Sempronia. The task was prosecuted with the utmost energy by Casas , 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 Caesar 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 restored for the last time in the reign of King Theodoric, in the first half of the 6th century, and the last new monument erected in the Forum was the Column of Phoeas , dating from 608, but the rudeness of the architecture distinctly hetrays the degraded
224 IV, Ancient Rome, ROME. Forum Romanum,
tftste of the period. As early indeed as the first half of the 6th cent, had begun tlie war of extermination waged by the Middle Aobs against paganism. An- cient temples were transformed into churches, such as those of S. Giuseppe, S. Luca, S. Adriano, 8. 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 ojf 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 a^e 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 Gonstantine and Titus, and around the N. side of the Capitol (on which occasion the new approaches to the latter were formed, p. 206). He caused 200 houses between the aj'ches 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 buffaloes 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 Cantna, but from that year down to 1871 the work was discontinued. The Italian government resumed the excavations again with considerable energy ^ and by these last operations the Basilica, the temples of Castor, Ceesar, and Vesta, the Atrium Vestse, and a great part of the neighbouring streets have been brought to light,
Forum Romanum. ROME. JV. Ancient Rome. 225
and an admirable clue to tbe 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 modern business. When the demolition of the houses between 8. 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 Entbanck 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 railing 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 ♦Survby of the Fobum. 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 tiie 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 Testa and Cssar. 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 Constantino, 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 Coloimade of the Twelve Oodi (deorum consentium), whose images were erected here in A.D. 367 by Vettius Agorius Praetextatus, 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 Vespa4daiL, 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 restituer(unt)/ 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. high, and 4^2 ^t* thick at the base. An egress of the Tabularium (p. 221) through the back of the cella has evidently been built up.
Farther on, to the right, and with its back to the Tabularium.
Bakdkkeb. Italy II. 10th Edition. 16
226 IV. Ancient Rome. ROME. Forum Romanum.
is the Temple of Conoordia, fonnded in B.C. 366 by M. Forius Camillus, and rebuilt on a larger scale by Tiberius, B.C. 7. It was dedicated to Concord to commemorate tbe termination of the pro- tracted struggle between the patricians and plebeians. The CeUa 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 Aracceli. A broad flight of steps ascended to the Pronaos , 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 ViOf or 'Holy Way*, forming the chief line of com- munication between the Capitol and the Foium , 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 Folloz, generally called the Temple of Castor (jEdes Caatoris or Caatorum), 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 £. side stands a fragment of the Sttlobatb, 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, lying about 3 ft. below the level of the portico and the surrounding colonnade. This peculiarity was probably occasioned by the alterations made by Tiberius.
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the Forum; it was inaugurated in B.C. 46, after the battle ofThap- BUS, 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 Gboumd Plan of the baailica is a rectangle, about 111 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 doable aisles which enclosed a Cbhtsal 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 Gentamviri, in four different sections, took place here. TheAiSLSs 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 Cgldmks , 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 mediffival 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 Vicus 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 1860 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. C. 497, and restored by Munatius Plancus (B.C. 44?). From the earliest times it was the seat of the .^rarium Publicum J or public treasury. The inscription, Senattu populusque Romanus incendio eonsumptumrestituit^ieters 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 the Fo- rum, which is carelessly laid and of a late period. On the Clivua Capitolinua, or road ascending to the Oapitol, near the Arch of Severus, are the remains of the UmbUieus Vrbis RomaCj or ideal
15*
228 IV, Ancimt Borne. ROME. Forum Romanum.
centre of tke city and empire. Traces haye also been found of tlie Milliarium Aureum^ or central milestone of the roads radiating from Rome, erected by Augustas in B.C. 28.
Over the Sacra Via rises the *Txiiuiiplial Axoh of SeptiminB SeveraS) 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.
Above the arclies are figures of Victory, at the sides, crowded scenes from the wars of the emperor. Side next the Forttm : (1.), Raising of the siege of Nisibis in the Parthian war 5 (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 Bostsay or orators' tribune, erected by Julius Gassar. This tribune consisted of an extensive raised platform , about 80 ft. long and 40 ft. wide , adorned with 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 Antium 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 ^ oz hall of the Senate. Between S. Adriano and the temple of Faustina lay the Sastjiea .^^mi^t'a , the site of which is also covered with modem 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 *GoliiiniL of Fhocas, 54 ft. in height, which was erected in 608 in honour of the tyrant Phocaa of the Eastern Empire, by the exarch Smaragdus, having been taken by him from some older building. It was formerly crowned with a gilded statue of Phocas. This column, which long formed the distinctive mark of the Forum (Byron's 'nameless column with
Forum Romanum, ROME. IV. Ancient Rome. 229
a 1)111161 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 Fomm, the first place in point of artistic execution and preservation is taken by a marble railing adorned with two admirable re- liefs (^^Anaglyphd'). 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 First Belief (next the Capitol) alludes to Trajan^s *Alimenta\ or inatitation for poor children: on the right is the emperor, in front of him is Italy, holding a child by the hand fdestroyed) , and another in her arms to which Trajan hands a 4essera% 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). All these were in or near the N.E. part of the Foriun. — The Seoomd Belief 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 yictims sacrificed at the public celebration of the Suovetaurilia.
The subjoined Views of the N. and W. Sides of 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 haye 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 Constantino.
On the E. side of the Forum, and facing the Capitol, is situated the Temple of CsBsary near which Cssar 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 most sacred shrines of the city. A column with the inscription *parenti patriae' was afterwards erected here to commemorate the event. Augustus erected this temple in honour of *Divu8 Julius', his deified uncle
230 IV. Ancient Rome. ROME. Atrium Vesta,
and adoptive father, and dedicated it to him in B.C. 29, after the hattle of Actinm. At the same time he adorned the trihnne with the prows of the captured Egyptian vessels.
The foundation of the substractures 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 ad Divi JulH. Its present form appears to have resulted from subsequent alterations.
Between the Temple of Caesar 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.£. of the Temple of Castor, near the slopes of the Palatine, lies a group of huildings connected with one of the most venerahle cults of Rome, that of Vesta. The circular erection of tufa helonged to the celebrated Temple of Vesta j 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 -^dicwia, 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 ^Edicula are a few steps and a side-entrance leading to the *Atrinm VestsB, 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 Tabllnum; and the kitchen and offices to the right, behind the Atrium.
The GouKT, 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 ( Virffines Vesicles Maximae)^ of which eleven are still preserved in whole or in part, some showing excellent workmanship. The intervention of the Vestal Virgins was often very eflFective 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 Maximilla, Terentia Flavola, Flavia Publicia, Coelia Claudiana, Terentia Rutilla) 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->sater, as a venerable precept of their cult forbade the priestesses to use water conveyed through artificial channels.
The second division of the palace consists of the Dwelling Rooms. In the middle is a lofty square room approached by steps. On each side
ig, Cosma e Damiano. ROME. IV, Ancient Rome. 231
t are tliree doors giving access to what are supposed to be the cells he six priestesses. There were other apartments in the upper floor, jvhich, however, a part only, including several bath-rooms, has been served. A wooden staircase ascends from one of the apartments on the tide. Here also is an exit leading to the Ifova Via^ which diverged m the Sacra Via at the Arch of Titus (p. 244).
The third group of rooms, behind the Atrium, to the right, were 3d for DoMKSTio PusposKs. A mill, a kitchen, and several storerooms . }7 be here observed.
We now return to the Temple of Vesta and continue our walk along the Sacia Via.
Between the temples of Vesta and Faustina are a few fragments of the marble walls of the Regia, or official quarters of the Pontifex Maximus. The Fasti preseryed 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.Fabius Maximus, the conqueror of the AUobrogi , 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. Gosma 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 FaastiBat of which the portico (with ten columns, six of which form the facade) and part of the ceUa are still standing. It was dedicated by An- toninus in 141 to his wife, the eider Faustina, and re-dedicated to that emperor himself after his death. The first line of the inscrip- tion, Vivo Antonino et divae Fausiinae ex 8.6.^ 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 cipollino, 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 1602. 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 Sacra Via ascends gradually towards the S.E., and soon reaches —
* SS. Gosma o 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 soU , Urban VIII. raised the leyel of the pavement so much in 1633 , that an upper and a lower church were formed.
The LowxR Church, which retains its old bronze doors with their an- tique lock, contains the tomb of 88. Cosmas, Damianus, and Felix, an an- cient altar, remains of an ancient pavement^ and somewhat lower a spring, said to have been called forth by St. Felix.
Uppbb Ghukch. On the arch of the choir and in the tribune are inter- esting *MoMic$ of the 6th cent., the period of the founder, perhaps the most
232 IV. Ancient Rome. ROME. Baailiea of Conttantifie.
beaatiful of their kind at Borne (gee p. xlvi), but freely restored about 1660 (beat light towards evening). Those on the arch, which has been shortened daring a restoration, represent the Lamb with the Book with seven seals, according to Revelations iv. ^ adjoining these ihe seven candlesticks , four angels, and two of the symbols (angel and eagle) of the Evangelists. The arras with wreaths, below, belonged to two prophets. In the tribune: Christ, to whom the saints Gosmas 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 Sacrae Urbit^ an edifice erected by Vespasian in A.D. 78 and restored by Septimins 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- ailioa of GoAStantine (PI. II, 20, 23) , erected hy Maxentius, but afterwards altered hy 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 vaulting 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. Haria 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 ^'^'Panorama 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 aharply to the left and deacend the Via del Colosseo. At the corner here is Ko. 61, a home for poor girls (visitors ring; Va fr.), from the garden of which we ascend a light of steps. A window adjoining the stairs aflPords the best view of Colosseum, to the left of which are the Thermae of Titus on the Es- quiline; to the right the circular S. Stefano; nearer, 88. Giovanni e Paolo with the new dome, both on the Ceelius. Beyond the Colosseum the Alban, and to the left the Sabine Hts. To the S. the Palatine with the ruins of the imperial palaces and two monasteries, and the opposite bank of the Tiber with the Villa Pamphiy. Towards the W. the Capitol-, to the right of it, between the domes of two churches, Trajan's Column is visible-, above the latter Honte 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 p. 233), is the church of —
S. Eranc6Boa Bomana (PI. II, 231, containing the tomb of Fran- eesea d€ Ponziani, who died in 1440 and was canonised In 1608
Areh of Titui. ROUE. IV. Ancient Rorm, 233
(festival, 9th March). It occupies the site of a much older church, mentioned as S, Maria Antiqua as early as the 8th cent., which was afterwards repeatedly altered. The most extensive restoration was carried out hy Honorlns III. about 1216, after a fire. In the later middle ages it was CAlled 8. Maria Nova. The facade, by Carlo LombardOj was added about 1612.
Zaterior. On the right, 2nd Chapel: (r.) Monnment of Card. Vulcani (d. 1322) and that of the papal commandant and general Antonio Rido (d. 1476). 3rd Chapel: Miracles of St. Benedict, altar-piece by Subleyras. In the TsiBDHS 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 attribnted to St. Luke, which is said alone to have escaped destruction in the conflagration. To the right of the apse : monument of Oregory XI., who transferred the papal residence from Avignon to Some (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. — Sacsistt. On the left wall a Madonna with four saints , by Sinibaldo Ibij a pupil of Perugino, 1524.
Adjoining the church, on the summit of the Velia (p. 231) and at the foot of the Palatine, rises the * Triumphal Aroh of Titus, 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 : Senatus poputuaque Romanus divo Tito divi Vespasiani filio Vespaiiano Aitgwto. The arch is embel- lished with fine ♦Reliefs (p.. xxxyii).
OuTsipB : On the same side as the inscription is a sacrificial procession on the frieee. Imsids : Titus crowned by Victory in a quadriga driven by Boma; 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 lft22 under Pius YII., 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 of 8. Bonaventura,- the convent- 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 VenuB 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 cellse 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-nreserved •Apse, is built into the monastery of S. Francesca Bomana (p. 282), which is now occupied by the Directors of the Excavations ; the other half towards the Colosseum is open. The vestibules of the cell* had each four columns in front. Around each ran a colonnade of ten columns at the ends, and twenty at the sides Oength 120 yds., width 58 yds.). This colonnade -
234 IV, Ancient Borne. ROME. The Coloaseum,
enclosed by a second, of about 200 colnmns, 180 yds. long, and 110 yds. wide, and projecting as far as the street, where it was supported by massive substmctures. To this colonnade belonged the granite shafts scattered about here. The cellsB uere encrusted with the rarest marbles.
Descending hence towaids the Golossenm, we reach the so-called Meta SudanSj the partly restored brick interior of a magnificent fountain erected here hy 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 Zenodorus by order of the emperor himself, to grace the golden palace which he erected with lavish splendour after the burning of Borne in A.D. 64. The palace fell to decay soon after Nero^ 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 —
*^ColoBBeum (PI. II, 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 Macrinus, 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 Aqbs 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. Harco (di Venezia), Card. Kiario for the Can- celleria, and Paul in. (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^) 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 ages, for the purpose of extracting the then very valuable iron. According to the most trustworthy statistics the external circum- ference of the elliptical structure measures 576 yds., or nearly one- "^ird of a mile, the long diameter 205 yds., the shorter 170 yds.,
The Coloismm. 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 piasters 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 Principal Entrances, those next to the Esquiline and Cselius 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 with numbers up to Ixxvi (Nos. xxiii to liT 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 Tiees 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 Arena, 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 IY2 million scudi, which according to the present value of money would be equi- valent to at least half a million pounds sterling. The Colossenm has ever been a symbol of the greatness of Rome, and gave rise in the 8th cent, to a prophetic saying of the pilgrims : —
236 17. Andent Rome, BOlffE. Arch of ConatanUne,
'While stands the Colosseum, Rome shall stand,
When falls the Golossenm, Rome shall fall,
And when Rome falls, with it shall faU the World !'
The TJPPBB Stobibs should he risited by those who desire to obtain a distinct idea 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 survey 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 *Vibw from the restored balustrade to the right in the 4th story, to which 55 more steps ascend, is still more extensive. It embraces the Geelius with 8. Stefano Rotondo and SS. Giovanni e Paolo*, farther off, the Aventine with S. Balbina, in the background 8. 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 («.^., by Bengal lights ; comp. p. 122). 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 Ministry is necessary for access to tbe tiers of seats. The Flora found among the ruins of the Colosseum once comprised ^ species, which were collected by an English botanist, but most of them have disappeared.
To the S.W. of the Colosseum, between the CsbUus and Pala- tine, spanning the Via TriumphaUs which here joined the Sacra Via, stands the —
•Triumplial Arch of Constantme (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 Molle, in 311, when Constantine declared himself in favour of Christianity. The inscription runs thus : Imp. Caes. Fl. Constantino Maximo pio felici Augtuto 8enatu3 Po- ptUusque Romanus, quod inatinctu divinitatia mentis magnitudine cum exercitu suo 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 *ScuiiFTiTREs 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 Abch of Tbajak : 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. Trajan sacrificing. The eight Medalliotu 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 es^cavated. In the 10th cent, it was converted into a castle, and afterwards belonged to the Frangipani.
On the opposite side, a few hundred paces to the N.E. of the Colosseum, in the Via Labicana, first gate to the left (whence the
Thermae of Titu8. 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 the Esquiline the —
*TlLeniin of Titus (PI. II, 26 ; adm., see p. 124) ; yisitors should be careful not to enter these ruins in a heated condition. Mtecenas 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 ThermflB, which were altered and enlarged by Domitian, Trajan, and others. The Thermas 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 the 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 vanlted 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, l^ero^s buildings form an angle of 45* with the axis of the Thermee. 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 TJdine 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 Sacr» 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 Areo 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' Falegnami (PI. II, 20, 3), which is built over the Career Kamertinusy one of the most ancient structures In Rome (entr. from the church ; light supplied by the sacristan, 1/2 fr-)* This was ori- ginally built over a well, named TuUianum, and thence traditionally attributed to Servius Tullius, and it was afterwards used as a prison.
It consists of two chambers, one below the other, of very ancient construction. The upper is an irregular quadrilateral, which was probably once adjoined by other similar chambers. An inscription on the front records a restoration , probably at the beginning of tiie Imperia!*
238 IV. Ancient Rome. ROlfE. Accademia di 8. Luca.
The lower chamber, which was originally accessible only through a hole in the ceiling, is 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 Xero, 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: — 'Est in carcere locus, quod Tullianum 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; j but it4 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 bnild- ingB. 88, Martina e Luca (PI. II, 20, d) 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 (Turia Ho«iiiia, which was subsequently re-erected under the name of Curia Julia by GsBsar 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 — Aooademia di 8. 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): KesseV* 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 Ante-Chahbeb (with engravings, etc.) leads to the I. Saloon, lighted from above. Entrance-wall: 1. Early Flemish School, Descent from the Cross. 2. Carlo Jtaratia, 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. VanDyek^ Madonna. — End- Wall : 21, 24. Jos. Vernet^ Sea-pieces. — Wall facing the entrance: 81. Berehem, The Campagna; 86. My tens ^ Admiral Eortenaar (1636); 89. P. Veronese, Toilette of Venus; 40. Gauli^ Birth of John the Baptist; 153. Oiulio Ro- mano, Copy of Raphael's Galatea in the Famesina; 43. Guido Rent, Cu- pid. -— Short wall: 52. J. Vernet, Sea-piece. — The saloon is adjoined on one side by a Booh, containing modern works, most of them painted in competition for academical prizes. To the right of this room is the Biblio- TEOA Sabti, containing 15,000 vols., chiefly relating to art, presented to the Academy in 1881 by A. 8arU, the architect. — To the right is a Small Room, with portraits of artists , including Virglnie Lebrun and Angelica Kaufmann (to the left of the entrance).
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240 IV, Ancient Rome. ROME. Trajan's Column.
of the Via Alessandrina and Via dell a Oroce Bianea, at the E. cor- ner (PI. II, 20), is well calculated to afford an idea of the former grandeur of the structure.
The busy Via Alessandrina leads hence, crossing the Via Bo- nella and the site of the Forum of Augustus (see p. 239), to the Piazza del Fobo Tbajano (PI. II, 20, 19).
The *Fonim of Trajan, which adjoined the Forum of Augustus, was an aggregate of magnificent edifices, and is said to have been designed by ApoUodorus of Damascus (111-114). By means of a huge cutting between the Capitol and the Quirinal, Trajan effected a convenient communication between the Fora of the ancient city and the Campus Martins (pp. 223, 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.
Ammianns (16, 10) thus describes it on the occasion of the visit of the Emp. Gonstantine in 356: — 'Vemm cum ad Trajani foram venisset, singnlarem sub omni caelo stracturam, at opinamar, etiam nnminTiiu adsensione mirabilem, haerebat adto'nitus per giganteos contextns circam- ferens mentem nee relatu effabiles nee mrsns mortalibus adpetendo8\ According to a legend of the 7th cent., Gregory the Great, while admiring the ancient splendour of the foram one day, and saddened by the thoaght that so jast and benignant a monarch as its foander 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 S. Nicolao had been erected by the column. This was succeeded by other churches. In 1687 Siztus 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 f^om N. to S. : the Forum proper, the Basilica, the Libraries (with Trajan's Column 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 modern 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 Campo Carleo ; 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 XJlpia, 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. 352). 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's Column, con- structed entirely of marble, the shaft of which is 87 ft. high, and the whole, including the pedestal and statue, 147 ft.; diameter ' 1 ft. below , and 10 ft. at the top. Around the column runs a
Forum of Nerva. ROME. IV. Ancient Rome. 239
n. Saloon. 81. Spagnoletto^ 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. Owrdno, Venus and Cupid (al fresco); 73. 4fter Titian, Tribute-money (original in Dresden); 194. Salv. Rota, Concert of cats; 61. AfUr Titian , St. Jerome ; 59. Titian (?) , Vanitas ; 57. Barlp Flemish School, Madonna.
III. Saloon. To the right, 91. Fotutin, Bacchic dance; 103. Ouido Cagnaeei, Lucretia, an admirable work of this master, a painter of no great note belonging to the school of Guido Reni; 107. Paolo Veronese, Susanna; 1()8; Pellegrini, Hebe; 109. Palma Veeehio, Susanna. — Opposite the entrance, 116. Ouido Reni, Bacchus and Ariadne ; 122. AVbani, Madonna. — Long wall : 133. Guido Reni^ Fortuna.
The two small rooms adjoining Saloons II. and III. contain nothing of moment.
To the N.W. of SS. Martina e Luca and the Academy lay the Forum of Cieaar or Forum JuUum, 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 !N"o. 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 •Corinthian columns with entablature, which belonged to one of the sides of the Temple of Mara JJltor in the Forum of Angastns (PI. II, 20). The forum was enclosed by a lofty •Wall of peperino blocks (a grey volcanic rock), part of which, about 160 yds. long , is seen near the temple , and still better by passing through the gateway (Area de' Pantani). This wall was adjoined by the back of a temple erected by Augustus in B. 0. 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 gwamp ('pantano') in the 16th cent., whence the modern name.
The Arco de* Pantani leads to the Via di Tor de' 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 along the outside of a massive wall and then turn to the right into the Via delta Croce Bianca, which crosses the site of the Forum of Kervay 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 arts, weaving, etc. , which were specially protected by the goddess ; casts of them in the collection of the French Academy, p. 149); above them is an attic with a Minerva. This fragment, situated at the intersecti^
242 IV. Ancient Rome, ROME. The Palatine.
tribune Glodius , and other celebrated men of the republican pe- riod possoBsed houses here. Augustus was bom on the Palatine, and after the battle of Actium he transferred his residence to this ancient seat of the kings. His palace, the Domus Augusianay 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 Roman literature. The Emp. Tiberius built a palace on the N. side of the hill, per- haps near the house in which he was born (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 and Domitian completed the splendid palace called the DomiM 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. Septimlus Seyerus extended the Flavian palace by erecting the Septizoniunij an edifice 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 Theodorio , but from the 10th cent, on- wards the ruins were occupied by monasteries, fortified towers, and gardens.
The first important ezcavationB, directed by Bianchiniy took place in 1728 in the Orti Farnesiani^ or Farneti Oardens, which were laid out by Paul III. and covered the whole of the N.B. part of the hill. The Emp. of Russia began another series of excavations in the K.W. corner in iSw, but handed over the ground to the city in 1867. A systematic excavation, under the able superintendence of the architect Comm. Pietro BotOy was begun in 1861, when Napoleon III. bought the Farnese 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 he visited in about 2-8 hrs.; hut many other interesting points may he 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 are all indicated by notices, with references to ancient authorities ; but the identity of many of the localities is doubtful, and the names assigned to them are often merely coi^jectural. — Permission to sketch and take mea- surements is given at the 'Ufflcio Tecnico della Direzione Generate delle Antichita' (Via in Miranda I D).
The present entrance is in the Via S. Teodoro (PI. II, 21), and is marked Ingresao I. in the plan at p. 241 ; but it is intended to transfer it to the N. of S. Teodoro (p. 241 ; 'Ingresso IV in the Man). Turning to the right on entering , we observe the largest
The Palatine, ROME. IV. Ancient Rome, 243
existing fragment of the ancient wall of Roma Quadtata (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- col 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 (^aei deo sei deivae 8acrum\ etc.), dedicated to an unknown God, who had foretold the invasion of the Gauls in B. C. 390 (*Ajus Locutius'). We then begin the following round.
From the present entrance (*Ingre8so 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 flrst 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 Domitlus 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 Oapitol , we observe considerable remains of squared Btone buildings of very ancient appearance. A flight of steps iScalae Caei T) , hewn in the rock and defended by a wall and gate, descends to the Circus Haximus. — The large temple with the lofty square substructure Is generally described, though on insufficient evidence, as the AuffuraioHmm, or place where the auspices were consulted. Others take it for the TempU of Victoria,
We next reach a *FriYat6 House, 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 flrst husband. The entrance is at the E. comer.
A flight of six steps descends to the mosaic pavement of the vaulted Vkstibulum, whence we enter a quadrangular Court, originally covered, adjoining which are three chambers opposite the entrance. The *Jiural Paintingt here will bear comparison with the finest of those discovered at Pompeii. The subject of the first on the right in the Cemtbal Kooh 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 Galatea when seen from the entrance of the Atrium. The two smaller sacrificial scenes in the comers above afi'ord a good example of an ancient kind of picture, which like the medieeval altar-triptychs could be closed by two folding shutters or wings. By the left wall are leaden water- pipes with inscriptions from which the history of this house has beer gathered. The walls of the Boou on the BiaBX are adorned with magnif
16*
244 IV. Ancient Rome. ROME. The Palatine.
cent ^Garlands of flowers and fruita, from which maaks and other Baccha- nalian objects depend between the columns ; the walls of the B.00H on thb Lkft are divided into brown sections edged with red and green, above which are light arabesques between winged figures on a white ground. Ad«- joining the right side of the court is the TBioLxifiuic, 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, stages and wild boar's heads). On the en- trance-wall are two glass vases with fruits. — At the back of the house are the unpretending Offices (bedrooms, storerooms, etc.).
We now retrace our steps to the entrance of the house, turn to the left , and ascend by a small wooden staircase to the remains of the Palace of Tiberius, the site of which is now covered with gai- dens. A fine view is obtained of the Capitol, the valley of the Ve- lahrum, and the Vicus Tuscus. The K. spur, where there Is now a small plantation of oaks, commands an excellent view of the Forum and the Basilica of Constantine. 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 ancient paved street, perhaps the Clivus Victoriae. A flight of steps descends to the street.
A covered passage ( Crtfptopoi'iicus), to the IN^.E. of the House of Livia, has remains of ancient stucco ornamentation. This is supposed to have been the scene of the murder of Caligula. Tarious architeotaral and sculptural fragments are exposed to view here.
Traversing the pleasure-grounds at the back of the former Casino of the Farnese gardens, we reach the Falatium, or Palace j the chief building on the hill. Augustus himself resided on this spot, but the sumptuous palace (Domus Flavia), 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 Palatii^ 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 Jupiter Stator , the foundation of which tradition ascribes to Romulus , and which was situated near the Porta Mugionig. Below us in the foreground, near the inscription ''R<nna (iuadrata*^ 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, known as the Tablinum , was the Aula Regia, or throne-room, in which the emperor granted audiences. This extensive hall, 39 yds. by 49 yds., with its large semicircular apse which was occupied by the throne, and its six niches, alternately round and square, con-
Tke Palathie. ROME. IV. Ancient Rome. 245
taining the now empty pedestals, was originally entirely covered ; bat an adequate idea of its magniflcence can hardly now be formed, as it has been deprived of its decorated ceiling , while the walls have lost their marble covering, the niches their columns, and the pedestals their colossal figures (now in Parma).
The room adjoining the Tablinum on the E. contains a small square altar in marble with figures of the Oenius Familiaris and the Lcares. The former stands in front with covered head ; the latter are represented at the sides in the conventional style of Pompeian works of the kind, vsdth boots, a short *chiton', a *rhyton' or drinking-horn in the raised hand, and a ^situla* or pitcher in the other. This has caused the room to be erroneously named the Lararium, or chapel of the Lares or household gods. Behind are the remains of a stair- case ascending to an upper floor.
To the W. of the Tablinum lies the Basilica, where the emperor administered Justice. The semicircular tribune was separated from the space for litigants by a marble screen, a fragment of which still stands. This space was flanked on each side by a narrow colonnade. The unfluted columns were adorned with bronze ornaments, the holes for fastening which are still visible.
To the S.W. of the tablinum is the PerittyUwn, two-thirds of which only have been excavated (one-third on the S. side being covered by the court of the Villa Mills, now a nunnery), a large square garden, 58 yds. wide, originally surrounded by a colonnade. Its imposing dimensions and a few traces of its marble covering (giallo antico) now alone witness to its ancient magniflcence. The open space in the centre was doubtless occupied by fountains, trees, and flowers.
At the N.W. comer steps descend to two subterranean chambers con- taining traces of stncco decorations and painting. These belonged to a private house ef the republican period, over which the imperisJ palaces were erected.
f Opening on the peristyle along its entire width was the Tricli^ niymj or dining-hall (Jovis Coenatio) , 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 most of the original marble and por- phyry covering of the pavement still exists. The remains of the pavement and covering of the wall on the N.W. side are more scanty. -— Adjacent to the latter is the iVympftaetzm, or inside gar- den' for 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 smaller chambers, extending along the N. side of the palace, are less interesting , and their purposes are not yet ascer- tained. The same may be said of those adjoining the back of the dinlng-hall on the S.W. We flrat enter a Colonnade, with six ci- poUino columns (two entire, the others in fragments). A view obtained, through the broken pavement, of the original level
246 JV. Ancient Rome. ROME. The Palatine,
which the empeiors built. Farther on are two other rooms, with semicircular terminations and niches in the walls, which are erron- eously termed the Accademia and Biblioteca.
We now return towards the main entrance and turn to the left at the first bend. This road connects the palaces on the S. side of the hill with those already described. To the left is the S. facade of the palace of Augustus, including a large 'exedra^ in the form of a flat arch, on the side next the Circus Maximus. Into this is built the gardener's house below the Villa MiUs, the beautiful cypresses of which peep down from above. Beyond the house we ascend a wooden staircase to an open space, bounded on the E. and S. by impos- ing ruins. These belong to palaces which mainly owed their existence to the later emperors, particularly to Septimiua SeveruSj after a great fire in 191. The excavations begun here by Pius IX. have unearthed many oi 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 except in a few cases.
Turning to the left, we reach the Stadiiim» which separated the buildings of Septimius Severus from the old palace of Augustus (^Domus Augustanaj the site of which is now again covered up; to the N.E. lies the convent of S. Bonaventura, p. 233, and to our left rise the white convent-waUs of the Villa MUls). Although not mentioned by any known author , there is no doubt that this was the stadium, or race-course. The length, 185 mHres (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 with 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 adjoined by three chambers of the time of Hadrian, covered by the imposing apse of a later edifice. The third 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. The spaces be- tween the columns of the portico were walled up with 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- ing of which should be observed, we reach the remains of the SeveniB Palace itself. Rooms with heating-apparatus and baths have been recognised here, but the general plan is not clear. Proceeding be- ' -^een insignificant ruins, we reach a point affording a good view of
The Palatine. ROME. IV. Ancient Rome. 247
the Stadium, and then cross a paved bridge to a Platform ('Belve- dere') supported hy tliree lover stories, and commanding a magni- ficent *VlBW.
Towards the E. tower the ruins of the Colosseum, nearer are five arches of the Aqua Claudia^ which supplied the Palatine with water; more to the right (8.) are the churches of 8S. Giovanni e Paolo, the Lateran, in the foreground S. Gregorio , and above it S. Stefano Botondo and the new cas- ino of the Villa Hattei. Still farther to the right appear the ruins of the Thermee of Caracalla (the two towers beyond , to the left, belong to the Porta S. Sebastiano), and S. Balbina with its lofty tower; farther off, 8. Saba, with its two-storied vestibule, and still more distant the Pyramid of Ges- tins, and in the Campagna S. Paolo Fuori le Mura ; then the Aventine with its three churches \ on the slope the white tombstones of the Jewish burial- ground on the site of the Circus Maximus, which occupied the valley be- tween the Palatine and Aventine; and laslJy the JTaniculum and the dome of St. Peter's.
We recross the bridge and descend to the right by a modern staircase (60 steps) on the S. side of the hill to the open space mentioned at p. 246 , adjoining the apse. Instead of passing the gardener's house, we now descend to a series of chambers on the W. slope of the Palatine , below the verandah of the Villa Mills. These belonged to the —
Padagoginniy or school for the imperial slaves, who, like those of all the wealthier Romans, received a careful education. A portico of granite columns, one of which still remains, with a marble entabla- ture now supported by pillars of masonry, lay in front of these apart- ments. The walls are covered with names, sentences, and sketches (jlfraffiti, done with the stilus, or ancient substitute for a pen), show- ing the boyish piocllvities of the pupils. The- well-known caricature of the Crucified, now in the Museo Kircheriano (p. 156), was found here. These scrawls, one of which is 'Gorinthus exit de psdagogio', furnished the clue to the use and to the ancient name of this building.
On the left wall of the Thikd Room is the sketch of a mill driven by an ass, under which was written, Habora aselle quomodo tgo laboravi et pro- derit iibi\ The figure of a Roman soldier is also scratched on this wall. On the posterior wall one of the most conspicuous names is FeUciy in large letters, both Qreek and Roman. — On each side of the central semicir- cular chamber with a square niche lies a small irregularly-shaped chamber ; that on the right is adorned with mural paintings (Fortuna, etc.).
Proceeding in the same direction we soon reach the exit.
Yelabmm and Forum Boarinm. The deep-sunken and swampy valley separating the N. slope of the Palatine from the Capitol formed the important link between the Forum and the Tiber. It was inhabited even under the kings, and was known in ancient times as the Vieus Tuscus (comp. p. 226). The direction of its main street was very nearly the same as that of the modern Yia S. Teodoro. In this street , behind the church of 8. Maria Liberatriee (PI. II, 20), are the remains of a massive brick building, now generally held to be the Temple of Divus
248 IV. Ancient Rome. ROME. Velahrum.
Augustits, Considerably lower the remains of an old church (St. Sil- vester in Lacu)j with 9th cent, paintings, have been found. Farther to the left, a little back from the street, is the low-lying round church of S. Teodoro (PI. II, 21 ; open on Frid. till 9 a.m. ; festival, 9th Nov.). It is first mentioned in the time of Gregory the Great, and probably occupies the site of a temple. In the interior is a Christ- ian mosaic of the 7th century. — A little beyond S. Teodoro the street divides. We descend to the right to the ancient Yelabbum, a quarter prolonged towards the Forum by the Vicus Tuscus (p. 247), and towards the river by the Forum Boarium.
To the right is S. Giorgio in Yelabro (PL II, 21 ; generally closed ; visitors knock at the door to the left, behind the Arcus Ar- gentariorum; festivals, 20th Jan. and 23rd Apr.), founded in the ith cent., re-erected by Leo 11. 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 Velabrum was altered to *velum aureum'.) The interior is a basilica with aisles, 16 antique columns, and an old canopy (p. xlvil). The ftescoes of Giotto(?) which are said to have once adorned the tribuna have been painted over.
Adjacent to the church is the small Arch of the Money-Changera (^Arcus Argentariorum ; PI. II, 21, 2), 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 *Jaiiii8 QnAdrifrons (Area di Qiano; PI. 11, 21), an arched passage vnth 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 Kazima (PI. li, 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 the left , we reach the Piazza Bocca della VekitI , which partly coincides with the Forum Boarium ; in the centre is a fountain erected in 1715 after Bizzaccheri'a design (group of Tritons by Morattt). To the left, at the foot of the Aventine, is the church of —
Round Temple. ROME. IV. Ancient Rome. 249
*S.HaTia in Cosmedin (PI. II, 18), gometimes called Bocca deUa Veriih from the ancient mouth of a fountain to the left in the por- tico, into which, according to a mediaeval belief, the ancient Romans thrust their right hands when talting an oath. The church occupies the site of a temple, perhaps the Temple of Fortune founded hy King Serviu8(?), 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. xlvlii) , and it has since been frequently restored. It derives the name *in Cosmedin' from a square at Con- stantinople, having originally belonged to a Greek brotherhood, and it is also known as 8. Maria iri Sehola Oraeea.
iNTEBioB. The beantifnl opus Alexandrinnm of the pavement merits inapeetion. Id the nave are preserved remains of the ancient choir ^ on the right and left are two handsome ambonea and a candelabrum for Easter ceremonies. Canopy of the high-altar by Deodattu (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 colnmns of granite and two of marble.
The Via delta Salara (see p. 251) runs hence to the S., towards the Porta S. Paolo.
On the opposite bank of the Tiber, not far fh)m the church, stands a small and picturesque *Bonnd Temple (Hercules Victor ? Mater Matuta ?) , formerly called a Temple of Vesta (now 8. Maria del Sole or 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 Veriti 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 Egiziacd), 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 *Hou8e of Creseentius (PI. II, 18, 3), or Gasa di Bienzi, or di Pilato, b,9 it is commonly called , constructed of brick with a singular admix- ture of antique fragments. On the side. Via del Ricovero, a long Inscription records that Hhis lofty house was erected by Nicholas
250 IV, Ancient Rome, ROME. Ponte Rotto,
son of Crescens, not from motives of ambition, but as a reminis- cence of the ancient glory of Rome\ The Crescentil were the most powerful noble family in Rome at the close of the 10th cent., but the house, the oldest existing specimen of medisval domestic archi- tecture, is not earlier than the 11th or 12th cent. (comp. p. xMi). 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 jEmilius, built 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 Veritd, to the left, standing back, is the church of 8. Nicola in Caroere (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 Spes and Juno Sospita, Visitors may descend and examine the foundations of these temples , which have been excavated (sacristan with light 1/2 ^'O* — The Via di Bocca della Verity ends on the N. at the Piazza Monianara (p. 203).
If, in proceeding from the Fomm through the Via di S. Teodoro, we leave the Janns Qnadrifrons (p. 248) on the right, we aoon reach, in the Via de^ Fenill, at the corner, the church of S. Anastcuia (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 Haximus, and still earlier remains of the walls of Roma Quadrata.
The Via i>b^ Cbbchi 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 Ciesar and furnished with stone seats, and lastly more highly decorated by the emperors. In the time of Pliny it was capable of containing 260,000 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 if><na, or longitudinal wall which connected the mstoe, 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 Vis deir Orto degli Ebrei, to the left of the Via di S. Sabina).
The Aventine. Honte 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 the hills to the E. of the city, however, it will soon be covered with the houses of a new quarter.
At the base of the hill is the Piazza Bocca della VeritJi (p. 248),
The Aveniine. ROME. IV. Ancient Rome. 251
which we quit by the Via dell a Salaila (PI. II, 18), continued by the Via dblla Maiimorata(P1. Ill, 18). To the left, beyond S. Maria in Cosmedin, a street diverges from the Via della Salara to S. Prisca (p. 264). About 2min. farther, at the small Chapel of St, Anna^ a second street diverges, leading to the churches mentioned at pp. 252, 263. The Via della Marmorata reaches the Tiber in 6 min. from the Piazza Bocca della Verity. Skirting the river for about 2 min., we enjoy to the right a pleasing retrospect of the Capitol; opposite lies the harbour of Ripa Grande, in front the large Ospizio dl S. Michele (p. 332). We next reach the Mabmorata (PI. Ill, 18, 15), the landing-place and dep6t of the unwrought marble of Carrara.
The street, here generally known as Via di Porta S. Paolo (PI. Ill, 17), now leaves the river and leads towards the Porta S. Paolo. The former Prati del Popolo BomanOj between the street and the river, are now occupied by a new quarter of ugly tenement houses.
After 6 min. the road from the churches on the Aventine de- scends from the left (p. 253). Just beyond this the street is crossed by the ViaGalvani, leading on the left to S. Saba, S. Prisca (p. 254), and the Circus Maximus (p. 250), and on the right to the river, Mte. Testaccio, and the Protestant Cemetery.
The ♦Monte Testacoio (PI. IH, 13) is an isolated mound, 115 ft. in height, rising above the Tiber, and consisting, as the name indicates, entirely of broken pottery. It is formed of the large earthenware jars (amphorsB) from Spain and Africa which were unpacked at the neighbouring Emporium. The hill is now honeycombed with cellars , in some of which wine is sold , but it is now less frequented than formerly. — The summit, marked by a wooden cross, commands a magniflcent *PAif obama : —
To the N., the city, beyond it the mountains snrronnding the crater of Baccano, then the isolated Soracte with its five peaks. To the E. the Sabine Hts., in the background the imposing Leonessa, in the nearer chain H. Gen- naro, at its base Monticelli, farther to the right Tivoli. Beyond this chain the summits of M. Velino above the Lago Fucino are visible. To the S. of Tivoli appears Palestrina. After a depression, above which some of the Volscian Mts. rise, follow the Alban Mts.: on the buttress farthest E. is Golonna, beyond it Frascati, higher up Kocca di Papa, M. Cavo with its monastery, below it Marino, finally to the right Castel Gandolfo. In the broad Campagna are the arches of the Aqua Claudia and the Acqua Felice towards the 8.E., and the tombs of the Via Appia.
Halfway between the Via di Porta S. Paolo and Mte. Testaccio, on the left, is an iron gate marked S. P. Q. R., passing through which we reach the Protestant Cemetery and the Pyramid of Cestius.
The ProteBtant Cemetery (PI. Ill, 16) is open from 7 a.m. till dusk (custodian 25 c). The older burying-ground, adjoining the Py- ramid of Cestius, is now disused. In 1825 the present burial- ground was set apart for this purpose. It is a retired spot, rising gently towards the city-wall, affording pleasing views, and shaded by lofty cypresses, where numerous English, American, German Russian, and other visitors to Rome are interred.
252 IV. Ancient Rome, ROME. Pyramid of CestiuB,
Amongst many illnstrionB names the eye will fall with interest upon that of the poet Shelley (d. 1822), ^cor cordium\ whose ashes were buried here (near the upper, or Eastern, wall). His remains were burned in the bay of Spezia, where they were washed ashore ; his heart, the only part not eonsumed 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 Oibson (d. 1866), the sculptor, and several other artists may also be recognized.
The •Pyramid of Costiua (PI. Ill, 16), originally in the Via Ostiensis , bnt enclosed by Anrelian within the city-wall , Is the tomb of Oalns Cestlus , who died before B. 0. 12; The Egyptian pyramidal form was not nnfreqnently adopted by the Romans in their tombs. That of Cestins is built of brick and covered with marble blocks; height 116ft., length of each side of the base 98 ft.
According to the principal Inscbiption on the E. and W. sides (^G. Cestlus L. F. Pob. Epulo. Pr. Tr. PI. VII. vir Epulonum'), the deceased was prcetor, 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 bronse foot now in thePalasxo del Conservator! (p. 211), were found. According to the inscription on the pedestal, the foot appears to have belonged to a colossal statue of Cestius, — 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 , immediately to the E, of the Pyramid of Cestius , is the ancient Porta Ostiensis, — Hence to the Basilica of 8. Paolo Fuorij 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 Ccslestine I., by Petrus, an Illyrian priest, and restored in the 13th, 15th, and 16th centuries. Honorins III. presented the church, along with the old papal palace adjoining it, to St. Dominic, who made it the head- quarters of his Order. 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 iNTBBion (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. — Enteance-Wall: Over the door, an ancient * Mosaic (5th cent.)-, inscription with the name of the founder; on the left a figure emblematical of the Ecclesia ex Circumcisione (Jewish Christians), on the right that of the Ecclesia ex Gentibus (Gentile Christians). — U^AVK. ()n the pavement in the centre is the tomb of Hunio da Zamora, principal of the Dominican order (d. 1300), adorned with mosaic. — At the end of the Right Aislb, in the Chapel of St. Dominicus, the ^Madonna
8. Maria Aventina. ROME. JV, Aneimt Rome. 253
del Bosario with SS. Dominicus and Catherine, an altar-piece by Sasso- /erratOj regarded as his masterpiece. The otherjiaintings (by the Zueeheri and others) are of no great value. — Festival, 29th Aug.
The small garden of the fonner Dominican Monastery, adjoining the church, contains an old orange-tree said to have been planted by St. Dominic. The handsome cloisters (p. xM), with 103 small columns, and the large garden (fine view) belong to a Military Hospital and are generally inaccessible.
8. Alessio (PI. Ill, 18) is an ancient church with an entrance- court. The date of its foundation is unknown , but it was re-conse- crated by Honorius III. after the recovery of the relics of the saint in 1217. In 1426 it came into the possession of the Order of St. Jerome. In the neighbouring monastery a blind asylum (Istituio d^ Cieehi) has been established. We enter the fore-court, and, if the church is closed,*ring at the door on the left (^2 ^r.).
The IBTERXOB was modernised in 1760, and again recently. The N. Aisle contains a well and a wooden staircase belonging to the house of the parents of the saint, which formerly stood on this site. Two small columns adorned with mosaic in' the choir are, according to the inscription, the remains of a work of 19 columns by Jacobus Gosmas (p. xlvil).
A small piazza is next reached, where the route to Porta S. Paolo (p. 252) turns to the left. The brown door No. 40, to the right in this piazza , with the arms of the Grand Master of the Knights of Malta above it, contains the celebrated ♦Kbt-holb through which St. Peter's is seen at the end of the principal avenue of the garden. (Visitors admitted to the garden on Wed. and Sat., 9 till dusk ; ring.)
8. Hazia Aye&tina, also called del Friorato (PI. lU, 18), be- longs to the Maltese Order, which celebrates its periodical festivals here. This church , founded at a very remote period, belonged for two centuries to the Templars , vrhose symbols are still extant ; it vras restored by Pius V. , and remodelled by the Grand Prior Card. Giov. Batt. Rezzonico from plans by Piranesi in 1765.
To the right of the entrance is an ancient sarcophagus, on which the deceased (head unfinished), surrounded by Minerva and the Muses, is represented; the remains of a Bishop Spinelli were afterwards placed in it. Also a statue of Piranesi (d. i7T8), and the monuments of several members of the Maltese Order: Ghrand Master Bic. Garacciolo (d. 1S95); Gio. Diedo, Grand Prior of Venice and nephew of Pope Eugene III. ; the ^baillis' Bart. Garafa, Sergio Seripando, and others of the 15th century. The third recess to the left contains a remarkable marble reliquary of the 13th cent., roughly wrought after the pattern of an antique funeral-urn.
Adjoining the church is the Villa Maoistbalb, or residence of the Grand Masters of the Maltese Order. The 2nd floor contains a large saloon, hung with portraits of all the grand - masters (74) from Frater Gerhardus (1113) down to the present Grand Master Ceschi. Several relics connected with the Order are also preserved here. The upper floor commands a picturesque *Vibw of Rome", the Gampagna, and the mountains. — The garden, which contains one of the flnest palm-trees in Rome, affords a similar prospect.
The above-named road to the Porta S. Paolo descends in 10 min. to the main roAd (p. 251).
254 IV, Ancient Rome. ROME. Via Appia.
The Via 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 Wcdlj 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. Prisca (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 Tullius. 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. 8aba (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 Pronuba. 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. GsEGOBio towards the S., leading between the Palatine and Cselius. On the right we observe the handsome pabn of the convent of S. Bonaventura on the Palatine (p. 246), 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. 260) diverges to the right. Near the point where the Via S. Ghregorio unites with the Via di PoBTA S. Sbbastiano (PI. Ill, 24, 26) , was anciently situated the Porta Capenaf 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 Johannei Cosmos. FestivaJ, 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 the road we also obtain a pleasing view of the Palatine to the left, and of the Ceelius, with the Villa Mattei (p. 259) and 8. Stefano Rotondo.
After following the Via di Porta S. Sebastiano for about 1/2 M., we * ain a view to the left of the Villa Mattei , to which the Via delle
Via Appia,
ROME. IV, Ancient Rome. 255
Mole di S. Sisto diverges to the left. The road here crosses the turbid streamlet Marrana, beyond which, to the right, the Via Antonina leads to the (^/^ M. from the Arch of Gonstantine) ruins of the —
*Tlienii8e of Caraealla, or Antoninianae (PI. Ill, 23 ; adm., see p. 124). They were begun in 212 by Caracalla, extended by Hello- gaboLus, and completed by Alex. SeventSf and they could accommo- date 1600 bathers at once. The magnificence of these baths was unparalleled. Numerous statues, including the Farnese Bull, Hercules, and Flora at Naples, mosaics, etc., have been found here; while the walls, bare as they now are, and notwithstanding the de- struction of the roof, still bear testimony to the technical perfection of the structure. The establishment was quadrangular in form, sur- rounded by a wall, and had its porticoes, race-course, etc. : length 240 yds., width 124 yds. ; total area of grounds 360 yds. in length, by as many in breadth. In the time of the Emperors the act of tak- ing a bath had become a highly luxurious and elaborate process, the chief steps in which were as follows: first, a hot-air bath in the so-called Tepidaiium; second, a hot-water bath in the Caldarium; next, a cold plunge in the Frigida^ium or Piscina ,* and finally, the 'rubbing down* ox 'shampooing In the drying room. The three
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256 IV. Ancient Borne. ROME. Via Appia.
principal lOomB, in the main axis of the building, have been identi- fied, but the nameB of the others are somewhat arbitrary.
We first enter in a straight direction a spacious oblong, once sur- rounded by columns (Peristyle)^ 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 Tepidariumf a large room formerly covered with a slightly vaulted roof: in the corners are four basins for luke-warm water baths. — To the left lies the FHgidarium, a large unroofed room, with a swimming-basin. — To the right is the CkMarium, 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 flight 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 (8J 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 gyomastic exercises , libraries , and gardens. Opposite the Galdarium, outside the W. wall, are distinct traces of a Stadium for foot-races. Other remains of the Thermae are scattered throughout the neighbouring vineyards.
Returning to the Via di Porta S. Sebastiano , we next reach an arboretum (8tmen%aio ComunaU) on the left; then, a little beyond it, on the right , the ancient church of 88. Ifereo ed iboliilleo (PI. Ill, 23, 26 ; open in the morning), on the site of a temple of lisis, rebuilt by Leo HI. about 800, and again by Card. Baionius at the end of the 16th century. Festival, 12th May.
The INTEBIOB 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 Capite ; opposite is a marble candelabrum for the Easter-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 Blias, 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 deUa Ferratella then diverges to the left to the Lateran (p. 265). — On the right, a little farther on, is 8. Cesareo (PI. Ill, 26; open on Sun. and festiyal mornings), a small but curious church, mentioned by Gregory the Great, and finally restored by Clement VIII.
Intxbiob. 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 symbols of the Apostles, and sphinxes^ opposite, a modem candelabrum with ancient basis. The inlaid screen of the Pkbsbttesium, and the decorations of the High Aitas 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 in 1808. — Near it, to the left, beyond the old monastery, is the church of -Sf. Giovanni a Porta Latina fPl. Ill, 29), ^ich was modernised by restorations in 1566, in 1633, and chiefly by Card. Rasponi in 1686. It contains four antique columns in the portico
within the City, ROME. IV, 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 "boiling 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 fkripioB (PI. Ill, 25, 28; open 10-3, uninteresting, candles required, */2 ^^Oj discovered in 1780, but now containing a model only of the ancient sarcophagus of peperino, which Pius VII. 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 Seipio BarbatttSy 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 Seipio Barbatus, Consul in 259, many of the younger Scipios, the poet Enniug^ 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 diffloulty of realising its original arrangement.
The adjacent Vigna Codini, No. 14, contains three *CoIiimbaria 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 (columbaria^ locult). 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 marhle 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 oWac, 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 1863, 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 Tomb of the Freedmen of Octavia. A staircase, partly modem, descends to a niche decorated with plaster, below which is a cinerary urn with shells and mosaic. The tomb is vaulted; on the right is an apse with painted vine- wreaths and Victories. The key is kept by the custodian of the church (apply at the old Vigna Sassi).
Basdsksb. Italy II. 10th Edition. 17
258 IV. Ancimt Rome, ROME. 8, Qregorio Magna.
Immediately within the Porta S. Sehastiano (1 Y4 M. from the Arch of Oonstantine) is the Aroh of Dtubub, a sadly -mutilated monument, -which was prohably erected in honour of Claudius Drusus Germanicus, B.C. 8. It is constructed of trayertine-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 S, Sehastiano (PL III , 28), formerly Porta Appia , seem to have been taken from ancient build- ings. The gate is surmounted by mediffival towers and pinnacles.
With regard to the Via Appia without the city, see p. 348; the Cata- combs of Callisius, U/i M. from the gate, aee p. 361.
The Ceelins.
This once densely-peopled hill (165 ft.) is now deserted, like the Palatine and Aventine.
Starting from the Arch of Constantino (p. 236), and following the Via di S. Gbeoorio (comp. p. 254) , or the public walks above it to the left, we reach the Piazza di 8. Qregorio. A lofty flight of steps ascends hence to the right to S. Oregoxio 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 n. to his first namesake. In 1633 it was restored by Card. Borghese, the steps, colonnade, portico, and fa^de being designed by Oiov. Batt. 8oria. Its reconstruction was begun in 1725. Festival, 12th March.
ENTBAifCE CouKT, 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 i5th century. — Interior, with sixteen ancient columns. Over the High Ai.tab: St. Andrew, altar-piece by Balestra. At the end of the Bight Aislb: *St. Gregory, altar-piece by 8. Badaloechi it). Below it a ^Predella: the Archangel Michael with the apostles and other saints, attributed to L. SignorelH, Here to the right is a small Chamber preserved from the house of St. Gregory, containing a handsome ancient *Ghair 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 i5th cent,, disfigured by regilding.
The sacristan (1/2 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 hwre. 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 Ovido 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 BonealH. On the right, Martyrdom of St. Andrew (a copy in the Lateran, p. 272), Domeniehino; on the left, *St- Andrew, on the way to the place of execution, beholding the cross, Ouido Rent; two pictures once extravagantly admired. — To the left the Chapel of St. Barbara, with a sitting statue of St. Gregory in marble, said to have been begun by Michael Angelo^ com- pleted by Cordieri. In the centre a marble table with antique feet, at which St. Gregory is said to have entertained twelve poor persons daily. According to the legend, an angel one day appeared and formed a thirteentL
88, Oiovanni e Paolo, ROME. IV. Ancient Rome, 259
"We now ascend to the N., between remains of old walls, to —
88. Giovanni e Paolo (PI. 11, 24), a small church in the form of a Greek cross, with a conspicnons 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, V2fr-)- — The ^dioining Monastery belongs to the Passionists.
We now ascend the street flanked by walls, and reach the Arch of the Consuls Dolabella 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 the 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 (p. 234). On the right lies the oblong Piazza. DBLiiA Natioblla (PI. Ill, 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 8. Karia in Domnica) or deUa NavicellOj 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 Bomano and Perino del Vaga (in grisaille; genii and lions in arabesques), afterwards retouched. The arch of the Teibdne rests on two columns of porphyry 5 the mosaics date from the 9th cent., but were freely restored under Clement XL; 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 'Oustode% adjoining the church on the right.
Adjoining the church is the entrance to the * Villa Mattel (PI. Ill, 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 worthy of a visit ; the Oratorio di 8. Filippo Neri commands a striking view of the ruins of Rome and the Alban Mts.
Opposite S. Maria in Domniea, but not accessible from the
17*
260 IV, AneierU Bonu, ROME. 8. CUmenU.
Piazza della Navicella, rises S. Stefano Rotondo. We follow the Via di 8, 8t€fano to the left, pass through the first green door on the right, and ring a bell to the right under the porch.
S. Stefimo Botondo (PI. Ill, 27) is very interesting on account of its construction, and, though greatly diminished in extent, is the largest circular church in existence. It was ercicted at the dose of the 6th cent, by 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 , 11yds. 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 Y. 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.
iNTXKioK. To the left of the entrance, an altar-niche with mosaic of the 7th cent. ^ farther on, to the left, a chapel with (!•) '^ fine monument of the beginning of the 16th century. Most of the fifty-six columns are of granite, a few of marble. Fearful scenes of martyrdom on the lateral walls, by Tem- 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 Yia 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).
8. Glemente. The Lateran.
From the Colosseum (p. 234 ; PI. II, 24) several streets run to- wards the S.E. : to the left the Yia Labicana towards the Therms of Titus (p. 237), to the right the Yia de' Quattro Santi to SS. Quattro Goronati (p. 264), joining the following street near the Lateran ; and lastly, between these, the Yia di S. Giovanni in Latb&ano (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 —
*8. Clemente (PI. n, 27 ; side-entrance from the street generally open ; if not, visitors ring at the principal door under the portico), one of the best-preserved basilicas 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 of early-Christian, the second of imperial, and the third of republican origin. The Christian basilica (now the lower church) is mentioned
8, Clemente,
ROME. IV, Ancient Rome, 261
by St. Jerome as early as 392, and in 417 was the scene of a conncil of tlie church. It was almost entirely destroyed in 1084 on the entry
1 1 1 h rrrn ^^ ^ ^ i^'HI
262 IV, Ancient Borne. ROME. 8. CUmente.
of Robert Guiscaid into Rome, and in 1108 PaschaUs II. erected on its inins the present upper chnrch, with which he incorporated sey* eral ornaments of the lower, such as the choir and the ambones. The upper chnrch 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 Yia 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 *Uppbb Church, consisting of nave and aisles, but, like all genuine ba- silicas, without a transept. Comp. p. xlv.
Interior. The I^ave with its flat ceiling is separated from the aisles by sixteen antique colomns, and contains the ^Screen of the choir and the Ambones from the lower church, with the monogram of Pope John VIII. (key kept by the sacristan). The Canopy with four columns of pa- vonazzetto dates from the time of Paschalis II. (p. xlvii). — In the Tbibdns is an ancient episcopal throne, restored in 1108. Mosaics (p. xlviii) of the tribune of the I2th 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 Gross, 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. — On the walls by the tribune, monuments of the close of the 16th 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 Aislb, is a statue of John the Baptist by Simone di Giov. Ohini (comp. p. 90). — To the left of the principal en- trance, the Cappblla della Passionb with ^Frescoes of the beginning of the 15th cent., the earliest authenticated work of Masaccio (b. 1401), who went from Florence to Borne about 1417 j they were painted by order of Gabriel Condulmer, Cardinal of S. Clemente, and afterwards Pope EugenelV., and show 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 diapates 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 still older strata of masonry. Lowest of all, and forming a right angle, are two massive walls, constructed of blocks of stone quarried on the Cajlius 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* the republican epoch. Above these are remains of workmanship -^f the imperial era, executed in the 2nd cent, after Christ (No. II.
the ground-plan and in the section ; see also p. 263). Upon
8. ClemenU, ROME. IV, Aneient Rome. 263
these foandations in the 4th cent, was erected the Christian basilica which now forms the *Lowbe CHuaoH (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 been 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 1856, and is shown by the sacristan, who provides a light (V2-I fr-)* 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., 1st 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 walta. from the time of Pope Damasus, descends to the Vestibulx 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 , the 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 *FbB80ob8 date horn different periods, extending over seven cent< uries. We begin with the Vbstibdlb. 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 areek 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 iOth 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 : Effo Beno de Rapiza pro amore dei et beaU CUmentis pingere feci (lith cent.)- — On the right, farther on, the Transference of the relics of St. Cyril from the Vatican to S. Clemcnte in the reign of Pope Nicholas, with the dedication : Ego Maria Macellaria pro timore Dei et remedio anime met haee pingere feci. — At the end of the vestibule on the right is the entrance to the —
Left Aislk. Over the door of the latter are three badly -preserved frescoes, of which that in the centre appears to represent the resuscitation of a child. Two only of the frescoes at the end of this aisle are distinguishable : on the posterior wall in the corner , St. Cyril before the Emp. Michael ; on the lateral wall, a Youth baptised by St. Methodius (10th cent.).
264 JV» Ancient Rome, ROME. 8S, Quattro CoronaU,
The Navk 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 Rapixa cum Maria tasore 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 lax^er ^Fresco in three sections. The highest, now half obliterated, represents Christ between Michael and St. Clement (lOi ^^^ 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, l^ezt 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 corners St. Vitus (r.) and Leo IV. (1.) with the inscription 8, Dotn. Leo J V. P. P. Bo. , and the square nimbus with which living persons were usually represented (9th cent.).
The frescoes of the external wall of the Biqht 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 Buildikos of tbb Imperial Aqb (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 db' QuATTBO Santi, which then ascends to the left to the church of —
88. Quattro Coronati (PI. II, 27 ; entrance hy 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 ^scarpellinr, or stone-masons, to whom the chapel of S. SUvestro 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. Carlllo, and afterwards partly modernised.
The church now has two Emtkancb-Coubts (keys in the first, V^ f^Ot a peculiarity owing to the diminution of its size on one of the restorations, 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 8. 8ilvestro, co n- secrated under Innocent IV. in 1246, with valuable, though unattractive an- cient paintings from the life of Constantine, in the Byzantine style. — The In- "^HiOB consists of nave and aisles with galleries. The tribune is decorated tasteless frescoes by Giovanni da 8. Giovanni. — Festival, 8th Nov.
S.Giavaimi in Fonte
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BapiisUry. 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 Lateaano (PL 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. corner is the baptistery of 8. Giovanni in Fonte (see below), in the S.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 HI. (B.C. 1597-60) in front of the temple of the Sun at Thebes, and brought by Oonstantius 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, Constantino 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 8t. 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. Leo X. roofed the baptistery with lead, and his successors decorated and modernised it.
From the piazza we at once enter tbe precincts of the Baptistkby itself (PL 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. Sacehi, Mar,atia^ and others. — Adjacent, to the right, is the Obatokt of John the Baptist (PL &), 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 Thermse of Caracalla — On the left, opposite this oratory, is the Obatoet OF St. John (PL c), with bronze doors of 1196, and adorned with ^Mosaics (6th 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 Obatobio di S. Vknanzio (PL d), with elaborate mosaics of the middle of the 7th century. — The fourth door, oppo- site to the entrance from the piazza, opens on the Pobtico di S. Vbnanzio (PL «), 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 porphyry with their architrave, built into the wall here by Sixtus III. It leads to the Court. which was recently restored at the same time as the choir of B. Giovanni in Laterano.
. The basUica of *S. Giovaimi in Laterano (PL II, IH, 30), *om-
266 IV, AnoUnt Rome. ROME. 8, Giovanni in LaUrano.
nium urbis et orbis ecclesiarum mater et caput\ was the principal church of Rome after the time of Gonstantine 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 Basilica Conatantiniana after its founder, and sometimes 8. SalvatoriSf 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 III. (904-911), and dedicated to John the Baptist. In 1308 it was burned down, but was restored by Clement V., 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), Eugene IV., and Alexander VI., and modernised by Pins IV. (1560), by the alterations of F, Borromini (1650), and by the facade of A, Oalilei (1734). Quite lately the church has been enlarged by an extension of the tribuna and choir. — Five important Councils have been held in this church, vw. those of 1 123 , 1139, 1179, 1215, and 1512.
The Pbincipal Faoabb, by Galilei, is turned to the £., 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 garlands, etc. To the left is an ancient statue of Constantino the Great, found in his Therms.
The Fagade 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 Nie, Cordieri (PI. 12).
r\ Interior. The Kave (426 ft. in length), flanked by double aisles, is borne by twelve pillars, the work of Borrominiy partly enclosing the ancient columns. In the niches are the Twelve Apostles, of the school of Bernini \ reliefs by Algardu Over these are the figures of twelve prophets. The *Ceiling, said to have been designed by Michael Angela^ is more probably by Qiacomo 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 Con/essio, is the •Monument of Pope Martin V. (d. 1431), in bronze, by Simone di Giov. Ghini (p. 90). — In the centre of the Tbanskpt, 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 said, the heads of SS. Peter and Paul. Below it is the high- altar (altare papale)^ at which the pope or a substitute named by him alone read mass, containing a wooden table from the catacombs which is "aid to have been used as an altar by St. Peter. The transept was restored
'er Clement VIU. by Oiae. delta Porta (1608) and adorned with frescoes.
LaUran, ROME. IV, Ancient Borne, 267
Here to the right are tvro fine colunms of giaUo antico. Adjoining the organ is the monument of the philologist Laurentiug Valla (d. 1465) , a canon of this church. To the left is the great Altar of the Scierament. 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 Scip. Oaetano^ and an altar-piece by the Cav. cTArpino. Carved choir-stalls by Oirot. Binaldi.
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 Jaeobtu Torriti (p. xlix ; tUdO-y 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 l^icholas IV. kneels, 8S. Francis , Peter , and Paul , and (r.) John the Baptist and SS. John, Andrew, and Anthony. — The Ahbulatobt is em- bellished on each side with mosaic tablets, the subjects of which relate to the c(mstruction of the church, statues of Peter and Paul, of the 10th cent., and a fine marble sanctuary of about 1600. A^oinlng the last is the Ta- bula Magna LateranensiSy or list of relics. — Adjoining the ambulatory is the Sacsistt, 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 Venusti after a drawing by Michael Angelo; a statue of John the Baptist in wood by Donatello; cartoon of RaphaePs 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 Oiotto. On thb Riqht: The 2nd chapel (PI. 8) belongs to the Torlonia family, and is richly decorated with marble and gilding} over the altar, ^Descent from the Cross, a marble relief by Tenerani (a custodian opens this and other chapels, 1/2 ^r.). The 3rd chapel (PI. 9), belonging to the Massimi, constructed by Oiac. delta Portay 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. Farnese, by Vignola (at the back of the last pier of the nave). — On ths Lspt : The *lst chapel, that of S. Andrea Corsini (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 Clement XII. (Corsini, d. 1740) \ the walls sumptuously inlaid with precious stones. Below the chapel is the burial- vault of the Corsini, with a *Pieti by Antonio Montauti(7). •
The sacristan conducts visitors from the last chapel of the N. aisle into the interesting *Mona8TBbt Coubt (^Chiostro^, constructed in the 18th 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. Casino.
Adjoining S. Giovanni in Laterano, on the N., is the — Palazzo del Lateraao (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 Constantine down to the migration to Avignon. The old palace was much larger than the present, and included the Sancta Sanctorum Chapel (p. 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 Innocent XII. into an orphan -asylum in 1693. In 1843 Gregory XVI. set apart the palace for the heathen and Christian antiquities for which the Vatican and Capitoline museums no longer afforded space, ar
268 IV, Ancimi Rome. ROME. IjaUtan.
named it the *Miiteiim Oregoriannm Latoranente (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 gionnd-plan, p. 265.
On the groond-floor is the so-called *]Ctuieo Profano, a collection of ancient sculptures) including several admirable works. There is no catalogue, but the custodian (%-l fr.) is well informed. A scientific 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. Room. 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 Caracalla (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 ^Es- 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 lumaccheUa (a kind of shell-marble).
We now cross the passage to the — ■
y. Room. Right wall: 394. Roman portrait-bust; 396, 406. HermaB of Pan; Muse; 407. *Oineraiy 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. — YI. Room: collection of sculptures from Cervetri, the ancient Csre. Entrance- wall : left, 427. Circular altar with Pan and two dancing Hot» ; 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, 436. The younger Agrippina; 438. Toga statue (perhaps the elder Diusus). Wall of egress : 439. Statue of an em- peror (perhaps the younger Drusus) ; 444. Bust of Caligula. In
Lateran. 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 : 446. 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, possibly from a 4^oup by 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. (1.) Barbarian monarch. Left wall : Apollo. Opposite the entrance : 476. **8op?u>ele8, 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- celle. 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, j
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, 761. Bacchanalian sarco- phagus ; 752, 757. Herma of Liber and Libera. Right wall : several herm» of the bearded Bacchus ; 768. Ephesian Diana ; 769. Sarco- phagus with Adonis. Wall of egress : 777. Sarcophagus with Adonis ; 783. Greek tomb-relief (fare well-scene). In the centre: 792. Large sarcophagus with triumphal procession of Bacchus. — XII. Room.
270 IV. Ancient Rome. ROME. LcOeran.
Entrance-wall : Q.) 793. Youthful Hercules (perhaps with portrait- features); (r.) 799. *SaTcophagus with the story of Orestes (death of ^gistheus, 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 Nlobe. In the centre, 831. Fine circular altar from Veil, an imitation of the Puteal Libonis in the Roman Forum. — XIII. Room. Entrance-wall: 842. Relief of a Titan fighting; several marble ^anteflxae' (facing-tiles"), with representations of the Palladium; 846. ♦Portrait-statue of 0. Caelius Satuminus. Wall of egress: 868. Relief, Pylades supporting the exhausted Orestes. In the centre : 882. Oval sarcophagus of P. OaBcilius Vallianus, with the repre- sentation of a funeral-banquet. Then, •885. Three-sided Cande- labrum-stand with Pluto, Neptune, and Persephone. — XIV. 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 : — Evasij effagi^ Spes et Fortuna valete! Nil mihi vovis^ cum est , ludifieate alios. By the right wall , 892. •Mosaic with re- presentation of the pavement of an unswept dining-room (*Opus Asarotum'), by Heraclitusj found on the Aventine in 1833. — XV. 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- vins Verus. — XVI. 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 Venus.
The Cliristian 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 (}/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 our description from the principal entrance.
In the fitst hall a large sarcophagus, said to be tbat of Probns^ in the wall three mosaics : that in the centre, Christ, Peter, and Paul from the lower church of St. Peter ; the two others from the catacombs.
Lateran. ROME. IV. AneUfU ^ome. 271
In the large Cosbidob of thb Staircase a ^Collection of ancient Gbris- 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, Miracle of the loaves , Raising of Lazarus, Adoration of the Magi , Daniel among the lions , Moses striking the rock for water, etc. On the staircase (1.) 1st sarcophagus , Miracle of Jonah ; 2nd. Christ^s entry into Jerusalem. At the top: (1-) 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 witti 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 , firom the catacombs near S. Lorenzo Fuori le Mura ; on iJie chair a Greek inscription recording the saint*s achievements and an Easter-table. Comp. pp. zlii, zliv, 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 Aboades present a selection of *Ancient Christian Jnscriptions^ systematically arranged by De Rossi, an invaluable aid to the student of Christian archaeology. 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 inscriptions (238-557); 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 Thermse of Caracalla in 1824, 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 CoLLBCTioN OP PicTUBBS coutalns a few ancient mosaics, several good pictures of Italian masters, cMefly of the 15th and 16th cent., and copies of pictures from the catacombs. A re-arrange- ment of the pictures la imminent.
RooH 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 Lippi, Coronation of the Virgin; Benozzo Oozzoliy 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. OrivelU, 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 : *8t. Jerome, by Oiov. Santi^ the father of Raphael.
Room III. (PL C). Entrance-wall : And. del Sarto, Holy Family ; jFV-. ^on- ctVs, Annunciation. Left wall : Cesare da Sesto , Baptism of Christ. Exit- wall: Copies of Raphael; Venetian School^ Entombment. — Between the windows : Oiulio Romano^ Stoning of Stephen, a cartoon.
Room IV. (PI. D). Entrance- wall : 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: *'Mdrco Palmezzano, Madonna with SS. Lawrence, John the Baptist, Peter, Francis, Anthony the Abbot, and Dominic (1587).
Room V. (PI. E). To the left, DanieU da Volterra, Descent from the Cross, a rough sketch in colours (the finished fresco is in 8. Trinita de* Monti, p. 150); Cav. dTArpino, Annunciation. To the right: CaravaggiOy Supper at Emmaus, Christ with the tribute-money.
272 IV. Ancient Borne. ROME. Scala Santa.
Booh VI. (PI. F). Entrance- wall : Oum-einOy Assnmption *, VanDycii^), Portrait. Left wall : Large copy in oils of a fresco by Domeniehino^ the Mar* tyrdom of St. Andrew, original in S. Gregorio (p. JffiS). Between the win- dows: Christ and Thomas, cartoon by Camuedni.
Boohs O 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 antiqne. — Another room on the same floor, opened by the custodian on application , contains casts by Pettrich of Dresden representing scenes from the life of the N. American Indians.
The N. side of the Piazza di S. GioTanni in Laterano, opposite the Museum, is occupied by the new buildings on the site of the VUla Massimi. Between the Yia 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 Camillo Mas- simi in 1821-28 by German artists.
The entrance to the Casino 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 Filhrich.
Opposite the N.E. comer of the Lateran is the edifice contain- ing the Scala 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 Oiacomettij 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 HI., 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 Wolkonsky (PL' II, 32; adm. on Wed. and Sat. by permesso to be obtained from the consul). The tasteful grounds are intersected by the Aqua Claudia^ now almost wholly enclosed by modern buildings. A few ancient tombs and sculptured fragments are preserved in the garden.
Opposite the tribuna with the mosaics extends the spacious
The Borgo. ROME. V, Right Bank. 273
Piazza di Pobta S. Giovanni (PI. II, 33), towards which S. Gio- vanni in Laterano faces. The piazza contains several modem bnild- ings. — A dusty street leads hence to the right past unattractive modern edifices to (5 min.) S. Croce iu Gerusalemme (p. 181).
The Porta 8. Oiovanniy 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 Campagna, see p. 346.
The road skirting the town-wall to the left, outside the gate, brings us in 7 min. to the Amphitheatrum Oastrense (PI. II, 36), the only struc- ture of the kind in Rome with the exception of the Colosseum. The •building itself and the Corinthian capitals and other decorations are of burned hrick. The longer diameter of the amphitheatre is 57 yds. The interior (uninteresting) is entered by the gate near 8. Croce in Geru- salemme. — Hence to the Porta Haggiore (p. 180), 12 minutes.
V. Quarters of the Oity an 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 Xt«nyara street.
The Borgo.
The Vatican Hill (206 ft.), with the plain lying beyond it, which is notorious for its malaria, wag 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. (Tereuntibus addita ludibria, ut ferarum tergis contecti lanlatu 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 Chwrch ofSt. 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' AfaterDfum 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 wag 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, on the possession of which the mastery over the city has always depended. Around the Church of St. Peter sprang up a number of chapels, churches, monasteries and hospitals , and in the pontificate of Symmaehus (496-514'*
Baedeker. Italy II. 10th Edition. 18
274 V. Right Batik, ROME. The Borgo.
papal palace also. Foreign pilgrims soon began to establisli settle- ments here, named achoUie, or borghi^ of vhicli in the 8tlL cent, four are mentioned in history, vix. those of the Saxons (i. e. English), the Frisians, the Lomhards , 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 V. 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 Ayignoii ; streets gradually sprang up ; and the walls were considerably extended. Eugene IV. and Sixtw 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 Ponte 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 bis tomb with the city in A.D. 136, and named after him P6n8 MUw^ 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's 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 Pindo 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 CasteUo S, Angelo (Pi. I, 10), which was originally the tomb erected by Hadrian for himself and his successors (Moles Hadriani)^ after the example of the mausoleum of Augustus , the tomb of CsBcilia Metella, etc. It was completed in 139 by Antoninus Pius. On a substructure, 114 yds. square, now
CasieUo 8, Angdo, ROME. F. Right Bank, 275
concealed by labbish, 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 have belonged to this statue. The total height was about 165 ft. From Hadrian to Garacalla (d. 217) all the emperors and their families were interred here. When the Goths under Yitiges 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 Gastello S. Angelo, in commemoration of which Boniface IV. erected the chapel of 8. Angelo inter Ntibes on the summit. This was afterwards replaced by the marble statue of an angel by Montelvpo (now on the staircase in the interior), and in 1740 by the present bronze statue by VerschaffeU. From 92o 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 VII. sustained a terrible siege here, on which occasion Benvenuto Cellini asserted he had thence shot the Gonn^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 freed from rubbish. The fort was newly for- tified by Pius IX. Entrance by the sentiners post, to the right of the bridge.
Penne«0i, see p. i!^ (fee Vfl tr.). It is important to arrive panctn- ally at the hour named in the permesso, for visitors who arrive later muat 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 conrt, opposite the bridge. A passage gradually ascended thence , winding round the walls in Uie in- terior, and then diverging from them to the Tohb Ghambes 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 \ bat a sarcophagus 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, Cagliostro, 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 entrance of the Castle of S. Angelo to the new quarter springing up on the Pratt di Caatello^ a congeries of long and regular rows of tasteless four-story houses. Some public buildings , including a large court of law , are tr
18*
276 7. Bighi Bank, ROME. Palazzo Qiraud,
be erected here. At the N. end are the extensive new Barradcs of the Ckzrabinieri,
The Castle of S. Angelo is adjoined by the Piazza Pia (PI. 1, 10), for some time named the Tiazza del Plebiscito'. 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 Vecehio and the Borgo Nuovo ; to the left, by the river, the Borgo 8. Spirito ; to the right the Borgo 8, Angelo,
The usual route to the Vatican is by the Boboo Nuoto. To the right in this street is the church of 8. Maria Traapontina (PI. I, 7, 5), erected in 1566. Farther on, to the right, in the small Piazza Scossa Cavalli, is the handsome *Palftizo Giraud (PI. 4), the pro- perty of Prince Torlonia, erected by Ant. Montecavallo in 1503-6, from designs by BramanU (p. li), for Card. Adriano da Cometo ; the poor portal dates from the loth century.
To the right in the Borgo Nuovo, farther on (Nos. 101-105), is the Pal, Bicciardi, built for Giac. da Brescia, the physician of Leo X., from a design by Bald. Peruzzi(?). We then proceed straight to the Piazza Rusticucci (PI. I, 7 ; 88 yds. long) , forming a kind of en- trance-court to St. Peter's. Raphael's house, designed by Bramante, which stood on the right, near the Pal. Aceoramboni (PI. 2), was re- moved when the piazza was enlarged.
The Boboo S. Spzbito, issuing from the Piazza Pia, terminates as the Borgo 8. Miehele under the colonnades of the piazza of St. Peter. To the left in this street, by the river, is the spacious Otpe^ dale di 8. 8pirito (PI. I, 7). The building, with its striking octagon- al dome, dates from the time of Sixtus lY. 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 (shown 12-4 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 8. Spirito in Sassia (PI. 1 2), 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, with Its 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- ritOy whence the Via della Lungara leads to Trastevere (see p. 327).
Near the colonnades, on the right, is 8, Lorenzo in Piseibut (PI. iO), a church of early origin, rebuilt in 1659; on the left is the
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Piazza di 8. Pietro, ROME. V. Right Bank. 277
small church of 8. Michdt in Sassia, formerly the church of the Fri* sians, rebuilt last century, with the tomb of the artist Raphael Mengs.
The **PiAiia di S. Pietro is a square preceded by 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 Bernini's 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 effect 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 Font&na to weigh about 500 tons, was removed on rollers from its original position, and on 10th Sept. erected under the superintendence of Domtnieo 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 moment, although silence wag imposed on the bystanders under pain of death, one of the 800 work- men , the sailor Bresca of S. Remo, shouted : < Acqua alio 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 ^Fountains, 45 ft. in height, the one next the Yatican erected by Maderna, the other under Innocent XI. 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 TadoUni.
To the right , at the end of the colonnades , is the Portone di BronzOy the entrance to the VaUcanj where the Swiss guard is sta- tioned (see pp. 124, 286).
**8t. Peter's (S. Fieiaro in VaUoano). 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 Sylvester J. It was erected in the form of a basilica with nave, double aisles, and tran- sept, on the site of the circus of Nero , where St. Peter is said to have suffered martyrdom, and it contained the brazen sarcophagus of
278 V. Right Bank. ROME. 8. Pietro
the apostle. The chnrch was approached by an entranco-conrt with colonnades and was snnonnded 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 Nicholcu V. (p. xlix) determined on its reconstruction, and in 1450 began the posterior tribune, from the design of the Florentine Bemardino BoaseUino. 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 choir 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 (p. 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 Qiuliano da Sangallo , to submit designs, and that Braicantb 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 vrith which Bramante revised, corrected, and perfected his designs. His aim seems to have been to crown a substructure like the Basilica of Constantino (p. 232) vrith 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 usle adjoining each of the dome pillars and ending in small cupolas at the corners, while the entrances were to be in the 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. Yeronica (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 preoeding Bramante's death (d. 1514), OhUiano da 8angallo(6.. 1616), and with him Raphael and Fra Oioeondo da Verona (d. 1516), were entrusted with the superin- tendence of the work. The great age of the first and the third, and the
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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 Sangallo the Younger (appointed in 1518), BaL-
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dassare Peruzzi of Siena (1520), and Michabl Angblo (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 the dome. He
The original of the above plan (so far as shaded), signed, ^Bramante Arch, et pit.^ is preserved in the collection of architectural drawings in the Uffizi at Florence (No. 3).
280 V. Right Bank, ROME. 8, Pietro
completed the dinm of the dome, and left behind him drawings and models for the completion of the work up to the lantern, a task whidi 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 VignoUij Pirro LigoriOj and Oiacomo ddla 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^.) j and the present expense of its maintenance is about 7500^ per annum. The new sacristy, erected by Pius VI., cost 900,000 sc. (about 180,000f.).
The result of these various vicissitudes is that St. Peter's is tlie 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 MUan is 10,000, St. Paul's at London 9350, St. Sophia at Con- stantinople 8150, and Cologne Cathedral 7400 sq. yds.
The measurements are varionsly stated by different aathorities, but the following are approximately accurate. Length 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 138 ft., 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 Fa9AI>b, vidth 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, (Borghese) in 1612. Over the central of the five entrances is the Loggia in which the new pope used to be crowned, and whence he imparted his benediction at Easter to the concourse in the piazza (discontinued since the Italian occupation, comp. p. 120).
in Vaticano,
ROME.
y. Bight Bank. 281
The PoBTico, the celling of which is magnificently decorated In stucco, is 78 yds. In length, 141/2 In width, and 66 ft. in height. At the ends are equestrian statues : on the right, Constantino the Great hy Bernini, on the left, Charlemagne by ComcKcMni. At the entrances are antique columns of pavonazzetto and African marble. Over the interior of the central external entrance is *St. Peter on the sea, termed ^Zm Navieella\ a mosaic after OiottQ, formerly in the entrance-rourt of the earlier church , unfortunately considerably altered by Mareello Provenzale and Fr. Beretla. A copy of the original is preserv- ed in 8. Maria della Goncezione in the Piazza Barberini (p. 172). — Of the five doors of the church that on the extreme right is called the Porta Santa, indicated by a cross, and is only opened in the years of jubilee (every 25 years j but the last celebration was in 1825). The great Central Entrance is closed by the brazen *Doors which Eugene l\ . caused to be executed in 1447 by Ant. Filarete and Simone (p. 1) after the model of those of 8. 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- TEKioB, 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 Bramante, to whom the coffering of the tunnel-vaulting must also be ascribed.
Interior. On the pavement of the Nave, close to the central idoor, 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 dome, are four pillars with Corinthian pilasters; above these a rich entablature, which bears the arches extending from pillar to pillar and the gorgeously 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 oilers. The pavement, like the walls, consists entirely of coloured marble, inlaid from designs by 0. delta Porta and Bernini. — By the fourth pillar to the right is the sitting ^Statue of 8t. 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 8. Martino. The right foot is almost entirely worn away by the kisses of devotees; in front of it two large candelabra. Above is a mosaic portrait of Pins 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 ft. in circumference, the niches in the lower parts of which are occupied by statues, 16 ft. in height, of (r.) St. Longinus (2) by Ber^ nini and 8t. Helena (3) by Bolgi, (I.) St. Veronica (4) by Moeeki and St. An- drew (5) by Duquemoy ; above them are the four loggie of Bernini, where the greatest relics are exhibited on high festivals , on which occasions the loggie may be entered by none but the canons of St. Peter's. Above these are four mosaics of the Evangelists after the Cav. d'Arpino, of coloss
282 V. Right Bank. ROME. 8. Pietro
dimenfliona. The frieze bears the inflcripiion in mosaic on a blue ground : Tu es Feints et super hanc petram aedificaho eeelesiam tneam ei tibi dabo elates regni eaelorum. 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 leyel with the lantern, God the Father, by Marcello Provenzale^ after Car. d'Arpino.
Beneath the dome rises the imposing, but tasteless bronze CANOPr (*Bal- dacchino^) borne by four richly gilded spiral columns , constracted in 1633 under Pope Urban VIII., firom 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 Altab, consecrated in 1594, where the pope only reads mass on high festivals. It stands immediately over the Tomb of St. Peter. The Gontbssio, constructed by C. Maderna under Paul V. , is surrounded by 89 ever-burning lamps. The descent to it is by a double flight of marble steps. Doors of gilded 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 VI. in the attitude of prayer, by Canova^ 1822.
The nave is continued beyond the dome, and terminates in the Tbibumk, 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 VUI. (d. 1644) by Bernini; on the left (8) <-that of Paul in. (d. 1549) by Ougl. delta Porta , probably under tiie 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 Virgin were engraved by order of Pius IX. Having traversed the nave and surveyed the stapendous 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 bv Clement X. in the year of jubilee 1675. The (1st) Ghapkl dxlla PibtI (10) contains a celebrated **PieUi by Michael Angela, 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 the effect 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 Bcusus., prefect of the city (d. 395), was buried. It was discovered in 1596 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 the Baldacchino. — Adjacent, to the right under the arch, is the monument (11) of Leo XII., erected by Gregory XVI., by De Faibris; to the left, cenotaph (12) and bronze relief-portrait of Christina of Sweden, daughter of Gustavus Adolphus, and a convert to the Bomish 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 Fil. Valle (14), and Q.) 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 (Srd) Chapbl of thb Holt Saobakbnt (16) , closed by an iron gate , contains an altar-piece by Fietro da Cortona; right, the finely executed ♦Monument (17) of Sixtus IV. (d. 1484) in bronze, by Ant. Follajuolo (1493). Julius II. (of the della Bovere 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. 1585), by Camillo Rusconi; left, the plain sarcophagus (19) of Gregory XFV. Oppo- site , over the altar by the principal buttress , is the Communion of St. Jerome (20), after Domeniehino (original in the Vatican). On the right, the Gbegobian Chapel (21) , erected under Gregor}' XIII. from the design of
in Vaiieano. ROME. V. Right Bank, 283
Michael Angela y at a cost of 80,000 scudi; here to the right is the *Mona- ment (22) of Gregory XVI. (d. 1846), by Amiei (1864); below it a relief, representing the dissemination of Christianity. AbOTe the altar is the •Madonna del Soccorso (23), from the old church of St. Peter, dating from abont 1118; under it is the tomb of St. Gregory of Nasiansus (d. 990). Under the following arch : right, the tomb (24) of Benedict XIV. ; left, altar (25) with the mass of St. Basilius, after Suhleyra*.
The Sight Tbansept was used by the (Ecumenical Council for its meetings in 1870. By the tribune, three altars with pictures by CaroselU (26)i Fa- lentin (27), and Pouuin (28), representing the Martyrdom of St. Erasmus.
PBOLONGATION OF RiGHT AiSLB. Under 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 Navicella (90) with Christ and Peter on the sea, after Lan/ranco. Bight, the Chafkl ov the Abchangbl Highabl (91), the ^Archangel, after Chtido Rent; in a straight direction. Burial of St. Petronella (92), after Cfuereino. Under the Qeft) fol- lowing arch: right, monument (93) of Clement X.; Raising of Tabitha by Peter, after Costanzi. — We now pass the principal tribune, and enter the —
W. Division of Left Aislb. Immediately on the right is the monument (94) of Alexander vm. (Ottoboni of Venice, d. 1691), by Arrigo di S. Mariino; left, Healing of the lame man by Peter and John (95), after Mancini; farther- on, right, the altar (96) of Leo I. with a marble relief by Algardi (about 1650), representing the Retreat of Attila. Facing the visitor is the Cappblla dblla Colonna (37), containing a highly revered ^Madonna from a pillar of the older church. Beneath the altar an ancient Christian sarcophagus (98). with Christ and the apostles in front, containing the remains of Leo II. (d. 689), Leo in. (d. 816), and Leo IV. (d. 865). 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 £emini. Opposite is an altar (40) with an oil-painting (on slate) by Fr. Vanni^ Punishment of Simon Magus.
The Lbft Tbansbpt, with its tribune and three altars, is next entered. It contains confessionals for eleven different 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 Camueeinit 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, tetter Guido Beni; left, St. Francis (49), After Domenichino, The portal to the right under the following arch ^44) leads to the Sacristy; above it the monument of Pius VIII. by Tenerani. To the left (48), Death of Ananias and Sapphira, after Boncalli, From this point the effect of the dome, tribune,' and transept collectively is best appreciated. Then the Glekbntinb Chafbl(45), erected by Clement Vni. (1592-1606): below the altar (46) on the right reposes Gregory L, the Great (560-604); altar- piece after Andr. Saeehi; facing us, the ^Monument (47) of Pius VII. (d.l823), by Thorvdld»en. — 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 —
Lbft Aisle. Here, under the arch on the right, the monument (50) of Leo XI. (d. 1606) by Algardiy with a relief of the recantation of Henry IV. of France; left, monument (51) of Innocent XI. (d. 1689) by C. Maratia, 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, genUemen also in black (evening-dress). — Beneath the arch, to the right over the door, is the tomb in which the most recently deceased pope rests until the completion of his tomb and monument elsewhere; Pius IX. (d. 1878) lay here till July 12th , 1881 , when his body was transferred to S. Lorenzo Fuori le Mura (see p. 944). To the left, the 'Monument (53) of Inno- cent vm. (d. 1492), by Ant. and Pieiro Pollajuolo. Then on the right an altar (54) with the Purification of the Virgin, after Romanelli. Unde
284 Y. Bight Bank. ROME. 8. Pietro
the arch to the right, over the door which leads to the dome, the eye of the English traveller wiU 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 CoMva (1819), with busts of 'James III/ 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 Ha- drian (p. 275). Over the altar, Baptism of Christ, after Maratta.
The Sacbisty (entranee by the grey marble portal, ground-plan 44; visited most conveniently 9-11 a.m.), erected in 1775 by Pius YI. from designs of C, Marchionne , consists of three chapels In a corridor adorned with ancient columns and inseriptions.
At the entrance the statues of (r.) St. Peter and Q.) St. Paul, executed under Pius II. by Mino del Regno^ and formerly in the Piazza of St. Peter. The central chapel, Saobkstia Cohunb (68), octagonal in form, is em- bellished with eight columns of bigio from the villa of Hadrian at Tibur. A guide (Vs fr) u found here to show the others. Left, the Saqbebtia dei Canohici (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 Capitolarb (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 Giotto to be regarded as the founder of a new school of painting. This Stanza also contains fragments of the 'Frescoes by Melozzo da Forli &om the for- mer dome of SS. Apostoli (angels with musical instruments and several heads of apostles). On the right, the —
Saobbstia dk^ Bbnbpiziati (61) , with an altar-piece by J/itftono, the Delivery of the Keys. Contiguous is the Tbeasubv (62) of St. Peter's, containing jewels, candelabra by Benvennto CeUini and Michael Angelc, the dalmatica worn by Charlemagne at his coronation, etc. •>- Over the sacristy are the Abchives of St. Peter's with ancient MSS., e.g. Life of St. George, with miniatures by Cfiotto; also a few classical authors. The treasury and archives are seldom shown.
The Saokb Gbottb Yaticane (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 ease of the others also). For admission to the ^Grotte Nuove' apply at the sacristy (fee V2^^')* Entrance, see ground-plan, a.
The Grotte Knove, 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, *. St. Helena, i. St. Longinus, d. St. Andrew. — In the Chapel op S. Mabia de Pobticu (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 Memmi, 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 op S. M. Pregnantium (c), at the entrance, the two SS. James, from the tomb of IJicholas V. ; half-figure of Boniface VIII. ; angels in mosaic, after Oiotto. Here, and throughout the whole corridor, are pre- served numerous reliefs of the 15th cent, from the tombs of the popes; among them, on the right, a Madonna with St. Peter and St. Paul {K) by Mino da Fiesole. Reliefs from the tomb of Paul II. : Hope, Faith, Charity, and the Last Judgment. On the left, by the sides of the entrance to the Confessio, marble *Eeliefs (m) of the martyrdom of SS. Peter and Paul, from
in Vaticano. ROME. 7. Right Bank. 285
the tombstone of Sixtus YI. The Comfxssio, 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 Yecehie are about 147 ft. long and 67 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 ff. those of Hadrian IV. (ITlcholas Breakspeare, the only English pope, d. 1159), an old sarcophagus in granite; Pius II. (^neas Sylvius Piccolomini, d. 1464), an early-Christian sarcophagus; Pius III. (d. 1503), Boniface VIU. (d. 1308), Nicholas V. (Thomas of Sarzana, d. 1455), and Paul II. (d. 1471), these four by Mino da FinoU; Urban YL (d. 1389); Marcellus II. (d. 15o5), 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', Yia della Sagrestia 8 (first floor). Yisitors 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 Angeio and his pre- decessor Ant. da Sangallo, for admission to which a permesso of ihe ^Bev. 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 *Lanlem^ 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 Yatican gallery of statues, see p. 304, and Plan, -p. 276), we reach, on the left near the sacristy, the dimatero del T«deielii« the most ancient Christian burial-ground, instituted by Gonstantine, and filled with earth from Mt. Calvary. In 1779 it was granted to the Germans by Pius YI. Adjacent is the church of 8. Maria ddla Pieth in Can^o Santo (PI. I, 4, 4), adjoining which is the German and Flemish refuge for pilgrims.
Near it is situated the Palace of the 88. Offizio, or Inquisition, now a barrack. That tribunal was established in 1542 by Paul V
286 V. Bight Batik. ROME. TU VatUan,
by the adylce of Card. Caraffa, afterwards Pope Paul lY., and this edifice was assigned to it by Hns Y.
The Yatiean.
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 belieTod once to have resided here. This building haying 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 Yatiean 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 Yati- ean in 1378, which resulted in the schism. In 1410 John XXIII. constructed the covered passage to the castle of S. Angelo. In 1450 Nicholas Y. (p. xlix), with a view to render the Yatiean the most imposing psdace in the world , determined to unite in it all the government-offices and residences of the cardinals. The small portion completed by him, afterwards eccupied by Alexander YI. and named Tor di Borgia, was extended by subsequent popes. In 1473 the Siitine Chapel was erected by SixtusIY., and about 1490 theSeZvc- defc, or garden-house, by Innocent YIII. Bramante, under Julius II. , united the latter with the palace by means of a great court, which under Sixtus Y. was divided by the erection of the library into two parts, the anterior court and the Giardino della Pigna. The Loggie round the Gortile di S. Damaso were also constructed by Bramante. In 1534 Paul III. founded the PauUne Chapel, and Sixtus Y. the Library and the present residence of the popes, which last was com- pleted by Clement YIII. (1592-1605). Urban Yin. erected the Scala Begia from Bernini's design , Pius YII. the Braecio Nuovo for the sculptures, Gregory XYI. the Etruscan Museum, and Pius IX. closed the fourth side of the Cortile 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 11,000 (?) 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 Yatiean, the Lateran, and the papal villa at Castel Gandolfo the privilege of exterritoriality.
The Peincipal Entbancb to the Yatiean (^Portone di Sronxo) 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 Maggiordomato to receive their per- messo. The steps (Scala Pia) , originally uncovered, but altered by Pius IX. , lead to the Cobtile di S. Damaso , a court which
The Vatican. ROME. V, Right Bank. 287
deriyes its name from the fountain of St. Damasns erected here by Innocent X., and sometimes called Cortile deUe 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 viflitor 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 Va fr-» 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 hrackets in the following description.
A. Faintingi.
Cappella Sistina. RaphaeVs Stanze and Loggie. Picture Gallery.
(Comp. Plan^ p. 289.)
Pennesto^ see p. 134. 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 Gonservatore Ercole Mcuti, 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 Sgala Rbgia, a magnificent flight of steps, con- structed by Ant, da Sangallo the Younger j 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).
**Cappblla Sistina. Sala Reqia. Sala Ducale. Cappella Paolina.
The ** Sifltiiie Chapel was erected under Sixtus IV. by Baccio PinteUi (?) 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 tapestry (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 15th cent. (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) Perugino, Moses with his wife Zipporah journeying to Egypt, Zipporah circumcises her son (sometimes attributed to Luea Signorelli^ or with more probability to Pinturicchio); •2. Sandro Botticelli, Moses kills the Egypt^
288 F. Right Bank. ROME. The Vatican,
drives the shepherds from the well, kneels before the hniming bush ; 3. Cosimo RosseUi, Pharaoh's destmctioii in the Red Sea ; A, Cos. Bosselli^ Moses receives the Law on Mt. Sinai, Adoration of the calf; 5. ifif. Botticelli, Destruction of the company of Korah, and that of the sons of Aaron ; 6. Luca Signorelli, 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: 8alviatiy Contest of the Archangel Michael for the body of Moses, now entirely repainted. — Right: 1. Perugino^ Baptism of Christ; 2. 8. Botticelli^ Christ's Temptation (vigorous and finely individualised) ; *3. Dom. Ghirlandajo, Yocation 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. Pcrwgfino (who, according to Vasari, was assisted by Bar- tol, delta OatUi)f Christ giving the keys to Peter, one of the master's finest monumental works , in spite of defects in the composition ; 6.' C. Bossellij Last Supper. — On the entrance- wall : Resurrection of Christ , originally by X>. Ghirlandajo^ renewed by Arrigo Fiam- mingo, — On the pillars between the windows 28 popes by 8. Botti- cellij 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 **Cbiling (p. Hi; 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 4n 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 celling 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 natural colour, and others of a bronze tint, impart to the back- ground such animation and significance, as to render it an admir- able introduction to the large central pictures. It is here that the '^ectator will become fully aware of the importance to a painter of
The Vatican,
ROME.
V. Right Bank. 289
a thoiOQgli acquaintance with aicMtectnral designs, and of the ex- tent to which Michael Angelo availed himself of such acquaintance. A description of J the Obntbal SoBNBs/may he given nearly in
Baedekeb. Italy II. lOth Edition
290 V, Right Bank. ROME. The Vatican.
the words of Ascanio Condivij a pupil of Michael Angelo, who in 1553 wrote the master's life before the death of the latter. — 'In the J at Seotion of the ceiling (reckoned from the altar), which is one of the smaller ones, yon observe 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 dth 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 8ih 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 shelter themselves from the excessive rain. And in this scene the wrath of God is represented with great art, for he sends upon them lightnings, waters, and
The Vatican. ROME. V. Bight Bank. 291
stomiB. There is also another mountain-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 yaulting are the ♦•Pbophbts 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 Sibylj reading ; 3. Ezekiel , with half-opened scroll ; A. Ery^ thraean Sibyl , sitting by an open book ; 5. Joelf reading a scroll ; 6. (over the door) ZaehariaSj 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) Jonaft, sitting under the gourd. *A11 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, andHaman. 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 Judgment, 64 ft. in width, completed under Paul in. 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 IH., who had censured the picture on account of the nudity of the figures. Paul IV., who contemplated the destruction of the picture on this account, was persuaded, in- stead, to cause some of the figures to be partly draped by DanieU
19*
292 V. Right Bank. ROME. The Vatican,
da Volterra. Clement Xn. cansed this proceed to be extended to the othei figures by Stefano Potzi, wbereby, as may be imagined, the picture was far from being improved.
Most of tbe solemnities at wMcb the Pope officiates in person take place in tbe 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 SangciUo 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 Fbbsgoes of Vatari^ Salviatit and the Zueearit represent, according to the titles inscribed below them : on the window-wall, to the right , scenes from the Night of St. Bartholomew (the inscription Straget Eugenottorum^ etc., which was once under them, has been obliterated). On the wall opposite the 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) , Ck)nquest of Tunis. On the entrance-wall , Oregory XI. returning from Avignon, Alexander III. absolving Fred. Barbarossa.
The Sala Ducale, which adjoins the Sala Regia, constructed by Berninif 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 Antomo da Sangallo the Younyer for Paul DI. Here also are two frescoes by Michael Angela , 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. Zuecaro, 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 wdl as on Holy Thursday, it is brilliantly illuminated.
Raphael's **Stanzb and **Loggib. * Cappella Niccolina (di S. Lorenzo). ♦•Picture Gallery. Raphael^s Tapestry, (Comp. the Oround-Ftan^ p. 389.) 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 Matejko, presented by Poles. We traverse that to the right, and then a saloon, the Sala delV Immacolataj decorated by Podesti , by order of Pius IX. , with frescoes relating to the doctrine of the Immaculate Conception of the Virgin, promulgated on 8th Dec, 1864 (comp. p. Ix).
The VcAiean, ROME. F. Right Barik. 293
The door in a straight direction leads to the lixst of —
**Rapliaeri Stanse. The frescoes executed by Raphael in 1508 -1520 in the papal apartments {8Uxn%e or Camert) of the Vatican, by order of the Popes Julius II. and Leo X. , are unquestionably the foremost among the creations of the master and are rivalled by no modem works of art in existence except the ceiling-paintings in the Gappella Ststina (p. 287). The work, howeyer, in its entire grandeur had not been planned, nor the task committed to Raphael from the outset. Julius II . originally intended these rooms to be decorated in a much simpler style , and he entrusted the task to Pefugino, Sodoma, and other painters of Umbria and Siena. Among these was the young Raphael, who had probably been introduced by Perugino, and who after the completion of the first frescoes became so prominent among his fellows, that the work was then entrusted to him exdusiYoly. Raphael did not, however, live to complete his task, and it was finished by his pupils. The earliest pictures in the first and second stanza only are by Raphael's hand. For eaoh of these paintings he received 1200 gold scudi (nearly 500^.). They were seriously injured during the plundering of Rome in 1527, but were restored by Carlo Maratta under Clement XI. (comp. also p. liU, and the Plan, p. 289).
I. Stanza dell' Incendio, which we enter first, is the third in chronological order. The frescoes were completed in 1517) but only the Incendio del Borgo was actually executed by Raphael ; the others were painted from his designs and under his supervision. — The ceiling-paintings (angels and saints) are by Perugino ; those on the walls represent scenes from the reigns of Leo III. and Leo lY.
Over the window : 1. Oath of Lbo III., sworn by him in pre- sence of Charlemagne (with the gold chain, his back turned to the spectator), in order to exculpate himself from the accusations brought against him, by Penno del Vaga.
To the right of this, on the entrance- wall : 2. Victoby op Lbo IY. otbb thb Sabacbns at Ostia, executed by Qiov, da Vdine. The pope is represented as Leo X. , accompanied by Card. Julius de' Medici (Clement VII.), Card. Bibbiena, and others. Below : Ferdinand the Catholic, and the £mp. Lothaire.
3. IicoBin>io DBL BoBGo, couflagratiou of the Borgo, whence the name of the room.
The apparently ungrateful task of painting a miracle has been executed so happily by the genius of Raphael, that he has pre- sented us with what would be termed in modern language a mag- nificent genre picture. The traditional incident, — the extinguish- ing of a fire which had broken out in the Borgo, or Vatican quarter, by the sign of the cross made by Pope Leo IV. (9th cent.) in the Loggia of St. Peter's — is placed in the background. The fore- ground exhibits the terrors of a conflagration, the efforts of th*» people to save themselves and their movables, and the half-paralyr
294 V. Bight Bank. ROME. The Vatican,
condition especially of the mothers and other women. We are then transported to the heroic age, by a group in the left corner, repre- senting the aged Anchises on the hack of ^neas, the classical de- rivation of which justifies the powerful delineation of the limhs. 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 ^urch of St. Peter, represented here as it still existed in Raphael's time.
Below : Godfrey de Bouillon and Aistulf .
4. GoBOMATioN 07 CHABLEMAaNB in the old Church of St. Pe- ter. Leo in. has the features of Leo X., and the emperor those of Francis I. of France. Below : Charlemagne.
n. Stanaa della Seg^atura, 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. ThboI/OGT (dioinarum rerum notUia)^ 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 affUUur), crowned with laurels, seated on a marble throne with book and lyre ; adjoining it, the Flaying of Marsyas; 3. Philosophy (causarum cogniiio)j 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. Justiob (jus suum unicuique tribuit), with crown, sword, and balance ; adjacent, Solomon's Judgment.
Mural Paintings. Under the Theology: 1. Thb 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 Olorificaiion 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- gious sentiment is clearly indicated, but a definite basis for its formal expression is also obtained. In the Uppbb Halp is Christ enthroned, attended by the Madonna and the Baptist ; above him
The Vatican. ROME. F. Bight Bank. 295
hovers the half-flgnre 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 clonds, 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. Petetj Adam, St. John the Evangelist, David, St. Lawrence, and a half-concealed personage from the Old Testament {j& prophet ?) ; on the right, St. Paul, Abraham, St. James, Moses, ,^t. 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. Vasari states that they represent SS. Domenicus and Francis, Thomas Aquinas, Bonarentura, 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 BorMLventura, and the two popes with Anacletus and Innocent III. These, however, are mere conjectures ; and as Raphael has clothed these figures in an ideal costume, he seems to desire chiefly 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 Perino del Vaga under Paul 111.), from left to right: Heathen sacrifice; St. Augustine finding a child attempting to exhaust the sea ; the Gumiean Sibyl showing the Madonna to Augustus ; allegorical figure of the ap- prehension of divine things.
Under the Poetry : 2. The Paknasstjs (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. Apollo sits under laurels playing the violin. This instrument was not chosen by Ra- phael from ignorance or for the purpose of paying a compliment to Giacomo Sansecondo, a famous violinist of that period, but on the sole ground that the motion of the hand seemed to him easier when playing the violin than the lyre. Around Apollo are grouped tb
296 V, Right Bank, ROME. The Vaiiean,
nine Muses, forming with Mm a compact central group. 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 causes the poems of Homer to be placed in the grave of Achilles ; right, Augustus prerents the burning of Virgil's iEneid. Under the Philosophy : 3. The so-called School of Athens (a name not originally applied to the work], the companion to the Pisputa, 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 Disputa, 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 AristotU^ 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 ot Diogenes lying on the steps, are unmistakable. Ptolemy (who from having been mistaken for one of the kings of that name is furnished with a crown), and Zoroaster with the globe in the foremost group on the right, are easily re- '•ognised. The names of the other figures are merely conjectural.
The Vatican. ROME. F. Right Bank. 297
The bearded old man in the comer to the left^ in profile, is sup- posed to he ZenOy the Stoic; the yine-wreathed figure beside him, holding a hook, is perhaps Epicurus or Democritus. The Oriental, who bends over the writing Pythagoras j is Averrhoes (or, perhaps, Hermes Trismegistus), By the base of a column sits EmptdocUs^ who is also looking towards the tablet of Pythagoras. The figure resting his foot on a block of marble is either Anaxagoras or Xeno" crates. Lastly, the isolated figure in the foreground, terminating the gropp to the left, is supposed to be Heraelitus. In the Socrates group aboye is a youthful warrior, representing either Aleibiades or Xer^ophon, and the figure behind the warrior, beckoning to Socrates, is said to be Chrysippus. No clue, howeyer, has yet been discoyered 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 deUa 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- cians 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'EIiodoro, 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 which the saloon de^ rives its name, represent the triumph and divine protection of the church, in connection with the age of the warlike Julius II. aD** the elevation of Leo X. Below the Moses : 1. Mibaculous Expulst
298 F. Right Bank, ROME. The Vatican.
ov Hbliodo&us from the Temple at Jerusalem by a heaYenly hoiBe* man (Macc&b. ii, 3), being an allusion to the deliverance of the States of the Church from their 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 Bai- mondi). This composition is remarkable for its vigour of expression.
Below the Sacrifice of Isaac : 2. Thb 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 repvlsbu fboh Romb bt Lbo I. , in allusion to the expulsion of the French from 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. Thb Liberation 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 Herm® 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. 8ala di Coitantiiio. The pictures of this saloon were executed under Clement VII. (Glulio de' Medici), after Raphael's death, by Qiulio Romano, aided by Francesco Penni and Raffaello dal CoUe, 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 their execution. For some of the pictures, however, particularly for the Battle of Constantino, pre- "*uinary sketches had been made by Raphael himself.
The Vaticcm. ROME. F. Right Bank. 299
On the long wall : 1. Battle of Constantine against MaxentiaB atPonteMoUe, the emperor adYancingvictoiiouBly, behind him flags with the CTOSB, Maxentlus sinking in the riyer (p. 337), flight and defeat on all sides, painted by G, Romano, This fine composition is full of expression and vigonr, bat the eolonring is less saccess* fnl. — On the left side of the piotnie Sylvester I. between Faith and Religion ; on the right Urban I. between * Justice and Charity.
2. Baptism of Constantine by Sylvester I. (with the features of Clement YII.) in the baptistery of the Lateran, by Franeesto Penni. To the left of this: Damasus I. between Prudence and Peace ; right, Leo I. between Innocence and Truth.
3. (on the window- wall) Rome pbesentbd by Constantine to Sylvbstbb I., by iJa/facito dal CoUe; left, Sylvester with Fortitude, right, Gregory VU. (?) with Power (?).
4. Constantinb's A]>dkb8s 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 Constantine, designed by G. Romano.
The Ceiling, completed under Sixtus V., is adorned with an allegpry 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 (^2 ^^0 shows the neigh- bouring *CappeIIa di Kicool6 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 Sesies represents scenes from the life of St. Stephen : 1. (to the right of the door) Stephen consecrated deacon by Peter; i. He distri- butes alms as deacon ; 3. He preaches ; 4. He is brought before the coun- cil at Jerusalem ; 5. He is dragged away to his martyrdom \ 6. His death by stoning. — Bblow, in the same order, scenes from the life of St. Lawrence : 1. Consecrated deacon by Sixtus II. ^ 2. Sixtus (with the features of Kicho- 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 Michael Angelo and the lovely forms of Uaphael, the frescoes of the Cappella KiccoJina 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.
**Baphaer8 Loggie. Leaving the Sala di Costantino, we pro- ceed to the second fioor of the loggie which enclose the Cortile di S. Damaso (comp. ground-plan, p. 289), the W. (right) wing of
300 V. Right Bank. ROME. The VaUean.
which was embellished with stucco mouldings, painted enrichments, and ceiling-paintings, from designs by Raphael and under his super- intendence, by Giulio RomanOy Giovanni 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 Qiov. da Udiney 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 Therm® of Titus (p. 237). Amongst the ceiling-paintings after Raphael's designs those in the first vault are by Oiulio Romano^ the others by Franc. Penni^ Per^ ino del Vaga, Polidoro da CaravaggiOj and others. Each of the 13 sec- tions of the Vaulting contains four quadrangular frescoes, which are together known as ^Raphael' 8 Bihle\ All these compositions dis- play rare fertility of invention and gracefulness of treatment (20 c. to the custodian who opens the door).
GszLiNa Paintinos. The first twelve vaults contain scenes £rom the Old, and the thirteenth scenes from the New Testament. We begin to the right of the principal approach, i. «. the side opposite the present en- trance. Staircase: I. (over the door) 1. Separation of light from darkness; 2. Separation of land from sea; 8. 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). — III. 1. liToah building the ark ; 2. Deluge ; 3. Egress from the ark (destroyed) ; 4. Noah^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 interprets Pharaoh's dream. — Vm. 1. Finding of Moses ; 2. Hoses 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 m'en irom the East; 3. Baptism of Christ; 4. Last Supper.
Stucco Mouldings. 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 life and habits of the artists during the execution of the work.
The decoration of the two other wings of the loggie of this story, with stucco work by Marco da Faenza and Paul Sehor, and paintings by artists of the 16th and 17th cent., is very inferior to the
The Vatican. ROME. V. Right Bank. 301
abOTe described works of Raphaers period. — Immediately to the left) in the N. (fiist) wing, is the 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 ^^O* ^^® 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 : Ouerdno^f 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 FiesoUy Scenes from the life of St. Nicholas of Bari; OuereinOy Christ and Thomas; Oiov. BeUinij M. Magdalene anointing the wounds of the Dead Christ, painted in Mantegna's school, about 1470-80 ; Franeia, Madonna with St. Jerome ; MurillOf Martyrdom of St. Peter Arbues; Benozzo Oozzoli(i)j Miracles of St, Hyacinth. — Window-wall : Carlo Crivelliy Dead Christ with Mary, St. John, and Magdalene; Qarofalo, Madonna with SS. Joseph and Catharine. — On the entrance- wall : Murillo, Adoration of the Shepherds; Afu- rillo, Nuptials of the infant Christ with St. Catharine (p. 34); Peru- gino, SS. Benedict, Scholastica, andPlacidus; *Fra AngelicOy Small Madonna with angels on a gold ground ; *Bonifacio, 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).
n. Room. On the right: *Domeniehino, Communion of St. Je- rome, one of his best works (1614). — Opposite the window: **Raphael, 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 n., who ordered the painting for S. Maria in Araccsli, 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 at Paris, to which the picture had been carried during the wars of the Revolution, has necessitated a little restoration. — **Baphael, The Transflguration, his last great work, painted for Card. Giulio de' Medici (afterwards
302 7. Right Batik. ROME. The Vatican.
Clement VU.)? ^^^ preserred down to 1797 in S. Pietro in Mon- torio. The upper part is by Raphael's own hand: Christ hoyering between Moses and Elias ; Peter, James, and John prostrate on the gronnd, dazzled by the light. The figures, 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.
III. Room. On the entrance-wall: * Titian ^ 'Madonna of S. 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. OuereinOf St. Margaret of Cortona. — Right long- wall : SpagnoUtto, Martyrdom of St. Lawrence; Ouereino, M. Magdalene; Bern. PinturieehiOy Coronation of the Virgin , 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 Raphael when a youth , from a design of his master Peru^ 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 Raphael for the monastery of S. Maria di Monte Luce near Perugia, the upper half painted by 0. BomanOj the lower by Francesco Penni (il Faitore) in 1525 ; Lo Spagna^ Adoration of the infant Christ (formerly in La Spineta near Todi) ; *Raphaelj Coronation of the Virgin, painted in 1503 in Perugino's school, for S. Francesco at Perugia ; *PeruginOy Madonna on a throne with Laurentius, LudoTicus, Herculanus, and Constantius, the guardian saints of Perugia, painted in 1496 , Saasoferraio, Madonna. — End-wall: *CaTavaggio, Entombment, one of the ablest works of the Naturalistic School. — Window- wall: *rrttan, Portrait of Nice. Marcello, Doge of Venice (1473-74), not painted from nature, but full of indlyiduality , and a good specimen of the ugliness which at once repels and attracts the spectator. Niceolb Alunno^ Crucifixion of Christ and Coronation of the Virgin, two large paintings in several sections. Between these : *Melozzo da ForU, Fresco from the former library of the Vatican, representing SixtusIV. the donor, with Card. Oiul. 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; OuidoReni^ Crucifixion of St. Peter; N. Pouaain, Martyrdom of St. Erasmus. — Right wall : F. Baroccio , Annun- ciation ; A, SaccfU , Mass of Gregory the Great (there are mosaic copies of these three pictures in St. Peter's) ; BaroeciOy St. Michel- ina. — Window- wall: *Moretto^ Madonna with SS. Jerome and Bartholomew; Paolo Veronese, Vision of St. Helena; Correggio (?),
The Vatican. ROME. V. Right \ >Sp5
Christ in a nimbus. — Left wall: Ouido Reni, Madonna, ^ Thomas andJeiome below; A. Sacchi^ St.Romuald.
Among the treasures of the Vatican, in the domain of pai must also be reckoned ^Baphael's Tapestry, exhibited in th^ leria degli Arcaxi , adjoining the Gallerie del Gandelabri (se^ rl., p. 314), and now accessible, without special permesso, to yisitors to the collections of antiquities. The tapestry was executed from car- toons drawn by R<xphael 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 feU into the hands of the French, and was sold to a Genoese Jew, from whom it was lepuichased 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 Maboinal Soienes 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 pupil Giovanni da Udine. The following are the Pbingipal Sgbnes. Ut Section: io the left, *1. The people of Lystra about to offer sacrifice to Paul and Barnabas^ *2. Paul preaching; *3. St Peter receiving the keys; *4. Death of Ananias; to the right, •o. Conversion of St. Paul; *6. St. Peter healing the lame man in the Temple ; *7. Miraculous Draught of fishes. — Snd 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, •IS. Stoning of Stephen; 19. Religion between Justice and Mercy; •20. 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- work era 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 Geo- graficoy a corridor 160 yds. long, with maps designed by the Do- minican Ignatio Dante, and executed by his brother Antonio under Gregory XIII. in 1580 ; ceiling-paintings by Tempesta and others ; also a number of ancient busts, some of them valuable.
3Q3^. Right Bomk, ROME. The V<Uican.
B. Antiqnitiei.
Muaeo Pio-Clementino. Museo Chiaramonti. Braceio Nuovo. Egyp^
tian Museum, Etruscan Museum,
(Comp. Plan, pp. 306^ 307.)
Pbbhbsso, see p. 124. Catalogue by ErcoU Massif 4 fr. (abridgment in English, French, or Italian, 2 fr.).
The Yatioak Oolleoteon of ANTiauinBS , the finest in the world, was begnn by the Popeft Julins II., Leo X., Clement YII., and Paul III. in the Belvedete , which was erected by BramanU under Julius II. and commands a magnificent view 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 Muaeo Pio^CUmenUno arose under him and his suc- cessor Pius VI. The museum was arranged by the celebrated E, 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 Braceio Nuovo ; and Gregory XVI. added the Egyptian and the Etruscan Museum.
The ENTaANOB 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 fiight 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 Sola a Croee Qreea^ described below. (The •glass-door opposite the staircase leads to the Library .^ p. 319.)
**MusBo Pio-Clbmbntino. *Musbo Chzasamonti. •Bbaooio Nuovo.
The **Hu8eo Fio-Clementino, 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 sculptures still begins there. According to the present arrangements, as already said, we first enter the —
I. Sala a Croee Ghreca, constructed by Simonetti, 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, near Frascati. By the steps, between the two sphinxes, ♦Flower- basket from Roma VeGchia(p. 350). At the entrance to the follow- ing room (SalaRotonda, p. 306): Bacchus. We here begin to enumer- ate the more important sculptures: 559. Augustus; 564. Lucius
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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 Citharoedus, restored as a Muse ; 589. Sarcophagus of St. Helena, mother of Gonstantine, 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 lirer-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 PrjBneste), leading to the right to the —
n. Sala della Siga, a circular hall with a cupola.
In the centre: *623. 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 *Sardanapallo8' ; *610. Effeminate Bacchus; 611. Combatant, in the head resembling Alcibiades, and in 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 inaccurately 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 (Enomaus ; 622. Small Diana.
Turning to the right on leaving the Sala della Biga, straight in front of the staircase, we reach the —
m. Oalleria dei 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 86 (to the left), Cande- labra from Otricoli, the former with a sat^r, Silenus, and a Bacchante, the latter with Apollo, Marsyas , and the Scythian ; to the left, 45, Bead of a youthful satyr ^ 82. Sleeping satyr, in green basalt. — Section II: to the right, 74. Fountain-figure of Pan, removing a thorn from the foot of a satyr; 81. Diana of Ephesus , from Hadrian*s Villa ; to the right , 88. Sarcophagus, with the murder of ^gistheus and Clytsemnestra by Orestes; 93 (to the right) and 97 (to the left), Candelabra from S. Costanza; tc the left, 104. Ganymede and the eagle; to the left, 113. Sarcophagus-re"
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of ProtesUaoB and Laodameia; 117, 119. Boys with water-vessels (fountain- flgnres) •, *113a. Ganymede carried off by the eagle , copy of a celebrated work by Leoehares. — Ssotion III.: to the right, Mosaics of dead fish, dates, etc.: 134a. Circular rim of a fountain (puteal), with Bacchanalian scenes; 134b. Modern work of the same kind. Between the last two, archaic figure of a god , on a basis bearing a dedicatory Inscription by Semo Sancus : 135. Sitting stataette of Sophocles ■, to the left, 140. Socrates ; to the left, 141, 168. Bacchus with the panther; 148. Satyr with the infant Bacchus. — Seotxon IV. ; 157 (to the right) and 219 (to the left), Candelabra from S. Costansa; to the right, 163. Draped statue of a Soman matron; to
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the right, 173. Sarcophagus, with Bacchus finding Ariadne ; to the right, 177. Agedbeggur; to the right, 184. Patron deity of Antioch; 187. Candelabrum, with Hercules stealing the tripod (Hercules, Apollo. Dionysus)-, 190. Can- delabrum, with Bacchic dance, from IKaples, a plaster-cast of the original in Paris; to the left. 194. Boy with a goose; 204. Sarcophagus, with the children of Niobej 208. Marcellus (?), nephew of Augustus; 210. Marble bowl, with Bacchic dances. — Sbotion V.: to the right, •222. Female racer, from Hadrian's Villa; to the right, 234. Candelabrum, with Minerva, Jupiter, Venus, and Apollo, from Otricoli; to the left, 240. Negro boy, i^ih implements used in the bath. — Sbgtion VI.: to the right, 253. Bar-
308 V, Right Batik, ROME. The VaUean,
copbagBS, with Diana and Endymion^ to the right, 257. Ganymede; to the left, 264. One of 17iohe*s children \ to the left, 209. Sarcophagus, with thei rape of the danghters of Lencippos by the Dioscuri. Upon the last, statue of a fighting Gaol , from the trophy of King Attalus on the Acro- polis at Athens (p. xxxin). ■— The next gallery contains the Tapestry of Baphael, p. 303.
We now descend and return to tlie Sala a Oroce Greca, and pass thiongb it (comp. ground-plan, p. 307) to the —
IV. Sala Botonda, erected nnder Pius YI. by Simonetti, after the model of the Pantheon. The floor contains an admirable ^Mosaic, found in 1780 in the Thermae 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 Septimlus Sererus; 553. Plotlna, wif, of Trajan. Then , to the left , 552. Juno Sotpita, 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 CivitJi Layinia, the ancient Lanuvium (p. 382) ; 549. Jupiter Serapis ; 548. Nerva, on the pedestal a fine relief, hut 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. Eighetti, 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 modern, **539. 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 modem crities, the head is a modification of the Lyslppus 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 j 518. Themistocles (?) ; 519. Zeno, the Eleatic; 521. Euripides. Opposite: 498. Epicurus; 500. Zeno, the Stoic; 502. ^schines, 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 hermffi from Hadrian's Villa. ■ — In the passage to the next room : 533. Minerva ; 535. Mnemosyne, mother of the Mnsea, We next enter the —
V. Sala delle Muse. We first enter an Ante-Room: (left) ♦525. ^-^cles ; 524. Sappho (?) ; 523. Aspasia, so-called from the modern
The Vatican. ROME. V, Right Bank, o
inscription on the base. Right: 531. Periander of Corinth; 53^ Lycnrgu8(?}; 528. Bias, the misanthrope of the Seven Wise Mei
The magnificent Sala itself, also constructed by Simonetti 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. Cattiopc (Muse of epic poetry) ; 511. Tcrpaicftore (dancing) ; to the left, 517. Erato (erotic poetry) ; 520. Euterpe (music). Then, on the other side: 499. Melpomene (tragedy); 503. Thalia (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 Oorybantes.
YI. 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 four granite columns, which form a passage from the Sals delle Muse into the conrt of the Belvedere (p. 309). To thb Sight: 194. Sow and Utter; 202. Colossal earners head as the aperture of a fountain ; 206. Hercules with Qeryon ; 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 Lbft: 116. Two greyhounds playing; 134a, 125a. Mosaics from Hadrian's Villa ; 124. Sacrifice to Mithras ; 134. Hercules with the slain Ke- mean lion ; 137. Hercules slaying Diomedes ; 138. Centaur with a Cupid on his back. (Adjacent is the entrance to the Galleria delle Statue, see be- low.) 139. Commodus on horseback (6emini*s model for the statue ofCon- stantine in the Portico of St. Peter's) ; 151. Sheep sacrificed on the altar ; 153. Small group of a goat-herd and his goats; 157. (in the next window) Belief of a cow and calf.
VU. Galleria delle Statue, originally a summer-house of Innocent YIII. , 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 {^U Oenio del Vaticano\ p. xxxii), found near Centocelle on the Via Labicana ; on the back are traces of wings ; above it, 249. Relief, attributed to Mich, Angelo: Cosimo I. aiding Pisa; 251. So-called Doryphorus ; *^3. Triton, upper part only, found
flO V. Bight Bank, ROME. The Vatican.
new Tivoli; 255. Paris, copied from a fine original; 256. Youthful Hercules ; 257. Diana (relief) ; 258. Bacchus ; 259. Figure with male toiso, 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 8auroctonu8y lying in wait for a lizard , after a bronze statue by Praxiteles ; *265. Ama- zon^ from the Villa Mattel ; 267. Drunken satyr ; 268. Juno, from the Thermae 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) Posidippua 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 V. near S. Lorenzo in Panisperna, where they were long revered as saints. — The visitor may conveniently qu^t 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; 396. Apollo Citharcedus, 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 Garacalla. In front of it, in the centre, a large alabaster basin , found near SS. Apostoli. 399. iEsculapiuB and Hygieia, from Palestrina; 400. Euterpe; 401. Mutilated pair from the group of Niobe (p. xxxii), 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 vrith 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 yilla ; 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.
ym. Hall of the Busts , in four sections. We begin on the right. I. Section. Above, 173. Head of Hadrian; 278. Nero as Apollo Citharcedus, with laurel-wreath ; 281. Augustus, with chaplet of ears of corn. Below, 290. Caracalla. — II. Above, ^298. Zeus Se- rapis, in basalt. Below, 303. Apollo; ♦307. Saturn ; 308. Isis ; ♦311.
Ad ofMenelaus, from the group ofMenelaus vri th the body of
The Vatican, ROME. V, Right Bank. 9 \i
Patroclus (or Ajax with the hody 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 flrat section ; 346. Hercules. — m. Above, 313, 314. Masks; 315, 316. Satyrs. In the central niche : ♦Zeus, formerly in the Pal. Verospi. To the left above, 329. Barbarian ; below , 338. Hermes (holes for the wings near the head). — IV. In the niche : 352. Woman praying, a so- called Piet^; under it an interesting sarcophagus, adorned with Prometheus and the Fates, peiliaps 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. Ckkbinetto dalle Maschere, so-called from the *Mosaic on the floor, adorned with masks, etc., found in Hadrian's Villain 1780 (usually dosed; 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 ; 429. Venus Genetrix. — Wall opposite the entrance : Four reliefs of the exploits of Her- cules; 432. Satyr in rosso antico, replica in the Capltoline; 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 Loggia Scofbbta, which commands a charming view of Mte. Mario and Soracte 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 Belvedere (comp. ground-plan, p. 307), an oc- tagonal court constructed by BramanU^ 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 *Molo8sian 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 Laaeoon, 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 TituB. It was discovered under Julius II. in 1506 near the Sette Sale (p. 182), and was termed by Michael Angelo a 'mar- vel of art'. The work (in Pentelic marble, but not of a single blocks is admirably preserved, with the exception of the three uplift
312 V, Right Bank. ROME. The Vatican.
arms, which have heen incorrectly restored by Oiov, da Montorsoli. Owing to the delicacy of the worl^manship , the dramatic suspense of the moment, and the profoundly expressiye attitudes of the heads, especially that of the father, this group forms the grandest re- presentative of the Rhodian school of art (p. xxxiv). — Then, in the Arcade : 79. Relief of Hercules with Telephus, and Bacchus leaning on a Satyr; 80. Sarcophagus with Cupids; 81. Sacrificial procession after a victory. In the niche: ""85. Hygieia ; 88. Roma, accompanying a victorious emperor, probably relief from a triumphal arch.
Second Comer Cabinet. ♦*92. Apollo Belvedere, found at the end of the 15th cent, near Porto d'Anzio, the ancient Antium. Ac- cording to the most recent interpretation, the god, whose left hand has been restored, originally held in it, not the bow, but the aegis (as 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 sanctuary of Delphi. (Comp. *Childe Harold's Pilgrimage', Canto rv, line 161.) On the left: 94. Relief, Women leading a bull to the sacrifice (the left half entirely modem). — Then, in the Arcade : 27. Reliefs with Satyrs and griffins, once forming a trapezophorus (support of a table). 28. Large sarcophagus with dancing satyrs and Bacchantes, found in 1777 while the foundations for the sacristy of St. Peter's were being laid ; 30. Sleeping nymph, a fountain-figure. 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 niches : 34. Mercury ; 35. Minerva. Then, 37. Sarcophagus with Bacchus and Ariadne in Naxos ; 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 reliefs relating to the origin of Rome ; 49. Sarcophagus with battle of Amazons, in the centre Achilles and Penthesilea , bearing the features of the deceased (p. xlii).
Fourth Comer Cabinet. *53. Mercury, formerly regarded as an Antinous ; 1. 55. Relief of a procession of priests of Isis. — Then in the Arcade : (right) 61. Sarcophagus with Nereids with the arms of Achilles ; on it the *Torso of a Nereid. — We next enter the —
XI. Vestibule of the Belvedere (comp. ground-plan, p. 307), forming an approach to the Museo Pio-Olementino , which was formerly entered in this direction. The first section of it is the —
Atbio Rotondo. In the centre a *Basin of marble (pavonaz- zetto). To the left , under No. 7, is a cippus with relief of a Dia- dumenus , or youth placing a fillet round his head , which conveys an idea of the famous statue of Polycletus (p. xxxi). On the bal- cony is an ancient *Vane , found in 1779 near the Colosseum. — To the left is the —
Atrio del MELEAGno. In the centre a ♦Statue of Meleager, of
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the imperial period , found about 1500 outside the Porta Portese. Left, 21. Colossal buBt of Trajan ; above it a late relief, showing the decline of art. — We now return through the AtrioRotondo to the —
Atrio Qvadbato. In the centre of the first hall is the celebrated * Torso of Heretde8y executed, according to the inscription, by ApoUonius 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 front 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 Barbatus, great-grandfather of the illustrious Africanus, and consul B.C. 298, ofpeperine-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 Yia Appia (see p. 257), at the same time as that of his son L. Corn. Scipio, consul B. 0. 259, and that of P. Com. Scipio (son of Africanus), flamen 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 —
*](iiseo Chiaramonti, 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 tbe right leads to the Oiardino della Pigna, to which vis- itors are not now admitted, containing nnmerous 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 1370. On the right are a colossal Pine-cone^ 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 Citorio, adorned with the Apotheosis of Antoninus and Faustina and processions of warriors. On the left is a colossal portrait- head in marble. — */l Boscareccio*, or the larger Garden of the Vatican, 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 Ccuino del PapcL, built by Pirro 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. Ulysses handing the goblet to Polyphemus ; 698. Cicero, from Roma Vecchia ; 693. Wreathed head of the young Bacchus. — XXVIII. Left : 682. Colossal statue of Antoninus Pius, from Hadrian's Villa at Tivoli. — XXVII. Left
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. — XXIV. Right: 591. Claudius; left, 589. Mercury; 588. Bacchus with a satyr; 587. Ganymede. — XXIII. Left: 563. Por- trait-bust; above, 550. Square marble slab, with a shield of Medusa in 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. Marius (?) ; 510 A. Oato M<gor (?). — XX, Right: 497. Representation of a mill; *498. Drowsy spinster; left, *495. Bow-bending Cupid ; *494. Tiberiua , a colossal sitting flgure, 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 deUe Statue. — XVm. 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. BiMt of the young Au- gustus. — XVI. Left: 401. Augustus, 400. Tiberius sitting, both from Veil. — XV. Right: 392. Hadrian; left, ♦372 A. 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- thenos by 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. ApoUo 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 modem), found at the ancient Laurentum; above, 186. Greek equestrian relief. — VIII. Right : 179. Sarcophagus of 0. Julius Euhodus and Metilia Acte, with representation of the myth of Aloestis; 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, 166. Archaic Apollo ; left, 144. Bearded Bacchus ; above , 130. Frag- ment of a relief, badly executed, but with an interesting represen- tation of the Sun and Moon as leaders of souls. — VI. Left: 122.
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Diana; 121. Olio; 120. So-called Vestal, from Hadrian's Villa. — V. Right: 107. Julius CaBsar (?). — IV. Left: 63. Minerva. — HI. 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. ^lius Verus ; left, 6. Autumn, also from a sarcophagus ; ahove, 2. Apollo sitting, a relief. — To the right is the entrance to the Braccio Nuovo (see helow).
[The S. half of the corridor, separated from the Museo Chiaramonti by a railing, contains the Gallbria Lapidaria, 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. i they were arranged and built into the walls under the direction of Oaetano Marini^ the learned founder of the modem science of Latin epigraphy. The gallery also contains ancient cippi, sarcophagi, and statues.]
The *Braooio Nuovo, which we next visit (see ground- plan), was constructed by Rafael Stem under Paul VII. 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 cipoUino , giallo antico, alabaster, and Egyptian granite. It contains 40 statues and about 80 busts. — Right : No. *5. Oaxyatide , supposed to be one of those executed by Diogenes fox 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 fox his cure of Augustus) , under the form of -^sculapius ; 20. So- called Nerva (head modern); **}S. 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. Apoxyomenoa (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 restored as Oeres (head new); 86. Fortuna with cornucopia and rudder, from Ostia ; ♦89. So-called Hesiod. ♦109. Colossal Group of the NiUj surrounded by sixteen playing children , emblematic of the sixteen cubits whic^
316 V. Right Bank. ROME. The Vatican,
the rivei rises ; at the hack and sides of the plinth a hnmorons re- presentation of a hattle of the pygmies with crocodiles and hippo- potami , found near S. Maria sopra Minerva in the time of Leo X. (p. xxxiv"). In the semicircular space hehind it, on the right : *94. Figure of Spes, erroneously 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 (hehind the Nile) is a mosaic with the Ephesian Diana, from Poggio Mirteto. By the long wall, farther on : 111. Julia, daughter of Titus fsee No. 26); •112. Head of Juno (the so-called Juno Pentini) ; '114. So-called Mi- nerva Medica , or Pallas Qiustiniani (the family to whom it form- erly helonged), in Parian marble; 117. Claudius; *120. Satyr Re- posing, after a celebrated work of Praxiteles (p. xxxii ; a better copy in the Oapitoline 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. ♦Etbusoan Museum. Open on Thurs., 9-3. Comp. Plan, p. 307.
The Egyptian Xusenm (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).
Ist Room : Three cofiinfl of mammies in green basalt, and two in painted wood. — 2nd R.: Statues, chiefly frpm 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 Tsis, near S. Haria sopra Minerva. — 3rd R. : ^Egyptian colossal statues : ' (1) Mother of Ramses (Sesostris) , in black granite , between (2) two lions of basalt, from the Thermse 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 B. : Small bronzes, including a si tula, 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 Sola delta Biga and the Sala dei Candelahri (p. 306) open, and turning to the left, up a few steps, we reach on the right the entrance to the Etruscan Museum. — Oomp. Ground-plan, p. 307.
The ^ICnseo Etmsoo-Oregoriano, founded by Gregory XVI. in ^36, occupies twelve rooms on the upper floor of the Torre de'
The Vatican, ROME. | \gM Bank. 319
Ventiy above the Egyptian Museum. It conj [S
quities excavated chiefly in 1828-36 in tin ^3
Toscanelia, and Chiusi, consisting of statues,, ^»
ornaments, and various domestic utensils in 1 teresting as a link in the history of Italian; ^ ^^ « a insight into the habits of the almost pre-hi co §'H'S'3
(To the left by the loggia, in the space befi Medea; right, by the door, another with a cont^
I. Room: Three sarcophagi of terracotta deceased on the covers. On the walls numerous ' of peculiar formation. — The II. Room is thed of the larger sarcophagi on the left is of travertt flat relief of a chariot with a bearded man ana j traces of painting are visible; numerous smaller cinerary urns, some of them of alabaster with mythological reliefs, from Chiusi and Vol terra. — III. Room: In the centre a large sarcophagus of tufa with recumbent figure and reliefs of the murder of Cly temnestra , 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; 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 the 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 Etruria itself, where Vulci, Chiusi, Volterra, Bomarzo, etc.. are proved to have ex- celled in this branch of art. The Etruscans imitatea 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 Exekitu), To the right of the window- wall are imitations of the prize- vases of the Panatheneean Festival at Athens ; \mder the 2nd window, two basins with archaic Latin inscriptions. At the door, a vase (So. 70) with two men with oil-vessels and the inscriptions : 'O Father Zeus, would that I were rich', and : 'It is already full and even runs over'. — III. Room : Arched corridor. *134. 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 •84. Vase with admirably-drawn figure of •Achilles, the pendant to which is effaced beyond recognition C^riseis?); 93. Minerva and Hercules (Vulci) ; 97. Apollo on a winged tripod. To the right, at the centre window, •103. Large vase, with whitish 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 the exit, a vase with ancient fracture and repairs. — The IV. Room contains a large collection of graceful and delicately painted goblets. The cabinet contains small vases, some of them of irregular form. On the wall above are copies of paintings in a tomb at Vulci, showing that Etruscan art was at this period completely Hellenised. Below, as the imperfectly-interpreted inscriptions
316 V. Right gatik. ROME. The Vatican.
the river lUKcate, is a historical scene, an adventure of Mastama (Servias piesentatK Cffiliufl Vibenna, besides mythological repreaentaiionfl (Ca«san- V^x iySfles slaying the victim for the funeral sacrifice of Patroclus). The y^^ ~jfe9 contain ancient glass vessels, many of which are noticeable for (.P'^nne workmanship and colouring.
Fi/We now return to the sixth room , in order thence to reach the — Zc. £ooM on the right, where BronsM of every description, domestic uten- /Bils, weapons, ornaments , jewellery , etc., are arranged. By the wall to the right the statue of a warrior, with Umbrian 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 Vulci, 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 CoBKiDOR, where water-pipes and several small bronzes are preserved.
[The XI. Boom (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 Paintinga from Cometo and Vulci, invaluable in the study of early Italian art. The most ancient style (down to about B.C. 460) is re- presented by the paintings on the narrow sides of the saloon (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. 450) 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-dev^oped 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 tiie 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 ^'Belief in marble. The turning glass-cabinet in the centre contains golden '^Ornaments ; in Uie upper section are arranged those found in 1836 in the tomb of the Begolini-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., afibrd models which are rarely equalled by Boman 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 Preeneste, p. loT), and the gold ornaments to the right and left (breastplate, bracelets, etc.), with embossed ornamentation or fine 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 dolphin's tail to the right of the biga and the spear on the wall behind; all three fragments belonged to a colossal figure of an emperor in the guise of Neptune. Beyond, a bust of a man and several mirrors with designs. In the cases, small bronzes. By the fourth
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 middle, used as decorations for the ceilings and doors of the graves. — In the XII. Boom, 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 Veiij 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. Entkahcb for readers in tiie Cortile di S. Damaso , for visitors by the glass-door at the bottom of the staircase to the Sala a Croce Greca (comp. p. 304 i visitors knock). Comp. Plan, p. 276.
At a very early period the popes began to collect documents and thns gradually fonned 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 V. 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 IV. was the first to revive the institution-, he assigned a locality under the Sistine Chapel for the collection, appointed Platina (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 Fontanay 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- tina of Heidelberg, when the town was taken in the Thirty Years* War; and in 1657 the Bibl. Urbinas, founded by Duke Federigo da Montefeltro, in 1690 the B. Reginensi$y 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 Vatican 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. The principal li- brarian Is a cardinal, at present Pitray who in ordinary business is represented by the under-librarian, Abhate Cozza, and two custo- dians. The usefulness of the library is circumscribed by the nump
320 F. Right Bank. ROME. The Vatican.
ous holidays on whicli 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. 904, opposite the staircase leading to the Museum of Statuary) a long Gobridob below the Galleria dei Candelabri, divided into several sections. — Section I: Jfuseo Pro/ano: To the right, by the door: * Bronze Head of Augustus^ one of the finest extant portrait-busts of that emperor; left, on the table a smaJl, finely executed head of Venus. The closed cabinets contain beautiful ancient and modern ornaments, etc. ; e.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 Thermae of Gonstantine, 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 Bibliotheea Ottoboniana^ the Bihlioiheca Reginensis, 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 is the entrance to the Archives). The paintings (of the 17th cent.) are in bad 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 Gicero, Dante with miniatures by Giulio CloviOy the ritual of Gard. Ottobuoni, breviary of King Matthiaa Gorvinus ^ 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. \ a cross of malachite, from Prince Demidoff; two vases of Berlin porcelain, presented by Fred. William IV. ; vase of Sevres porcelain, presented by Gharles IX. ; vase of Scottish granite, presented by the Duke of Northumberland to Gard. Anto- nelli; font, in Sevres porcelain, in which the Prince Imperial (d. 1879) waa 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. j vases of Berlin porcelain, presented by King William T. of Prussia, afterwards German Emperor : huge block of malachite, from the Grand-duke Gonstantine 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 Uie 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 Aristides , r. Lysias. — We next enter the —
Museum of Christian Antiquities (superintendent. Commendatore Oiov, Batt. de Boee(). The 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 diptychs and triptychs in ivory. — The 2nd Room, the Stanza de" Papiriy with ceiling-paintings by Raph. MengSj is filled with documents on papyrus of the 5th-8th cent., found at Ravenna. — The glass-
The Vatican. ROME. V. Right Bank, 321
cabinets of the 3rd Boom contain a large number of small pictures of the 13th-15tb 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 Valeria Vieentino^ presented by Pius IX. The hand- some carved priedieu of Pius IX. is of French workmanship. The adjoin- ing room, formerly the Chapbl op Pids 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 Ms 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 Pietnres. On the floor, ancient mosaics. On the right wall : Phsedra and Scylla^ above, Ulysses and Circe j then the so-called *Aldo- brandine Nuptials^ one of the finest ancient pictures in existence, found in Borne in 1606^ next to it, to the left. Warrior in armour, found at Ostia in 1868 ; above it, Ulysses encountering the Leestrygones \ to the left , by a door. Ship being loaded, found at Ostia in 1867. By the window, oriental gold and silver trinkets and platO] presented by the Emperor of Siam to Pius IX., with his photograph. To the left and right of these: Myrrha and Pasiphae. By the long wall, farther on : the spies of Ulysses among the Lsestrygones •, 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 *Ganace. 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 ot Ancient Tile-stampe and i/ayolica, 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 Monsiffnor Oiecolinif one of the prefects of the library. We first enter the so-called Torre Borgia (p. 286), two small rooms, the first of which is adorned with ceiling-paintings by Giovanni da Udine and Perino del Vaga. The paintings on the spandrils and the prophets and sybils in the lunettes are ascribed (probably wrongly) to Pinturicchio, In the second room are twelve apostles and prophets. The decorations in both rooms are much damaged. — We descend a few steps, and enter the Hall of thb Liberal Arts: Astrologia (above the window), Oram- matica, Dialectica, Bhetorica, Oeometria, 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 Elisabeth ; 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 family). — 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 lai^e Saloon, containing Cardinal Mai*8 Library, is adorned with paintings and stucco-work by Qiov. da Udine and Perino del Vaga, in bad preservation.
The Studio del Mosaico, or Papal Manufactory of Mosaic, is under the gallery of the inscriptions ; entrance in the left angle of the farther side of the Cortile di S. Damaso (p. 286). Permessl ob- tained at the Segretaria, comp. p. 124. Nnmerons hands are employed here in copying celebrated pictures for churches, etc. The material used is a kind of coloured glass, of which there are 10,000 different shades. — The papal Armoury and the Mint (L
Baedeker. Italy II. 10th Edition. 21
322 y. Right Bar^, ROME. The Lungara,
Zecca ; now in the hands of government) near the Vatican contain a few objects of interest, e,g. all the papal coins from the time of Hadrian I., and most of the dies since Martin Y.
The Lungara.
The Borgo is connected with Trastevere by the Via dblla Lun- QABJLf %M. in length, constructed by Julius II. The Borgo is quitted by the Porta di 8. SpirUo (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 which closes the new Passeggiata, ascends in 5 min. to —
*S. Onofiio (PI. II, 7), on the slope of the Janiculum, erected about 1430 by Niceolb da Forea 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 (V2 ft-)*
Lbpt Sids. The Ist Chapel contains the tomb of the poet Torqnato Tasso, who died in this monastery in 1595; the monument was erected by Pius IX, i9 1867, the statue is by De FabrU. In the 2nd chapel, the tomb- stone of the linguist Card. Mezzofanti (d. 1849). — Biiqjbx Side. The 2nd. chapel contains a Madonna, altar-piece by Ann. Canraeei. At the end of the right wall: monument of Archbp. Sacchi (d. 1506); in the lunette St. Anna teaching the Madonna to read, by Pintwricchio. The Tbibume contains restored frescoes, the upper attributed to Perutzi^ the lower to PifUurieehiOy probably both by Pmrttzti.
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, 1595. 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 Margherita, described at p. 330, intersects 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 1842), under which Tasso was in the habit of sitting. Admirable *View.
In the Lungara, on the left, is the Ospizio de' Pazzi (PI. I, II, 7), a large lunatic asylum erected by Pius IX.
Farther on, to the left, is a chain-bridge (PL U, 10; toll 5 c); on the opposite bank rises S. Giovanni dei Fiorentini (p. 20*3^. Opposite the bridge, in the Lungara, is the extensive Palazzo Sal- viati (PL II, 7), with a handsome court of the 16th cent. , now a ^CoUegio Militare' (cadet academy). The adjacent garden , con- verted in 1837 into a BotarUcal Oarden (visitors ring at the small ^oor on the right), contains rare and beautiful trees and plants.
The Lungata, ROME. V. Right Bank, 323
Farther on in the Lnngara, ahont ^4^. from the Porta S. Spi- rito and opposite the Pal. Corsini (p. 324), is the —
♦♦Villa Famesina (PL n, 11 ; adm., see p. 123), an exceedingly pleasing Renaissance edifice erected in 1506 by Bald, Peruzzi for the papal banker Agostino Chigi , 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 cnrtalled by the recent alterations made in the conrse 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 RomanOy Francesco Penniy and others of his pupils, with twelve illustrations of the *♦ Myth op Psyche, which are among the most charming creations of the master (comp. p. lyi). The hall was originally open , but is now enclosed by windows fox the protection of the pictures.
The series of illustratipiui begins on the left end- wall, and is con- tinned 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 godB celebrate the nuptial-banquet (ceiling-painting on the left). In this fable Psyche obviously represents the 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 suffered from exposure to the atmosphere , were retouched by Maratta. The blue ground , which was originally of a much warmer tint, us is apparent from the few portions still unfaded, was most seriousyl figured. 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 the unfavourable spaces is also remarkable.
The smaller apartment adjoining the principal hall , which was also once an open Loggia, contains a second mythological picture by Raphaely which is no less charming than the Psyche series, and
21^
324 F. Bight Batik. ROME. The Lungara.
even far sorp&Bsefl them in point of execution : ** Galatea, borne across the sea in a conch, and surrounded hy Nymphs, Tritons, and Cupids, painted entirely by the master's own hand in 1514. The *Geiling 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 mythological scenes. In the lunettes were afterwards added scenes fiH)m the Metamorphoses, the first Roman work of 3eb. del Piambo. 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 Volterra who was also engaged here, but is more probably by Peruzzi. The painted stucco-work is very deceptive.
In the comer of the entrance wall, to the left of Galatea, 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 are not admitted except by special introduction, also contains celebrated frescoes : the Marriage of Alexander with Roxana, and the Family of Darius before Alexander, by Sodoma (painted after 1520; p. Ivi).
Opposite is the *Falauo 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, i 9th April, 1689. In 1884 the palace was purchased by government and as- signed to the Accademia dt* 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. ZocateWi, 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 5 15. O. Poussin (?), Landscape ; 17, 19. Berehem (?) , Landscapes with cattle; 20. Lod. Carracci^ Pieti. A 'Madonna by Carlo Bold is also gener- ally here. On a table stands the *Corsinian Vase in silver, with the Purifi- cation of Orestes in chased work. On the walls, a number of ancient heads, some of them interesting. To the right is the —
8rd Room: 1. Ouercino., Bcce Homo-, *4, 5. Peters^ Sea-pieces; 9. Andrea del Sarto^ Madonna ; 17. Caravaggio^ Madonna ; *23. Both , Evening land- scape ; 26. Fra Bartolommeo^ Madonna, resembling RaphaeVs Madonna Ca- nigiani ; 43. Saraceni, Martyrdom of two saints ; 44. After Raphael, Julius II. ; 50. After Titian, Philip II. of Spain (original at Naples); 55. Dutch School, Kitchen-scene; 63. Conea, Adoration of the Magi; 61. Vasari, Holy Family; 52. Saraceni, Vanity ; 84. Borgognone, Cavalry skirmish ; 88. C. Dolciy Ecce Homo.
4th Room: ♦11. Ouido Reni, Herodias; 16. O. Reni, Madonna; 22. Ba- roceio , 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. PoelemXnirg {^), Landscape with the judgment of Paris, after Raphael ; also eleven small pictures from military life, erroneously attributed to Callot. Ancient marble chair with reliefs, found near the Lateran.
5th Room, in which Christina of Sweden is said to have died : Ceiling- decorations of the school of the Zuccheri. 2. Perino del Vagay Holy Family;
Museo Torlonia. ROME. F. Right Bank. 325
12. Carlo Dolei. St. Agnes : *14. Maratta^ Annunciation; 20. Lanfiranw^ Polyphemus and Ulysses-, 23. Franc. Albano^ Madonna; 44. Mare. Venusti, Holy Family, designed by Michael Angelo ; 50. 8alv. Rota, Card-players ; 51. Mare. Venusti (?), Sculptor. — In this room also is an ancient Mo$aie, repre- senting two restive oxen, with the plough and driver.
6th Room, containing ah interesting collection of portraits, most of which are worthy of notice: *43. German Master (not Diirer), Cardinal; 19. Holbein (^\ Portrait of a man, much retouched; *20. O. Romano^ Monsgr. Ghiberti; *22. Rembrandt (?), Old woman; 23. Giorgione (?), Portrait of a man; 26. SpanUh School, Portrait; *32. Van Dyek, Portrait; «34. Nativity of Mary, after Durer*s woodcut; 47. Rubens, Portrait; 50. Titian, Card. Alex. Farnese, freely retouched.
7th Booh: *13. G. PotMsin, Landscape; 21. L. Giordano, Christ as a boy in the Temple ; '22, •23, *24. Fra Angelico, Descent of the Holy Ghost, Last Judgment, Ascension; SO. is erroneously attributed to Titian ; 31, 32. N. Poussin, Landscapes.
8th Boom: 6. Claude Lorrain (?), Landscape; ^7. G. Poussin, Land- scape ; 10. PoUdoro da Caravaggio, History of Niobe, design in the form of a frieze; 11. N. Poussin, Holy Family; 12. Ere. Grandi, St. George; 13. Guido Reni, La Contemplazione ; ""IS, 21, 23. G. Poussin, Landscapes; 24. Guerdno, St. Jerome; 25. Ribera, St. Jerome; *40. Murillo, Madonna. — The adjoining Cabinet contains pictures of the older Florentine and Sienese schools, most of them of little value, and badly preserved. 23. Gher. Stamina, Madonna; 26. Spagna, Madonna.
9th Boom : 2. Teniers, Interior of a stable ; 8. Lod. Carraeei, Fietk, sketch of No. 20 in the 2nd B. ; 9. Velazquez, Innocent X. (copy of the picture in the Pal. Dona, p. 169); *28, 29. Sain. Rosa, Battles; 30. Giorgione (?), Female heads; 36 Titian (?), Portrait; 49. Gherardesca da Siena, Madonna.
The Library of this palace (adm., see p. 116; entiance hy the principal portal ; traverse the open corridor to the right, and ascend to the Ist floor), founded by Card. Neri Corsini, is one of the largest in Rome. It contains numerons MSS. and books of great value, and one of the most extensive collections of Engravings in the world.
The CorainiG'arden now belongs to the municipality (see p. 330).
At the S. end of the Lungara stands the Xuseo 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 GiaBco-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- lonia*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.
1st Cokbidob (Comp. I-X). 4. Venus with the cestus^ 19. Isisj 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. Lvsias (?) ; 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.
2hd Cobbidob (Comp. XI-XX). *64. Sitting figure of Livia, admirable in attitude and in the disposal of the drapery (comp. the statue No. 77 and the Agrippina in the Capitoline Museum); 63. Cameades; 66. Zeno; *67. Alcibiades; 68. Latona with the twins Apollo and Diana; 72. Tiberius as a hero, statuette ; *77. Sitting portrait-figure of a woman, an excelle^ Greek work, perhaps representing Olympias, the mother of Aloxan''
326 V, Eight Bank. ROME. Mweo Torlonia.
the Great (head, etc., skilfully restored); *'82. So-called Philosopher of Butpoli ; *86. Head of Hermes (in the atyle 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.
Srd Cobbidob (Oomp, XXI-XXX), 118. Ciesar; *133. Old fisherman^ a very realistic work; 137. Huse; 141. Draped statue, restored as Kiobe; 146. Venus Euploea (the goddess of navigation), found at Porto ;^ IfiO. Bas« of a candelabrum, with relief of the dancing Horn; 151, 157. Satyr and Hermaphrodite; 154. Telesphorus (the god of healiiKg), in rosso antico; 161. Sophocles; 163. Homer; 164. Augustus, sitting figure.
4th Cobbidob (^Comp, JJULI-XXZIU). 167. Fragment of a group, re- presenting Scylla devouring one of the companions of Ulysses (wrongly restored as Milo of Croton in combat with a wild animal); 173. Euterpe; 174. Cupid and Psyche. — We now return to Gomp. XXX. and pass thence into the —
I. Room {Gump. XXXIY-XXXIX). '183. Minerva t 189. Trajan » 192. Claudius, colossal busts; 202. Tiberius, statue; 228-236. The Muses; 237. Apollo Musagetes. -^ We now return to the right into the —
5th Cobbidob {Oomp, XL-XLII), 240. Female draped statue, corres- ponding to No. 290 and restored as Niobe; 249. Claudius; 260. Neptune. — From here we proceed in a straight direction into the —
II. Room (Oomp. XLIII). *225. Germanicus, bronse 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 —
6xp Cobbidob (Comp. XLIV-XLVII). 290. Draped female statue (comp. No. 240 , above) , restored as Irene with 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 C!apitoline Minervas).
7th doBBiDOB (Comp. XLVIII'LI). 301. Melpomene in the costume of a tragic actresU; 308. Marsyas; 309. Kneeling youth (perhaps Ganymede in combat with the eagle, or one of the children of Niobe), restored as a falling warrior; 310. Youthful Nero.
8th Cobbidob (Comp. LII-LV). '^232. Diadumenos, or youth binding a fillet on his brow; 343. Pompey.
9th Cobbidob (Comp. LYI-LIX). 366. Wrestler. — We now return to Ck)mp. 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 Telephus; 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 Sabcophagi (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 Cambba degli Animali (Comp. LXXII). 438. Ram carrying Ulysses out of he cave of Polyphemus. — We now return through Comp. LXXI to ■mp. LXXIII. 469. Alto-relief, called Medea and Jason, but perhapa ercules and the Hesperides. — We then pass through Comp. X. to
Trastevere, ROME. K Right Bank, 327
Camp, LXXIY. 463, 464. ApoUo and Marsyas^ 466. Hermaphrodite; 467. Vase with marine deities. — To the tight, Comp; LXXV, •470, 473, 476, *477, 480. Athletes. — We now return through Comp. LXXIV into the —
Boom op ths Abchaic Soulptubbs (Comp. LXXVI). 481. Spes-, 483. Priestess; 483. Diana of the Ephesians ; 486. Canephora (Garyatide) of sim- ilar type to those at the Villa Albani (p. 339). — **490. Vesta, formerly in the Giustiniani collection, poasibly an original Greek work, from some temple of the goddess. 17o other extant example conveys do true an im- pression of the solemn dignity that distinguished the representations of the gods in the lofty period of Greek art(Friedrich8). — 498. Venus; 501-. Apollo; 503. Cybele. — We return through Comp. I»XXIV to the —
Gallebt of Impebial 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 speciallv interesting either for their excellence or their rarity : 514. Livia ; 5l0. Hsecenas; 516. Agrippa; 533. Galba; 545. Hadrian; 552, 553. Marcus Aurelius; 556. Lucius Verus; 569. Garacalla; 571. Geta; 588. Pupienus Maximus; 611. Helena Fausta.
Numerous architectural fragments of all kinds have been buUt into the walls of the adjoining Coubt and Gabdbk.
A little to the S. of the Museo Torlonia the Yia della Langara is terminated by the Porta Settimiana (PI. II, 11), a gate in the older wall of Trastevere. — The Via Garibaldi and the Via de 8. Maria della Scala begin here ; see pp. 328 and 331.
Trastevere.
The Janioulum (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 Transtiherina, 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 well-built and handsome persons of both sexes will be observed. The inhabitants of Trasteyere maintain that they are the most direct descendants - o^ the ancient Romans , and their character and dialect differ in many respects from those of th€ citizens of other quarters.
Trastevere is connected with the city by four bridges, the most N. of which is the Ponte Sisto (PI. II, 11), constructed under Sixtus IV., in 1474, on the site of the Pons VaUntinianij 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, during which the water rose 56 ft. above the ordinary water-mark at the Bipetta, r
328 V, Right Bank. ROME. TrasUvert.
commission wb0 appointed by government, to report on the possibility 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 Farnesina 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 Gaktbaldi (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 mln. 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 Acqna 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. Ketro 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, 197 ft. above the aea- 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).
BiOHT Side. The 'ist Chapel was decorated by 8eb. 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 prophet 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 Vcuari. — The High- Altar was once adorned by Raphaers 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 ist, St. Francis by 0. de" Veccht. By the wall near the door, tomb of St. Julian, Abp. of Bagusa, 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 *View 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 , which is crossed by the iron bridge of the railway to Civiti Vecchia ; beyond it the extensive basilica of S. Paolo Fuori le Mura. Then part of the city- wall, in front of
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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 Ayentine 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 CsbUus, the Villa Mattel and S. Stefano Rotondo, above which, on the extreme spur of the Alban Mts., is Golonna; 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- chsological Institute, the Pal. Caffarelli, the tower of the senatorial palace, parts of the facade of the Capitoline Museum, and of the church of AraccBli; 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 Gesil 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. Trinity 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 Go- 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 (p. 330).
The Via Garibaldi, which continues to ascend the hill beyond S. Pietro in Montorio, leads in 2 min. to the Aoqua Faola (PL II, 12), the ancient Aqiui Trajanaj which was supplied by the
330 y. Right Bank. ROME. TrasUvere.
Lago di Bracciano (p. 391), upwards of 30 M. distant. The aqae- dact was restored by Fontana and Madema in 1611 under Paul Y., 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. Pancrazio and the Villa Doria-Pampkilj (see p. 365).
Immediately to the N. of the Acqua Paola is the entrance to the *TaMeggiata Kargherita (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 •ViBWs of the city and the Campagna, 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 U, 14, 16), 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 65 ft.
At the Trastevere end of the bridge is the small Piazza di S. Gbisooono , which is traversed by the Via dtlla Lungaretta , the main street of Trastevere. The church of 8. Crisogono (PI. II, 15) is a basilica with aisles , a portico , and straight beams, of the i2th century. Last restoration In 1624.
The Intbbiok is interesting on account of its fine old mosaic pavement , and ancient columns , particularly the two of porphyry sup- porting the arch of the choir, which are the largest in Borne. The ceiling-paintings of the transept are by Arpino. The mosaic on the wall of the tribune represents the Madonna between SS. Ghrysogonus and James. Fine carved stalls of 1866.
In the Gontrada Monte di Fiore, to the E. of the Piazza S. Cri- sogono , an Excuhitorium 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 couri-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 i/s fr.).
After 6-6 min. we reach the Piazza di S. Mab.ia (PI. II, 15, 12), with a fountain and the church of —
*8. Kaxia in Trastevere, which is said to have been founded by Gallistus I. under Alexander Severus , on the spot where a spring of oil miraculously welled forth at the time of the birth of Ghrist. It is mentioned for the first time in 499, was re-erected by Innocent n. about 1140, and consecrated by Innocent III. in 1198. The present
Trastevere. ROME. F. Right Batik. 331
vestibule was added by G. Fontana under Clemeut XI. in 1702. In front are mosaics of Mary and the Child, 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. xlvill). The mosaics on the gable above are modern. The vestibule contains the remains of two Annunciations, one attributed to CavaUini, but now entirely repainted, and numerous inscriptions. The church has recently been restored.
The Intbsiob 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 UB70. 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 Dotnenichino. The oil-painting on copper in the centre, a Madonna surrounded by angels, is by the same master. Im- mediately to the right of the entrance to the Nave is an elegant tabernacle by Mino da Fiesole. The chapels contain little to detain the traveller. The Tbansbpt 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) j 1. tomb of Card. Stefaneschi (d. 1417), with recumbent figure by Paolo Bomano. — The ^Motaic* in the Tbibune 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 enthroned; 1., St. Gallistus, 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 Oamuccini. 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. Rochus and Sebastian, ascribed to Perugino, and a frag- ment of ancient mosaic (ducks and fishermen, the former admirable).
The Via di S. Maria delta Scala^ beginning to the N.W. of S. Maria in Trastevere, leads past the church of 8. Maria delta Scala to the ^oria Settimiana (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 Via Lungarina , is undergoing alterations to adapt It for an approach to the new iron bridge at the. Piazza Bocca della Veritk (p. 248). At present the traffic passes through the Via delta 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, lead to —
*S. Cecilia in Trastevere (PI. II, 15), originally the dwelling- house of the saint , which was converted into a church by Urban I., restored by Paschalis I., and entirely rebuilt by Card. Franc. Acqua-
332 y. Bight Bank. ROME. TrasUverc.
viva in 1725; It is approached by a spacious court , which i embellished with an ancient vase, and by a portico resting on foni columns of African marble and red granite. Festival, 22nd Nov.
Interior. The columns which formerly supported the nave yven replaced hy pillars in 1822. To the right of the entrance is the tomb oi Card. Adam of Hertford, an English prelate (d. 13%); and to the left that of the warlike Card. Fortiguerra (d. 1473). — The beautiful Hioh-Ai.tar with columns in pavonazzetto was executed by the Florentine Arnolfo del Cavnbio in 1283; adjacent is an ancient candelabrum for the Easter-candle; beneath the high-altar the recumbent *Tigure of the martyred S. Cecilia by BUf. Maderno. The saint had converted her husband, her brother, and even her judges , but was at length condemned to be executed daring 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. Callistas, 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 Tbibunb contains ancient ^Mosaics of the period of the foundation (9th cent.) : the Saviour on a throne with the Gospel, 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 chur(^ , is said to have been the bath-room of St. Cecilia , Uie pipes of which are stUl seen in the wall. — The opposite door leads to the Saobibtt, the vaulting of which is adorned with the Four Evangelists by Pinturicehio. — In the last Chapel to the right, on the altar : Madonna with saints, a relief of the 16th cent. ; on the right wall are preserved the remains of mosaics of the 12ih 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. Miehele (PI. m, 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 Grande, with the harbour.
The Via Anicia (PI. II, III, 15), passing the choir of S. Cecilia, leads to 8. Maria delf Orto , 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 —
8. Francesco a Bipa (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 Assisi resided for some time in the adjoining mon- astery. — To the N.W. of the piazza begins the Via di S. 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. 393). A large goods- station is being erected outside the gate.
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THIRD SECTION.
ENVIRONS OF SOME. 1. The Campag^a.
The vast Campagna di Roma , bounded on the N. by the Cimi- nian Forest, on the W. by the sea, and on the E. by the Apennine chain of the Sabina, affords an ample field for a number 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 be de- voted.
The Campagna , which was once covered by 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 Vico in the Ciminian 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 Latium, 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 large estates and pastures. This system inevitably entailed the ruin of the country, for a dense population and a high degree of culture alone can avert the malaria, which is produced by defective drainage and the evap-
334 Environs THE OAMPAGNA. of Rome.
oration of stagnant water in the undulating and farrowed volcanic 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 , hut 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 , wlU alone avail to restore the prosperity of the land. The large estates are usually let to Mercanti di Campagna^ or contractors on a large scale. These entrust the management of the land to a Fattore, or bailiff, who resides at the Tenuta or Casale^ as the farm-house is called. The system of tillage and the agricultural implements used are of a very primitive character.
After several hours^ slght-seeingin ehtirches and galleries visitors in Rome will find it a pleasant relief to spend the latter part of the after- noon at the Villas {Borghesej Albania' boHa-PamphilJ, etc.) situated just beyond the gates. Excursion's to the Campagna proper^ however, generally require at least half-a-day. Those whose residence in Rome is isufficiehtly prolonged should make Uie excursions in the plain in winter, and those among the mountains in the warmer seasoii. In the height of summer excursions in the plain should be avoided as much' as possible.
As far as the gates, and for i/s M. or more beyond them, the roads are dull and uninteresting from being flanked by lofty walls. A cab should therefore be taken at least as far as the gate. Pares^ see Appx. ; Carriaffet and Saddle-horses for the Campagna, see p. 119.
The traveller is particularly cautioned against the risk of taking cold, owing to th^ 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 Uie formid- able herds of cattle, especially in spring \ and the same remark sometimes applies to the dogs hy which they are watched when the herdsman is ab- sent. Predator^ attacks on travellers are of rare occurrence, but enquiiry 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 enuimerated according to the order of the gates from IS. to £. 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 l^ 25,000 and others of 1:50,000. ^or a careful' study of the topography of the neighbourhood Ntttby's ^Dintormi di Roma' (3 vols., Rome, 1849) is indis- pensable.
Prom the '2ott& del Popolo.
Trahwat to Ponte MolU, 2 M. , starting juSt outside the gate (26 c). One-hoiise carr. about 2 fr. — F*om Ponte MoUe to Acqua Aoetosa IV* M. — From, PoBte Holle to Primaporta 3Va M. (one-hor^e cart, about 10 fr.).
Porta del Popolo (PL I, 15, 18), see p. 146. On the right, just outside the gate, is the entrance to the —
♦Villa Borghese (PI. 1, 18, 21; adm., p. 122), founded by Card. Scipio Borghese, nephew of Pius V., and afterwards enlarged by tiie addition of the Giustiniani gardens. The beautiful and extensive grounds, containing several ancient statues and inscriptions, fiinn a favourite promenade. Most visitors will prefer to make the eseur-
.i^^-^-o
TheCampagncL YILLA BORGHESE. Envir. of Rome. 335
sion by carriage (cabs admitted), as benches to rest on are few and far between.
On entering, we follow a footpath which 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 thenoe 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- phaeVs Villaj and in 3 min. more an arch with a Statue of Apollo, whence the Boad 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 Hftpoleon 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.
Oronnd-Floot. I. Vkbtibulb: Two candelabra; on the narrow walls two reliefs, probably from Hie 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, mtosaics, discovered in 1835 near the Tenuta di Torre l^uova, 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 horsepian (M. Curtius?); *10. Priestess; 11. Bacchus and Ampelus. Right wall: 14. Hadrian , 16. Antoninus Pius (colossal busts) ; under No. 15 a Bacchic relief. Entrance-wall: 18. Diana.
IIL Book (1st to the right). In the centre : * Juno Pronuba, found n;ear Monte Calvi*. Left wall : 4. Ceres. Opposite the entrance : 8. Belief, Sacri- ficial prayer (of Hesiod?) to Cupid; *11. Relief, Rape Of Cassandra. Right wall : 16. Draped statue. Entrance-wall : 20. Greek tomb-relief.
IV. Roow. 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 or 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. Rook. In the centre: Apollo. Left wall: 3. Scipio Africanus, FoUowing wall : 7. Head of a Meenad or Bacchante ; 8. Melpomene ; 9. Genre- group; 10. Clio. Right wall: 14. Lucilla, wife of L. Verus. Entrance-wall: 18. Polyhymnia.
VI. Roou : *Gallery' with modern busts of emperors in porphyry. In the centre a porphyry bath, said to have been found in the mausoleum of
336 Envir. of Borne. PONTE MOLLE. The Campagncu
Hadrian; 3. Diana, restored aa a Muse; 8. Diana; 22. Baechiu; 24. Herma of Bacchus, the head of bronze, the pedestal of coloured alabaster; ^29. Herma of a Satyr in basalt; 32. Bronze statue of a boy. The figures of ^neas bearing Anchises, Apollo and Daphne, and David with the sling are early works of Bertntti,
Vn. Room, with columns of giallo antico and porphyry; on the floor ancient mosaics. Left wall : •2. 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 Corbulo) ; * 14. Head of a youth, perhaps Heleager ; 15. Boy with a pitcher, a fountain-figure; *i6. Female bust.
VIII. Rook. Left wall: 2. Athene; 4. Apollo (archaistic style). FoUow- ing wall: 6. Figure from a tomb; 7. Candelabrum with Hecate. Right wall : 8. l^ymph ; 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 8. Maria del Popolo attributed to Raphael (p. 148); 3. Isis ; 4. Paris ; 8. Female statue, inaccnrately restored as Ceres ; 10. Oipsy- woman (17th cent.): 13. Venus; 14. Female figure (archaistic); *16. Bac- chante; 18. Satyr; 19. Hadrian; 20- Satyr.
X. Roou. *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; 14. Periander; 19. Bacchus enthroned. Fine ceiling-paintings by Conea.
The upper floor is closed at present.
The Road fbom thb Pobta del Pofolo to the Pontb Molle, the ancient Via Flammia, la at first flanked by garden- walls. After 1/2 M. a road diyerges 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 Oiidio, a Renaissance edifice attribnted to Jac. Sansovino and Bald. Peruzzi, but probably not erected till 1550 or later. — The road to the Promenade on the Monti Parioll also diverges to the right.
This fine new promenade, called the Parco Begina Kargherita, was opened in 1889. On the slope of the Monti Parioli the remains of the Basilica of 8t. ValenUne^ dating from the 4th cent., were excavated in 1888. 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 Acqua 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 Jntemne^ and ends at the Via Balara (p. 341).
To the right, farther on, is 8. 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 8t. 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 Holle , which was con- structed on the foundations of the ancient Pons Milvius, built by the Censor M. iEmilius 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 by Valadier^ was added.
Beyond the Ponte Molle are several osterie at the tramway-ter- minus (p. 334). The road divides. The branch to the left is the Via Cassia, (see p. 389) ; that to the right , near the river , is the Via
The Campagna. ACQUA ACETOSA. Envir. of Rome. 337
Flaminia ; while to the extreme left is the road coming from the Porta Angelica (see below).
From the Via Flaminia, a road diverges to the left, after about 35 min., to the Val di Pussino, with a picturesquely situated 'teuuta'. 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 Holle 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 H. 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 O/2 f'O. — Not far from Prima Porta is a station of the ancient road, called Saxa Rubra; here, in the plain by the river, Maxentius was defeated in 312 by Constantine fighting under the sign of the cross (*labarum'). 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 (I1/2 M.) 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- euro, a long vaulted gateway, and beyond it an open space, on the left side of which rises the VOla di Papa Oiolio, 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 Qeound Floob are two rooms with richly- decorated ceilings by Taddeo ZuecarOy and the court with its fountain also deserves notice. — Upper Floob. Boom 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 l6th century.
The *Vicolo dell' Arco Oscuro' leads hence back to the (1/4 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 Hadama, sit- uated on the N. slope of the Monte Mario, and about 2 M. from the Porta Angelica. The villa was erected by 0. Romano from RaphaeVa designs for Card. Giulio de' Medici, afterwards Clement VII., and subsequently came into possession of the Princess Margaret, daugh- ter of Charles V., from whom it derives its name (comp. p. 192).
Bajsdbkbb. Italy II. 10th Edition. 22
338 Envir, of Rome. MONTE MARIO. The Campagna.
It next belonged to the Farnese family, and then to the kings of Naples. The building is in a very dilapidated condition. It contains a pictnresqne , overgrown fonntain-basin , and a fine *Loggia with mouldings and half-effaced frescoes by Giulio Romano and Giovanni da TJdine. Beautiful view. (Fee 1/2 ^r-)
Honte Mario was anciently named Clivus Cvrmae, in the middle ages Monie Malo^ and its present name is derived from Mario Mel- lini , the owner in the time of Sixtus IV. of the ViUa Mellini on the summit. This villa is now included in the Forte Monte Mario, and visitors are not admitted.
By the high-road issuing from the Porta Angelica (comp. PI. I, 8), and running to the N.W., the Villa Mellini and the fort are about 2 M. from Rome (omn. hourly, No. 25, p. 2 of the Appendix). If we follow the road for V« M. more, passing the church of 8. Onofrio (on the right), and then take the field-road leading back towards the left, we 'reach the Valle delP Inferno, a deep ravine overgrown with cork-trees, over which we obtain a charming peep of the dome of S. Peter''s, framed by the Alban Mountains.
From the Porta Salara.
From the Porta Salara to the Fonit Salaro, 2 M. — From the Ponte Salaro to the Villa Bpada (Fidenee), 2Vs M.
The Porto Salara (PI. I, 27), which, like the Porta Pia (p. 341), was seriously injured by the bombardment of 20th Sept., 1870, has been restored. The removal of its two towers brought to light a well-preserved ancient monument in *peperino', resembling that of Bibulus (p. 163).
The Via Salara (PI. I, 27), a very ancient load, quits Rome by the bank of the Tiber and then turns towards the country of the Sablnes. On this road, to the right, Va ^- ^^om the gate, is the —
♦Villa Albani, founded in 1760 by Card. Aless. Albani, built by C. Marchionne, 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 column in the middle, and then to a Tbhracb 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- gliardOj a small building flanked with cypresses ; on the right in the crescent is the ^Caffh\
I. Casino. Ground Floor. Vestibulb. In the six niches : 54. Tiberius (?)^ 69. L. Verus? 64. Trajan. Farther on, on the other side of the stair- case in the vestibule mentioned below : 72. M. Aurelius; 77. Antoninus Pius ; 82. Hadrian. In the centre , 61. Sitting female figure (Faustina) ; 66, Circular Ara with Bacchus, Ceres, Proserpine, and three Horse; 74. An- other with female torch-bearer and the Seasons ; 79. Sitting female figure (perhaps the elder Agrippina). By the pillars on the left and right are ^ermee : by the first on the right , 52. Hermes \ by the 5th on the left, 68.
The Campagna. VILLA ALBANI. Envir, of Rome. 339
Female, and on the right, 67. Male double herma ; by the 7th on the right, 80. Euripides. — We now return to the beginning of the Vestibule and enter the Atrio dblla Gasiatidk, to the left : 16, 24. Two canephone, found between Frascati and Monte Porzio (baskets new). In the centre, 19. Carya- tide, by the Athenians Criton and Nicolaut (the names engraved on the back of the vessel), found in 1766 near the Csecilia Metella; on the pedestal, 20. so-called *Capaneus struck by lightning. In the Oallset adjacent, on the left : hermee; the third to the right, 45. Scipio Africanus; to the left, 29. Epicurus.
From the vestibule we pass through a small ante-room on the left to the Staibcabb. In front of the staircase (left), 9. Roma sitting on trophies (relief). Adjacent, 11. Belief of a butcher^s shop. On the staircase, reliefs : on the first landing, (r.) 885. Death of Niobe's Children; (1.) 889. Philoctetes in Lemnos (?) ^ third landing, above, 898, 899. Dancing Bacchantes.
Upper Floor (when closed, visitors ring; Va fr*)*
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 SU' phanot , a pupil of Pasiteles. Opposite : *915. Cupid bending his bow, per* haps a copy of Lysippus. — On the right —
II. Galubsia Obahdb, the principal saloon (on the ceiling Apollo, Mnemosyne, and the Muses, painted by Raph. Menga). In the niches of the entranee-wall : «1012. Pallas, and 1010. Zeus. Beliefs (over the door) : 1004. Apollo, Diana, Leto in front of the temple of Delphi (archaistic ehoragie 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 the most part antique. — By the left wall : 1020. Two women sacrificing; to the right, 1007. Dancing Bacchantes. By the window-wall : 1005. Hercules and the Hesporides ; 1009. Deedalus and Icarus. Beautiful view from the balcony.
To THE BiOHT of the principal saloon: III. First Boom. 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 ari is so justly cele- brated. By the entrance- wall, (r.) •1034. Theophraatus ; window-wall, (1.) 1036. Hippocrates ; wall of the egress , (r.) lOW. Socrates. — IV. Second Boom. Wall of the entrance, on the right : 35. JPinturicchio (?) , 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. Bight wall : 36. Niceolb AlunnOy 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 Boom. Wall of the en- trance , (r.) 49. Van der Werff^ Descent from the Cross. Bight wall : 55. Van Dyek^ Christ on the Cross. Opposite the entrance, 59. Salaino^ Madonna.
To THE Left of the principal saloon : VI. First Boom. Over the chim- ney-piece, *994. the celebrated Belief 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 Boom. 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) Boom: 21. Holbein {1)^ Portrait, 1527; 20. Raphael^ Fomarina, a copy; *18, *17. Qiulio /Romano ,1 coloured designs (in oils, on pai>er) for the frescoes from the myth of Psyche in the Pal. del Th at Mantua. The cartoons of Domenichino, and several other pictures formerly here, have been removed to a room on the lower floor, which is at present closed. — IX. Fourth Boom. In front of the window :
*966. .ffisop, perhaps after Ly$ippu»^ the head beautifully executed. In the niche in the entrance - wall , 952. Apollo Sauroctonus, after Praxiteles.
I, a: 22*
Opposite, 933. Farnese Hercules, a small copy in bronze. Window-wall on the right, (r.) 942. Sjmall sUtue of Diogenes. Exit-wall, (1.) *957. Small
340 Envir, of Rome. VILLA ALB ANI. The Campagna.
relief of the Apotheosis of Hercules \ on the pillars at the sides a record of his exploits is inscribed (resembling the Tabula Uiaca in the Capitol, p. 220).
— X. Koom with pictures of inferior value. — XI. Boom with tapestry.
Returning to the oval saloon, we again descend to the — Ghround Floor, and inspect the other wing of the vestibule. Here, at the extremity to the left, corresponding to the Atrio della Gariatide, is the :
I. Atbio dklla Giukone. 91, 97. two Ganephoree^ 93. So-called Juno. —
II. Gallsbt. In the niches, n03. Bacchante with Nebris*, *106. Satyr with the young Bacchus. Some of the hermee by the pillars are fine, but arbitrarily named. — In a straight direction: III. Stanza dbij<a Golonha (generally closed, fee 25 c. ). Antique columns of variegated alabaster, found in the Marmorata. 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 delle Tebsacottb. By the left wall, close to the entrance: 146. Greek tomb-relief^ 147. Greek votive relief. Beyond the door: 157. Love-sick Polyphemus and Gupid ; 161. Diogenes and Alexander. Opposite the entrance, lo4. Deedalus and Icarus, in rosso antico. Below, 166. Ancient landscape-picture. On the right wall, 171. Hask 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. Rook. In the centre, Leda with the swan.
— VII. Room. 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 with eippi (tombstones), leads from the last-named apartments of the Casino to the —
II. BlOLlA&l>0, containing a few unimportant antiques, and to the —
III. Oaff^. In the semicircular Hall, to the left: 594. Herma of Alci- biades; (1.) 604. Statue of Hars; 610. Ghrysippus-, 612. Apollo reposing; 628. Garyatide. Farther on, beyond the entrance to the saloon : (1.) on a detached column, 721. Homer. Adjacent, 725. Garyatide; (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 (3eres. — We now return to the midd e of the hall and enter the Antb-Room. Here, in the section to the right, 711. Iris; (1.) 706. Theseus with ^thra, perhaps a sarcophagus-relief. In the section to the left, 641. Marsyas bound to the tree; (1.) 639. Relief of Venus and Oupid. 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, 6d3. Mosaic with meeting of seven physicians or mathematicians. Oorresponding 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. CSolossal head of Serapis, in green basalt.
Before entering the hall of the Gaffe, 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 *Herm8e of Tritons.
The Gaeden also contains many antiqne statues , among which the colossal busts of Titus on the left , and Trajan on the right, below the terrace in front of the Casino, deserve mention.
We may now return by the avenne of evergreen oaks, which is entereid by an arch at the end of the left gallery of the Casino. In
The Campagna., PONTE SALARO. Envir. of Rome. 341
the centre of the avenue is a colossal bust of the Geiman anti- quarian Winckelmann , a friend of Card. Albani, the founder of the villa, hyE. Wolffs erected by order of Lewis I. of Bavaria. — An an- nexe of the villa, in the Yia Salara, contains a Collection of Plaster 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 1/2 M. beyond the Villa Albani a broad road diverges to the left to the new Parco Regina Margherita (to the Acqua Aofetosa 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. Costanza. 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 Veil 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 Scannahechi , the ancient AUia , 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 IV4 H. (omnibiu Ko. 18, p. 2 of the Appendix) ; thence to Ponte Nomentano and Mom Sacer^ to which point most travellers wiU extend their walk, also 11/4 H.
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 repaired. On the outside, to the left, a memorial tablet, bearing the names of 33 soldiers of the Italian army who fell on the occasion, marks the place where the breach was made. To the right of the gate is the old Porta Nomentana, walled up since 1564, which led to Nomentum
342 Envir.ofRome. S. AONESE FUORI. The Campagna.
(p. 343). — A new suburb is springing up outside the gate, like that adjoining the Via Salara (see p. Bil).
Following the main road, the ancient Via Nomenianay past the Villa TorUmia (on the right; no admittance), we reach, on the left, 11/4 M. from the gate, —
* S. Agnese Fnoii le Hura, a church founded by Constantine, 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 VIII. 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 arohiepiscopal robes are woven.
We enter hj 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 conunemoration of an accident which happened to Pius IX. on 15th April, 1865. 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 Staiboaab with 45 marble steps descends. On the walls of the staircase are numerous ancient Christian inscriptions from the catacombs.
The Iktkbiob 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 galleries 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, ^MataicSy 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 *Eelief 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 which descends toS. Agnese, and descending to the right, we reach —
8. CoBtausa (if closed , apply to the custodian of S. Agnese, 7s fr.), originally erected as a monument by Constantine 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 wall 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, V4 M. from this point, see p. 363.
About 2^2 M. from the gate , the road crosses the Anio by the Fonte Nomentano » an ancient bridge which has been frequently restored , surmounted by a tower. This road is also bordered with
The Campagna. S. LORENZO FUOBI. Envir, of Rome. 343
ancient tombs. Beyond the bridge is a hill, conjectured to be the Mons Sacer rendered 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 poad 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 yomentunij 14 M. from Rome, where a hattle between the Qaribaldians and the French and Papal troops took place on 3rd Nov., 1867 (p. 68). The district is extremely bleak at places, bat affords beautiful views of the slopes of the Sabine Mts. From Mentana to Monte Roiondo 2 M., at the foot of which the railway-station of the same name is situated (p. 68).
From the Porta 8. Lovexuso.
Tramway from the Piazza delle Terme to S. Lorenzo, see Tramway- line '&0. 2^ p. 3 of the Appendix. Omnibus from the Piazza della Conso- lazione via the Forum Bomanum, see Omnibus-route, No. 17. r- Steam Tramway to Tivoli^ see p. 374.
The Porta 8, Lorenzo (PI. II, 31) stands on the site of the ancient Porta Tiburtina, which led to Tivoll. 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, y^M. from the gate.
The basilica of *8. Lorenzo Fuoxi le Mnra occupies the spot where Constantino founded a church on the 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 V. 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. S. 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. Constantino, 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 frescoes of the 13th cent., two tombs in the form of temples, and two rude Christian sarcophagi. The door-posts rest on lions.
The Interior consists of two parts. The anterior Later Chubch, which chiefly dates from HoNoains III., consists of nave and two aisles, separated
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, hut without authority, to have heen brought from the colonnade of Octavia, where two sculptors Batrachus (fi^g) and Saurus (lisard) are said to have adopted this method of perpetuating their names. Above the plain entablature rises a wall recently adorned with frescoes by Fraceassini (on the right, history of St. Lawrence j on the left, that of St. Stephen), and the gaudily-painted open roof. The pavement, in opus Alexandrinum, dates from the 12th cent. (p. xlvii). Under a mediaeval canopy to the right of 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 the N. aisle a flight of 12 steps, on the left, descends to a chapel and the catacombs.
Adjoining this building of Honorius on the E. is the Oldbb Chubch. erected by PslagiuBj the pavement of which lies 3 ft. lower. The raised central itpace, - to which seven steps ascend on each side of the 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 fluted columns of pavonazzetto with Corinthian capitals (those of the two first are formed of trophies , on the benches in front of them are mediaeval lions) support the * Entablature , which consists of antique fragments and l^ears 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- em. 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 Tonib of PivA 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 '^Cloistera (^Chiostro; 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 comer to the right of the principal entrance is the lid of a sarcophagus adorned with the trium- phal procession of Cybele.
Adjoining the churcli is the Campo 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 the entrance are colossal figures of Silence, Charity, Hope, and Meditation. Among the numerous handsome monuments are one commemorating the Battle of Montana, erected in 1870, and another (with statue) to the poetess Erminia Fua-Fusinato (d. 1876). On the whole, however, the cemetery is less interesting than those in several other Italian towns. Fine view of the mountains and the Campagna from the higher part of the cemetery , reached by several flights of steps.
The Campagna, TOR DE* SCHIAVI. Envir, of Borne. 345
From the Porta Haggiore.
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 Via Praenestinaj 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 21/2 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 HexagoncU Structure^ almost entirely fallen to decay. A column in the centre and the additional erection on the summit, both mediaeval, 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 CoUmibaria.
The Via Collatina , diverging here to the left , skirts the Acqua Vergine and leads to (91/2 M.) lAinghezza (p. 373). — Beyond this point the Via Prsenestina offers little of interest, except the con- tinuous view of the mountains.
On the Via Freenestina, SVa H. from the gate, are the ruins of Tor tre Teste and Tor Sapienza^ the so-called Villa of the Oordiani, About 31/2 M. farther on the road crosses the Fbsso di Ponte di Nona by an ancient bridge of seven arches. Near the Otieria delP Ota^ 2 M. farther on, to the left of the road , is the site of the ancient Oabii, on the bank of the drained Laffo di Ccutiglione. Some ruins are visible near the conspicuous tower of Castiglione^ the most interesting of which are the hewn stone remains of the4celebrated temple of Juno Gabina.
At the Osteria dell' Osa the ancient Via Preenestina 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 Coreolle and Passerano, to Qallicano (lO M. from the Osteria deir Osa). The ancient and modem roads unite just before the last-named
8 lace at the Osteria di Cavamontey 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 S. Pattore to (5Va M.) Palestrina (p. 3S3).
The road leading to the right from the Porta Maggiore, the an- cient Via Labicana J now called Via Casilinaj is more frequented than the preceding, and is traversed thrice a week by a *vetturino'. On this road , I3/4 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 (88. Pietro e Marcellino ; cata- combs, see p. 363), is named Torre Pignattara from the 'pignatte', or earthenware vessels used for the sake of lightness in the con- struction of thQ vaulting, as was customary during the empire, but
346 Envir, of Rome. VIA LATIN A. The CampagfM.
is otherwise uninteresting. Tone Pignattara is a station on the steam- tramway to Marino (p. 367).
About 8 M. from the gate, near the PorUe delta C<Uema^ is a modern aqueduct, the Aequo Felice (p. 347). Farther on, to the left^ are remains of the arches of the ancient Aqua Alexandrina. A lake (41 Laghetto'*), now drained, to the left of the road, at the foot of the lionU Faleonst is supposed to be the famous Lake ReffUlut , where the Romans defeated the Latins (6. C..496). — On an isolated eminence > 15 M. from Rome, lies Golonna^ beyond which, nearer the lofty Monte Compatri, lay the ancient Labicum. — The road gradually ascends to the Otteria di 8. Ceeareo, a thatched cottage to the left (good wine), beyond which it forks. The branch to the right leads vi& Lugnano (recently erroneously renamed Labico) to (6 U.) Vaimotitone (p. 382); the left branch leads to (i'/s M.) PalestHna (p. 383).
Prom the Porta S. Giovanni.
From the gate to the Tombs 2V4 M. ; thence to 8. Urbano s/i M. (p. 351). Driving is practicable as far as the tombs. Custodian on the spot from noon to sunset, except in summer (fee Va f'** for a party 1-1 i/a fr.). — From this point we may cross the meadows to Porta Furha (Va ^Oj and thus combine the two excursions. Those who are driving should order their carriage to meet them at Porta Furba.
Porta 8. Oiovanniy see p. 273, and comp. PI. Ill, 33, 36. — The ancient Via Latina diverged from the Via Appia outside the Porta Gapena ; the now closed Porta Latina in the wall of Anrelian 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 , several of which , interesting especially on account of their decorations , were excavated in 1862.
We follow the road to Albano (the 7ia Appia Nuovd), command- ing beautiful views, in a straight direction. At the Trattoria £al- dinotti the road to the left leads to Frascati Qp. 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, Tothba dei Vakrii, 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 sacellum with two columns. The interior of the chamber is decorated with interesting •Reliefs in stucco, sea-monsters, nymphs, and genii.
The 2nd Tomb, Toniba dei Paneraiii^ under a shed opposite, contains in its single chamber landscapes framed in stucco '^Ornaments and four stucco reliefs (Judgment 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 Srdandith cent., but the plan and arrangements 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 Batiiica^ dedicated to 8t. 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, 1/4 M. farther, a road diverges to the cold mineral-baths of Acqua Santa , passes the circus of Maxen- tius and S. Urbano, and leads to the Via Appia near the Catacombs of Callistus (pp. 361, 348). The Osteria del Tavolato , on the Via
The Campagna, PORTA FURBA. Etwir. of Rome. 347
Appia Naova, V4 M. farther on, is a station on the Marino tramway (p. 367).
PoBTA FuHBA. 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, 3-4 fr.)-
From Porta 8. Giovanni 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 Civiti Vecchia. To the left runs the unbroken series of arches of the Acqua 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 Aqua Marcia, 56 M. long, constructed by the Prator Q. Martins Rex in B.C. 146, and restored in 1869, enters the city by 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 £mp. Clau- dius, extending from Subiaco, a distance of 59 M. — To the right, a view of the Via Appia with the tomb of Caecilia 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 *Oitefia 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 *Panosama. A long shaft leads to an ancient circular tomb-chamber in the interior of this hill, where the so-called sarcophagus of Alexander Severus (p. 217) was found.
From the Porta S. Sebastiano.
The ezcarsion to the Via Appia by carriage, including halts, re- quires 3-31/2 hrs. (one-horse carr. to Casale Botondo and back, 9-10 fr.). Good walkers will take 4i/2-5 hrs. : from the arch of Gonstantine to Porta S. SebMtiano , IV4 M. *, from the gate to the Catacombs of St. CallistuSy V/t M. \ thence to the beginning of the excavated part of the ancient Via Appia , 1 M. i to the Casale Rotondo , 2 M. more. — The traveller is re- commended to drive as far as the Catacombs of Callistus (2V2 f'O? 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 Xo. 2, p. 3 of the Appendix) at about 11 a.m. from the Plaesa delle Terme as far as 3. Lorenzo fttori, change there to the steam- tramway for S. Harino, alight at Le Capannelle (p. 367, 1 fr. 20 c), and pro- ceed thence to (I1/2 M.) Casale Botondo. It is not advisable to adopt this route in the reverse direction, as there is no waiting-room at Le Capan- nelle, and the trains run very irregularly.
The route by the Via di Porta S. Sebastiano to the Porta S. Se- hastiano (PI. Ill, 28), and the ruins and buildings situated near it, are described at pp. 254 et seq.
348 Envir. of Rome, YIA APPIA. The Campagna.
Tho *Vi» Appia» the military road constructed by the censor Appius Claudius Gscus (in B.C. 312), led by the ancient Porta Capenay 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 Cam- pagna. Shortly after leaving the city, we enjoy a magnificent pro- spect, embracing the Campagna, the ruins of the aqueducts, and the inoun tains, 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 Martia , and after 4 min. passes under the railway to Civitk Yecchia. It then (3 min.) crosses the brook Almo, where ruins of tombs are observed on both sides. The Via Ardeatina now (5 min.) diverges to the right j 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 iterum cruciflgi'} 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 i^/s M. from the gate, lies the picturesque CeefiiffnolOy with an old tower; the castle and garden were added by Paul V« and Leo XII.
By a small circular chapel, about a hundred paces beyond the church, a fleld-road diverges to the left, to the Caffarella Valley (see p. 351). The road now ascends, being hemmed in for the next 1/2 M. by monotonous walls. To the left, in the Vigna Vagnolini, are 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, IV4 M. from the gate, is the entrance to the Catacombs of St. CalUstus (p. 361), furnished with an inscrip- tion , and shaded 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. Urbane (p. 351) and the baths of Acqua Santa (p. 352), and unites near Le Oapannelle (p. 347; 21/2M. from the bifurcation) with the high-road to Albano.
We follow the branch of the road to the right, the *Via Appia Antica', descend past the entrance (on the left, No. 37, Vigna Ran- daninl) of the Jewish Catacombs (p. 363) , and reach the church of ^.Sebastiano, situated IV2 M. from the gate. This church has from
The Campagna, VIA APPIA. Envir. of Rome. 349
a very early period been one of the seven churches 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 Oiovanni 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 C. Maratta. Over the High Altas is a painting by Innocenzo Taceoni, 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 Oiorgini. A staircase on the left, by the egress, descends to the Catacombs (p. 363).
Immediately before we come to the church , the Via delle Sette 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. Petronillaj or of SS. Nereo ed Achilleo (see p. 362). Thence to S. Paolo Fuori U/^ 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 Mazen- tiu8 , 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 building (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 Forta Libiiina, 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 metae, 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 constructed.
The road again ascends, and, in 35 min. from the Porta S. Se- bastlano, leads us to the *Tomb of Cseoilia 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 frieze which runs round the building is adorned with wreaths of flowers and skulls of oxen , from which last the tomb is sometimes called Capo di Bove. On a marble tablet facing the road is inscribed : Caeeiliae Q. Cretici Filiae MeteUae Craasi, i.e. to the daughter of Metellus Creticus, wife of the younger Crassus, son of the triumyir. The interior, now al-
350 Enohr, 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 visible 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 2^4 M. from the city-gate, beside the osteria of the Vigna Savi^ 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 Anticaj an outwork of the new fortifications of Rome.
About 174 M. from the Vigna Savi, on the left, is a 'casale' built within the walls of an ancient church, which is called 8. Maria Nuova, Beyond it lie the extensive ruins named Roma Vecchiaj 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 Vetrinum, 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 (7Va M.) is less interesting. Among the tombs may also be mentioned, on the left, 2 M. beyond Tor di Selce, the circular TorracciOy or Palomiaro. At the ilth milestone the road is crossed by the railway, a little beyond which is the Osteria delle Fratocchie^ where the old road and the Via Appia Xucva unite. On the left side of the road Clodius once possessed a villa; to the right in Uie 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, with three niches, was long erron- eously regarded as the tomb of Clodius. The road ascends. The high ^ound here commands a fine surrey of the Campagna, the sea, and Rome. Tear the gate of Albano, at the 14th milestone, on the left is the so-called omb of Pompey (p. 369).
TheCampagna. GROTTO OF EGERIA. .BnviV. o/' jRom«. 351
Tbmplb of thb Deus Redioultjs. Gbotto of Egbbia. S. Ub* BANO. — From the Arcli of Constantine to Domine Quo Vadis about 2 M., thence to B. Urbano U/a M. (thus far driving is practicable) •, from this point across the fields to the Via Appia Nuova and Via Latino IVs M. ; back to the Porta S. Oiovanni 2»/4 M. — Or from S. Urbano to the ancient Via Appia, reaching it not far from the tomb of Geecilia Metella, 1V« M.
At the small chapel beyond the church of Domine quo Vadls (p. 348) we take the field-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 Bediculns, 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 'turned 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 Almo^ 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 tence 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-called 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 NymphaBum, 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 Gampagna and theAlbanMts., 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. Urbano, 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 borne by four Corinthian col- umns, which was probably wailed up during the restoration in 1634, on which occasion the flying buttresses were also added.
The Intbbiob is adorned with paintings between the Corinthian
352 Envir, of Rome, S. PAOLO FUORI. The Campagna.
pilasters, restored under Urban VIII. , but interesting on account of their origin. They were executed , according to an inscription on the Crucifixion over the door, by a certain Bonixo 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. Urbane is the (2 min.) '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 CaBcilia 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 Cascilia Metella to the tombs on the Via Latina (p. 346); or, traversing the fields beyond the Via Metella , he may proceed past the Baiha 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. 347J.
From the Porta 8. Paolo.
From the Piazsa Bocca della Verity (p. 249) to the Porta 8, Paolo^ i M. \ thence to the church of 8. Paolo Fuori^ IVs H. ; to the Tre Fontane^ li/a M. more. — A digression to the three churches on the Aventine (pp. 252, 263), Honte Teataecio, and the Pyramid of Cestius (pp. 261, 262), may con- veniently be made from the route to the Porta S. Paolo. — Trakway direct to S. Paolo Fuori from the Piazza Montanara (tramway-line No. 6, p. 3 of the Appendix \ between Piazza Montanara 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 Finmicino and CivitJi 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 deUe SetU 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 le Mora , 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 hasilica 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 Gonfessio 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 by a colonnade, and early in the middle ages an arcaded passage connected it with the city.
Immediately after the fire, Leo XII. began the work of restora-
TheCampagna, S. PAOLO FUORI. Envir,ofRome, 353
tion, which was presided over by Bellij and afterwards by Poletti. The transept was consecrated by Gregory XYI. 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 festi- 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, likethatof 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 ehurch 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. iJicholas 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 Kavb are repre- sentations from the life of St. Paul by Oagliardi, Podesti^ Consoni, Balbi, 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 *ConfessiOj or shrine, is richly decorated with red and green marble from Greece.
The Chancel Arch is adorned with Mosaics of the 6th cent., exe- cuted by order of Galla Placidia, sister of Honorius and Arcadius: Christ with the 24 Elders of the Bevel ation. On the side next the transept: Christ in the centre, left St. Paul, right St. Peter. — Under the arch is the HiOH- Altab, with a *Canopy by Amol/o del Carnbio , the architect of the cathe- dral 01 Florence, and his assistant Pietro (1285). — In the Tbibuite *Mosaies of the beginning of the 13th 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 Apostlea and two angels. Below them is the modem episcopal throne. — The Left Tbansbpt contains the (1st) Chapel OF St. Stbphen , witb a statue of the saint by Rinaldi , and two pictures (Stoning of St. Stephen, by Podesti, and the Council of high-priests, by Coghetli). (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 (ist) Gap. dbl Cobo , designed by C. Madema, was spared by the fiire. (2nd) Cap. ni S. Benedetto, with his statue by Tenerani. — By the narrow waJls of the Tbansbpt: to the left, altar with the Conversion of St. Paul by Camueeini and the statues of St. Romuald by Stoeehi, and St. Gregory by LaXtoureur; to the right, altar with the Coronation of the Virgin by Podestiy and statues of SS. Benedict and Theresa by Baini and Tenerani, Easter can- delabrum by mceolb de Angiolo and Pietro VauaUetto, with scenes fro<-
Baedekbb. Italy II. 10th Edition. 23
364 Envir, of Rome. TRE FONTANE. Tfie Campagna.
the life of Chrlat, 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 helow); to the left we pass through several chapels con- taining some ancient but freely restored frescoes, and reach a Vk8tibiti.b 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 Haul, dating from about the 5th century. In tMs room is the side-entrance to the church beside the campanile men- tioned above , and to the right is the entrance to the Sacristy, 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 injuries 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 MoNASTEBY 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 j no fee). The beautiful ^Cloisters (ChiosiroJ 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 Petrua VilssallettuSf 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 Harsyas. 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 mln. 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 painting , which is supposed to have belonged to an earlier church of John the Baptist (visitors ring; 25c.).
SS. yinoenso ed Anastasio, the largest of the churches, a basilica in the ancient style, founded by Honorius I., and restored in 1221 by Ho- norius III., as the inscription to the left of the choir records, has lately
The Campagna, S. MABIA SCALA OCELI. Environs. 355
again undergone restoration. It has retained many mediseval 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 CoBli, 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 tilie 16th century. The tribune contains good mosaics by F. Zuccaro: the saints Zeno(?), Bernard, Vincent the deacon, and Ana- stasius(?), who are revered by Clement VIII. and Card. Aldobrandini, the finisher of the church.
The third church, 8. Paolo alio Tre Fontane, 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-rooiii, where a glass of Eucalyptus liqueur is offered to him (fee 50 c).
The hills above the ahbey, which are honeycombed with puzzo- lana pits , command delightful views. Close by is a large peniten- tiary.
From, the Porta S. Fancrazio.
The Via Garibaldi leads in 5 min. from the Acqua Paola (p. 329) to the Porta di S. Fancrazio (PI. II, 9), on the summit of the Janiculum (275 ft.), adjoining the ancient Porta Awrelia. It was stormed by the French under Oudinot in 1849, but restored in 1857 by Pius IX. From the Osteria 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 -8^. Fancrazio j Y4M. to the left, were 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 BelrespirOy 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 Campagna.
To obtain admission to the Casino, built by Algardiy we ring at the gate opposite the terrace. The walls are adorned with reliefs (chiefly from ancient sarcophagi) and statues. The stairs ascend to
23*
356 Envif, of Rome, THK GATAOOMBS. Admission.
the Platfobm of the villa , commanding a line ^Panorama of the grounds and environs. The sea, to the S.W., is said to be visible in clear weather (fee V2 ^'O'
Leaving the Casino, we next visit the * Columbaria under 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-garden, 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 mln.) 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 Q.), with its beautiful silver-pheasants. On the roadside (1.), 50 paces farther, a monument was erected by Prince Fll. 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 by a wide chasm, if the modem 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 Catacomb$\ or burial-places of the early Christians. — Host travellers will be satisfied with a visit to the Catacombs of St. Callutus^ and perhaps those of St. Agnese (both shown daily, except in midsummer; comp. pp. 861, 342). On 22ud 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 Gommtnda- tore Giov. Bait, de Rossi^ Piazza Aracceli 17, upper floor.
I. History op the Cataoombs. The term 'Catacombs' is modern, 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 Coemetetia, t. e. 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 their ashes, within the precincts of the city, was of course binding on the Christians also. We accord- ingly find their burying - places situated between the IstandSrd
History. THE CATACOMBS, Envir. of Rome, 357
milestoneB beyond the Aurelian 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, Venosa, 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 weU as the belief that the different catacombs were all connected, has been refuted by modem 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 from i^am% 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 Chwrch 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 Constantine the Great* s ediot of Milan. Throughout the 4th cent, interments here were customary, but they became rarer towards the beginning of the 6th, 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 restorations to be made, and the most important tombs to be furnished with metrical inscriptions ; apertures for light were constructed, to facilitate the access of visit- ors, and the walls at a comparatively late period decorated with
358 Envir, of Rome, THE CATACOMBS. History.
paintings, which differ materially fiom those of the earliest Christians in subject and treatment. During the frequent deyastations under- gone by the city, however, the Catacombs were also pillaged and injured, the first time on the occasion of the siege by the Goths in 537, and afterwards during the siege by theLombards in 755, when they suffered still more seriously. *The invaders ransacked the burial-places of the martyrs with pious zeal, searching for the bones of saints, which they deemed more precious than gold, and giving 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 miraculous virtue to it, and thus it probably happened that the greatest sinners buried in the catacombs frequently had their remains exhumed and revered as as those of saints' (Gregorovius). After these different plunderings the Catacombs were restored by John III. (560-73) and Paul I. (757-68) ; but the transference of the remains of the martyrs to the 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 attempts to preserve the Catacombs ftom ruin, but the task was abandoned by Paschalis I. (817-24), after whose time the Catacombs gradually fell into oblivion, those under S. Sebastiano 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 Cosmeterium 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 regarded the supervision of Roma Soiterranea as a point of honour. The pioneer of the soientiflc examination of the Cata- combs was Antonio Bosio of Malta, who devoted thirty-six years of his life to the task , but his *Roma Sotterranea' was not published till 1632, 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 been worthily succeeded by the Jesuit Marchi and the able brothers De Rossi ^ MichelCj the geologist, and Giovanni Battista, the archaBologist. The last has begun to publish the result of his indefatigable labours in a Collection of Ancient Christian Inscrip- Mons (1st vol. 1861), in a work entitled ^ Roma Sotterranea' (istYol. "^64, 2nd vol. 1867, 3rd vol. 1877), and in the 'Bullettino di Ar- iologia Cristiana' (1863 et seq.). Comp. also p. 128.
Arrangement. THE CATACOMBS. Envir. of Rome, 359
II. Thb Abbangbmsnt of thb Catacombs was originally ex- tremely simple. Narrow passages, 2^/2 ft. in width, and afterwards even less, were excavated and furnished with loculif 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 thus disposed , and when the body was interred they were closed with tablets of marble, 0£ 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 practic/e 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 Fossoret (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 wrapped 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 cuhicula, or family burial-places, and were private property. Lastly we also And chambers that were set apart for the celebration of divine wor- ship ; but these all date from the 4th cent. , when they were fitted up for the celebration of ecclesiastical festivals in honour of th'^
360 Envif. of Rome, THE CATACOMBS. DecoraHon.
martyrs, which came into 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 thb 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 unpleasiiig, 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 have no other object in view than the illustration of some simple fact fifom 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 5th 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 (*orante8*). 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 ix^-vs^ (fish) consists of the initial letters of: Iriaovg XqitSiog &sov Yiog Eioxriq (Jesus Christ the Saviour, Son of God). All these subjects and many others, especially the traditions of the Old Testament which contain a typical reference to New Testament history (such as Moses smit- ing the rock), recur continually in the paintings of the Catacombs
Cat,of8tCalli8tu8, THE CATACOMBS. Envir, of Rome. 361
and in the scnlptureB 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 Christian 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 Rossi's 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 len^h 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. Callistas on the Via Appia, IV4 ^* beyond the Porta S. Sebastiano (p. 348). On entering the vigna in which they are situated, we perceive a small brick building with three apses. This having been identified by Glov. de Rossi as the ancient Orct- torium 8. CalliBti in ArenariiSj 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 Cubiculum Pontifieiumy 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 thai pope. Outside the entrance, on both sides, a great number of inscriptions have been scratched by devout visitors of the 4th-6th centuries. We next enter a *Ohamber, open above, which once contained the Tomb of St. Ceeiliaj whose
362 Envir.ofRome, THE CATACOMBS. Cat. of Domitilla.
remains are now in the chnrcli of S. Cecilia in Trastevere (p. 331}. On the wall here are several Byzantine paintings of the 7th-8th cent. : St. Cecilia, St. Urban, and a head of Christ. The walls of the aperture for light hear traces of other frescoes. On St. CeciUa's Day (22nd Nov.) mass is celebrated here, on which occasion the chapel and the adjoining chambers are illuminated 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 Damasns, 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 Luema.
The Catacombs of SS. Nerens and AohiUeiui, or of Domitillay 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. PriscUla. Domitilla 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. PetronUla, 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 (5th 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 PreBteztatus , 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 St. Pxiscilla lie on the Via Salara, 1^/4 M. from the gate (p. 838). 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 Madonna in existence , dating from the latter half of the 2nd century. Coloured inscriptions on tiles, '^f the earliest and simplest type , are also occasionally found here.
Jewish Catacombs. THE CATACOMBS. Envir, of Rome. 363
The Catacombs of S. Agnese, under the church of S. Agnese Fuori le Mura (p. 342), are destitute of painting, but are to a great extent still in their original condition. They are shown by the sacristan without a permesso. — About ^/^ M. beyond the church is another catacomb, called the Coemeterium Ostrianumj which contains numer- ous family burial-places.
The C^taeombs of S. SebastianOy 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 mediseval 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 Catacombs, 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 Catacombs of SB. Peter and K&rcellinus , 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 earlieat mosaics. Other frescoes, such as two scenes of AgapsB (love-feasts), belong to the 3rd cen- tury. The representation is often very realistic. A very fine cemeterial glass, with a design of the Temple of Jeruaalem in gilt outline, was found in these catacombs in 1883.
The Oatacombs of St. Pontianus, situated in the Vigna di S. Michele, 1/2 M. from the Porta Portese (to the right before the Strada di Honte- 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 staircase are two large medallions with heads of Christ of the 6th and 9th (?) centuries.
The Oratorio of 8. Aleuandro, 6 M. from the Porta Pia (p. 341), in the Tenuta del CoazKO 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 bishO]^ of that name. The oratory is surrounded with lofty passages still containing undisturbed tombs.
Catacomb of St. Oenerosa^ see p. 393.
2. The Alban Monntains.
The Alban Mountains, IQVa M. to the S.E. of Rome, form a volcanic group with several extinct craters, two of which are occupied by the AV>an Lake and the Lago di Ifemi. Monte Cavo (3145 ft.) is the highest summit. On the N. slope of the group lies Frascaii, and on the E. slope Albano, both of which have been surrounded since the most ancient times with the country-hOoses of wealthy Romans. The greenish-grey tufa, known as pepeiHno, which is quarried near Albano, is a favourite building stone. Attfan Wine was praised by Horace and is still much esteemed. The great natural beauty of the scenery here has always made these mountains a favourite resort of visitors from Rome. The inhabitants have preserved
364 Environi of Rome, FRASCATI. Alban MU.
many of tbeir pecnliMritiefl. tliongli the famimt eostosne of the Alban women is seldom seen except on Sundays and holidays.
Plan of Excdksioh, WI% day. 1st Day: afternoon train from Rome to Frateati or Albanoy the only places where there are good inns: in the eyening visit Tnscnlum from Frascati, or Castel Gandolfo from Albano. — 2nd Day: walk from Frascati in 2Vxhr8., or drive by the high-road (one- horse carr. about 8 fr.), to Rocca di Papa (p. 372)-, ascend Monte Cavo (p. 372), V* hr. i descend to Ifemi (p. 371), in IV4 hr., and walk thence to Omtmc (p. 370 ; *k ^r.), Ariceia (p. 370; i/s hr.), and Albano (p. 368 } ^U hr.). This excursion may be made in the reverse order from Albano , the tra- veller, however, proceeding from Bocca di Papa to Frascati by a footpath (2V2 hrs.) passing Tusculum. The Orotta Ferrata is interesting mainly on aocount of the frescoes by Domenichino (p. 367) \ this part of the monn- iainB as far as Marino and Rocca di Papa offers least in the way of scen- ery. — The excursion from Albano to Monte Cavo^ returning by ITemi. Oenzano^ and Ariceia (6-7 hrs.) may be accomplished in a single day j 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 Rome.
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 Gdides (about 8 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 Walkimo 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 Donkbys (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 Rome (25-30 fr. per day).
Fbascati and its Neighbourhood.
Railway fbou Romb to Fbascati, 15 M., ^in 48min. (faies 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 helow the Piazza, where the high-road to Rome begins.
Frascati. — ''Albebqo di Fbascati (branch of the Alb. Milano in Rome), in the Villa Zuccala, R. 21/2, B. I1/4, lunch 2V», D. 4fr.; *Al- bbboo 01 LoNDBA, in the piazza. — On the left, at the entrance to the town, in the Via Romana, Trattoria del Sole. Near the piazza, the Nuova Trattoria delta JUpreea, well spoken of, kept by E. Filipponi^ best rooms on the Ist floor. Good wine at [the Nuova Trattoria di Cipoletta, in the street to the left of the church. — Lodgings easily obtained in the Villas Piccolomini , Falconieri , Muti, and others (single rooms 30-40 fr., 3-4 rooms about i(X) fr. per month).
A visit to the Villas, which are always open to the public, and to Tusculum, takes 2»/2-8 hrs., the best route being by Villa Aldrobrandini and Ruffinella in going, and by Camaldoli and the Villas Hondragone and Taverna in returning. Guides and Donteyt. 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 inhab., incl. environs), which is insignificant and comparatively modern, sprang up on the ruins of a former viUa, overgrown with underwood ("/Vasc/w^, from which it derives its name.
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Alhan Mts. 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 VUla 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. PietrOy 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. Bocco dates from 1309.
From the piazza we ascend the street (CorsoYittorioEmanuele) to the right, past the cathedral of S. Pietro and the donkey-station. Above the town , on the left, rises the Villa Piccolommij once the residence of the learned Cardinal Baronius (d. 1607).
Farther on we reach, on the right, the handsome *Villa Aldobrandinij 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 (1 M. above the town , containing a few pictures), and soon reaches the entrance to the *ViUa Ruffinella, or TiuculaTha^ 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 VUla 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 Falconieri^ 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 Ruffinella (ascending to the right from the palace) a shaded, and partly ancient road , leads to the site of the venerable town of TuscaliUDi, the foundation of which is traditionally ascribed to Telegonus , the son of Ulysses and Circe, the birthplace of the elder Cato and a favourite residence of Cicero. In the middle ages the ancient castle on the summit of the hill was occupied by a
366 Envir. of Rome. TUSCULUM. Alhan Mts.
warlike race of counts , who were generally in league with the emperors against the Romans. The latter, having been signally de- ' feated in the reign of Frederick I. in 1167 , retaliated by dismant- ling the castle in the pontificate of OoBlestinelll., in 1191. Nothing therefore now remains of the ancient Tusculum but a heap of ruins.
In ascending from the Villa Rufflnella, we soon obtain a view of the Amphitheatre , 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 ViUa of Cieero^ 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 Camaldoli and Monte Porzio ; farther distant the Sabine Mts., with Tivoli and Monticelli; then Soracte and the Gi- mlnianMts. ; towards the sea the broad Oampagna with its aqueducts, Rome, and the dome of St. Peter's ; to the left, the Alban Mount (M. Oavo), Oastel 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 Camaldoli, and the villas Mondragone, Taverna, and Fal- conieri (see p. 365).
The Road prom Feascati to Palbstbina, ISVa M. (comp. Maps, pp. 364. 382), especially the first half, is beautifnl, but destitute of shade. From tiie 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 (1530 ft.) Ib picturesquely situated ; IVs M. farther it reaches Monte Compatri (1745 ft.) , with a chateau of the Borghese. 'We do not enter the village , but pass the approach to it , and descend by a somewhat rough road, passing a washing-trough. Near a (1 M.) consider- able group of trees we turn to the right , and close to O/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 Borne ( Via Ldbicana^ Strada di Falestrina); and following the latter for »/4 M. we reach the Osteria S. Cesario (p. 346).
Two routes lead from Frascati to (21/2 M.) Grotta Ferbata: the carriage-road to Marino, and the shorter route by a path through the wood, diverging, below the Villa Torlonia, to the left from the street which leads to the railway. (In descending, keep to the left ;
AlbanMU, MARINO. Envir.ofRome. 367
1/4 hi. farther, vrhere the path divides, turn to the left ; and also to the left 5 min. farther, at the entrance to the wood.)
Orotta Ferrata, aGreek monastery of the Basilians, was founded by St. Niliis under Otho IH. in 1002. In the 15th cent, it was the property of Card. Giul. della Rovere, afterwards Pope Julius II., 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 Guadagnl in 1754, contains nothing worthy of mention.
Intbriob. From the right aisle we enter the Chapbl op St. Nilus, decor- ated with •Freflcoea 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. Guide Reni is also represented in a green costume, and be- hind him Guercino. The boy in front of the horse, with blue 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. Nilus 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. "Si- lus and St. Bartholomew. In the lunette, Death of St. Nilus. Outside the chapel , St. l^ilus 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 Marino (^Trattoria del Tramway j 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 Castrimoenium. 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 stiU possess it. The town contains a Corso (the principal street), a Fountain, and a Cathedral dedicated to St. Barnabas. The church of ia Trinithj to the left of the Corso, contains a Trinity by Guide Reni. In the church of the Madonna delle Graziey St. Rochus by Domeniehino. In the Cathedral a badly- preserved St. Bartholomew by Guercino.
Marino is connected with Rome by a steam-tramway (4-5 times daily in 1V« hr. ^ fares 2 fr. 40, 1 fr. 95, 1 fr. 30 c). Intermediate stations: Scuione, Ciampino (p. 368), Le CapanmlU (p. 347), II Tavolato (p. 347), Torre Pignat- tara (p. 341), and Portonaccio (p. 374). The terminus at Rome is outside the Porta 8. Lorenzo, where the tramway to Tivoli also starts.
dOO Emokona of Borne. ALBANO. Atban Mta.
From the town of Marino a shady road, comnunding extensive views, leads through the Parco di Colonruij the well-wooded valley of the Aqua Fertntinay a brook often mentioned in history as a raliying-point of the Latins, to the Alban lake , and by Castel Qan- dolfo to (33/4 M.) Albano (see p. 369).
Albako and its Nbiohboushood.
Fbom Rokb to Albano. — Railway to Obochina (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 f^. 40, 4 fr. 55, 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 (S*/^ M.) Ciampino the line to Frascati diverges to the left (p. 364; the tramway -station mentioned at p. 367 is about 3/^ M. from the railway ; no path). — 10»/2 M. Ma- rino ; above the town (p. 367), on the mountain, is Rocea^ adjoin- ing which on the right rises Monte Gavo 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. Cccchma^ the station for Albano and Oenzano.
From Cbochina 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 Castello 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 db Pabis, Palazzo Feoli, R. 3 fr., dear; Roma, at the end of the town, near the bridge leading to Ariccia; Edsopa, or Posta, R. 2 fr., caf^ on the gronnd-floor; Russia, at the Porta Romana.
Bittorante Baltutri in the Piazza Umberto; the landlord procures bed- rooms for visitors. — C^fi in the Corso.
Those who desire to make the tour mentioned at p. 364, vi& Palaz- guola and Roeea di Papa to MonU Gavo and back by Ntmi^ Oengano^ 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 OasUl Qandolfo^ and back by the Galleria dl Sopra requires about 1 hr., and may sometimes be added to the above tour before the departure of the last train.
Albano , officially Albano LaziaU (1250 ft. above the sea) , a
Albtm Mia. CASTEL GANDOLFO. Envir, 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 Monastery (to the right from the Piazza, then the first turning to the left), lay an AmpMiheatre^ the scanty remains of which are seen from the road. The church of 5. Maria dtllaRotonda stands on the found- ations of an ancient circular temple. The ruins in the street of Gesd 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 Via 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 Ouriatii, and now, with no better reason, as that of Aruns, a son of Porsenna, who. was killed near Ariccia.
About 11/4 M. to the N.W. of Albano lies Caatel Gandolfo, which is reached by two shady avenues of beautiful evergreen oaks : the so-called *Oalleria di Sopra, or 'upper gallery', beginning at the Capuchin monastery above Albano , and affording fine views of the lake ; and the Qalleria di Sotto , beginning near the tomb of Pompey at the N.W. entrance to the town , passing the ViUa Bar- herini and Castel Gandolfo, and leading to (33/4 M.) Marino (p. 367).
Castel Gandolfo, 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 VIII. from designs by Carlo Madema, and splendidly situated high above the Alban lake. The chateau (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 an extinct volcano, of sombre and melancholy aspect, although its banks are well cultivat- ed. It is fed by abundant subterranean springs, and is drained by a very ancient Emissarium which issues below Castel Gandolfo.
Bajidbksb. Italy II. 10th Edition. 24
Z70 Environs of Rome. AKICCIA. Alban Mis.
The path to the ancient Emissariiun descends steeply from the Galleria di Sopra a little before the village ia reached, but the costodian mnst first be summoned from the Tillage (fee 1 fr. \ for a party more in proportion). The descent occupies nearly 1/4 hr., and the whole inspection about 1 hr. The Emissarinm, an imposing work , was constructed according to tradi- tion by the Romans in B.C. 997, during the siege of Veii, 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 nymphseum. 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 Palazznola, and thence to the top of Monte Cavo, see p. 372.
About ^1^ M. to the S.E. of Albano lies Arlccia. Beyond tlie Etruscan tomb mentioned at p. 369 , the road crosses the Imposing * Viaduct which connects Albano with Arlccia, erected by Pins 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 PoLazzo Chigi, a mansion bnilt 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 72"! ^'0-
Ariooia {CafS in the piazza), a small village, frequently attracts visitors in summer on account of the proximity of the woods. The women of Arlccia and Genzano are famed for their beauty. The ancient Ariciaj 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 ^2 ^^- ^7 *^® valley , instead of the direct route from Albano to Arlccia, is In- teresting.) In the middle ages Arlccia 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 Aricoia to Genzano at first leads a little to the left and crosses four viaducts, which com- mand fine views. After 1/2 M. it passes GallorOj 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 Oesarini (see below) ; and that to the right descends to the town.
CtonzanOy a town with 5000 inhab., loftily situated above the
S.W. bank of the Lago di Nemi, is also much visited in summer,
ut there are no good inns, and intermittent fever is not uncommon
AWanMts, LAGO DI NEMI. Enmir.ofR<me. 371
here. In the piazza, opposite the fountain, is the * Trattoria delta Grotia 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 *yiew of the lake is from the garden of the Pa- lazzo Cesarini, 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 Chris ti (but not every year), is held the famous Infiorata di Oenzano, or flower-festival, consisting of a procession through a street carpeted with flowers, followed by fireworks and merry-makings.
The ^'^ago di Nemi (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 Nemorensis, 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.
Kemi is a small medisBval town with an ancient fort. The inn CTrattoria DesartetiSj 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 ^r.) Monte Cavo (p. 372) a guide is necessary on account on the intricacy of the forest-paths (1-1 72 ^'0- Albano is a little farther distant.
Monte Cavo.
The aiicent of Monte Gavo may be accomplisbed in about 3V4 hrs. from Fraseaii^ in about 2*1^ bra. from Albano^ and in about 2 hrs. (with guide) from Nemi, 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 Papa is a distance of about 5 M. which on account of the ascent represents a walk of not less than 21/2 brg. The day's journey indicated at p. 364 may be lightened by taking a carriage to Rocca di Papa (p. 372). The road diverges to the left from the road to Marino, at a point a little more than halfway (comp. the Map). Rocca di Papa may also be reached
24*
372 Environs of Rome. MONTE CAVO. Alban MU.
from Tusculnm (p. 365) direct in 11/2 ^- ^Y ^eld and forest-paths (guide desirable, 1-1 V2 fr.).
The Route fkom Albano to Rocca di Papa leads to the right at the above-mentioned Capnchin conyent, where the Galleiia di Sopra begins to the left. Fine view of the lake. Where the road forks we keep to the left, in the direction of tbe lake , even when the path seems to descend steeply. In about 1 hr. we reach the suppressed Franciscan monastery of Palasinola, 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, howoTor, that the rocks in the direction of Palazzuola have been hewn perpendicularly , in order to render the town more Impregnable.
The fonndation of Alba Longa belongs to a prehistoric period, and tradition has attributed it to Ascanius, the son of iSneas. 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.
Booea di Papa (2645 ft.; Caffh deW AurorOt in the upper part of the town; the two TrattorU very poor), a favourite summer- resort of the Romans, Yrith numerous villas, lies on the slope of the great extinct crater of Campo d'AnnibalCj 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. through the steep streets of the town, and ascend the well-preserved and shady Via TriumphaliSy 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 Mons Albanus (an ascent of ^/^hr. from Rocca di Papa), stood the venerable sanctuary of the Latin League, the Temple of Jupiter Latiaria, where the great sacrificial festival of the Feriae Latinae was cele- brated annually. Its ruins, 82 yds. long and 38 yds. wide, vnth col- -uns of white and yellow marble, were in tolerable preservation till
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 **ViEW from several different points is incomparable. It embraces the aea, the coast from Terracina to Civitk Vecchia, the Volscian and Sabine Mts., Bome and the Campagna with a number of towns and villages, 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 ^^' A. 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 , bat enquiry as to charges should be made beforehand •, usual charge for board and lodging 5-6 fr. , and V2 ^^' gratuity.
Those whose time is short must be satisfied with a visit 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: 1st day, from Rome by early train to Valmontone (p. 382) or to FraseaH (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 oe 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 Bome to Tivoli.
1. Railway, 25 M., in !»/« hr. (return-fares 4 fr. 56, 3 fr. 30, 2 fr. 5 c). This route is more picturesque than that of the steam-tramway (see p. 374). Trains start from the Principal 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). — 6Y2 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 Collatia^ a 'tenuta' belonging to the Duca Strozzi , with an old baronial castle , prettily situated In the well-wooded valley of the Teverone.
13 M. Bagniy the station for the sulphur-baths of Acque AlbuUj the Roman Aquae AlbvXae^ which were much frequented in ancient times , and were again fitted up for the reception of patients in 1879-80 (handsome Curhaus ; swimming-baths for ladies and gen tlemen; 68® Fahr.).
374 Environs of Rome, VILLA ADRIANA. Sabine MU,
The railway next crosaefl the high-road to Tivoli. To the righ " fine Tiew of the road and of the railway -viaducts farther on, with the mountains in the background. — 16 M. Monie Celio, formerly called Monticelli , said to occupy the site of the ancient Comicidum and now belonging to the Borghese family. — 2OI/2 M. Palombara is situated on an isolated hill , with a chateau of the 14th cent, belonging to the Savelli family. — View of the 0am- pagna 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. Stkam Tkamwat, 18 M., in 2>/4 brs. (fares 2 fr. BO, 1 fr. 85 c, return 8 fr., 2 fr. 20 c). This is the most convenient route for a visit to Hadrian^s Villa. The steam-cars start outside the Porta Lorenzo, for which a horse- car in connection leaves the Piazza Venezia (Via Kazionale 131) 1/2 hr. before their departure, running via the Piazza delle Terme (tramway- lines 1 and 2, p. 3 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 8. Lorenzo to avoid paying the extra-mural tariflf (see Appx.). — Travellers with through-tickets are allowed to breaJc 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. 377, 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 Hburtina , 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 MammaBa, 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 Albule (p. 373). — In the vicinity are the quarries of Lapis TiburtinuSj or travertine, which furnished building -material for ancient and for modern Rome, for the Colosseum and for St. Peter's alike. In Y2 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 CaBcilia Metella (p. 349).
Beyond the Ponte Lucano we see on the right two pillars, which are supposed to mark the ancient entrance to Hadrian's Villa; one is adorned with reliefs.
15 Y2 ^' Villa Adriana (no osteria in the vicinity; see above). We follow the road which ascends gradually from the station, turn
Sabine Mt8. VILLA ADRIANA. Envir. of Borne. 375
to the right at a (4 min.) finger-post, and soon reach the (^4 hi.) present entrance of the villa. A fine avenue of cypresses leads to the lower Casa della Ouardia, where tickets are sold (1 fr.).
The *ViLLA OP Hadbian , v^hich 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, Ganopus, 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 following 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 , Oapitoline , 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 buildings mentioned by Spartian in the passage cited above, and though it is often doubtful we here follow the usual terminology.
Adjoining the watcliman''3 hut is the so-called Teatro Oreeo^ of which the foundations of the stage and the rows of seats are still dastinguish- able. Skirting the posterior wall of the stage, we then ascend through an avenue of cypresses to the Poecile^ an imitation of the oroa tioixiXtj, 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 Bala 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 Kymphseum. 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 Library (PI. 4). To the N. lay a Garden. A corridor, on the left side of which was a fine vestibule, leads K.E. to a room supposed to have been a Triclinium ^ commanding a fine view of Tempe, Tivoli, and the mountains. Hence we proceed to the 8. (right), through a plantation, to the Doric Perittyle (PI. 5), and to a large
376 Environs of Rome. VILLA ADRIANA, Sabine Mt8.
rectangular space known as the Oiardino. Some of the finest mosaics (now^ in the Vatican, p. 909) were found in the adjoining rooms (THcfmttf, PI. 6). On the E. side of the Giardino is the (Ecu* Corinthiiu (PI. 8), a hall the ends of which are occupied by large semicircular recesses. In front of the K. recess are two small fountain-basins. To the right is the BasOiea^ 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 exedra, in which is an elevated basis or platform ; this is supposed to be the throne-room. — We now return to the CEcus Oorinthius, 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 Piazza d^OrOj a court surrounded with a colonnade of 68 columns, alternately of Oriental granite and cipollino, of which the bases alone are now in iiiu. 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 S. past a handsome semicircular Exedra (PI. 10), with a water-basin, to the Q/uartiere dei Viffili, 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 Cryptoportieu* and enter a suite of rooms from which we overlook the Stadium. On leaving this building we proceed to the 8. 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, ^is a town 120 stadia from Alexandria, named after the steersman of Henelaus, who is said to have died here, and containing a highly- 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 unbri^ed merriment, or find accommodation in the town of Canopus and there prosecute their orgies'. 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 (fine view) is known as the Torre di Timont (see lower part of Plan). To the S.E. lies Ihe Academy^ a re- production of the celebrated grove at Athens. Farther to the S.E. is the Odeum ^ with the remains of a stage and rows of seats. To the E. of the Odeum is a construction called the Jn/eri, supposed to be the Tartarus mentioned by Spartian. A ravine ( Valley of the Styx)^ 220 yds, long and 20 yds. wide, is hewn in the tufa rock and connected with two subterranean passages. To the S. lies an extensive Cryptoporticus, 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. Ste/ano, to which the name of Prytaneum has been attached, perhaps belonged to a private villa.]
Returning from the Canopus and passing in front of the above- mentioned Thermae, we reach a second series of Baths, not yet easily ac- cessible. We then return to the Stoa Poecile, pass through the door in the N. wall, and reach the cypress avenue leading to the exit. — On our way back we have an opportunity of enjoying the grateful shade of the grove below the Giardino (see Plan) and the view of Tivoli and the Vale of Tempe.
.c tWi ^«r £-Dsb^ L li n'ly >t|.
^
^
Sabine MU, TIVOLI. Environn of Romt. 377
Pedestiians 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 CoUe^ or lower gate. [About one-half of the time otherwise required for a visit to the Cascatelle may be sav- ed by turning to the left about 3/4 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 thf jeverse direction.] — The tramway-line makes a wide curve to the S.E., ascends steeply through olive-groves past the station of ( .14/2 M.) RegressOj and ends at the (18 M.) Porta 8. Croee,
Tivoli. — Rboina, in the piazea, clean, R. 2, D. 3V2-4 fr. ^ Sibtlla, beautifally situated near the temples, with view, not dear if bargain be made, pens, per week 49 fr. ; Yessillo dItalia, Pace, both unpretending.
Donkeys and Guides (superfluous) to the waterfalls 1 fr. (3-4 fr. are gener- ally demanded at first). Beggars are numerous and importunate.
Tivoli^ the Tihur 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 Prasneste, 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 Maecenas , 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 Vioolo della Sibylla here leads to the left to the inn of that name (on the right), in the court of which stands the fine *Tbmplb of thb 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 Veata, or of Hercules Saxanus, 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 *Vibw. — 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 Tihur- tu8, 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 through the limestone-rock of Mte. Catillo, 290 and 330 yds. long respectively, to draw off part of the water of the Anio. In 1834 the river was admitted to its new
378 Environs of Rome, TIVOLI. Sahine Mts.
channel, in presence of Gregory XYI. , by the engineer FolcM^ and a ♦JVetr 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 discoyered 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 ^2 fr- > 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 Gatlllo 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' Orotto. — 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 OaUery 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 Cascatelle , the road issuing to the left from the Porta S, AngelOj 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 L^e Cascatelle.
It is usual to turn here. Visitors who wish to return by another route may continue to follow the same road. About 1/4 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 Quinttliolo. A ^ Villa of Horace\ although the poet never had one at Tibur, is also pointed out by the guides. From 8. Maria we cross the meadows between old olive-trees, and in about 20 min. reach a road descending in a few minutes to the left to the Ponie delV Acquoria, by which we cross the Anio. On the left bank of the river we ascend the hill to the left, partly by an ancient pavement,
rvrue »e»» ^ctfavfu*, uy wmou wo ciuoo tuo auiu. v/»» wmv. *v.»«» wwua.. »,-
the river we ascend tbe hill to the left, partly by an ancient pavement,
Sabine Mi9. MONTE GENNARO. Environs of Rome. 379
and join the road from Borne. Here, to the left, are the colonnades, which have long been visible from the opposite bank, of the so-called Villa 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 carious name of Tempio deUa ToMe, 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 1/2 M.
Hnrried visitors may omit the walk on the Oasc&telle road, espe- cially if they arrive or depart by railway; bnt no one should fail to visit the beautiful • Ft Wa d^Este, to the W. of the town (sometimes closed). The entrance adjoins the church of S. Francesco. The Villa, one of the finest Renaissance structuies of the kind, was erected by Pirro 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 Braschij founded by Pius VI., and the Terrace of the Jesuits* College near the Porta S. Croce (steam-tramway station) also afford magnificent views of the Campagna and Rome.
The Aboemt of Montx Gbnnabo from Tivoli takes 6-6 hrs., and the excursion there and 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 I'/a hr. to the lofty (2340 ft.) village of S. Polo dt* 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.
Konte GTennaro (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 villages, 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 Roeca Oiovine and through the Valley of t?te Licenta (p. 380), but the night-quarters are very poor.
From Tivoli to Subiaco.
25 H. 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.) Subiaco, in connection with the 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, 30 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. Fine view of the green valley to the right, — 3 M. -S. Polo / the village (see aliove) lies 2Y4 M. to the left of the station. Two tunnels. — 6 M. Castel Madama ; the conspicuous village (1460 ft.) lies high up
380 JBhrif . of Rome. ROCCA GIOTINE. Sabine MU.
on the other hank of the Anio, 21/4 M. distant. — We now pass through another tunnel and cross to the left hank.
7 M. Vicovaro. The small town is on the right bank of the Anio, ^/4 M. distant. On the way to it we pass, on the left, the church of 8, Antonio , with a portico of ancient columns. Just below the entrance to the town are some remains of the walls of VariGj the ancient town now represented by Yicovaro. The octagonal chapel of 8, Oiaeomo is ascribed to a pupil of Brunelleschi.
Above Vicovaro opeiu the Valley of the Licenza, the ancient Digentia, believed to be the spot in which lay the Sabine farm of Horace. The natural beanty of the valley would alone render it worth a visit, even apart from its classical associations. From Vicovaro we proceed in the direction of the (iVs M.) convent of 8. Rocco (see below), situated on a hill. Where the road forks, a little on this side of the convent, we follow the branch leading back to the left In about 21/2 H., a little beyond a ruined cottage, we cross a small bridge and ascend by a steep path to Bocca Oiovine (new road in progress), which does not become visible till we are close upon it.
Kocca Giovine is a small village charmingly situated on a precipitous rock. An old inscription built into the Palazzo refers to the restoration of a temple of Victoria by Vespasian. According to Varro, Victoria is identical with the Sabine Vaeuna^ and consequently Kocca Giovine is sup- posed to be the Fanvm Vacunae of Horace (Epist. I. 14). A guide should be obtained to take us to the chapel of Madonna delle Case^ the Colle del Poetetlo^ and the Fonte degli Oratini. These names refer to the villa of Horace, which more likely lay here, at the foot of Montt Corrignaleto (Mons Lucretilis), than in the bottom of the valley near Licenza. The ancient remains are insignificant, but the views of the valley are very beautiful. High up lies Civitella S. Paolo ^ below, on an isolated hill, the village of Licenza.
From Rocca Giovine we may proceed (with a guide; 1/2 fr.) via the Madonna delle Case to (1 hr.) Licenzai which derives its name from the stream skirting the base of the hill, the ancient Digentia (^me quotiens reficit gelidus Digentia rivus"", Hor. Epist. I. 18, 104). We then return by the new road to the mill, cross the brook to the left, and follow a field- path to (I1/2 hr.) Mandela. The descent to the station takes 1/2 hr. more (see below).
Beyond Vicovaro we traverse a long tunnel, penetrating the rocky hill on which the convent of 8, Rocco stands.
91/2 M. Mandela ; the village lies on the hill to the N. , at a height of 1600 ft. above the sea. Until lately it was known as Cantalwpo^ but it has resumed its ancient name ('rugosus frlgore pagus', Epist. I. 18, 105).
11 M. Cineto Bomano, near the Osteria delta Ferrata (see left- hand top corner of the Map) , the starting-point for the diligence to Subiaco. — Railway hence to Solmona, etc., see Baedeker's Southern Italy.
The Road to Subiaco (about 14 M.) ascends the valley of the Anio, passing Roviano (railway-station). On the opposite bank is An- ticoli. Beyond Roviano the Via Valeria diverges to the left to Arsoli. The valley of the Anio now expands picturesquely, and again con- tracts at Agosta, To the left lies Cervara, on a lofty rock ; on the right Canterano and Rocca Canterano. Subiaco, charmingly sit- uated amidst wood and rock, now soon becomes visible.
l|L»AIJ,^Ll.lK.M.'.JIA
SUBIACO. Environs of Rome, 381
N*^:
i^
'/•
[jQ Pemice, pleasant for a long stay, pension 6 fr.) is
(6000 inhab.) of mediaeval appearance, commanded by
1 was formerly often occupied by the popes. It was the
jiqueum, situated in the territory of the JEqui , and is
.tal of the Gomarca. It sprang up on the grounds of an
Y Ula of Nero, which was embellished by three artificial
Simbruina stagna' of Tacitus (Ann. 14, 22), which were
:* y an inundation in 1305, and have given the village Its
? . the left side of the Anio , opposite the monastery of S.
* are seen walls and terraces of the time of Nero, who, ac-
Tacitus, narrowly escaped being struck by lightning while
re.
anvirons are delightful, and the far-famed monasteries
2-3 p. m.) are very interesting. Guide unnecessary. The
a takes about 3 hrs., and affords a succession of beau-
ws. We follow the main street which intersects the town,
♦ of Y2 M. in length, and afterwards ascends the right bank
Inio. About 3/4 M. from the last houses of the suburb of
tino, before the road crosses the gorge by the lofty bridge, a
ipported by masonry ascends to the left, passing several cha-
jid leading to the (1/4 hr.) three —
foNASTBBiBS OP S. ScoLASTicA. The flrst was founded in 530
. Benedict, who retired to this spot, and took up his abode as
aiit in one of the grottoes, now converted into chapels (II Sagro
I 0' The monastery was afterwards confirmed in its possessions
I regory I. and his successors. In the 7th cent, it was destroyed,
•^ 05 it was rebuilt, and it is now entirely modern. In 1052 a
nd monastery was erected, and a third was added in 1235 by
Abbot Landus. (If time is limited the monasteries should be
ted in returning from the Sagro Speco.)
Tbe FiBST MoNASTEST (entrance to the right in the passage , beyond anterior court) possesses a few antiquities ; by the fountain a sarco- ^s with Bacchic scenes, fine columns, etc., probably found during i erection of the building. The monastery formerly had a library con- ning valuable MSS. In 1465 the Germans Arnold Pannartz and Conrad hw-einheim printed here the first book published in Italy, an edition IJpnatus, which was followed by Lactantius, Cicero, and Augustine .4o7), of which copies are still preserved here (comp. p. 199).
The Second Monastbkt, dating from 1062, is one of the earliest pecimens in Italy of the pointed style. The court contains a quaint *iief and two mediaeval inscriptions.
The Thikd Monastery, of 1236, has an arcaded court with mosaics. fl7R (^^^trch of S. Scolastica, originally founded by Benedict VII. in
w'O, was completely modernised in the 18th cent., and now contains nothing wortfty of note, excepting the fine carved choir-stalls.
An ascent of 25 min. from S. Scolastica brings us to 8. Bene- aetto , or II 8agro Speco , built against the rock , overtopped by a huge mass of stone, and shaded by oaks.
hie Iw ^'o* corridor contains scenes from the lives of St. Benedict and phln 1 'j®** Scholastica, painted in 1466. We then descend to two cuapeis, adorned with paintings of the Madonna, Massacre of the Innocents, eic., wiuch were executed in 1219 by the otherwise unknown master Con-
3S2 ESnvironsofRome. VELLETRI. Sabine Mts.
xoltu (earlier than Cimabue). The grotto of St. Benedict contains the statue of tibe saint by jB«m«n« (?). The walls are decorated with yenerable paintings. The Gabdkn of the monastery is well stocked with beautiful roses. They were , according to tradition , originally thorns , cultivated by St. Benedict for the mortification of the flesh, but conyerted into rosea by St. Francis when he visited the monastery in 1223.
Haying 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 Borne to Falestrina.
Railway (Rome and ITaples line) to (36 M.) Vttlmontone in about ls/4 hr. (fares 6 fr. 45, 4 fr. 66, 2 fr. 90 c). The express trains do not stop at Val- montone. Diligence thence twice daily, in connection with the trains, to (1 hr.) JWestrina and (IV4 hr.) Oenezzano, proceeding once daily (morn- ing) to Olevano.
The Ck>ACH from Borne to Falestrina (6 hrs. \ comp. p. 346) offers no in- duc^nents to the traveller. But the stage between Frascati and Falestrina (p. 366) may be advantageously made either on foot, or on donkey-back (4 hrs.), or by carriage. Comp. the Uapt, pp. 382, 380.
From Rome to Cecchina (Alhano), see p. 368. — To the right, rising abruptly from the sea, is the Monte Cireello (1800 ft.), and nearer us rise the Volscian Mts. — 20 M. Civtth 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 massiye 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(*Loc. Campana, *QaUo^ each "with a trattoria), the ancient Velitrae, 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 Artemisio, ^WM., 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 Yelletri 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. Valmonton€j a small town, with a handsome chateau be- longing to the Doria-Pamphilj, on an isolated volcanic cone, is the starting-point of the diligence to the Sabine Mts., Falestrina, Ge- nezzano, and Olevano. — Railway hence to Naples , see Baedeker^ a Southern Italy.
V a;
SMnbitrd i T ivoli
^v^^^^nei- _ Wagner &Del,.3.1«p«ft
yine Mis. PALESTRINA. Envir. of Rome, 383
alestrina is 51/2 M. distant, a walk of 1^/4-2 hrs. The view of loun tains is the only point of interest on the road. 'aleBtrina , a small , closely-hnilt town , with steep and dirty its, lies most picturesquely on the hillside. On arriving, the Bller should ask a boy to take him to the unpretending *Inn of /^edova AntM Bcmardmt, Via delle Concie 1 (about 5 fr. per day). Palestrina , the Roman Praeneate , one of the most ancient towns in ', was captured by Camillus, B.C. 380, and was thenceforth subject to le. In the civil wars it was the chief arsenal of the younger Marius, after a long siege was taken and destroyed by Sulla, who afterwards lilt it in a magnificent style as a Roman colony. Under the emperors ras a favourite resort of the Romans on account of its refreshing at- iphere, and it is extolled by Horace (Carm. iii, 4, 22) together with Tibur Baiee. A famous Temple of Fortune and an Oracle ('sortes Prsenes- e% Cic. Div. ii, 41) attracted numerous visitors. In the middle ages eatrina was long the source of sanguinary conflicts between the power- Colonnas and the popes, the result of which was the total destruction the town in 1436. The territory was purchased in 1630 by the Bar- ini, who still own it. — The great composer Giovanni Pierluigi da lestrina (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 >rtuna, which rose on vast terraces, surrounded by a semicircular lonnade, and occupied the site of the Palazzo Barberini. On iterlng the town we observe the lowest of these terraces, con- ;nicted of brick. The precise plan of the ancient building cannot ow be ascertained. The arcades with four Corinthian half-columns 1 the piazza near the cathedral, now converted into a wine-cellar, ppear to have belonged to the second terrace. The Qrottini^ as the nterioT of these foundations is called, may be examined in the Barberini garden (in the Corso) , but more conveniently in autumn ;han 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 Barheriniy which rests almost entirely on these ancient substructures, and deserves a visit (fee V2~l ^^0* It contains a large Mosaic^ probably executed in the reign of Bomitian, representing scenes from the Xile, with numerous animals and figures in Egyptian and Greek costume. It was found near the cathednd. The bur- ial chapel of the palace contains the design of a Pietli 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 with the citadel (Arx) on the summit of the hill, now CasUl 8. Pietro, consisting of a few poor houses. A somewhat fatiguing path ascends from the Palazzo Barberini in 1/2 ^^' » for which , however , the noble prospect from the summit (2545 ft.) amply compensates. The vast Cam- pagna , from which the dome of St. Peter's rises, is surveyed aa far as the sea; to the right rise Soracte and the Sabine Mts., then the Alban range ; to the left is the valley of the Sacco , bounded by the Yolscian Mts. The picturesque , half-dilapidated Fortezza
384 Environs of Rome. OLEVANO. Sabine MU.
was erected by the Colonnas in 1332. The door is opened on ap- plication (V2-i ^r«) ; ^^ approach is uncomfortable, but the view from the interior is particularly fine.
The ruins of tlie 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^ s/4 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 Some (p. 196). The excavations at Palestrina have always yielded a rich harvest-, the so-called cistse, or toilet-caskets, including the celebrated Ficoronian (p. 166), were almost all found here.
The distance from Palestrina to Tivoli via Zagaxolo and Passe- rano is about 15 M.
From Palestnna to Snbiaco vi& Olevano.
Fbom Palestkina to Olevano, about 11 M., diligence in 27a hrs. (one- horse carriage 8-10 fr.)5 comp. p. 382. Walkers require about 4 hrs. — Fbom Olevano to Subiaco, about 91/2 M., a drive of 2V2, a walk of about 4 hrs. (comp. p. 382). — Comp. the Mapt^ 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 Flume 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 CampOy 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 (^Alb. di Roma, outside the town, clean, R. 2^21 pens. 331/2 fr. per week), a mediasval 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 tlie distance lies Velletri. Nearer is Yalmontone with its chateau, sltuat- ed on a hill ; then Rocca Massima, Segni, and Paliano. Towards tlie S. stretches the valley of the Sacco, until lost to view. The town with its ruined castle forms a charming foreground. The inn, Caaa
Sabine MU. OLEVANO. Environs of Rome. 385
Baldi, on the top, formerly a well-known resort of artists, has much deteriorated. — On the left of the road to Clvitella is the Serpen- taray a fine grove of oaks, saved from destruction by the subscrip- tions of artists for that purpose.
From Olbvano 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 Civitella, 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, V4 hr. before Subiaco is reached , a path to the right diverges to the monasteries (p. 381).
2. The route vi& Civitella, Rocea 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 Casa 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. Archaeologists 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 ^ik Rojate a.nd. Affile. Rojate is a small village. Affile, a place of more importance , boasts of a few reUcs of ancient walls and inscriptions. From this point to Subiaco (p. 381) we follow the high-road (see above).
4. The Volscian Mountains.
Railtoap from Rome to VeUetri (from which Cori is most conveniently reached), 26 M., in i-lVs hr. (fares 4 fr. 75, 3 fr. 35, 2 fr. 15 c. t express, 5 fr. 25, 3 fr. 70 c). From VeUetri to Cori diligence twice daily in 2V« hrs. (2 fr.). — From Rome to Segni, 4OV2 M., railway in IV4-2V2 hrs. (fares 7 fr. 36, 5 fr. 15, 3 fr. 36 c, or 8 fr. 10, 5 fr. 70 c.) ; the place, however, lies 6V«M. from the station (diligence). — About 2^/2 days may be advantageously de- voted to this region, as follows: afternoon train to Vellelriy and diligence thence to CoH. 2nd day, excursion to Norma and Ninfa (not advisable in summer, see p. 38*0 and back to Cori ; 3rd day, to Velletri^ railway to Segni. returning to Borne in the evening.
The Volscian mountain-range, which attains an elevation of 5000 ft., is Babdekbu. Italy II. iOth Edition. 25
386 Environs of Rome, CORT. Volscian Mts,
separated on the E. from the principal chain of the Apennines by the vallc of the Sacco, and on the N. from the Alban Mta. by a narrow depreMion ; extends to the S. as far as the Bay of Oaeta, and on the W. is bounded I a dreary and in some places marshy plain adjoining the sea. This distri< was anciently the chief seat of the Volsci, but was at an early period sul jugated by the Romans and Latinised. Its towns, picturesquely rising o the slopes , still bear many traces of the republican epoch of Italy , whic add great interest to the natural attractions of the scenery. Hitherto the£ mountains have seldom been visited , partly on account of the poorness < the inns (except at Cori), and partly owing to their former reputation a a haunt of bandits.
From Rome to Velletriy see p. 382. — The Road fbom YBi<iiBTB TO Gobi, 10^2 M., especially the first pait, traveising a dreary plain is uninteresting. To the right lies the (372^0 Lago diOiutianello an extinct crater. Beyond the poor village of GiulianeUo (6 M. fron Yelletri) the mountain-slopes become more attractive. About 21/2 M farther on, at the chapel of the Madonna del Monte, a road to th< left diverges to the upper part of the town of Cori. The road t< the right, descending to the lower part of the town, concealec among olive-plantations, is preferable.
Cori. — Locanda di FilippucHo, at the gate, poor; Albergo deW Unione farther up, better. — Guide, to save time, i/»-l fr. — Two Jlorses to Norma and ^infa, 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 membei 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, whic 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 J 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 8. Pietro; but 8 columns of the Doric colonnade, with a frieze of tra- vertine bearing traces of stucco decoration, are preserved. The inscrip- tion, recording the erection of the edifice by the duumviri, or chief ma- gistrates of the place, dates from the time of Sulla. ♦View hence over the town towards the sea, and of the plain with the isolated M. Cir-
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VolscianMts. SEZZE. Environs of Rome. 387
ceio. Within the church (opened on application; 25 c.) is an an- cient marhle am, 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 pie- 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 Dorlco and the Piazza Pizzitonlco, 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 Ponie 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.
Fkom Gobi to Norma (about 7*/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 1^2 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 mediaeval town of *Hinfa , 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- Tisable , while the crops also render a closer investigation of the ruins impracticable.
From Ninfa to Sezze , 3V« lira. The road diverges to the left from the Sermoneta road at the Abbep of Valffiseiolo (abbey-church of the 13th cent.) , and leada through a beautiful wooded valley, below Battiano. It then traverses a well- cultivated region , with Monte Semprevita (5035 ft.), the highest summit of the Volscian Mts., on the left.
Sezze (Loeanda Ifazionale, in the piazza, unpretending) is the ancient /Setia of the Volscians, a Roman 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 Cori. The rough rusticated worV 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 heen arbitrarily named Tempio di Satumo. — A diligence runs daily from Sezze to Foro Appio, in connection with the diligence between Velletri and Terracina.
Fbom Sezze to Pifbbho, 9Vs ^'i carriage-road (bridle-path shorter^ mule 3 fr., in 2>/s hrs.). On the Monie Tr$vi (1640 ft), between these two
26*
388 Environs of Rome. SEGNI. VoUeian MU.
routes, are the ruins of « town destroyed in the 16th cent, by the in- habitants of Sezse.
Pipemo iLocanda delta Eotetta, tolerable) was founded early in the middle ages by refugees from the ancient Volscian town of Prwemum^ remains of which may be seen on the road to Frosinone, near the streamlet Amaseno. The Cathedral^ in thepicturesque piazza^ was built in 1233 and modernised in the interior in 1782. — An interesting excursion (IV2 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 ItaJian G-othic. 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, bv Bernini. — From Piperno to Froiinone^ diligence in S'/s hrs. (fare 2^/s fr.), starting at 4 a.m.; see Baedeker's Southern Italy.
Sboni is the first railway-station beyond ValmonUme (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 Qavignano, 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 (hoc, di Oaetanino), the ancient Sigma, said to have been colonised by the Komans under Tarquinius Prisons, lies on a moun- tain-slope (rising to a height of 2300 ft.), in a secure position, with fine views of the vaUey 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 8, IHetrOf 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 *To'wn Walls j in the massive polygonal style, IV4M. 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 Lticino. 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 gat e.
From Segni a fine but fatiguing mountain-path leads to Norxaa in 6 hrs. (horse and guide 5 fr.)^ Montelanico may be incluaed.
The station of Segni Is 4-5 M. from Anagni. Regarding this and oilier towns of the Hernici, see Baedeker's Southern Italy.
389
5. Etruscan 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 centaries of the annals of Rome abound , reconquered and Latinised. The fall of the mighty Veii, B.C. 396 , mainly contributed to effect this memorable change. Excursions are frequently made to the re- mains of the Etruscan tombs at Gervetri and Veil. Malaria is unfortunately very prevalent throughout this whole district.
Vbii.
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 (AVs 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 etseq. By the Osteria, where the Via Flaminia diverges to the right , we follow the Via Cassia, gradually ascending to the left. The district soon becomes desolate, hut 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 easily traced the high-road is preferable.
8y2 M. La 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; V2 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 Rospigliosi, 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 ^-j 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 Camillas in B.C. 396. Its circumference, which may still be traced, was 5*/2 M. After its capture It fell to decay, and was repeopled by Csesar 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. 164.
The ancient site of the city was a triangle between two brooks, which united with each other farther down, viz, the Fossa ddV Isola, washing the N.E. base of the hill of Isola, and the Fosso di For- mello or di Valca (the ancient Oremera'), flowing from N. to S. The
390 Environs of Rome. 6ALERA. Etruscan Towns.
ancient citadel (Arx), now the Piasza d'Armi or Ciiiadellaj 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 Pohte 8odo , a tunnel hewn in the rock , through which flows the Fosso di Formello. Then to the Orotta Campanay 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 SpezUria (drug-shop), with remains of a colum- barium, the recesses of which explain 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'Armiy 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 rocks near the entrance to which are numerous sepulchral niches.
Walkers may descend the valley of the Gremera from the Piazza d'Armi and in about 2 hrs. strike the Via FUxminia (p. 337) , about 6 M. from Borne. The camp of the Fabii , whose whole family was destroyed by the Yeientines, lay about IVs M. from the Piazza d'Armi.
Galbaa.
Oaleroy 15 M. from Borne, may be visited on the way to Bracciano, or by carriage (about 25 fr.), in one day from Bome. Provisions necessary.
About 1/2 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 8. Ma- ria di Cesareo ; Y2 M. farther is the Osteria Nuova, where the carriage may be left. The land here is weU-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 ^r. to the ruins of Oalera. 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 Orsinl. 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 Arrone, the outlet of the Lake of Brac- ciano. The walls are of the 14th and 15th centuries. Two churches ■^th their towers, the palace of the Orsini, and many houses are re- alisable, all densely overgrown with ivy and creepers.
Etruscan Towns. BRACCIANO. Environs of Rome. 391
B&ACCIANO.
24i/s M. from Borne : Vetturino several times weekly from the Piazza of the Pantheon, in 5-6 hrs. (fare 4 fr.), returning next day. In Hay and June, the bathing-season at Vicarello, the traffic is brisker. — Bracciano is 9»|a M. from Cervetri (p. 392).
Beyond the Osteria Nuova (p. 390) the Arrone is soon reached. A road to the right then diverges to Angnillara (see below), situated on the lake. The country continues dreary. About 3 M. before Bracciano is reached, the Lake of Bracciano becomes visible, with Trevignano and Rocca Romana, the highest point (2020 ft.) of the surrounding lange of hills. The lake, the Lacus Sahatmus 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 offish, 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.
Braceiano (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 Odescalchl, is very interesting, and its towers and fortifications convey a good idea of the oharacter of a mediasval 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, stiU 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 i»/i M. a path ascends to the left to the OA br.) old church of the martyrs SS. Marco, Harciano, and Liberato, erected, as the inscription states, on the site of an ancient villa named PoMilypon^ and affording a fine view. In the vieimty stood Fornm Clodii^ from which inscriptions and other relics are preserved. Pedestrians may regain the road to Vicarello by another forest-path. — Vioarello is 4 M. from Bracciano. The baths, >/« M. from the road , with a hot sulphureous spring, are the Aquae Apollinare* of antiquity. A proof of the estimation in which they were held was afforded in 1^2 by the discovery of great num- bers of coins and votive offerings , 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 ronains of *opus reticulatum", belonging to villas of the imperial epoch. TrevignanOy occupying the site of the Etrus* can town of Sabate^ which fell early into oblivion, formerly the property of the Orsini, now that of the Conti, 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 Csesar Borgia.
A bridle>path leads hence in iVa hr. to Buiri (p. 73), another in about 3 hrs. to Anguillara, tibe ancestral seat of the once powerful counts of that name. If the wind be favourable it is preferable to cross the lake from Trevignano by boat. From Anguillara to Bracciano an uninteresting route of 6-6 Vz M. ; the tour of the lake may thus be made in one day.
392 Enviroru of Rome. CERVETRl. Etruscan Towns.
Cabb.
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. 20 c.^ slow train in I'/i hr. , 5 fr. 45, 3 fr. 80, 2 fr. 45c.)i thence in IVihr. to Cervetri, where a stayof5hrs. may be made, leaying time to regain Rome by the afternoon or evening train. At Palo a ca'^riage may be obtained from the coach-hirer Francescone.
It is necessary to inform the Sindacn 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.
Cerretri (*Cafi'Restaurant, near the gate, moderate; the land- lord piovides guides and carriages to the tombs), the Caere of anti- quity, originally named Agylla (PhoBnician, ^circular oity'), a place of very remote origin, afterwards hecame 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 ftiendly relations with Rome, and in B.C. 351 it was incorporated with the Roman state. It was aprosperous place in the rbign of Tra- jan, and continued to flourish down to the 13th cent., at the be- ginning of which it was abandoned by its inhabitants, who founded Cere NuovOy 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 Yetere, whence the name Cervetri. The present town (660 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.E. 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 peTs. 3 fr., a party in proportion). Most of them lie on the hill opposite the town, and separated from it by a gorge.
1. Gbotta dells Ssdib b Scudi, so called from two seats and several shields hewn in the rock, consists of an ante-room and five chambers.
2. Gbotta dbl Tbiclinio, with faded paintings representing a banquet.
3. Gbotta dblla Bblla Abghitbttuba, with two chambers, supported by pillars. 4. Gbotta dblle Ubnb, with three marble sarcophagi. *b. GitoTrrA DELLB Ibobizioni, or db' Tabquinii, with two chambers, borne by pillars, contains numerous inscriptions with the name of Tarchnas (Lat. Tarquinitts^, thus apparently corroborating the tradition that the Roman kings were of Etruscan origin. *6. Gbotta dei Bassobilibvi, excavated in 1850, the best preserved and most interesting of all. At the head of the flight of steps are two lionesses as guardians of the tomb. The two pillars supporting the roof, and the walls above the niches are decorated with various bas- reliefs of instruments , weapons , and objects of domestic life, partly in stucco, partly hewn in the tufa-rock, and mostly painted.
Sea-Coast of Latium. PORTO. Environs of Rome. 393
On the road to Palo lies: ^. Gsotta Rboolini Oalasbi, opened in 1829, a tomb of great antiquity and now very dilapidated. The roof is vaulted by means of the gradual approach of the lateral walls to each other, instead of on the arch-principle. The yield of this tomb , now in the Ghregorian Museum, was very considerable, consisting of a bed, a fonr- 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 ^* ^^^^ ^^i^ i^ situated another tomb, opened in 1850, and still containing the vases , vessels, and other objects then discovered.
Besides these, there are many other tombs (e.g. Oroita TorUmia^ the first chamber of which contains 54 recesses for the dead).
6. The Sea-Coast of Latiam.
Communication with the sea was of far greater importance to ancient than to modern Rome, 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. Fiumicino.
Fkom 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. 71. 5^2 M. Stazione diS. Paolo (outside the Porta Portese). — 972^* Magliana, Close to the station, on the hill to the right, is the Vigna Ceccarelli^ the site of the sacred Qrove 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 records 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 Bia, 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 colujuns. — Higher up the hill lay an ancient Christian burial-place, where remains of an oratory of Pope Bamasus have been discovered. Adjacent is the entrance to the Catacombs of 8t. Oenerota. They are of small extent and of remarkably primitive construction , but are in ex- cellent preservation and merit a visit.
About 7a M. farther on, betwixt the road and the river, is situated the ruinous hunting - chateau of La Hagliana, with pleasing Renaissance details, once a favourite retreat of Innocent VIII., Julius II., and Leo X., and now the property of the convent of S. Cecilia (frescoes in the Palazzo dei Conservator!, p. 215).
14 M. Ponte Oalera, see p. 7. Our line now quits the Leghorn railway (R. 1) and continues to run westwards.
19 M. Porto was founded in A. D. 103 by the Emp. Trajan (Portus Trajani), as the harbour constructed by Claudius as a sub- stitute for that of Ostia, which had become choked up hy t'
394 Environs of Borne. OSTIA. Sea-Coast ofLatium.
deposits of the Tiber, had soon shared the same fate. Trajan also 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, Bufina (a modernised edifice of the 10th cent.), an episcopal Palace, with inscriptions and antiquities , and a VUla 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, */2M. farther, to the new Stahilimento Bagni^ or bath-establishment.
The Uola 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 haying been presented by Constantine 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 Va hr.
OSTIA.
. 16 H. from Rome. Two-horse carriage there and back !%-30 fr., fee 2-4 fr. ^ the drive to Castel Fusano uuist be expressly stipulated for. A supply of provisions should be taken, and the beautifiQ 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 ia no inn at Castel Fusano. The points of interest may be seen in S-S'/a hrs. — From Ostia to Fiumicino, see above \ ferry at Torre Boacciana.
From the Porta 8. 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 (91/2 M.) Osteria di Malafede a road diverges to the left to (41/2 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 Stagno 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 Oitd. da Sangallo. The town lost its importance when PaulV. re-opened the right arm of the Tiber at Porto in 1612.
The pleasing church of S. Aurea, attributed to Baccio Pintelli,
Sea-Coast of LcUium. OSTIA. Environs of Rcyme. 395
was erected under Julius II. The Castello contains an extensive but 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 Castello 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 Bo€U!eiana. 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,
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 thr custodian is to be found^(fee for. the excursion 2-3 fr.). The Tombs, which extend in a line beyond the Porta Romana of the Ancient Town, 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.) *Forum, 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 chambers (best seen at the S.E. corner), which served as the offices of various Collegia or guilds, such as the lumberers who conveyed timber to Rome and the boat- men of Terracina. In the centre of the forum is the substructure
396 Envir. of Borne. OSTIA. Sea-CoastofLatium.
of a Templum Hn anfiV, 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, 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 J 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 mucli more extensive Baths with a palastra, 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 1/4 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 Fusano, situated in the midst of a beautiful pine-forest. It was erected by the Marchese Sacchetti in the 16th cent. , and fortified against pirates, and is now the property of the Chigi, who leased it in 1888 to the royal family. A pleasant road, with an ancient pavement of basalt, leads hence to the sea, 1^2 ^- distant.
From Castel Fusano to Tor Patemo, a farm near the ancient Laurentum, 6 M. Thence with guide to (4V2 M.) Pratica, an insignificant village on ^e site of the ancient Lavinium.
Sea-CoaatofLatium. ANZIO. Envir.ofRome, 397
About 6 M. from Pratica and 11 M. from Albano lies Ardea, the an- cient capital of the Rutoli, one of the few towns of Latium which even in the time of the Roman emperors were avoided on account of the malaria. Early deserted for this reason, Ardea has preserved, especially in its forti- fications, a more antique appearance than any other Latin town. The wretched modem village (150 inhab.) occupies the site of the old citadel on a hill with artificially precipitous sides. There are remains of massive walls of different periods at various places \ and two ramparts with ditches, several hundred yards long, like the wall of Servius at Rome.
Anzio.
Railway to Cecehina^ below Albano, see p. 368. Steam-tramway thence to Antio in 1 hr. (fares 8 fr. 60, 2 fr. 50, 1 fr. 75 c. ; through-ticket from Rome to Anzio 6 fr. 60, 4 fr. 60, 3 fr. 15 c, return 9 fr. 50, 6 fr. 65, 4 fr. 50 c.).
Anzio. — Hotela: Albbboo dellb Sikens, large new house midway between Anzio and the Villa Borghese; Albergo Milano, in the Piazza. Bistorante Turchetto, in the town. — Private Apartments in the season at many of the new villas.
Oarriage with one horse to Nettuno for 1-3 pers. 1 fr., each addit. pers. 20 c. more. — Omnibus 25 c.
Boats in the harbour, 1-3 pers. U/ifr. per hr., each additional person 1/2 fr. more. — During the season small steamboats ply on Sun. to Astura and Tor Galdara (to the N.).
The little fishing-town of Porto d^AnxiOy or simply Anzio^ as it has recently become customary to call it, a favourite resort of the Romans during the bathing-season (June, July, and August), in spite of its liability to fever, occupies the site of the ancient Antium.
Antium^ the capital of the Volsci, and a prosperous seaport at an early period, the place where Coriolanus sought refuge when banished from Rome in B. C. 490, was compelled in 468 to succumb to the Romans. In 338, when all the Latins were conquered, Antium received a Roman colony, and was thus permanently united with Rome. Extensive villas were erected here towards the end of the republic. Cicero possessed an eatate at Antium, the tranquillity and charms of which he highly extols (Att. iv. 8). The emperors also , especially those of the Julian house (Caligula, Claudius, Nero), built country-houses here; and though at a later period Antium seems to have been surpassed in popularity by Baise
398 EnoiroM of Rome. NETTUNO. Sea-Coast of Latvum,
and the places on the bay of Naples, the temple of Fortune, mentioned by Horace (Carm. I. 36), where oracniar responses were given, existed nntil the latest era of paganism. The place was entirely deserted in the middle afes, bnt in the 16th 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 tTamway-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 Nettano, near the new bathing-establishment.
A pretty walk leads to the Areo Muto^ 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 Gapltale. and then turning to the right. Opposite the entrance is the Villa Corsini or Mencacci (usually inaccessible) Continuing along the Via della Capitale 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 Nbttuno (see below ; in 7 min., fares 35, 20 c.) follows the high-road (1 V2M/). 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, and other remains have been found here at various points. An alley of trees (Olmata) ascends from the S. exit of the villa to the little Casino Soffredini, which affords one of the finest views of Anzio and Nettuno. — From the gate of the villa toNettuno,
V3M.
Hettnno (Trattoria della Ferrovia), 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 (7V2 M-) Astura, where there are numerous remains of Roman viUas, 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 ofSwahia sought refuge with Jacopo Frangipani af- ter the Battle of Tagliacozzo. The latter , however , delivered him up to Charles of Anjou, who caused him to be beheaded at Naples.
List
of the most important Artists mentioned in the Handbook, -with a note of the schools to which they belong.
Abbreviations: A. = architect, P. = painter, S. = sculptor j ca. = circa, about; Bol. = Bolognese, Ferr. = Ferrarese, Flor. = Florentine, Fr. = French, Lorn. =' Lombard, Bom. = Roman, etc.
The Arabic numerals enclosed within brackets refer to the art-notices throughout the Handbook, the Roman figures to the Introduction.
Agoracritos, Greek 8., pupil of Phi- dias, ca. 436-424 B.C. — (xxxii).
Albani(Albano), Franc, Bol. P., 157S- 1660. '
Albertij Leon Bait.. Flor. A., 1406-72. — (xlix. 92).
AlcameneSy Greek 8., pupil of Phi- dias, ca. 430-398 B.C. — (xxxii).
Al/anL Domenico di JPaiHs, Umbr. P., 1483-1553. — (48).
Algardi, Al.^ Bol. 8., A., 1592-1654.
Allegriy Ant., see Correggio.
Allori^ Alets., Flor. P., 1535-1607.
— , Criitofano, Flor. P., 1577-1621.
Alunno, Niccolb (di Liberatore) da Fo- ligno, Umbr. P., ca. 1430-1502. — (48. 79).
Amerighi, see Caravaggio, Mieh.
Ammanatiy Bart., Flor. A., 8., 1511-92.
Angelica da Fiesole, Fra Giov., Flor. P., 1387-1455. — (63).
Anguisiola. So/onitha. Crem. P., 1539- 1625.
Apelles , Greek P. , 356-308 B.C. — (xxxiii).
Amol/o del (di) Cambio, see Cawibio.
Arpino. il Cavalier e d^ (Oitu. Cetari). Eom. P., ca. 1560-1640. — (Iviii).
Bandinelli^Baeeio, Flor.S., 1493-1560.
Barbarella, Giorgio , see Oiorgione.
Barbieri, see Quereino.
Barili, Ant. and Oiov.^ Si^en. wood- carvers, first half of 16th cent.— (23).
Bama or Bema, Sien. P., d. 1381. — (23).
Baroeeio^ Federigo. Bom. P., imitator of Correggio, 1528-1612. — (97).
Bartoli, TaddeOy see Taddeo.
Bariolo, Domenieo di, see Domenico.
Bartolommeo delta Porta, Fra, Flor. P., 1476-1517.
Batsano, Franc, (da Ponte). father of Jacopo, Ven. P., 1548-91.
— , Jacopo (da Ponte), Ven. P., 1510-92.
Bafoni, Pompeo, Bom. P., 1708-1787.
Baszi, Oiov. Ant., see Sodoma.
Beecafumi, Domenieo, Sien. P., 1486-
1651. — (23). Bellini, Giovanni, Ven. P., 1426-1516. Benvenuto di Giovanni, Sien. P., d.
1517. — (23). Berchem (Berghem), Clacu Pieiersx,
Dutch P., 1620-1683. Bereiiini, Pietro, see Cortona. Bernardo Rossellino, Flor. A., 15th
cent. ^«mini, Cfiov. Lorento, Bom. A., S.,
1589-1680. — (lix). Boedai. Greek 8., son of Lysippus. —
(xxxiii). Bologna, Giov. da, or Giambologna
(Jean de Boullogne of Douai), S.,
1624-1608. Bonfigli. see Buonfigli. Bonifacto(Bonifazio) the Elder, d.l540,
the Younger, d. 1553, the Youngest,
ca. 1666-79, Ven. P. Bonvieino, see Moretto. Bordone, Paris, Ven. P., 1500-70. Borgognone, Ambrogio, da Fossano,
Mil. P., 1455?-1624?. Borromini, Franc, Bom. A., 8., 1599-
1667. — (Iviii). Botticelli, Aless. or Sandro, Flor. P.,
1446-1510. — (xlix). Bramante, Donato , A., 1444-1514. —
(li. — (Jomp. also the Index, under
'Borne'). Bril, Paul, Flem. P., 1556-1626. Brontino, Angela, Flor. P., 1502-72. Buonarroti, see Michael Angelo. Buonfigli (or Bonfigli), Benedetto,
Umbr. P., ca. 1420-c. 1496. — (48). Buontalenti, Bern., Flor. A. , 1636-1608.
Cagnaeci (Canlassi), Guido, Bol. P.,
1601-1681. Calidri, Paolo, see Veronese. Cambidso, Luea, Gen. P., 1527-86. Cambio. Amol/o del (di), Flor. A., 8.,
1240-1311. Gampagna, Girolamo, Ven. 8., pnpi^
of Jac. Sansovino, 1562-1623.
400
LIST OF ARTISTS.
Cafnuccini^ Vine., Rom. P., 1773-1844. Canaletto (Antonio Canale). Yen. P.,
1697-1768. Canova, Antonio, 8., 1757-1832. Caprina, Amadeo or Mto del. Bom.
A., d. 1501. Caravaggio, Michelangelo Amerighi da,
Lomb. and Rom. P., 1569-1609. —
(Iviii). — , Poliddro Caldara da, Rom. P.,
1495-1643. Cardi, Luigi, see (Hgoli. Carpi, Qirol. da, Fen. P., 1601-68. Carracci,AgosHno,Bol.V.. 1558-1601. — , Annibale, brother of Agustino,
Bol. P., 1560-1609. — (Iviii). — , Lodopieo, Bol. P., 1555-1619. Camtedj see Pontormo. CavalUnii, Pietro, Rom. P. and mo-
saicist, 14th cent. — (xlviii). Cellini, Benvenuto, Flor. S. and gold- smith, 1500-72. Cephisodottu the Elder, Greek 8. (per- haps father of Praxiteles). — (xxxii). — . 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, Giov., Flor. P., 1240? -1302?. Claude le Lorrain ( GelUe), French P.,
1600-82. Clovio, Don Giulio, P. of miniatures,
pupil of Giul. Rom., 1498-1678. Cornelius, Peter v.. Germ. P., 1783-
1867. — (lix). Correggio ( Antonio Allegri da), Parm.
P., 1494? -1534. Cortona, Pietro (Berettini), da, Flor.
A., P., 1596-1669. — (46). Cotmati, 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.
Dolei, Carlo, Flor. P., 1616-86. Domeniehino (Domenieo Zampieri),
Bol. P., 1581-1641. — (Iviii). Domenieo di Bartolo, Sien. P., middle
of 15th cent. — (23). Donatello (Donato di Nieeolb di Betti
Bardi), Flor. 8., 1386-1466. Douo Doesi^ Ferr.P., ca. 1479-1546(46 ?). Duecio di Buonineegna, Sien. P., ca.
1286-1320. — (23). Dpek, Ant. van, Antwerp P., 1599-1641.
"^uphranor, Greek 8. and P., 375-335 B.C. — (xxxii).
Eueebio di 8. Giorgio, Umbr. P., ca.
1500. — (48). Euthyerate*, Greek 8., son of Lysippus.
— (xxxiii).
Eutyehidet, Greek 8., pupil of Ly- sippus. — (xxxiii).
Yahriano, Gentile da, see OentHe. Federigki,Ant., Sien. A.,S.,ca. 1420-90. Ferrari. Gaudenzio, Hiian. P., 1484-
1549. Fiammingo, Arrigo, of Halines, Rom.
P., d. mi. Fieeole, Fra Giovanni Angelica da, see
Angelieo. — , Mino da, Flor. 8., 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). — , Domenieo, Rom. A., 1543-1607. —
(Ivii). — , G^toi;., brother of Domenieo, Rom.
A., 1540-1641. Fonte, Jae. della, see (iuerda. Francesco, Piero della ( Pietro di Bene- detto), Umbr. Flor. P., b. 1423, d.
after 1509. — (39. 56. 97). Francesco di Giorgio, Sien. A., 8., P.,
1439-1502. — (22). Francia, Francesco (Franc. Raibolini),
Bol. P., 1450-1517. Franeueei, Jnnoc, see Jmola. Fredi, Bartolo di, Sien. P., ca. 1330-
1409. — (23). Fuga, Ferdinando, Rom. A., 1699-1780. Fungai. Bernardino, Sien. P.,d. 1516.
— (23).
Fwini, Frane., Flor. P., 160049.
Qaetano, Scip., Neap. P., 16th cent. Galilei, Alessandro, Flor. A., 1691-1737. Garbo, Raffaellino del (R. Capponi)^
Flor. P., ca. 1466-1524. Gardfalo (Benvenuto Tisio), Ferr. P.,
1481-1559. Gatta, Bartol. deUa, Flor. P., d.l491. Gentile da FabiHano, Umbr. P., 1360 ?-
1440?. — (48). Gerino da Pistoja, Umbr. P., fijrst
half of 16th cent. — (48). Ghiberti, Lor., Flor. 8., 1378-1455. Ghirlanddjo , Dom. (Dom. Big or di),
Flor. P., 1449-94. — (xlix). — , Ridolfo(R. Bigordi), son of Dom.,
Flor. P., 1483-1561. Giambologna, see Bologna, Giov. cLa. Gimignani, Giadnto, Tuscan P., 1611-
1681. Gioeondo, Fra, Veron. A., 1435-1515. (Hordano, Luea, surnamed Fapresto.
Neap. P., ca. 1632-1705.
LIST OF ARTISTS.
401
QiorgUme ( Otorgio Barbarella), Ven.
P., 14T7?-1511. «to««no,Flor.P.,pupil of GHotto.— ( ). Giotto (di Bondone)^ Flor. P., A., S.,
1276-1337. — (xlviii. 76). Qozzolu Benozzo, Flor. P., pupil of
Fra Angelico, 1420-97. Ouerdno, il (Oiov. Franc. Barbieri),
Bol. P., 1590-1666. — (Iviii). Guido da Stena, Sien. P., 13th cent.
IW, Sinibaldoy Umbr. P., first half of
16th cent. — (48). letinusy Greek A., 5th cent. B.C. —
(xxxi). Imdla, Innoeenzo da (Inn. Franeucd),
Bol. P., 1494?- 1550?.
LaippuSy Greeks., pupil of Lysippus.
— (xxxiii).
Landiniy Taddeo, Flor. S., d. 1594. Lan/raneo, CHov., Lomb. and Bom.
P., 1580? -1647. Laurana, Luciano , of Dalmatia, A.,
15th cent. Li Brun, Charles, 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. LigoiHo.Firro, Bom. A., d. 1580. Lippi, Filippino, Flor. P., 1458-1504.
— (xlix).
— , Fra Filippo. father of Filippino,
Flor. P., 1412-69. — (82). Lombardo, Giroldmo^yen.S., 16th cent. Longhi, Luca, P., Bavenna, 1507-80. Lorenzeiti, Ambrogio, Sien. P., d. 1348?
-(23). — , Pietro, Sien. P., d. 1348?. — (23). Lorenzetto, Martino (di Lodovico Cam-
panajo), Flor. A., S., 1494-1541. Lorenzo di Pietroy see Vecchietta. Lotto, Lorenzo. Ven. P., 1480?-1554?. Luea Thome, Sien. P., second half of
14th cent. — (23). Luini, Bernardino, Milan. P., 1470?-
1530?. Lunghi, Mart., the Elder, Bom. A.,
16th cent. — , Onorio, Bom. A., son of the
preceding, 1569-1619. — , Mart., the Younger, son of the
last, d. 1637. Luti, Bened., Flor. P., 1666-1724. Lysippus, Greek S., 4th cent. B.C. —
(xxxii).
VLadtma, Carlo, Bom. A., 1556-1629.
— (Iviii).
Mademo, Stefano, Lomb. bom. S., 1571-1636. Basdskss. Italy U. 10th Edit.
Majano. Benedetto da, Flor. A., S.,
1442-9V. — , Giuliano, Flor. A., 1432-90. Manni, Oiannicola di Paolo, Umbr. P.,
d. 1544. — (48). Mantegna, Andrea, Pad. P., 1431-1506. Maraiti (Maratta), Carlo, Bom. P.,
1625-1713. Marcantonio Raimondi, engraver, ca.
1488-1527. Marchionne, Carlo, Bom. 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). Masaccio (Tommaso Guidi), Flor. P.,
1401-28?. — (38). Matteo (di Cfiovanni) da Siena, Sien.
P., 1435-95. — (23). Mazzolini, Lodov., Ferr. and Bol. P.,
1481- ca. 1528. Mazzuola, Frane.,aeeParmeggianino. Melozzo da ForU, Umbr.-Tuscau. P.,
1438-1494. — (xlix. 89). Memmi, Lippo, Sien. P., d. 1366. — (23). Menelaus, Bom. 8. of the time of
Augustus. — (xxxvi). Messina, Antonello da.P., b. after 1410,
d. ca. 1493. Michael Angelo Buonarroti, A.,S,,P.,
1475-1564. — Gi, Hi. — Comp. also
the Index under *Bome\) Mnesicles, Greek A., 5th cent. B.C.
- (xxxi). Mocchi, Franc, Tuscan S., 1580-1646. Mola, Francesco, Bom. P., 1612-1666. Montelupo, Raff, da, Flor. S., ca.
1505- ca. 1570. Montorsoli, Fra Giov. Ang., Flor. S.,
ca. 1506-63. Moretto da Brescia (Alessandro Bon-
vicino), Bresc. P., 1498-1555. Morone, Franc, Veron. P., 1478 or
1474-1529. Moroni (Morone), CHov. Batt., Bresc.
P., 1510? -1578. Mosca, Simeone, da Settignano, S.,
1498-1554. Murillo, Bartolom4 Estiban, Span. P.,
1617-1682. Muziano, Qirol., of Brescia, P., 1530-
1592. Myron, Greek 8., 5th cent. B.C. -
(xxxi). NeMt, Ottaviano, Umbr. P., d.l444.—
(48. 63.) Nucci, Avanzino, tJmbr. P., 1552-1629.
Oderisi of Gubbio, miniature-painter, 1240-1299. — (47. 68).
26
402
LIST OF AKTISTS.
Qffffiotmo. Mama da, Mil&n^F.f pupiJ
of L4Oiiiu-d0f IITUNIMU?. Oreaffna (Andrga tH done]. Flop^ A,
0««f^#ff^r /cA^ friedr.^ Gcmr. P., 1798-1^60.
TactAia., fjirolamo deU 3 inn. P<. 1IT7-
ca. 1635. — (33). PaicAiaroito^ Giae.. Sien. P,, 1174-
1&40, — riaj.
I^fma Qiofaae ( Giopini). Giac^., Vtin.
P., 1544- ca. 1628. — Veechio, Giae., Ven. P., 1480-1528. Palmerucei, Outdo, Umbr. P., 1280-
1345?. — (58). Falmezzano, Mareo, da Forlu Flor. P.,
1490-1530. Parmeggianino or Parmigianino
(Frane.Maztuola), Parm.P., 1503-
1540. Pasiteles, Greeco-Eom. 8., 72-48 B.C.—
(xxxvi). Passignano, see Cresti. Pellegrino Pellegrini (Tibaldi), Bol.
A., P., 1527-91. Penni, Franc, (il Fattore), Flor. P.,
1488-1528. — (Ivii). Perino del Vaga, see Vaga. Perugino^ Pietro (Pietro Vannucd),
Umbr. P., 1446-1524.— (xlix. 48. 61). Peruzzi. Baldast,, Sien. and Rom. A.,
P., 1481-1536. — (Ivii. 23). Phidias, Greek 8., 500-430 B.C. —
(xxxi). Pintelli, Bacdo. Flor. A., S., ca. 1472-
1490. — (xlix). Pintitricchio (Bernardino BeUi),\5vdbT.
P., 1464-1513. — (xlix. 48). Piombo, Sebast. del, see Sebastiano. Pippi, see Romano. Pisanello, see Pisano, Vitiore. Pisano, Qiov.. Pis. A., 8., son of
Niccold, d. 1320. — C22). — , Giunta, Pis. P., first half of 13tli
cent. — , Niccolb, Pis. A., 8., d. 1278. — (22). — . Vittore (Pteanello), Ver. P., ca.
i455. Podestiy Franc. , modern Rom. P. —
Oix). Polidoro, see Caravaggio. Pollajuolo, Ant, Flor. A., 8., P.,
1429-98. — , Piero, Flor. 8., P., lUl-89?. Polyeletug, Greek 8., 5tli cent. B.C.
— (xxxi). Polygnotue, Greek P., 480430 B.C. —
(xxxi). Pomarancio ( CHreignani) , Rom. P.,
end of 15th cent.
mte, Frane.i Jac, da, see Baetano.
Pontarma. Jac i& f CatrUcciL Flor. P**
1494-1557. ppatUK Ftaminio^ Rom, A,, ca. 1670»
iBta: Pordinont, Oiou. Ant. ((/. A* Lici$li^^
da P.). Yen, P., t4i^l&39. —y fKde aha Lieinit)^ Btmarditm. Poria^ Bart' rfelfci^ eefi Barfolonvnep. — ^ &iac. della^ Lomb.A., 3.. lD4i-i(i04. "T *^*ov- ^^ff' delta, Sam, 3., 15^94. — I, (iuijtielnio delta, Liinib. S+^ d. 1577* P&uMxin^ Gagpard(Q. i>uffAffL French
P., lb^i3-75, — , Nicolas, French P., 1594-1665. Pozzo, Andrea, Je8uit,P.,A., 1642-1709. Ptaxiteles /., Greek S., ca. 364 B.C.—
(xxxii). Provenzale, Mareello, Rom. mosaicist,
d. 1639.
Q,uereia, Jac. della (or J. della Fonte). Sien. 8., 1374-1438. — (22).
"Biaffaello dal Colle, Rom. P., 1490-
1540. — (Ivii. 56). Raphael Santi da Urbino, P., A., 1483-
1520. — (liii. 97. Comp. also the
Index under 'Rome'.) Raibolini, see Francia. Raimondi, see Marcantonio. Reni, Ouido, Bol. P., 1574-1642. —
(Iviii). Ribera, see Spagnoletto. Ricdarelli, see Volterra, Daniele da. Rinaldi, Antonio, Rom. A., 16th cent. Ristoi*o, Fra, Flor. A., d. 1283. —
(xlviii). Robbia, Andrea della, Flor. 8., 1435-
1528. — , Giov. della, son of Andrea, Flor.
8., ca. 1530. — , Luea della, Flor. 8., 1400-82. Robusti, see Tintoretto. Romanelli, Giov. Franc, Rom. P.,
1610? -1662. Romano^ Oiulio(G. Pippi), Rom. P., A.,
1492-1546. — Qvii). — , Paolo, Rom. 8., first half of 15th
cent. Roncalli, Rom. P., second half of
16th cent. Rondinello, Niccolb, Ven. P., 16th cent. Rosa, Salvator, Neap. P., 1615-73. Rosselli, Cosimo, Flor. P., 1439-1507.
— (xlix). Rossellino (Bern, di Matteo Gamlbe-
relli), Flor. A., S., 1409-90. —(19.22).
Sacc«,-4.,Rom. P., 1598 ?-1661.— Gix). Salaino, Andr., Milan. P., pupil of
Leonardo, ca. 1495-1515. Salimbeni, Ventura, Sien. P., 1557?
1613.
LIST OF ARTISTS.
403
SalviaH, Franc, Flor. P., 1510-1563.
Sammicheli, Miehele.Yer.A., 1484-1554.
* Sangallo, Antonio da. the Elder, Flor.
A., 1450?- 1534. — , Antonio da. the Younger. Flor. A.,
148&-1546. — (Ivii). — , Francesco da, son of Ginliano,
Flor. 8., 1494-1576. — , OiuUano da, brother of Antonio
(the Elder), Flor. A., 1445-1516. San Oimignano. Vineemoda. Rom. P.,
1490? -1529?. 8ano di Pietro (di Domenieo). Sien.
miniature painter. 1406-1481. Sansovino, Andrea (dontiteei),¥lOT. 8.,
1460-1529. — (42). — , Jac. (J. TatH), Ven. A., 1477-1570. 8anti. Oiov., father of Raphael, Umb.
P., ? 1460-94. - (97). — , Raffaello, see Raphael. Saraceni. Carlo, surnamed Veneziano,
Ven. and Rom. P., 1585-1625. Sarto, Andrea del, Flor. P., 1487-1531. 8a$$o/errato ( Oiov. Batt. Salvi), Rom.
P., 1605^. — (lix. 109). Scareellino, Ippol., Ferr. P., 1551-1621. Schiavone (Andr. Meldolla), Ven. P.,
1522-82. Sehidone. Bart., Mod. P., d. 1615. Scopas, Greek 8., ca. 390-350 B.C. —
(xxxii). Sebastiano del PiomSbo, Ven. and Rom.
P., 1485-1647. Sermoneta, Oirol. Sieciolante da, Rom.
P., d. 1680. Signorelli, Luca.Tuac.F., 1441-1523.
— (xlix. 17. «. 63.) Sisto, Fra, Flor. A., d. 1289. — (xlviii). 86doma, U (Oiov. Ant. Bazei), 8ien.
and Lomb. P., ca. 1473 (not 1480>
1549. — (Ivi. 23. 17). Solario, Andrea (da MHano), Lomb.
P., ca. 1448-1630?. Spada, Lionello, Bol. P., 1556-1622. Spagna (Oiov. di Pietro), Umbr. P.,
ca. 1507, d. before 1530. — (48). Spagnolefto (Oitu. R^ra), Span.
Neap. P., 1588-1666. Speechi.Alees., Rom. A. and engraver,
d. 1710. Spinello Aretino, Flor. P., pnpil of
Giotto, 1318-1410. — (39). atephaniu, Grseco-Rom. 8., 1st cent.
B.C. — (xxxvi). Subleyras, Pierre, French P., 1699-
1749.
Taddeo (di) BarioU, 8ien. P., 1362- 1422?. - (28).
Tamagni, Vine., see San Oimignano,
Tempeeta, Ant., Rom. P., 1637-1701.
Teniere, David, the Younger, Antwerp P., 1610-1690.
Tibaldi, see Pellegrino Pellegrini.
Tiberio d'Aesiei, Umbr. P., 16th cent. - (48).
Timarehidee, Greek 8., son of Praxi- teles. — (xxxii).
Tintoretto, il (Jac. Robueti), Ven. P., Ven. P., 1518-94.
Tiei, Benv., see Oarofalo.
Titian (Titiano Vecellio da Cadore), Ven. P., 1477-1576.
Torriii, /aeo&tM, Rom. mosaicist, sec- ond half of 13th cent.
Tribdlo (Nice. Pericoli), Flor. 8., 1486- 1550.
TJccelU, Paolo, Flor. P., 1397-1475. —
(97). Udine, Oiov. (Nanni) da, Ven. Rom
P., 1487-1664. — (Ivii).
Yacea, Flaminio, Rom. 8., second
half of 16th cent. Vaga, Perino del (Pier. Buonaceorei),
Rom. P., 1500-1647. — (Ivii). Valeoldo, Rom. 8., second half of
16th cent. Vanni, Franc., 8ien. P., 1563?-1609. — , Lippo, Sien. P., 14th cent. — (23). Vannneei, Pietro, see Perugino. Vanvitelli,Lodov., Rom.P.,A., 1700-73. Vaeari, Oiorgio, Flor. P., A., and
writer on art, 1512-74. — (39). Vecehieita (Lorenzo di Pietro), Sien.
8., A., P., 1412-80. - (23). Vecellio, Tiziano, see Titian. Velazquez (Diego V. de SUva), Span.
P., .1599-1660. Venueti, Mareello, P., d. ca. 1670. Veronese, Paolo (P. Caliari), Ven. P.,
1528-88. Vigndla (Oiacomo Barazti), A., 1607-
73. — (Iviii). Vinci, Leonardo da, see Leonardo. VUe, Timoteodella(Tim. Viti), Umbr.
Rom. P., 1467-1523. — (97). Volterra, Daniele da (D. Rieeiarelli),
Flor. P., 1509-66. — (10).
Zampieri, see Domenichino, Zuc^ero (Zuccaro), Federigo, Rom.
P., 1560-1609. — (Iviii). — , Taddeo, Rom. P., 1629-68.
26*
I N D K X.
A^betc, Monte deU' U. AcqiialaiEiia 101.
— Folice 168. 346. 347,
— Marcia ^7.
— e&pu ^6.
— Vergine IflQ. 345. Ai^que AlbuJe 3T1. Adrians, VII] ^ 314. JEtiB tOB. ^tLAHa I a.
Affilu 3a5.
Agoiitft 330.
AgyllB, 3yS.
Albaclua m. lOft.
Alba Lcrnga 371^.
Alb^n MnEiniams. the 36B.
Albflno 368.
—, Lagd 4i B6S.
Albanfj Lazi^u 3b4. 368.
jLtbarmm 'i6S*
Alb&resa 3.
JUbf^gna 3.
— J. liTer 3,
AlblniA S,
AI]ert>tiik 61.
AILi» 341.
Ahuii, brouk 313. 351.
AJflion 39Q.
ALilnui 7.
Alviana 61,
AmeliA 37.
AmHiiti 87.
Ajttiata^ Moute 18.
Amonc 88. 39.
Aucona VJ2.
Anemo B3.
IH.
— iQ Vado 101. AaglifiTi 66. AnfulUsra BBl-
jAnit), dveraAl. 342. 371. Anio noyus ISO^ Ajisa^ Ihf^ 9Q. S. AjneeniiLi iq Dofana 37. AfiHCiano, Mte. d' 5T.
Antemnse 341. 336. Antico, Monte 18. Anticoli 380.
3. An timer 17.
Antlam 397.
AnEiOf or l^orlo d^Aniio,
3Q7. ApenDines, tUo iQ2* «tc, A^pirft AntLea , Forlazxa
— T Via 34B. Aqua Altixandrina S46^ -^ Claudia 317. Ferentlna 3fi7.
— BtarcJa Ul. !r79. AipiK ALbulm 373.
— ApQUiDart*^ 391.
— 8alvite 364.
— Taari 7. Arbia 16.
- , rivar 17. 22. 37. S. Axcbn^elo 9t, Atco MdIo 398.
— OftcuTO 337, Ardea dm. Artizza 33.
Ar^eatariOf MciDtc 3^ Arictia 370. AriccibDaT Valle 370. Arlmlmtm .^^ Arinaiuufi B4. ArnO) rivcT 42. Arrctinm 38. Armnei rlyer 4. 7. 3G0.
391. ATtemlftic), Mijnte 382. Arima, Ttimb of 3G9, Ar^alti^i QrOTC of the
3y3. A^clano 1&* AscoU 88.
Asdrubale , Monte d'' 93, AiislDO^ tlie bl. Afi^jisi T5r
AfiUgnu, MoBte 102. AHtura 398. Attidinm 109, Atti^lianc} 66. Augustanufi, Vicus 394, Au^iLatnt^f Bridge cf St. Aiixiiauni 105.
Bacbetona, La 11. Badia del Furlo 101.
— of S. Severo 66.
Bagnstia 71, lEAgDl 373. llai^no a Blorbu S. Baeuorea 69. lUlDGum Hegis 69. B^hti. 1« U. ^.
BadB!viio TeTflTino 66. — , Lake of 66. Baf^sl&tiD 3S7, Bsstia 74. Eedeeis 89. Belcaru 37. Bolreapiro^ Yilla 355. BclTederE,OatoTii(li 3B5. S. Benc!d£tto 90,
— [ctmvfint near Su- biaco) 331.
5. BernardiDO 99.
Bfirtinorn 90.
BtituUe 42.
Bevftgoa 80«
Bibbiena 42.
Bie^lft 73.
Blseutiua 66.
Bleta 73,
Bolsena 65.
— , Lago di 66.
tkirafttsio 67.
liorsbesei Villa 334. 398,
Borghetto 67.
Borgo dei Maga^i^ini 12*
— di d. Marino 94.
— 5. Sepolcro 56. Bovillfls 350, Brae:ci&DO 3^1* ^, Lago di 391. Branca 59. BniiiA, rivef 3*
Biicke &&' Saracini . r.e
11. Eucinc 38. BulJcaaie 72. Bnoncoavento 17. Burano, rlTep 101,
O^clna 1. Cffire 7. S92. 0;T:^,'n;^ !'0.
Oaitareila, brook 351. Cagli 101. Gales 101.
INDEX.
405
Galle 101.
Gallori. S. Maria AsBonta
di 16. Galvo, Monte 57. GamaldoU 365. 42. 94. Camerino 108. Gamerinum Umbroram
108. Gampagna di Boma 806.
7. Campana, Orotta 390. Gampello 81. Gampiglia 1. Campo d'Annibale 372.
— Beggiano 57. Camiucia 43. Candigliano, river 101. Ganoscio 67. Cantalupo 380. Ganterano 380. Gantiano 101. Gapalbio 4. Capaxme, Monte 12. Gapannelle, Le 347. 367. Gapo di Bove 349. Gapoliveri 12. Gaporciano 11. Gapraja 12. Gaprarola 73. Garceri) Eremo delle 78. CareiflB 390.
GarsnlSB 56.
Gasale del Fontanile 6$
— di Prima Porta 837.
— Botondo 350. Cascate delle Harmore 86. Gasentino, the 42. Gasino di Terra 8. Gassia, Via 69. 336. Gastagneto 1. Gastel d'Aaso 72.
— Bolognese 88.
— Durante 66.
— 8. Elia 74. Gaatelfldardo 105. Gastel Fiorentino 13.
— Fusano 396.
— Gandolfo 369.
— Giubileo 68. 341.
— di S. Leo 94.
— Madama 379.
— del Piano 18.
— 8. Pietro 81.
— Planio 109.
— Porziano 394.
— Baimondo 108.
— Savelli 368.
— Todino 66. Gastelaccio 72. Castellum Axia 72. Gastelnuovo 8. Gastelnuovo dell' Abbate
17.
Gaatiglione 34fi.
— Fiorentino 43.
— del Lago 59.
— d'Orcia 18.
— della Pescaja 2.
— Teverino 66. — , Palude di 3. — , Promontory of 2. Gafltrimceninm 367. GatUlo, Monte 377. Cattolica, La 94. Gava, La, di Gaporciano
Gave, Flume di 384.
Cavi 384.
Gavo, Monte 371.
Geccarelli, Vigna 398.
Cecchina 368.
GecMgnola 348.
Gecina 1. 8.
— , river 1. 8.
Gellole 16.
Gelsa 36.
Gentum GellsB 6.
Gerboli 12.
— , Monte 8.
Gere nuovo 392.
Gerfone, the 56.
Geri 392.
Gertaldo 13.
Cervara 380. 873.
— , Grottoes of 373.
Gervetri 392.
Cesano, river 101.
8. GeflareOfOsteria di346.
Gesena 90.
Cesi 87.
Getinale 37.
Getona 61.
— , Monti di 20.
Ghiana,river 16. 18. 42. 60.
Ghianeiano 20.
Ghiaravalle 106.
Ghiarone 4.
Ghiascio, river 59. 74. 101.
109. Chienti, the 107. Chiusi 60. 20. — , Lake of 20. Ghiuaure 16. Ciampino 367. 363. Giminius, Mons 73. Gineto Bomano 379. Ginigiano 18. Gircello, Monte 382. Gitema 66. Citt& di Gastello 56.
— della Pieve 61. GivitJt Gastellana 67.
— Lavinia 382. Givitanova, Porto 107. GivitJk Vecchia 6. Givitella 385.
Glanis 43. Glitumnua 80. 81. Glivua Ginnse 338. Glnsium 60. Gollatia 373. Golle 13.
— di Val d'Elaa 11. 14.
— del Poetello 380.
— Salvetti 1. Golleacipoli 87. 8. Golomba 36. Golonia Fidens Julia
Arretium 38.
— Julia Hispellum 79. Julia Senensis 21.
— Junonia 67.
— Kepensis 74. Golonna 2. 346.
, near Grosseto 2.
, Parco di 361. Gompatri 366. Gompiobbi 37. Gonca, river 94. Gonero, Monte 105. Gora 386. GorcoUe 345. Gori 386.
Gometo (Tarquinii) 4. Gorniculum 374. Gorrignaleto. Monte 380. Corsignano 20. Goraini, Villa 398. Gortona 43. Gosa 4.
Goatacciaro 101. S. Gostanza 342. xlvi. S. Gostanzo 55. Gremera, the 337. 389. Gruatumiua rapax 94. Gurea 68.
Digentia 380. 8. Donato 11. S. Donnino 13. Dorica Ancon 102. Durante, Gaatel 56.
8. Edistio 68. Egeria, Grotto of 361. S. Egidio, Alto di 45. Elba 12. Ellera 46. Elsa, river 13. Emiasarium of the Lago Albano 869.
— of the Lago di Kemi 371.
EmpoU 13. Ercole, Port' 3. Eaino, river 102. 108. Etruacan Towna 389. 72. 8. Eugenio, Abbazia di 37. lEugubium 58.
406
INDEX.
Tabriz no t09, S, FiM^Dtidina 109,
FakobJira'SL lOQ. 1*E. FfclcOTie, Jlonte 346. Fiileotilari, Villm 3G&. Falefll 67.
Fil^rinm Kdt^iu S7. F«JO 99. Ftitnm FoHnti* B9*
— Vacunte 380. ^ VnUnmiiiE 69. Fag^lU t^ F&venMa BB. FQrentiTiTim S^. Feri^iitd ^.
FerraU, Qrotta Mi. B07, — , OflteHtt ddin 380. Fidulle Bl. FidenRi S89. 541. Fl^libe 38. Filomkrinn^ O^rlen* di
341. Flora, river 4. Fiuuiiclin) 3',M. T. ^, TiTer &1h Florence M. FogniA 105. Foj^Ha, river ©4. 96. Fojano 42. FoIigTTO Id. Fon™ica 3. Fcmtatillia , 0&&a]e dtsl
Fonte dpgU Oratint 380. ForU 8fl- Fornoipopnli 90. Fnnnella .^9. — , F<isiio lii 3^7. FoTiDicA, Inland 3^ Fomm CaaaU 72-
— ClndiJ 301.
— Livii 89.
— Popilil 90.
— Sempronii 101. Fu^^bnuiiva 38S. FoMato &9. iCd. 109.
Fosso &i Formellii 339.
^ iiw taoia nm.
— di Pont* di Kona
ai6.
— dl ValcfL 389. Fosaom'brnne 104.
S. FranqeflCa (Sab^no
Mis.) 3}^5, -" (Fyjanfsl i% TT&stAii 3ti4. Fraisintitto 43. Fratocchie, Le 360. Fregenee 7. Frosinone 388. ralginium 79.
Farbon T« Furlo ?&»» 101,
ffabli 545. fJakra BSO.
GalTlcaiio S45, G&Uii:kad, YiLJa ad 337. Oalloro 370. G^mbetKiln 91. Oavi^Hnu fl88. GavUTTaof} 2. 3, G«mine M. OunasEano 3t^. 0^n|;a, La J09. GctnUAro, lHi>nt.e 379. GtMiiano 370. 3. OJacomo BL Giatio^ brook 109. Git,rHo 13, B. Gimifnano 14- S. Giovanni 33.
— d Asfto n.
— dl Fonts alio Splno 37.
S. Glrol^mo , convent
11. Giovt?, Mont^ 100, Giovl 42» GiuJiAiicUa 386. — , La^o dt 366. Ghmuano B4. S. GiisBtlno ^ OonfbJinat the 13. G oTdi anl , Vt lla o f tbe 345 6oTt^on& 12. Oradam 96,
Orano, Honte del 347. Gran 8a^.fo d' Hal la 105. Gravi&cBB 5. GroHaeto 3. Gmtro Cawip*ii* 390.
— F^rpata mf.
— d'Orland[} 74. Onsttn of Egerlfl. JjfiL. Gu&ldo Tad I no 100. Qnajcu^ llonte 102. Qubbio &7.
Ha^dHaa'ti Villa 374. nelria Ridna 107. Bi.^|>E;lliini 79, Mnfaw, Y11U of flTK UarU ffT.
l&iltTim 13. [g^vinm OS. Ilva 12. Imola 88.
Imperiale, Villa 96. Incisa 38.
Inferbo, Vallfl dall' ^B. Initbiruni ViHa U. Interamna BT). iB&uruA^ rivflr 94 ^ iDOia Famejc 3&^
— Kapi^ore 46.
— Minors *6.
— PoJveee 48,
— Satr* AM.
Ja^i loa.
Jupittir Apcurtnafl)
Tempi 0 nt lul. Jupiter Latiarli,
Ttpople of 372,
labic^i 343.
Labicnm B46.
La C&V& di CapOTtiiano
11. Laciia Allmaud 3O0.
— CiminiLifl 73.
— Kdtnorensifl 371 »
— Preliiia 3.
— Sabsttnufl 39L
— Traeimenna 46.
— Vadimonis 67. ~ VnljiDienslfl 66k Lad {^ poll 7.
La Gf'nii^j^ 109.
— Ma^iiaTiB 3fl3. 7.
— iJi^la 370. l^B-^iy Zolforeo & Lanavium iiS^ LarderelLo 8. La Storta 389. Laterin^ 38. Latin m 333.
La Tolfa 7. Laurentum 3[l6. LiLTltiiuni 3M. Le Bake 11. ^. Le Vcno Bi. Licen^ 3@0.
, river 37fl. SSa Livia^ ViJJa <^f 387. Loreln 105. Lucignana IS. LucOi Monte Bi. LncrelLlijt. Hnns 380. Lugano 3-i6. Lun^bezfeA 373.
iacqarej;*? 7. — , Sis^no rti T. aiaccbia di (^Jitiiv 394. Mac era ta 1(17. Aiadnniia del Buon Gfin..
fiiglio 384.
- del Calcinajo 43.
— del Campo 384.
— delle Case 380.
— del Monte 386.
INDEX.
407
Madonna del Saaso 42. Heeeenfts, Villa of 379. Kagazzini, Borgo del 12. Hagione 46. Hagliana 7. 393. Magliano 67. Halafede, Ost. di 394. 8. Mama 42. Mandela 380. Marano, river 94. Marches, the 88. Marciana 12. Marecchia, river 91. 92.
94. Maremme, the 1. 2. 8. Maria degli Angeli 75.
— Assunta di Callori 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. 8. Marino 94. Mario, Mte. 338. 8. Harmi 9. Marmoraja 36. Marmore, 86.
— , Cascate delle 86. Marotta 101. Marrana, the 256. Marta, river 4. 6. Martana 66.
S. Martino al Piano 101. Massa Marittima 2. Masai, Monte 11. Matelica 108. Meloria 12. Mentana 68. 343. Metanms 101. Mevania 80. S. Mezzano, Villa 38. Mignone, river 6. Milvius, Pons 336. S.Miniatodei Tedeschi 13. Mola, La 370. Mondragone, Villa 365. Moline 96. Mons Albanns 372.
— Ciminiua 73.
— Lucretilis 380.
— Sacer 343. Montalcino 17. Montalto 4. Hontarozzi 5. Honte deir Abete 11.
— AmiaU 18.
— Antlco 18.
— Aperto 22.
— Argentario 3.
Monte Artemisio 382.
— d'Asdrubale 101.
— 8. Bartolo 96.
— Capanne 12.
— Catillo 377.
— Catini 11.
— Cavo 371. Montecchio 43. Monte Cerboli 8.
— Cello 374.
— Ciminio 73.
— Circello 382.
— Compatri 366.
— Gonero 105.
— Corona 67.
— Corrignaleto 380.
— Cristo 13. Montefalco 80. Monteflascone 69. Montefiorentino 55. Monte Gennaro 379.
— Giove 100.
— del Grano 347.
— Guasco 102.
— Lnco 84. Montelapo 13. Monte Maggiore 66. Montemarciano 102. Monte Mario 338.
— Massi 11.
— Nero 1.
— Oliveto Maggiore 16.
— Pescali 3. 18.
— Petrara 101.
— Porzio 366. Montepolciano 18. — , Lago di 20. Monte Riggioni 16.
— Romano 73.
— Rosso 109.
— Rotondo (near Rome) 68. 341. 343.
(near Volterra) 8.
— Sansavino 42. Montesanto 107. Monte Semprevisa 387.
— Somma 84.
— Subasio 78.
— Trevi 887. Montevarchi 38. Monti di Cetona 20. Montone, river 89. Montone Monte Castelli
57.
8. Mustiola a Torri (Val di Merse) 37.
Nar 87. Narni 87. Nemi 371. — , Lago di 371. Nepete 74. Nepi 68. 74.
Neqninnm 87. Nera, river 56. 86. Nera Montoro 87. Nero, Mte. 1. Nero's Tomb 389. Nettuno 398. Ninfa 387. Nocera 109. Nomentnm 348. Norba 387. Norchia 73. Norma 387. Nuceria 109.
Olevano 384. Ombrone, river 3. 13. 16. Ontanese 382. OTatini,.Fonte degli 380. Orbetello 3. Orcia, river 18. Orciano 1. Orcle 73. 8. Oreste 68. Orlando, Grotta d' 74. Orte 67. 87. Orvieto 61. Osa, river 3. Osimo 106. Osservanza, L* 86. Osteria di Belvedere 865. -— delle Capannacce 374.
— delle Capannelle 346.
— di Cavamonte 346.
— 8. Cesareo 346.
— della Ferrata 880.
— di Filomarino 341.
— del Fomaccio 374.
— delle Fratocchie 360.
— di Malafede 894.
— Nuova 390.
— deir Osa 346.
— del Pino 347.
— del Ponticello 354. 394.
— del Tavolato 346. 367.
— della Volte 87. Ostia 394.
->-, Macchia di 394. — , Stagno di 394. OtricoU 67.
Fadule 69. Paganico 18. Paglia, river 61. Palazzo 109.
— del Pero 56. Palazzolo 109. Palazznola 872. Palestrina 388. PalidoTO 7. Palmajola 12. Palo 7.
408
INDEX.
PalambiirH S4S. 374. Falombsfo 374. 350.
S. PuId, 9tuJDDe di
993. Papa Qiulio, Cvslaa of
m
-, VlJlaof a37.
PapjgTia 80. Pkt^o A\ Colrrnna 368. PELTiali, Kotiti 3m, Pft^uraDQ 364. $45. Pad!ii^aiif) \&. PiLSfio di Corrt*!!^ 68, S. PiLstona 346, PhTuiilypon ^1. Pellegrino 109. Pfintapolij Maritima ^. Fera^ia 4B.
B- Agaese 52.
8^ AgoMino Gl.
8. Aii^clo &2.
Antinu&riau Huscuiq
Arco dl Augufito 51 BaffliOisiT YilU fjfi. Sr Bernardino, OnLtorio
53. BiblloieciPn^iblicaM. Botanic &FLrd€n 52. Cambio, CulL del 49. Cfttbedtal 51.
OMBfia KaDT«. 5S. CoUflgio delC»mbio 4@, Corfin Ca^onT i>4, " VanDuccI 40. S. Co»taoKiL f)£i^ S. DQinenicn [tl. Epiacapal P&lflcc5L S. Erculano 54. FonLe Mft^giore 51. 3. Fr&Dcesco dei Cfm-
TtiDtuali 53. Huude ofPertieino 53. S, Lorenzo Gl. Kadonna della Luca 53,
Va^U del la Volt« 5L Merilconi, 0 all err fi5. MODaldij Q^icry £i5.
HJecTopolifl 65* Pal, Aotinomi ,^1.
— Ualdeschi 4!;1.
^ dsJ Capituno delPn- piilo 53.
— Gatlen^Ji 51.
— del Podedta 51.
— Pnbblico 49. Passeggiata Pubbllca
55.
Peragla : Pioxi^a Danti Gl.
— d(jl Duouio 49.
— FortebracDio 61.
— del Mtmidpio 51.
— del Sopramqro 5'i
— Vltt. Kmnnuele 49. PSchiTO Gatlery 50. S. Pietro de' Caflincn^ii
54. Pinacnteca 50. Viyrts. MarzLa 53.
— S. Pielro 54. PrefettnTfl. 19. Br>mn«Jdi, Onllectifm
55.
SdiH (B^alzil, Torre delle 53.
3. Sev^ero 52.
Statnecif JnLitiBm. 51.
UniverBity 62,
Yr>lnmiiij, SejK>leto du' 55. Parnaia 47. Pflfla^ river 13* Pf^frEi™ 94. Petfara, tfoDtc 101. Piaiioftii Vi. Pic on urn 105. Piediluuo 85,
"t l^ake or 87. Plan?* 20. Pietralati lOt. FJntriLluii^ 57. FiombinD ^. 1 pern a 338. PiaaaTiim 94. Piaciatello, the 91. Pirinaj^ia 12, Plantii, Tomb of the
374.
o^giboTisi I3r Pogf^o alia Cmeo 1 1,
— MirEelo 68. Pfvlentft 90h PoHmirtiTiTn (TT. S. PoJo Ii79. Pomarance 8. Pompay, Tomb of 3U9. Ponesntf!, Lago di 7. Pimfi MUvlus m^. PoutaRjiiFiTe 37. Ptmte deir Acqnoria 378.
dallK Badia 4.
— a Botte 101.
— delia Catena 316. Centcflimo 110.
Pontedera E. Ponte a Elsa 13.
— Felice 62.
— Galera 7. 893.
— Ginori 8.
Perugino, House of 53. | — S. Giovanni 74.
Ponte Locano 374.
— lilanimolo 374,
— Mone ^^6.
— Nomcntano 342.
— di Nona 'MB.
— dXlrflino 384. -^ SaUrn 341,
— sodo dm.
— rifil Terrenrt 67.
— d«lk Torri 84. I'ont.icello, Ostaria del
3fJ4. ;i94. Ponticino 38, P<jnti|;nan{9 , Certosn di
Poppi 42,
Pdpnlonia 2.
ForrEina 42.
Poraenna, Uaus oleum cf
60. Prtri» Anr^lia 356. ^ Furba 317.
— Libitina 34f^.
— SpeRlei-ii 390. Porto 3i33.
— d'AbJlo 397.
— CiTitftnova ISJT,
— Clcmeadno ft.
— Ercolo 3.
— FefTByo i%
— Lon^one 12.
— g, Stefann 3. I'ortoBaccio 367. 374. Portn3 Trajant ti. 3y3. Por^io^ Mte. 366, Pfitenzaj river 10?. 108. Fctenza-PiDtina ll/T. Praeiie^te 383. Pratica 3913. Fratovecchio 42. Pritna Porta, Casale di
337. Privei-ntim 388. Piiplnna 2. I^usslno, Vnl di 33^7. Pyrgofl 7. 3SJ2.
S, anlrjco 17.
Ran^a n,
Rapolann 18.
liasgina 43.
Ravenna ^. B-h
RecanatI 107.
Eegillu^^ Lakt: 346.
Eeireaao 377.
EicciosiP 94.
Rignanf). on tha Attk» 38*
Rimini 91.
Rio Castello 12.
— Falisco 74.
— Marina 12. Riparbella 8.
INDEX.
409
Bocca SeS.
— Ganterano 380.
— S. Gasciano 90.
— di Cave 384.
— Giovine 379. 880.
— Maggiore 78.
— Maasima 384.
— di Papa 372.
— Bomana 391 .
— S. SUfano 386.
— Strada 18. S. Rocco 380. Rojate 385. Roma Vecchia 350. Romena, castle 42.
ROKS 111. Abbadia delle Tre Fon-
tane 354. Accademia di Francia
149.
— di Belle Arti 184.
— de' Lincei 824.
— di 8. Luca 238. Acqua Acetosa 337.
— Felice 16S. 346. 347.
— Marcia 166. 347.
— Paola 329.
— Santa 346. 352.
— Vergine 162. 345. S. Adriano 238. Mdea Gastoris 226. ^rarinm pabl. 227. 8. Agata in Subarra
170. S. Agnese 190.
— fuori le Mura 342, S. Agostino 189. xlix. Albergo deir Orso
xlix. Aldobrandine Nuptials
321 S. Alessio 258. 8. Alfonso de' Ligaori
181. AH Saints, Gh. of 150.
119. Alpine Glnb, Italian
118. Alta Semita 166. Amazon after Polycle-
tus 315. American Gburch 119.
169. Amphitheatrum Gas-
trense 273.
— Flavium 234. Anaglypha 229. S. Anastasia 250. S. Andrea 336.
— delle Fratte 151.
— al Qnirinale 178.
— della Valle 198. lix.
ROKS:
St. Andrew, Chap, of
336. Anflteatro Umberto I.
184. 8. Angelo, Gastello 274.
— Gustode 151.
— in Pescaria 204. Anglo-American Glub
119. Anio NovuB 180. 8.Anna,Ghapelof251. S. Annnnziata 239. Antinons 268. xxxvli Antiquities, vendors of
117. S. Antonio Abbate 179. S. Apollinare 190. Apollo Belvedere 312.
— Musagetes 309.
— Sauroctonufl 310. 339
SS. Apostoli 165. Apoxyomenos 315.
xxxiii. xxxix. Aqua Claudia 180. 247.
347. 272.
— Julia 179.
— Trajana 829.
— Virgo 152. Aquarium 179. Ara Pacis 153.
Arch of Augustus 230.
— of Gonstantine 236.
— of Dolabella and Silenus 259.
— of Drusua 258.
— of the Fabii 231.
— of G&llienus 179.
— of the Money- changers 248.
— of Sept. Severus 228.
— of Tiberius 227.
— of Titus 233. XX xvii. Archeeol. Instit, Brit- ish and American 117,
, German 221.
, French 205.
Archivio Vaticano 319. Arco di Giano 248.
— Oscuro 337.
— de' Pantani 239. Arcus Argentariorum
248. Area Gapitolina 208.
— Palatii 244. Ariadne (Vatican) 310. Armoury 321. Arrival 111. Artists' Association 116. Arx Gapitolina 208. Atrium Vestse 230. Auguratorium 243.
BOKE:
Augustus, Bust of 314. Augustus, Statue of 315.
xxxviii. Aula Dei 266. Aventine, the 145.250. Bakers 114. S. Balbina 254. Banca Bomana 169. Bankers 115. Baptistery (Lateran)
265. Barcaccia, La 150. Barracks of the Cara-
binieri 276. S. Bartolomeo 204. Basilica Emilia 223.
228.
— of Gonstantine 232.
— Gonstantiniana 266.
— Endoxiana 182.
— Julia 226.
— Liberiana 176.
— of 88. Nereo ed Achilleo 349.
— of8t.Petronilla349. 362
— Po'rcia 228.
■— Sempronia 223.
— Seasoriana 181. >- di S. Stefano 346.
— Ulpia 240.
— of St. Valentine 336. Baths 114. Battistero, the 266. Beer 113. Belrespiro 355.
S. Bernardo 169. S. Bibiana 179. Bibliography 127. Biblioteca Alessan- drina 115. 197.
— Angelica 115. 189.
— Barberina 116. 171.
— Casanatensis 115. 196.
— Chigiana 116. 154.
— Gorsiniana 116. 325.
— Vallicellana 116. 200.
— Vaticana 115. 319.
— Vittorio Emanuele 115. 156.
Bibulus, Mon. of 163. Birrerie 113. Blind Asylum 253. Bocca della Verita 249. S. Bonaventura 233. Bookbinders 115. Books on Rome 128. Booksellers 116. Borgo 273. 146.
— S. Angelo 276.
410
TKDEX.
ROIO:
Bof^o NnoTo 276. . — S. Miehplfi 27(i.
— ft. aplrlto ^7ti.
— VecnMo 2711 BiTtaiiiciLli G»rden ^23. Brarmiittei
B«lvedorc of tbe Va- tican 304. Canconeria^ F&lozEa
CnrtiJ^ dl S. DHjniiu!i<> [dr dellc Loesic) !^.
Honasieiy Go art uf t^. Maria dellaF^ce 193.
S. LoreDto In Dr- modo 199.
Pftl. Oirmd 270.
St Pi ter's !a77.
Tempietto 328. Krldypa 143. Bfitiah Academj^ 117, firoaz&B. Antique 214.
3lfe. — , ImltatJUDa of 117. Qabs, A«e Appx, CiEcUia MetellA, TomTi
of 319. Oeeliiu, the ld5. ^. Cairoli, M cmnnient of
the 14 W. Caf^s 113.
Cbleoi^T^a Reiia IIT, C&leisdaTiuia I'ro^n^?-
tin urn 198. OameoA 117, Cimora da" Deputjiti
GampagnA dl Rom&
Campo ill Flori ai>i.
— MUitare 169.
— Vai^ino 224^
— Verabo 344* CampuB MaftloH 133.
145. Canc^illma, Pul. 14)9.
Candelabra. antiqiie
300. 310. €flpitfll 3iJ8. — , Coil, nf thq 213. €:Lpito]l£iij Hill 145.
— Vemia 221.
— Wolf 214. Oapo dl Bovti 349. Cattpiicdnl 2T2- Caracalla, Thermee ot
255. Career Mamertinus 237.
EDITE : Carcfiri Kaovi ^M, B. Carlc} iklla QuiLttro Fontuae 17G. i,vui
— a, Cfttinivri 3UL.
— a] Cflr*u 153^ CarnLv&l iSl. Cafriagea 119. Carthitnian Monastery
187, Cacia Bartboldy 150.
— di Croflcenaio 24lt.
— dl 11 via ^43.
— di Pilati) 249.
— ProfessA IBS.
— di Hienii 24^. jlvii,
— TarpelH. 22 L
— Zuccari 13Q. Cjwaie Ttotordn 360. Coal no Ma^aimi 373.
— dl Papa (JittlioaSG.
— KoifT^iglik^i^l 175. Gustello ti. Anuelo 274. Chtacombji 134.356.?cUv.
— t>f S. Agneae 3(13,
— ofe.Aleasandja3fl3.
— of au CtdliitaB :iul.
— of DomiUUa 362.
— of S. Genproaa 393,
— JawiJb iW3.
— of Sa. Kcrtius anJ AcliUltiUd 3B2,
— of 89. PelL^r ami
^^ of St. Pontianus
im.
— of St PrtEtextatna
3r>3.
— tif St. Priadlla 303,
— of ,^. SebaatiAno 34)3. S. €iiterina du' Fiinbri
21Q.
— di Siena 109. S, Cecilia in Trastayerf
331. Cemetery, Oi^rman lB5i — , Jewish 250. — '^ Protectant SOl. 8, Cesftreo 256. Ces tlus . Py ramld of 2^i2. Chain Bridge 207. Chemists 115. Chief ATtractiona 125. ChJqsa Nuova 200. GhTiHtian Huacuju 270,
330. Chronological Tabl« vi
the Em peri) r^ and
Popes 13SJ. C Lurch FeativaliS 11&. Cigars 114. Cimetero del Tedeschi
EOSSi Circo Agonalc 190. Clrcuji of Caiieula ^73^
— M DomLtian IBO.
— Flaminiui 20Q.
— of Maxt!ntiii9 349^
— Bf^ximud 250. Civlta^ Li^obina 374. Claude Lorrain^B Land- scapes 159,
S. CJemetitf. 260. xlv.
jtML jElvili. GlimatJa 1 14. x.xv. CliTua Capitolinai 227.
— Ciniiff 338.
— Muftis 34S.
— ViqtoriiE 3'i4. Cloaca Maxima 24S. 232-
^227. Cliibfi li9. Coemtjtfrliiin Oslria-
unm 363. Cola di HienvL at&tiie
Of 310, ColleetLonfl, etc. 123^ Oo^lc^io Uililarfi ^^33. '— f di I'ropaiianda Fid^
i5L
— HoioaLDO 15^.
Cij] Ing.! iimMaro n\ ti eum 1W3,
— Urbanam J5L Collia Hiirtomm 148. Colon&cce, Lb 230. Colonnade uf the
Twelve Ooda 225, Colosseum :iM. Columbaria 207, 346.
348.366, Comititim 232. Concordia. Temple nf
CoTifactLonen . 114. CoDserv&tori, Pfblace bt
the 21 t Consulates ill, CE>rao, the IfiX
— Vlttorio Fiaanu^le 15)1.
Corte di Appello 30: >.
3&. Cosma e Ifami^uo liill. sIt,
8. Co^tanzEi. B42,
Cresuentiaa. lioase of 249.
S. Criaogono 330.
3. Croi^e in Gferusa* lemme 181.
Cupid {Froaj uf Praxi- teles 300.
Curia 228.
— Hostilia 222. 238.
— Julia 238.
INDEX.
411
EOXB:
Dentista Ufi. Deputies, Honae of 164. Diadttmenos Relief 312. Diary 12B. Diocletian, Thermae of
167. Dioscnri, group of the
210. Directory 112. Discug- thrower of My- ron 190. 305. xxxi
xxxix. Divisions , ancient , of
the city 134. Dogana di Terra 165. SS. Domcnico e Slsto
170. Domine Quo Vadis 348. Dominican Monastery
263. Domus Angnstana 242.
— Flavia 244.
— Livi8B 243.
•^ Tiberiana 244. Doryphorus (after Po-
lycletns) 316. xxxi. Drusus, Arch of 258. Duration of Visit 125. Ecole de Rome 20b. Egyptian Museum 316, 8. Eligio degli Orefici
207. EmbaMies HI. Emporium 261. English Churches 119.
160. 154. 169. Engravings 117. Eros of Praxiteles 309.
xxxii. Esquiline 145. 166. Ethnographical Mu- seum 167. Etruscan Museum 316.
xl. Eurysaces, Mon. of
180. 8. Eusebio 179. Exchange 165. Excubitorium of the
Vigilea 330. Exquiliee 166. • Pamese Gardens 242. Farnesina, Villa 323.
Wi. Fasti Consulares 216. Fattorini Pubblici 119. Faustina, Temple of
231. Fees 114.
Ficoronian Gista 156. Filippo Neri, chapel of
BOKS:
Filippo Neri, Oratorio
dim Firewood 112. Flavian Palace 244. Fontana delle Tarta-
rughe 202.
— di Trevi 161.
— del Tritone 171. Fontanone deir Acqua
Felice 168.
— di Ponte Sisto 207. Fora of the Emperors
237. Fortune,Temple of 249. Forum of Augustus """
— Boarium 248.
— of Geesar, or Forum Julium 239.
— of Nerva 239.
— Romanum 222.
— of Trajan 240.
— Transitorium 239. S. Francesca Romana
232. 8. Francesco di Paola 183.
— a Ripa 332. Franciscans, House of
182. Galleria Barberini 171.
— Borghese 186.
— Colonna 163.
— Corsini 324.
— Doria 158.
— of Imperial Busts 827.
— Lateranense 271.
— Spada 206.
— Tenerani 169.
— of the Vatican 301. Gallienus, Arch of 179. Gallu2ze, Le 180. Ganymede (after Leo- chares) xxxii. .
Gardens of Meecenas 182
— of*8allust 173. Garrison 122.
Gaul, Dying 217. xxxiv. Genio del Vaticano (Eros of Praxiteles)
German Hospice 191. Gesii 197. Iviii.
— e Maria 168. Ghetto 203. Gibson's House 160. 8. Giacomo in Augusta
(degli Incurabili) 153.
— degli Spagnuoli 191. 8. Giorgio in Velabro
24a
KOKS;
Giotto's Nayicella381. 8. Giovanni de' Fioren- tini 207.
— in Fonte 265.
— in Laterano 265. xlvii. Irii.
— in Oleo 257.
— e Paolo 269.
— a Porta Latina 266. S. Giuseppe a Gapo le
Case 151.
— de' Falegnami 162. 237.
Gladiator, Dying 217.
xxxiv. Gloves 117.
Goethe, House of 152. Golden Palace of !Nero
234. Goods Agents 117. Graces, the. relief by
8ocrates 314. xxxviii. Gratuities 114. 8. Gregorio 258. Grotte Vaticane 284. Grotto of Egeria 361. Guercino's Aurora 173. Guide 116. Guide Real's Aurora
176. Hadrian's Tomb 274. Hairdressers 114. Hercules, Torso of 313. Hills of Rome, Seven
145. History of the City of
Rome 129. Horse Tamers (Quiri-
nal) 173. Horses, Saddle 119. Hospice, German 191. Hospital, Bohemian
Hospital for Women 265.
— , Military 276.
Hdtel Quirinal 169.
Hotels 111.
Hydropathic Establish- ments 114.
8. Ignazio 166. Iviii.
nian Tablet 220.
Immacolata, Column of the 160.
Inquisition 286.
Intarsia 117.
8. Isidoro 172.
Isola Tiberina (di Bar- tolomeo) 204.
Istituto de' Ciechi 263.
— Tecnico 188. 8. Ivo 197.
412
INDEX,
RQMEi
Janiculitai, the 327. iajLiiii (^umiLrifronA 24&. Jea at i CUmn^b Bfl 1 flO, 137. iFlii.
Jo no BirboriRl 3tk^,
— LodoYipi 179. KcHti" Ho Die 15^). Kerbole 253. Laooons 311. its It*
Madonna 323-
riian 2 IS. LlbrAriea 1£5. lAtea Ennlo QalrJno
Viidontl ioe. Lieujc d^'Ais^bnCti 114, LiquorLsti 113, Li via, Honifl of 343,
S. T^oriiiizo In Da,iiia»a'
— fuori le Mura M3. xlvi. iMi.
— Lrv Lucina 153.
— in MJrftiiiia 231.
— hj l'ii.ni9]>oma 17(L
— in PIscfbtia 276. Lottt>, DireiiODQ del
tS4.
S» Luifri deTr&Mcegi 193^ Lnng^rA 32J. Luniraretta ^^\. 30 1 Lnn^arin* 3^. Lun^u Tev-ere 1S4, Lapercftl^ Lbs (giroUr})
243. Ma^oima Lucre^la 1{j3. If R^ctinJLHi. QardBDi tif
ISO. Sh Mareiillo Ifii^. 8, Marco IfflJ, iM, HpLrciia AuTcliiii} Col^
umu uT 154,
>tarf(jrl(t^ SUtUi) o('3l(i, MargliGritn. Pu4eg|^iiit&
m. 33t>, S, Maria dc^ 1 i AnE^rl 1 1(>7.
— dcjr AnimA 101.
— Autiqua 'i33.
— l\k ArucoiH 200.
— Aventlna 253,
^ Boccjfc de]]& VerJta 24S.
— in CaRipiU'JIi 2s >2.
— doi Ca-'piiccini 172.
— dolla Concezione 172.
— in Cosmedin 249. xlvili.
KOHEe 3. in Domnii^A 250.
— Maiia di OrotUptnta 205.
— Lib^iAtricfi 247.
— di Liireto 241.
— MapE;iuTe 176, ?tlvi. sItII, ilTili.
— Ad M.iif tyres 194,
— Mittr Od 177.
— Bttpra Miperv* 190.
— de^ Kiracoll 147. —- di Mnni^f^rrato 2lfWj.
— in BlDTiite Siuito U7.
— del In KaTic*fll» 259.
— adKIvep HB,
— TS^Ova 233.
— ;KunFa 3D0,
— deir Drto 333.
— dellA Pace I'Jl.
— ' dtillA Pieta in CanLp^'t i3anto 286^
— dol Popolo 147. 1.
— ad rrteaepe 17fl.
— deJ Priorato 2\i,
— KotQnda 1B3,
— Scale Cctli 356, —in flebolft Graeca 34fl,
— dd Scilo 240.
— TnMpontiaa 27il,
— in TrajteTCrfl a30,
— in VallkoUii. 2[>X
— in Via Lata 158, 154.
— ddla VittoHa 1^. MariQiiett«a 119. >liimiorata, tbe 2Gl. Sfarranan tbc! U.^^- ^^8. Martina e Lucp 23^. S. Alartino ai Mj>nti l^'JI. Mau^uleum rif AuL^ki.'iLii^
184.
— of Hadrian 2r?4. Jflpleager^ i^tatne of
313, MetAd'taqJOfMiin.ar 153. Ntita SiidAna 234, Minlm&l Aitiftlc: li-Ili,
Carthiifll&n l.lonvent,
Can ft of \ha 1(j7. Chrlet bewaring tli<i|
Croafl IJKi. Froscoefl in Ibo Cap
pal la FAolina 292 FreacE>ti8 in tb > Sin-
tine Cbapal 2s^. B, Giov. del FitiTcn-
tial 207,
inLateraiio266.
Last Judgment 291 S. Maria degliAngeli
167.
EOICE: Uvcliael Anirdor lf4>no[Dent of Jo'
IJttfi U. 1S3. PaL Farneio 205. Pad est a1 of the Marc.
A or, statne !^10. St. Feter^a 'ild. PiaxKa dni Campido-
t^Uo 216. I'ieta ^'-2. — f unlinlabed 1^2. Prop beta and Sibyls
statue of MoEHifl t83. 8. Uicbele, Oap, 332. 3. M!(!belein3AGflia2T7. Mil lia ri um A areu m223. Minei-Ta^Tfjiuple {>f 180^ Hinerra Medic a 31 Q. Mini^terJ!* ofHr^tss:
Education 19C^
ExLtiHor 173,
Finance 1^,
Interior 2D1.
PublU WoTkfl 154,
Wat IGiJ. 170. Mint 321.
Molaa lladrlAni 274, MoloAflian Honada 311, Mons Sacer ai3. MontoCaprino 206. 231,
— Cavaiio 174.
— Citorio 154.
— maIo sas,
— Mario 33S.
— di Pietk 'J06.
— Teataccio 251. Monument of tbe Km-
prisafi HBluna B45. U iiSAl CO , S tn dio dd 321 . Sluseo Arti^tico-lndii-'
etrialo 151, ^ Kirtibei-iano 150-
— PrnfAno 26S,
— daUe Termii 108.
— Torlonia 325. Mn:ioutii.% see Capitol,
Latt^ran, Vutican. )tlii»i<; lie, Kavicclla, ihG 259.
— (Giotto's) 281. S,lfereo cdAc:hilleo256.
xlvi. KorOf lluiklin^ and
Statufi of 234. XftWBpaperj^ 11{J. S. NkoUinCartene 250_
— da Tolentinn l?j, Kile, 6ronpoftlie8l5.
xxxiii. Kiobe, Daughter of 314. xxxii.
INDEX.
413
ROUS:
Nome di Maria 241. NymplieBam 181. 245. Obelisks 149. 166. 166.
173. 176. 196. 191.
265. 277. Observatory 157. Octavia, Colonnade of
203. October Festival 122. Oculists 115. S. Offirio 285. Omnibuses, see Appx. S. Onofrio (Langara)
32X
— (Monte Mario) 338. Oratorio di S. Filippo
Neri 259. Orientation 126. Orti Farnesiani 242. Ospedale di S. Spirito
Ospizio di S. Michele oS2.
— de' Pazzi 322. Osterie 113. Paedagogium 247. Painters 116. Palatine 145. 241.
Area Palatii 244.
Augnratorinm 243.
Basilica 243.
Baildines of Tibe- rias 1^4.
— of Sept. Severu8 246.
Clivns Victoriae 244.
Excavations 242.
Famese Gardens 242.
Flavian Palace 244.
Lnpercal 243.
Peedagoginm 247.
Palatium 244.
Porta Mngionis 244,
Private House 243.
Septizonium 242.
Stadium 246.
Temple of Jupiter SUtor 244.
Temple of Jupiter Victor 243.
Temple of Victoria 243. Palazzetto Famese 199 Palazzo Accoramboni
276.
— Albani 170.
— Altemps 190.
— Altieri 197.
— Antonelli 169.
— Barberini 170. Ivill,
— delle Belle Art! 169,
— Bernini 163.
KOKS:
Palazzo BolQgnetti 198.
— Bonaparte 162.
— Borghese 184.
— Braschi 191. 201.
— Caffarelli 209.
— dellaCancellerial99.
— Capranica 198.
— Cenci-Bolognetti202.
— Chigi 154.
— Colonna 152. 163.
— of the Conservator: 211.
— della Consultii 173.
— Corsini 324.
— della Dataria 174.
— Doria 158.
— Falconieri 207.
— Famese 205.
— Ferrajuoli 154.
— Fiano 153.
— Field 182.
— Gabrielli 201.
— Galitzin 184.
— Giraud - Torlonia 276.
— delGovernoVeccbio 201.
— Grazioli 197.
— Hiiffer 169.
— Lancelotti 190.
— del Laterano 267.
— Linotta 199.
— Madama 192.
— Maasimi alle Co- lonne 199.
— Mattel 202.
— Muti-Papazzurri 152.
— Odeacalchi 162. 166.
— del 8. Offizlo 285.
— Orsini 203.
— PamphHj 158. 191.
— Pio 205.
— Piombino 154.
— Poll 151.
— Eegio 174.
— Ricciardi 276.
— Righetti 202. 205.
— Rinuccini 162.
— Rondinini 152.
— Rospigliosi 174.
— Ruspoli 153.
— Sacchetti 207.
— Salviati 162. 322.
— Santacroce 206.
— Savelli 203.
— 8ciarrarColonnal55.
— del Senatore 211
— Simonetti 158.
— Sora200.
— Spada alia Regolal
— di Spagna 161.
KOKS:
PalazBO Torlonia 154. 162. 276.
— Vaticano 286.
— di Venezia 182. xlix.
— Verospi 154.
— Vidoni 198. S. Pancrazio 855. S. Pantaleo 199. Pantheon 193. xxxvi. S. Paolo fuori le Mura
352. xlvii.
— alle Tre Fontane 356. Parco Regina Marghe-
rita 336. 337. Pasquino, Piazza del
Passeggiata Margherita
322. 830. Patriarchal Churches,
the 135. Passionist Monastery
259. S. Paul, Ch. of 169. 119. Pensions 1I2. Permessi 124. St. Peter's 277. Philippine GonventSOl. Phocas, Column of 228. Photographs 118. Physicians 114. Piazza Aracoeli 209.
— Barberini 171.
— Bocca della Verita 248.
— delGampidoglio 210.
— Campitelli 202.
— Campo di Fiori 104.
— Capo di Ferro 205.
— Capranica 195.
— Colonna 154.
— del Foro Trsjano 240.
— Guglielmo Pepe 179.
— Madama 192.
— 8. Marco 163.
— Mignanelli 151.
— della Minerva 195.
— Montanara 202.
— di Monte Citorio 164.
— della Kavicella 259.
— Navona 191.
— Nicosia J 85.
— deir Orologio 201.
— del Pasquino 201.
— de' Pellegrini 206.
— Pia 276.
— di Pietra 155.
— di 8. Pietro 277.
— Pilotta 152.
— del Popolo 146.
— di Porta 8. Gir vanni 273.
414
INDEX.
ROME:
Fl4Stss« del QtiirlaAlt:^
— Hoflicucci 27li.
— dl Bpai^aft im
— delie TeraiB (di Ter- mini) 166.
— Tor Sangnigna 190.
— della TriniU 149.
— deUa Valle 198.
— di Vener.ia 162.
— Vitt. Emanuele 179. 8. Pietro in Carcere 238.
— e Marcellino 182.
— in Montorio 328.
— in Vaticano 277.
— in Vincoli 182.
— Vittorio Emanuele 179.
Pincio, the 14fi. 143. Pliny'0 Doves 220. Police Office HI. Pons ^lius 274.
— Emilias 250.
— Cestiua 204. 331.
— Gratianns 204.
— Milvius 336.
— Triumphalis 274.
— Valentiniani 327. Ponte 8. Angelo 274.143. — r 8. Bartolommeo 143.
— Cestio 204. 331. 143.
— Fabricio 204. 144.
— Garibaldi 143. 202. 330.
— Leonlno 202. 143.
— Molle 336.
— Nomentano 342.
— de' Quattro 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.
— 8. Lorenzo 179. 343.
— Maggiore 180. 345.
— Mugionis 244.
— Nomentana 341.
— Ostiensis 252.
— S. Pancrazio 355. '^.Paolo253.368.394,
Porta Pla 34l^
— Plpciana 173.
^ del iMpolu 146. 334.
— PurtiJAD 3iiQ,
— Salara 336.
— 9. Sebwttiano 263. 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. Prseneste, Treasure of
157. 8. Prassede 178. xlvi. Prati di Gastello 275.
— del Popolo Romano 251.
Prehistoric Museum
167. 8. Prisca 254. Private Apartments
112. Promenades 126. Propaganda 151. Protestant Cemetery
251.
— Churches 119. 160. Protomoteca 212.
8. Pudenziana 175. xlvi. Pyramid of Ce8tiu8252. 88. Quattro Coronati
264. Quattro Fontane 170. Questura 111. Quirinal, the 145. 166. Railway Office 111.
— Station 111. 166. Raphael: lUi-lvi.
Bible of R. 300. Chigi Chapel 147. 8. EUgio 207. Entombment 185.
187. Faith, Hope, and
Charity 301. Fomarina 171. Frescoes in the Far-
nesina 323. Galatea 324. Loggie (Vatican) 299. Madonna di Foligno
301. Navagero and Beaz
zano 158. 161. St. Peter's 278. Prophet Isaiah 189. Sibyls 192.
H^phaeFs Stance (VMicilh) 2^13.
— Tapes try 303.
— Houflfl (remttved) 27e.
— Frescoes from the Villa 188.
— Tomb 195.
— Transfiguration 301. Reading Rooms 116. Regia 222. 231. Restaurants 112. Rienzi's House 249. Rione Monti 166. Ripa Grande 332. Ripetta, the 184. Ripresa de' Barberi
162. 88. RoccoeMartino 184. Roma Quadrata 241.
242. 244.
— Vecchia 350. Rostra 228.
— Julia 230. Rotonda, La 193. Round Temple 249. S. Saba 254.
8. Sabina 252. xlvi.
xlvii. SacraVia222.226.231. Sallust, Gardens of 173. 8. Salvatore 266. Sancta Sanctorum,
chapel 272. Sapienza, Universitit
della 197. Sarcophagi, ancient xl. — , early Christian xlU.
xUv. 270. 271. Saturn, Temple of 227. Satyr of Myron 269.
— of Praxiteles 217. 316.
Savings Bank 156. Scala Santa 272.
— di Spagna 150. Schola Xantha 225. Scipios, Tomb of the
257. Scott, House of Walter
154: Sculptors 116. 8. Sebastiano 348. Semenzaio Comunale
256. Seminario Romano 190. Septa Julia 158. Septizonlum 242. Servius, Wall of 130.
168. 264. Sessorium 181. Sette Sftle 181.
INDEX.
415
EOKS:
Seven Churches of Rome, the 136. . Shops 117. S. SUvestro in Capite 154.
— in Lacu 248.
— al Quirinale 176. Sistine Chapel 287. lii S. Sisto 256. Sophocles , Statue of
Spagna, Scala di 150. Spanish Church 205. S. Spirito , Ospedale
di 276. S. Spirito in Sassia 276. Stadium (Circus) of
Domitian 190.
— of Septimius Se- verus 246.
S. Stefano delle Car- rozze 249.
— Rotondo 260. Strangers'* Quarter 146. Street Scenes i2i. Studios 116.
S. Susanna 168. Tabularium 221. Tarpeian Rock 221. Teachers 116. Teatro Argentina 198.
— Drammatico 170. Telegraph Office 119.
Tempietto 328. Temple of Csesar 229.
— of Castor and Pollux 226.
— of Concordia 226.
— of the Deus Redi cuius 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 Mater Matuta 249.
— of Minenra Medica 180.
— of Neptune 165.
— of Romulus 349. — of the Sacra Urbs232.
— of Saturn 227.
— 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 261. Theatres 118. Theatre of Marcellus
203.
— of Pompey 206. Thermee of Agrippa 195.
— Antoninianee 255.
— of Caracalla 265.
— 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 Manafactury
114. 328. Tomb of Bibulus 163.
— of Cfficilia 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 146. Trajan's Column 240. Triyan's Forum 240.
xxxvii. Tramways, see Appx. Trastevere 337. 146. Trattorie 113. Tre Fontane 354. Tribunale Civile e Cor-
rezionale 200.
KOKS:
Tiibu nale di Commer-
cio 200. Triclinium of Leo III.
272. S8. frinitii de' Monti
149. — de' Pellegrini 206. Trinity, Ch. of the 164. Triumphal Arches, see
Arch. Trofei di Mario 179.
210. Tullianum 237. UfficiodiAnagrafell2. Umbilicus Urbis Romro
227. University della Sa-
pienza 197. 8. Urbano 351. Vatican, the 286.
Antiquities 304.
Appartamenti Borgia
ArazBi,Galleria degli
303. Archives 819. Belvedere , Cortile
del 304. — , Vestibule of the
312. Boscareccio, il 313. Braccio Nuovo 315. Bronzes 318. Candelabri, Galleria
dei 306. Cappella di Kicco-
16 V. 299.
— Paolina 292.
— Sistina 287. Casino del Papa 813. 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 — deiCandelabri306.
— Geografica 303.
— Lapidaria 315.
— delle Statue 309. Garden 313. Giardino della Pigna
313. Hall of the Busts
310. Library 319.
416
INDEX.
BOKS:
Vatican :
Mich. Angelo's Frea-
coea 288. 291. 292. Maseo Chiaramonti
318.
— Etmsco-Grego- riano 816.
— Pio-Clementino 304.
Museum of Christian Antiquities 320.
Pauline Chapel 292.
Picture Gallery 301.
Portone di Bronzo 286.
Raphael's Loggie 299. xlviL
— Stanze 293. liv.
— Tapestry 303. Iv. Sala degli Animali
309
— deila Biga 305.
— dei Busti 310.
— di Costantino 298.
— aCroce6reca304.
— Ducale 292.
— deir Immacolata 292
— deile Muse 308.
— Regia 292.
— Rotonda 308. Scala Pia 286.
— Regia 287. Sistine Chapel 287. Stanza d'Eliodoro
297.
— deir Incendio 293
— de' Papiri 320.
— della Segnatura 294.
Tomb-Paintings 318.
Tor di Borgia 327. 286.
Torre de' Venti 316.
Vases, Collection of 317. Vatican Hill 273. Velabrum 248. Velazquez's Innocent
X. 159. Velia 231. Venus after Praxiteles
221. xxxii. Vesta, Temple of 230.
249. Vestal Virgins, Palace
of the 2^. Via A^stino Depretis
169. 170. 175. — Appia25^. 346.348.
ROME:
Via del Bahuino 150.
— de' Banchi Nuovi 201. Vecchi201.205.
— Baullari 199.
— del Caravita 155.
— Cavour 166. 176.
— de' Cerchi 250.
— del Clementino 184.
— de' Condotti 151.
— Conte Verde 180.
— delle Convertitel53.
— de' Coronari 190.
— della Dataria 174.
— de' DueMacelli 151.
— Em. Flliberto 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.
— Gregoriana 150.
— Labicana 180. 345.
— Lata 158.
— Latina 256. 346.
— di Marforio 163.
— Maschera d'Oro 190.
— Merulana 179. 181.
— dl Monserrato 205.
— di Mortella 202.
— delle Muratte 152.
— Nazionale 162. 166. 169.
— Nova 231.
— de' Pafltini 154. 195.
— de' Pettinari 206.
— di Pietra 154.
— della Pilotta 152.
— PoU 151.
— Prsenestina 180.
— Principe Eugenio 180.
— Quattro Fontane 166. 169. 170.
— del Quirinale 166. 173.
— di Ripetta 183.
— Sacra 222. 226. 231
— della Salara 261. 338.
— SaUustiana 173.
— del Salvatore 192.
— della Scrofa 184.
— Sistina 150. 166.
— delle Statuto 181.
— di Tor de' Conti 239.
— Tordinona 184.
— delle Tre Pile 209.
SOME:
Via del Tritone 171.
— Triumphalis 236.
— della Valle 197. 199.
— de' Vascellari 331.
— VentiSettembrel68. Viale Principessa Mar-
gherita 179. Victor Emmanuel,
Mon. of 163. 210. -, Statue of 148. — , Tomb of 195. Vicus Jugarius 227.
— Tuscus 226. 247. Villa Albani 338.
— Aldobrandini 169.
— Borghese 334.
— CsBlimontana 259.
— CaiaU 260.
— Doria-Pamphiy 355.
— Farnesina 323.
— Ludovisi 172.
— Madama 337.
— Magistrale (Maltese) 253.
— Malta 172.
— Massimi 272.
— Mattel 259.
— Medici 149.
— Mellini 338.
— Mills 245. 247.
— di Papa Giulio 337.
— Spada 341.
— Torlonia 342.
— Wolkonsky 272. Viminal 145. 166. SS. Vincenzo ed
Anastasio 152. 354. 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. Ronciglione 73. Ronco, the 89. "90. Rosaro 56. Roselle 3. Rosia 37. Rosignano 1. Rosso, Monte 109. Roviano 380. Rubicon, the 91. Ruffinella, Villa 365. Rusellee 3.
Sabate 391.
Sabina, the 68.
Sabine MountainB,the 373.
INDEX.
417
Sabinum (of Horace)
380. Sacra, Isola 394. Saline 8. Salone 373.
S. Salvatore, Abbey 11. Sapis 90. Sarteano 61. Sasso 8.
Sassoferrato 109. Sassone 367. Sassovivo, Abbadia di
80. Satnmia 4. Savi, Vigna 350. Savignano 91. Savio, river 90. Saxa Rubra 337. Scannabechi, river 341. Schieggia 101. S. Scolastica 381. Scopettone, the 56. S. Secondo 57. Segni 388. Selagite, Mt. 11. 8elci Lama 56. Semprevisa, Honte 387. Sena Gallica 101.
— Julia 21. Senigallia 101. Senio, river 88. Sentinum 109. Septempeda 108. Serpentara 3S5. 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 ST. Siena 20.
S. Agostino 29.
Archives 30.
Bandini, Statue of 32.
Baptistery 25.
S. Barbera^ Fort 35.
S. Bernardino, Ora- torio di 32.
Biblioteca Gomunale 84.
Gampansi, Monast. 35,
Cappella di Piazza 24.
Carmine 90.
Casa Bambagini-Gal- letti 20.
— di S. Caterina 34.
Casino de' ISohm 25.
Cathedral 26.
Baedeker. Italy II
Siena : Cimitiro di Misericor^
dia 30. SS. Concezione 81. 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. Innocentl 29. Istituto delle Belle
Arti 32.
— de' Sordo-Muti 80. 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, Ohiesa
26. — , Opera della, or
— del Duomo 28. Osservanza 36. Palazzo Arcivescovile
26.
— Bichi 32.
— Buonsignori 29.
— Chigi (now Picco- lomini) 29.
— Ciaia 35.
— dei Diavoli 36.
— Finetti 30.
— Gori 32.
— del Governo 30.
— del Magniflco 25.
— Mocenni 35.
— Nerucci 29.
— Palmieri 32.
— Pecci 29.
— Piccolomini 29.
— Pollini 30.
— Pubblico 24.
— Beale 28.
— Saracini 29.
— Spannocchi 32. 10th Edition.
Siena : Palazzo Tolomei 32.
— de' Turchl 36. Peruzzi , House of 36. Piazza del Campo (Vit-
torio Emanuele) 23.
— deir Indipendenza 25.
S. Pietro della Mag- gione 36.
alle Scale 29.
Porta CamoUia 36.
— S. Marco 30.
— Ovile 36.
— Pispini 31. 36.
— Bomana 31. Servi di Maria 31. S. Spirito 31. Statue of Italia 25.
— of Bandini 82. Tolomei, CoUegio 29. University 31.
Sieve, river 37. SigiUo 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. Stia42. Sticciano 18. Stimigliano 68. Storta, La 389. Stroncone 85. Subasio, Monte 78. Subbiano 42. Subiaco 381. Sublaqueum 381. Sutri 73. 391. Sutrium 73.
Tadinum 109. Talamone 3. Tarquinii 5. Tavema, ViUa 366. Tarolato, Osteria del 346.
367. Tavollo, river 94. Terni 84.
27
418
INPEX.
TeTemise^ i-iver 373, Tiber, river 56- 6^. bU
er?. 143, etv. — * Source of the Sfl, Titur ^77.
Tifernam Tibi^rirnuu Dili. TiTuli 3^77. Tmii 6a. Tolentino IffT. Tolenlinnni Pketmnl
> im.
Tolfa, r^ 7,
Toinba fli KemTte ?J89.
— del l^&nc^Ltii JJ4fj.
— dt!i VaJerii M8. Topina, Val IIU. ToptnQ, ibe ?9. Tor Patorno 396.
— di ijiilnto f33r
— Sapi^tnua 340.
— de^ SeJiiiTJ iUS. 373.
— di Sulce 350.
— Tre Tefita iU5. TorraccJn aSO. Torre Bertaldu 7.
— Boa£c:iuia ^, -- di Oiova 12.
~ PilinattftrA 345^ 3€7.
Torrunieri 17.
Torrtitta 308.
Ton-l tVal di Merso} 3^.
Torfita tS. 49,
TDsr;i[](illa 6. 72,
Ti'oUfifiieuo, Iibgo 45.
Trebia 81.
Tre Fontane 364.
Trestina 57.
Trevi 81.
— , Monte 387.
Trevignano 391.
Tnder 56.
Tulicum 109.
Tuoro 46.
Turchina 5.
Turre, La 368.
Tusculana, Villa 366.
Tasculanum 365.
Tusculum 365.
Umbertide 57. Umbria 88. Urbania 56. 8. Urbane 351.
tTrbibenfnro 6*5. Urbino 96. 56. UrhiftikgHa 107. Urbft S;ilvm 1LJ7.
— vetufl ea.
Urrinuni Htirteaso SO. ^ Hci>nT^?iide 96. UflOi river 91.
VaccarrtitciA, Tiimului
of 31K). Vrida 1,
Va^DOliDi, Visna 34!*- yjLlca. iM 38y. Valchctta., tiie 337. Val d Elaa id.
— (ii Piiflsino 337,
— Toping 110, Valle AriccLana. 370 ►
— deir Inftrno 338. V^allombroaa 94, Vfllmontono 381. Mi. Valrificiolo, Abbey of
387, Varano 10&. V*rla 3S0. Vfiji 3B9, Volathri S. Velino, riv-iiT 8U. Vfllitm; 3S2. VelletH 3Hia. Vene^ Le SI, Vema, hm 42. Vetralia 72. Vetalonia 2. Via iEmilia 88.
— Appia 348.
Nuova 346.
Plgnatelli 348.
352.
— Anrelia 1. 7.
— Gasilina 345.
— Cassia 69. 389.
— Clodia 390.
— Collatina 345.
— Flaminia 38. 92. 100. 152. 336. 337. 890.
— Labicana 345.
— Latina 346.
— Laurentina 354.
— Nomentana 342.
— Ostiensis 354.
— PreeneAtina 345.
Via Sa.lii'a 6S. 338, 3ctte Cbiei^e 343. iM. Titmrtln* 343. 374* TriumpbikUa 312, Valeria 37S.
VlcarcUe 1.
Vicarello 391.
Vico es,
^^ Lago di 73. Vicovaro SSO. Vi^onni^ E^kgal di 18. Vi)U Adriana 374.
— Alhajii 393.
— Bt'lrefipiro 3s5&. ^ Aidubr&ndini 3Gfj. ^ tkmcunpargni 368,
— Bragcbi 3T0.
— of Cicero 366.
— Conti 960.
— d^Eflte 379.
— Falconieri 3fi&. -^ &d aalliajM 337.
' of the Oordlatti ^b.
— of Hadrian LtT.'i. ^ of HoTUce 38(>. ^ Imperiale 90.
— In^hirlJ&i 11.
— Laote 71.
— of Livift 337.
— of Meecenaft 378, 3, Meazatia 38,
— Mondragonc 365. riccoloiiiini 3t3i"K Uiirflnella ';m. 8pa4a 541. Taverna 365.
— Tusculana 365.
— Vittoria 94. VUle Monterchi 56. S. Vincenzo 1.
SS. Vincenzo ed Ana-
stasio 354. Vita, Capo della 12. Viterbo 69. S. Vito 67. Vivo 18. VolaterrsB 8. Volscian Mountains 385. Volsinii 65. Volterra 8. 1. Vulcl 4.
Zagarolo 384. Zolforeo, Lago 8.
Leipsic: Printed by Breitkopf <fc Uartel.
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1 - U*t of the Omnibus nnd 'IVauiwrjy lAum- 2. Onh Tariff 3. List of Urn pritidp^il stroiits^ putjlie buUU* Itjgs, 6t^>, of Home« 4 Oeonr/it PUn of Rimie, ftliowing tjjw tiiaiti portloim uf tlio city. ' 5. jMr^a Plaft of Rome, lit three seeUon^ |
i' |
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'['tiiH rovnr may bo a-l^thiHl ftaen ttii* fin?t of *h« l«oitk l^ RHjMftiii; tli« ^tUow ikruad wkkk will I^b fotinJ lHiU<»Hn 1 |
1 1 1 |
|
|
^ |
S-A^Tifse
Omnibus Eoates.
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. FUzza di Venezia — Piazza delFopolo (PI. II, 16—1, 18), through the GoR8o(but after 4 p.m. through the side-streets to the E. : the Piazza 88. AposTOLi, Via dell' Umilti, Piazza di Tebvi, Via della Stamperia, Via Due Uacelli, Piazza di Spagna, and Via del Babuino), every 5 minutes.
2. Piazza di Venezia — S.Pietro in Vatioano (PI. II, 1&— 1,4,7), through the CoBBO ViTTOBio Ehanuele to the Piazza 8. Pantaleo (PI. II, 13) \ then through the Via di 8. Pantaleo, Piazza del Pasquino, Via del Oovemo Vecchio, Via del Banco, Pontb S. Angblo, Borgo Vecchio and Piazza 8. Pietro, every 5 minutes.
3. Piazza di Venezia — S. Francesco a Bipa (PI. II, 16— III, 15), through the CoBso ViTTOBio Emanublb, Via Torre Argentina, Pontb Gabibaldi, Lungaretta, Habia in Tbastevebb (PI. II, 15), and Piazza di 8. Calisto, every 10 minutes.
4. Piazza di Venezia — Lateran (PL II, 16—11, 30, 33), through the Via di Foro Trajano, Fobo Tbajano, Via Alessandrina, Via Croce Bianca, to the Piazza dbllb Gabbbttb (PI. II, 20, 23) ; then through the Via dbl GoLosSBO, every 12 minutes.
5. Piazza di Venezia — Piazza Vitt. Emannele (PL II, 16 — 11, 28, 29), through the Via del Foro Trajano, Via Alessandrina, Via della Madonna del Monti, Via Leonina, Via Urbana, Piazza dell^ Esquilino (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. 8. Carlo a Oatenari — Piazza del Popolo (PL II, 14—1, 15, 18), through the Via del Monte della Farina, Gobso Vittobio Emanublb, Piazza 8. Pantaleo (PI. II, 13), Via Caccagna, Piazza Navona (Girco Agonale; PL II, 13), Via and Piazza Agostino, Via della 8crofa and Via di Ripetta, every 6 minutes.
7. 8. Pantaleo — Piazza Vitt. Em. (PL II, 13—11, 28, 29), through the Gobso Vittobio Emanublb, Piazza del Gesii, Gorso Nazionale, Piazza Ve- nezia (PL II, 16), Via del Foro Trojano, Via Alessandrina, Via and Piazza della Madonna dei Monti, Via Urbana, 8. Mabia Maqgiobb (PL II, 25), and Via Merulana, every 6 minutes.
8. Piazza di Spagna — 8. Pietro in Vatioano (PL 1, 17, 20—1^ 4, 7), through the Via Frattina, Piazza S. Lorenzo in Lucina, Piazza Bobohbsb, Piazza Ificosia, Via di Monte Brianzo, Pontb 8. Angblo, Borgo Vecchio, Piazza 8. Pietro, every 10 minutes.
9. Piazza del Popolo — Via Oavour (PL I, 25), through the Via del Babuino, Piazza di Spagna (PL 1, 17, 20) , Via Due Macelli , Via del Tri- tone, Piazza Basbebini, Via 8. 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 (PL I, 27, 30), via the Pobta Pinciana (PL I, 21), every 10 minutes.
11. Piazza Montanara — 8. Pietro in Vatioano (PL 11,17—1,4,7), through the Via Montanara, Piazza Gampitelli, Via de^ Funari, S. Cablo A Gatenabi, Gampo de' Fiori, Piazza Fabnbsb, Via de' Banchi Vecchi, Pontb S. Angblo, Piazza Pia, Borgo Vecchio, and Piazza 8. Pietro, every 12 minutes.
12. Piazza Navona (Girco Agonale) — Porta Pia (PL U, 13—1, 30), through the Via Agonale, Via and Piazza 8. Agostino, Via della Scrofa, Via di Stelletta, Piazza Gampo Marzio, Piazza di Montecitorio, Piazza Go- LONNA (PL I, 16), Piazza S. Glaudio, Piazza di 8. Silvestro, Via della Mer- cede. Via Due Macelli, Via del Tritone, Piazza Babbebini (PL 1, 19, 22), Via 8. Ificola da Tolentino, and Via Venti Settembbb, every 10 minutes.
13. Porta Pia — Prati di Oastello (PL I, 30—1, 8) , through the Via Venti Sbttembrb, Via 8. Nicola da Tolentino, Piazza Babbebini (PL I, 19, 22), Via del Tritone, Via Due Macelli, Piazza di Spagna (PL 1, 17, 20),
Ba£J>b££b. Italy II. 10th Edition.
2 OHNIBUS ROUTES.
Klcodla, rortn il^ Hipettb, Via Vittoriiv Ooli^uiia, and V^a Creac^nriti (fgr- nierly tie Vim Reaii;>i every i2 mlTmCea,
U. For* Trijftno — Pntl di OartaUo (PL D, 1&— I, BJ, tliTOu&h tbe Via Q, UaJ'c^u^ Via dtille IlDtlegbe Oscure, PUftVb Pai^ajLioft ^ ^J* Torra Arfien- Up«i OuiEAtj ViTT. KK4hiiEi.Kf Via del BimlUri^ Piaxza £>&X]i4 Cakubu^ria [PL 11, 13j^ VU rttllf^griuoi Vm deVBancbj VucchI, Pontk 9. Ajj^Eto, Ptjrta C:&Atd(ui and Via di Purta Angt^lkuj to i,li« Carablniori Barractts, every S miniitesH
15. Via di B. ApqUinarfi — Via Carlo Alberto (PL I, ili^U, 35^ 26U vii tbe Putt&a 2. Ajro^iinu^ Piazza Mjidaona^ Piazza dj S. Eusl^cbio, and tbrough tke Via d til la Bolunda^ Torre Ari^fUtlna^ Ooilbo Vittu&io £ma- HUSLKi PiA^A i>£L Gket] (PL IJ, 16Ji Via Araco&li, Piazia 8. MAfico, Via Foro Trajano, Via AlesEmndTinftf Via delJa Jladynna d«i Monti , PJasza dcir E^nniliDu^ nml B. 3Iaria 1Ia4>(^iob£) ever^ 7 mjuaton^
it;. CanoellBria — Piuu d«U' Indipfindcnaa (PJ. IJ, lit— f^ 29K via tbs Plaina 8, Panlak'iO^ Piazza Kavoxa iCirei^ AgcioEil^), and tbrongb the Via del Tealn} Va]l<3, Fia^^a di 8. EujtatLiu, PA^td^u!*^ Pia^sia Oapranica, HuntecllgrloT Pia^eea CnujuKA, Vja del Tritunc, Pi.iaza 8. CLaqdif>f Fla^aa dl B. Bilvettro, Via deUa Herc^de, Via Dae Hacelli , Via dt^l Trigone, PiAZSGA BaJiAeiuifT, Via S- Klcola da ToIoeiUuis Via Ve^^iti BuTT^M&naf Via PutrenE<>n^ Via Cefqnia, Via Volttirno, and Via SolfcriruK
li. riaaaa della ConaolaEiena ^ Campo Voiano [Cemttei'fi; PL U, 17-3&), vli the FostQ BoMAKijif and Ibruu^b th^ Via C&vour, Via ^loi Se^rpenLij Via PalcnnOf Via A^odtiod J>uprijtia [Quattro FunUnti) PiiLjt^alu deiLla Forrii'Vla (liailunty i^(Qtiarn^ Viale Princip, Margherita., and Via Ttburlina.
IB^ Piazta del ^uirinale — 3' Afntwe fncri Farta Fia [V\. IX^ 1^—1, 90, etc*), LhiDngL ibft Via dcd Qulrinale, Via V«Mti Settembre, Porta Plsi Via Nnmerntana, PiEiiVialc di S* Agneae t about l*]* M,)»
19. FiaEEa B, iilTeitro — Fiaaza Vitt. £iii. £P1, 1, iO— 11^ ^y ^U ^la the Pia^ba B. Claudio^ and tliriQu^b. liie Via 8. Uaria in Via, Via dei Croci- reri| Via doUe Muratte^ Via dellft Ver^, PlaKia SB. Apg^Ujli, Fqko Tra- jaho, Via Alc^andrina, Piazza dellc Oarrette^ Via i>kI> CgLufldrKO, Pj;a£ZA DI B- CLBJLRKTa^ Via Manzuni^ and Via Ku;. Fi^ih^rto^ every 10 minute,
20. 8, Andrf;a dfilla Valle — Forta Balara iPL 11, 13— L, 1^7), rbfon^b Ibe Ousao ViTtuitio KMAiJQKi-R^ Via dei Ctjalari, Via dil Gaaiij Via Pio dl maniK}} Piazza and Via di t.'^i]]ngig Bumang^ Via delF Umiil^, Via del Ixavalgre^ ViaBa^ctla^ Vja Qcattro Funtaks, Vj;a Vkwti Betteubbk, &tid Via di Porta Salara.
ai. Fonts Biito — Cautrg Pratorio CPl- U, 14—1,38}, throueb ^e. Via Qinlia, PLazz,A Farncgc, Campo di Fiuri, Ooi^ao Viir. FIhahckls, Piazza Min- eTVflj Piazza CoUegio Eompiiio, FuiNtajja in Tntvi, Viii del Lav'ators, Via Ra^ella, Via i^ua-ttr^ii Fgnlane^ Via Vent! BtTtEMUiiif.^ and PiaizAdeneTijrnie.
22. FiaEza del auiriti ^ StAKione di Xraatevera [PL 1, 13— II, ib)^ via the Pia%£adel UlsntTgiiDentg, Vln tli ri>rta Aug^Uca^ Piazza di S. E'ibtku (PI- 1, 4, 7)^ Borgg S. Sfiirito, Via peli^a Lungaha^ Piazza della Sea la, B. Maaia i> TuABiavKui^, Piaz£^ B^ CaLisLg, Vja di S. Francesco, and Viable ik^l K&^
2B, B. XoreDZO in Lnciaa — Frato di B- Ggutnato {PL 1,16—11, 10), fii tbe 06.m]Hj Mar^o^ Via de'' Perfi^tti, Vi^i d<Ula 8cmfa, Fias^sta 9. Liiigl de* Franccfll^ Piar.za a. Euiitacbio, Via del Teatt*o Vallo, Conso Vittokio EHAKtij£L£, CiLuipg di Fiyri^ Piazza FAiijfBflic, Pustk Sis to, S. Uabia is TRAatMvi^aK, Piuzza 8. Cali:)t.u,. and Via S. FrancE^sco.
24. Fiaxaa di Bpagna — Flazza Mcutanarm (1^1, I, 30—11, 17), tbrnngli tlie Via dl rropnijanda^ Via d*;Ua Wlereedej Plar.za di i^. Bllve^truj Via dells (3onvortit«^ PiAZi* Odlobi^a,, Piazza Montetikjrigj Piazza Capranica, Pah- THKOH, Piaxza S, Cliiara, Via Torre Argcntltia, Piazza S. Carlo a Cate- NAfli, Via del FalL'gnami, Piazjf.a Campitdli^ and Via Sfgntanara,
2^, Lateimn — Cafl« Bonitatihua (PL 11^ 30-111, 30), throng; b the Via di Porta &. IHoranni and Via Ai^nia ^""ufjvji.
26. Forto Sipetta — 8. Onofrio al Monte Mario (Fl. 1, 14—1, 7, etc.), rough the Via Vitt. Colonna, Piazza Cavour, Via Terenzio, Via Fabio Mas- 'O, Viale delle Milizie, Via Trionfale, and Forte di Monte Mario, l(>dO c.
CAB TARIFF. 3
Tramway Routes.
1. PiftBxft Yeaezut — Piau* delle Terme (PI. II, 9—1, 26), through the Via Nazionale, Via Gernaia, and Via Volturno, every 4 minutes.
2. Piazza delle Terme — Oampo Vevano (Cemetery ; PI. I, 25— n, 34), through the Via di Porta S. Lorenzo and Via Tiburtina, every 15-25 min., in connection with the steam-tramway to Tivoli.
3. Piazza delle Terme — Lateran (PI. I. 25—11, 90), through the Viale Princ. Margherite, Via Gioberti, Via Carlo Alberto, Piazza Vitt. Em., Via Leopardi, and Via Merulana, every !/« hr.
4. Piazza del Popolo — Ponte KoUe on the Via Flaminia, every 1/4 hr.
5. Piazza Montanara — B. Paolo faori le Mara (PI. n, 17— III, 16, etc.), through the Via Montanara , Via and Piazza Bocoa dblla VsbitI , Via della Salara, Via Marmorata, Porta 8. Paolo, and Via Ostiense, every Vi hr.
Cab Tariff.
Oabt ( Vetiure Pubbliehe) in the principal piazzas.
With one horse. Open Closed
With two horses.
day
1 2
— 60
— 40
2 70 -66
1 — 2-
-45 — 20
120 2 20 -50
120 220
— 60
- 40
160 2 70 -66
2 3-
-70 — 20
2 50
3 60
260
360
-86
-40
2 80 4 —
-95
Within the city:
Single drive (eorsa ordinaria) in one-horse carr. open, for 1-3 pers., closed, for 1-2 pers., or in two- horae carr. 14 pers. . .
Per hour
Each additional 1/4 hr. . . For each drive, 1 pers. more Outside the gates:
From or to the tramway terminus outside the Porta Lorenzo . . To the cemetery at 8. Lorenzo Fuori (Campo Verano), per hour . . Each additional V4 hr. on the fore- going drive
To a distance of 600 ydfl. (i/i Kil.) outside any of the gates, includ- ing the Porta 8. Lorenzo . . . To a distance of 2 M. (3 Kil.) out- side any of the gates, per hour Each additional V^ b'* • • ITight is reckoned from 7 p. m. to 5 a. m. from April Ist to 8ept. 90th, and from 7 p. m. to 6 a. m. from Oct. 1st to March 31st.
If a cab be brought from the stand to the hirer's house or elsewhere, the driver is entitled to the 1/4 hr. fare, over and above that for the drive. For longer drives than those above mentioned, there is no tariff, but the above fares afford an idea of what may reasonably be demanded. On the afternoons of the days of the Carnival the vehicles are exempted from the restrictions of the tariff.
Large box 60 c., small box or portmanteau 20 c. } handobags, etc., free.
1-80
-50 — 20
1 20
2 20
-60
1 30
250 k-50
At night
day
1 50
3-
■50
At
night
day
-86
4 -80
At night
List of Streets in the Plan of Rome.
The plan is divided into three sections, the upper, with green margin j numbered I, the central, tchite^ II, the lower, with red margin^ III. The three columns of figures in the subjoined list correspond to these sections ; the numbers indicate the square of the section in which the place in question is to be found (thus: Accademia di S. Luca is in the 14th square of the 1st section). Where space has been too limited to admit of the names being inserted in the plan , they have been replaced by numbers , which in the following list are annexed to each name so omitted (thus: Banco di S. Spirito 15 is 'So. 15 in the 10th square of the 2nd section). The key to these numbers in their order is also inserted in the plan itself, an arrangement which will often be found useful.
inni
mm
|
Abruzzi, Via Accademia di Belle Arti di S. Luca |
24 fi |
JO H m 83 t& |
|
|
, Picture Gallery (Via Bonella 44) |
|||
|
— di Francia ' — di Napoli |
2.' |
||
|
Accoramboni, Pal. 2 . . . . Acqua Felice, Acquedotto . , Fontanone deir ... — Giulia, Castello deir . . — Mariana, Vicolo deir . . — Paola . . . : |
m |
S2 |
|
|
Acquedotto Antoniniano . . — Neroniano deir Acqua Claudia |
22 |
||
|
Adda, Via |
24 27 11 |
||
|
Adice, Via |
|||
|
Adriana, Via S. Adriano |
|||
|
S. Agata. 3 |
|||
|
— in Suburra |
|||
|
Agnello, Via dell' |
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|
S. Agnese |
|||
|
SS. Agonizzanti. 19 .... S. Agostino |
n |
13 |
|
|
i;^ |
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|
AlVanl, Pal |
|||
|
— , Via |
n'j |
||
|
Alberoni, Pal. 10 Aldo Hanuzio, Via |
l:i |
H |
|
|
Aldobrandini, Villa .... |
12 20 |
||
|
Alessandria, Via Alessandrina. Via .... |
m |
||
|
Alessandro Farnese, Via . . — Volta, Via ' |
12 |
17 |
|
|
S. Alessio |
18 |
||
|
Alfieri. Via |
'tC\ |
||
|
S. Alfonso |
■i5 28 7 |
||
|
Alfredo Cappellini, Via . • Alibert, Via — , Vicolo |
^ |
Altemps, Pal. 6 Altieri. Pal. . .
Altoviti, Pal
— , Villa
S. Ambrogio della Minima American Church (St. Paul) Amerigo Vespucci, Via.
S. Anastasia
S. Andrea (near the Lateran)
— (near 8. Gregorio). . . . S. Andrea, con CoUegio Scos'
zese. 1 . '
— , Oratorio. 2
— delle Fratte
— del Quirinale
— della Valle
— in Vinci. 10
— e Bernardino. 1 . . . . Anfiteatro Castrense . . .
— Corea
— Flavio (Colosseo) . . . SS. Angeli Gustodi. 8 . . Angelo Custode, Via deir
Angelica, Porta
S. Angelo, Castello . . .
— , Ponte
— , Vicolo
— in Pescheria
S. Aniano. 4
Anicia, Via
Anima, Via deir
8. Anna
— , Monastero
— de' Calzettari
— de' Palafrenieri. 1 . . SS. Anna e Gioacchino .
Annia, Via
SS. Annunziata. 9 . . . .
Antonelli, Pal
Antonino, Tempio di . . . S. Antonio Abbate ....
23
22
te
17
IS
ai
14
LIST OF STREETS.
I nin
I II in
S. Antonio delle Fornaoi, Via
— di Padoya 10
S. Apollinare
— , Piazza
S. ApoUonia
SS. Apostoli
— , Piazza
— , Vicolo
Appia, Via
, Nuora
Applicazione, Scnola di . .
Aqnario
Aquiro, Via in
Aracoeli, S. Maria in . . .
— , Via di
Arancio, Via deir
Arcaccio, Vicolo deir . . . Arco di 8. Calisto
— di Ciambella. 8
— di Gostantino
— di Dolabella
— di Druso
— di Gallieno
— di Giano
— di M. Aurelio (sito). 7 .
— di Monte, Via
— degli Oreflci. 1
— di Settimio Severo . . .
— di Tito
Ardeatina, Porta
Ariosto, Via
Armata, Via dell'
Amo, Via
Ascanio, Via di
Asinaria, Porta
Astalli, Via degli
— , Villa
S. Atanasio de' Greci. 6 . .
Attilio Eegnlo, Via
Anrora, Via deir
Aventina, Via
Aventino, Monte
Avignonesi, Via degli . . .
Avila, Piazza d'
Azeglio, Via
Babuino, Via del
Baccina, Via
S. Balbina
— , Via di
Balbo, Via
Bambin Gesii
Banchi Nuovi, Via de' . . .
— Vecchi, Via de' . . . . . Banco di S. Spirito. 15 . .
— , Via del
S. Barbara
Barberini, Pal. . ' — , Villa . . . — , Piazza . . . S. Bartolommeo
16
17
16
19
25
10
23
16
10
18
27
S. Bartolommeo, Ko. 19 — , de' Vaccinari. . . .
— , Iflola
Basilica di Gostantino .
— Ginlia
— Ulpia
Baationi di Gastello, Via dei
— di Paolo III . . . Battistero in Laterano Baullari, Via de\ . .
Belsiana, Via
Benedetta, Via ....
8. Benedetto
-, 7
S. Benedetto in Piscinnla. 1 Beniamino Franklin, Via Berardi, Pal. 10 ... . S. Bernardo alle Terme
— , Piazza
Bernini, Pal. 15 ... .
8. Biagio
-. 4.
— del Fosso. 21
— della Pagnotta. 13 ... .
Bianchi, Via Gust
S. Bibiana
— , Via di
Bixio, Via
Bocca di Leone, Via di . . Bocca della VeritJi, Via . .
Bodoni, Via
Boezio, Via
Bologna, Via
— , Vicolo
Bolognetti, Pal. 3
Bonaccorsi-Sabini, Pal. 21 .
Bonaparte, Pal. 5
—, Villa. .
S. Bonaventnra
Boncompagni, Pal. 6. . . . — , Via
— Simonetti, Pal. 15 . . .
Bonella, Via
Borghese, Pal
— , Piazza
— , Villa
Borgo 8. Agata
— Angelico
— 8. Angelo
— Lanrentino
— 8. Michele
— Nuovo
— Pio
— 8. 8pirito
— Veccbio
— Vittorio
Borgognona, Via
Borromeo, Pal. 12
Boschetto, Via del
Bosco Parrasio deir Acca-
demia degli Arcadi . . .
IG
14 17 iO 2Q
17
30
n
16 i8
lU
13
10
31 31 32
r
]6i
16
24
20
22
22
.112
LIST OF 9TOEETS,
I n m
inin
|
BnU^ISho OflCwroT VicoJodellt |
17 |
CartoiiftT Vi* .,,,., . |
17 |
||||
|
fir>Dca^ Piftiia di |
11 |
14 |
CafUrL Via ...... . |
in |
|||
|
— , Vii OioTanni. . . . . . |
CartoDi, VMJa |
la |
|||||
|
Bfa*cbi, PaL 17 |
iB |
CB»a di Cr^iieeiiziu fdi BAetit.i |
|||||
|
B. BHi^idii. 3 |
1^ |
or di tMlato)' 8 |
IK |
||||
|
Bmnem, Via . . |
15 |
Cwali, Pal. S |
13 |
||||
|
EucimaiKa^ VIh , |
IS |
— , ViPua . |
V7 |
||||
|
Bafalo, P*l, del. 6 .... . |
19 |
Cucine, Vicolo dello. . . . |
15 |
||||
|
BufoU, Vkolcj dellft . . . . |
IT |
CaattiTO* iW Cambioicri . . |
15 |
||||
|
Bii{?inaTra£i, Via |
2fl 11 |
— dl GavalJeTitt. S . . . . |
\1i |
||||
|
Bdod Pafltnrc ...... l |
— dp' Vigili. 5. ..... . |
||||||
|
Chcc&iTaa^ Vii ...... ^ ^ |
m |
Casna di Riaparioio |
\^ |
||||
|
Cftdli^ni-SeFQiQiiQta, B&l. 36. |
17 |
Casfliodoro, VIr ■. |
U |
||||
|
Caffarelli, Pal. 9 . . . , . . |
17 |
CiBtelfldardo, Via Cafltnj Prati>Ho, Via dnl . . CataEone, Piansa ...... |
at; 1 |
||||
|
CLPliarl Via |
Hf) |
||||||
|
Caio Marin, Via . . . , . . |
B |
||||||
|
Calrqll^ VU * * * . |
Catena. iMazza dell a . . . - |
17 |
|||||
|
— , Sirada dcUa |
|||||||
|
S. CILJO. & |
•^1 |
3. CaUTina de' Fanari. . . |
17 |
||||
|
CUlini, Viii |
10 |
a. Cat^^rina della Rot*. 1 . . - da' SaBeal. 2 |
10 |
||||
|
Camera del Ueput*U. 24 . , |
16 |
||||||
|
Camoratfl, Pal. 18 |
tu |
— di Siena, 7 - . |
ly |
||||
|
Oampana. Tfcl, ...►►-. |
27 |
Oatotift, Viit ........ Cavalierl d J Malta, Pal. de'9 |
|||||
|
— , Via |
|||||||
|
Cftinpida^gliQ » |
?> |
CaTaJlflgecri, Porta .... CavalWtti, PiJ, 15 |
|||||
|
Campo CarlfjCfi Via del . . |
^> |
17 |
|||||
|
Cfcmpo di Fiflri |
13 |
G^Lvallmi, Via |
|||||
|
— dl Maccaij, see Campfi |
Cavimr, Piuaia |
||||||
|
Military. |
-, Via |
2D |
25 |
||||
|
— Marto, Via di ..... . |
1ft |
fl. C«cilia in TfaBtevera . . |
1& |
||||
|
— MiiltarB ........ |
'^ |
30 |
9, Cecilia. 20 ....... |
10 18 19 |
|||
|
— Vftccinti . ^ ...... . |
— , Via di . - . |
||||||
|
CaocelJ^Ha. Pal. daUa . , |
Cedro. Via del |
||||||
|
— , PU«ft dplU |
\\^ |
Celimontana, Via |
27 |
||||
|
CaDct:lUcTi^ Via ,,,... |
H |
Cello, Mcmte |
.4(1 |
||||
|
Caneatrori, Via StT . . , . |
la |
Cellini, Via . |
t(t |
||||
|
Canefltrarl. Vifiolo de' , , . |
ti |
! B. Celflo. 4 |
|||||
|
Caaneli, Vicolo doi . . . , |
^,ie |
Cecti, Pal - . . |
17 |
||||
|
CikiJltolina., Monte . . . . . Capo d'Africa, Via. . . . . |
Ti |
— ' Plana H |
IT |
||||
|
37 14 |
CeWi, Via and Plcuha de' , Ccrniya, Via della |
36 |
'M |
||||
|
Capo dl Korro, Piazia . . . |
|||||||
|
Capo le Caje, Via |
tw |
Certosa . , |
2e |
||||
|
Capoccl^ Via dei |
22 |
S. Ceaareo ......... |
. |
'M |
|||
|
Cappellarl, Via da\ . , , , |
\H |
Geiarini, Via. ...,.,. |
1(3 |
||||
|
CappoBi, PaL 17 .... . |
Ui |
— , Vi&cjlo |
la |
||||
|
CappucciDi^ CouvceUi dt^' , |
^ |
Ceai, Val |
|||||
|
Capraniia^ Piazza . . . . |
lt5 |
— Pl&coloinini, Piti. 9 . . . |
|||||
|
Oapretari , Pl&ama. near 8. EueUoliio , . |
Oestari. Vitolo de' |
IK |
|||||
|
V^ |
Cfifitlo, Sepolcro di |
IB |
|||||
|
Carl>oriari, VicnlQ da' . . . |
30 |
S. Chiara Via dtdla Jiotonda |
!tt |
||||
|
Cardelll, Pal. 14 |
13 |
— , Monaelero ....... |
M |
||||
|
— |
ta |
- Via. |
16 |
||||
|
^, 14 .... |
17 23 |
CiiiaTari, Via |
14 |
||||
|
CaTdello, Via del . . , . , |
Chleaa Kuova |
||||||
|
a. CarHmn. 2 |
2t2 |
Chigi, Pal |
|||||
|
B. Carlo ai dyrAO |
17 |
Ciampini, Pal |
26 |
||||
|
— a"" Catcnari .,..,., |
14 |
OiancaleoBe, Vicolo .... |
|||||
|
Carlo Alberta, Via. , . . , |
24 |
Cicerone, Via . .* Cimarra Via |
T*T |
||||
|
CaroeeiiA. Pal QA |
|||||||
|
CiirTelt4.\ 8tTftda delle . . . |
4 |
n |
Cimatori, Vicolo de' . . . . |
10 |
|||
|
-1 Via dell* |
Cimetero de' Protestanti . . |
10 |
LIST OF STREETS.
mm
I II in
Cini, Pal
Cinque, Via del . . . Ginqtiecento, Piazza . Cinqae Lone, Via . . Girco Agonale, see Piazza
Navona
Circus maximus .... Cistema, Vicolo della .
S. Claudio. 23
— , Via
Clandio, Via
Clemente, Via
S. Clemente
Clementina^ Via .... Clementino, Via del . . Cloaca Maxima ....
Codini, Vigna
Cola di Bienzi, Piazza .
— , Via
Coliseo
Collegio Clementino . .
— de^ Copti
— Greco. 7
— Inglese, Vigna del. .
— Irlandese
— Kazzareno
— de Propaganda Fide. 16 .
— Romano
Colombo, Via Cristoforo .
Colonna, Pal
— , Piazza
-. Via
— , Villa
Colonna di Foca
— Trajana
Colonnelle, Vicolo delle .
Colonnesi, Via de'
Colosseo
— , Via del
Colosso di Xerone
Gommendatore, Pal. del. 13 Gommercio, Casa del. 2 . . Gompagnia di Gesii ....
Concezione
Gondotti, Via
Conservatori, Pal. de\ 1 . . Conservatorio de' Fancinlli
projetti. 14
Conservatorio della Divina
ProTvidenza. 1 . . . . Gonsolato, Vicolo del. . Consolazione, Via della Consulta, Pal. deUa . .
— , Via della
Gonte Verde, Via . . .
Conti, Pal. 12
— , Villa
Convento de' Padri della
Missione. 14 ... . Copelle, Via delle . . Gorallo, Vicolo del. .
16
27
13
13
18
24
21
17
17
14
15
13
13
16 1
Corea, Pal
Cornacchie, Pozzo delle Coronari, Via de' ...
Corsini, Pal
— , Vicolo
Corso, Via del
Corte dei Conti
Cortile di Belvedere. 1 .
— di 8. Damaso (delle Logge). 2
— della Panateria. 5 . . . S. Cosimato, Via di . . .
S. Cosma. 6
SS. Cosma e Damiano. 5 . Costaguti, Pal. 20 ... . Costantino, Basilica di . .
Cremona, Via
Crescenzi, Vicolo
— , Villa
Crescenzio, Via
8. Crisogono
— , Via di
Groce, Via del
8. Groce, Via di
8. Groce de' Lncchesi. 13.
— in Gemsalemme, Bas. . Crocebianca, Via di . . . Crociata, Via della. . . . Crociferi, Via de' . . . . Crocifisso, Cappella del . Dame del Sacro Cuore, Gonv.
delle
Dante, Piazza
Dataria, Via della
Datti, Pal. 6
Delflni, Via
8. Dlonisio
Dogali, Via
Dogana. 18
— di Terra (now the Ex- change). 18
88. Domenico e Sisto . . . Dominican!, Gonv. de' . . . Doria Pamphilj, Pal. . . .
8. Dorotea
— , Via
Drago, Pal. del
-,12
Dne Macelli, Via de' . . . .
DuiUo, Via
S. Sfremo
8. Egidio
8. Eligio. 4
8. Elisabetta. 9
—,12
Emanuele Filiberto, Via . .
Emilia, Via
English Church (All Saints)
(Holy Trinity) . . .
Ennio Qnir. Visconti, Via Esqnilino, Monte
11, 11
VA
17 a*
i1
17
15 ib
r
\^
2(1
19
a
29
IB 16 Jl it
IT |l4
10
39
LIST OF STREETS.
|
I |
nm |
inm |
||||||
|
3. ICnfemin, Ti» |
^'> |
a. FruDc^&co ddk 8tlniata . |
^ |
m |
||||
|
lU |
Fratt , Vicolo de^ .... |
v! |
||||||
|
Euri^cc, Sepokro di. , . . |
30 28 |
Frftti^i, Via delle |
15 |
|||||
|
B. Eafleblo |
FralUoa, Via ...... |
iti |
||||||
|
a. EnnUcliio |
l!i |
Freaf*, Via della |
IT |
|||||
|
EeIo. Via . , , . . . . . |
11 4 8 |
17 |
Fraata. Via dtll* |
17 |
||||
|
FfthbTiea^ Purta ...**. |
Fnnari, Vlft del |
ID |
||||||
|
FfLblo UASaimfl, Via , . . . |
OabrielU. Pal, |
|||||||
|
Falkflclo, Ponta |
Oieta, Via , , . |
|||||||
|
Falcone, Vicolu del .... |
29 |
Gaelani, PaI. ,,,.,., |
35 |
|||||
|
Fakonlerl, PaL |
n |
fiatitAnc^Sertnatifit&f pa|. 26. |
n |
|||||
|
Falegnwnl, VU de' |
IT |
Galileo, Via .,..,.. . |
^.rS^ |
|||||
|
Fanti^ Fjacia Manfredo. . . |
■ |
'2^ '25 14 |
O&litlDt Pal. 13 |
IS |
IB |
|||
|
Farini, Via |
a. flalia |
|||||||
|
Fftribnue, VicoJa del* h . ■ |
B |
03.111, Ort{> |
\r\ |
|||||
|
F&rnefle^ PaL. .,,.,,. |
-, Pal. |
ly |
||||||
|
— , Piai5ti& |
U 21 11 |
S. GallicaDO, Via di . . . . Gallo, Pal. del D Gallaztej le Oftlvaiil, VijL ....... |
' |
i& iH |
||||
|
Farneiiani, Orti |
||||||||
|
Farnesiaa/Vina |
||||||||
|
Fedorico Cttsi, Via , . * . . |
U |
17 |
||||||
|
Foliqo, v., ftfle Via Sifltiaa. |
Oambaro, Via del . . . . , |
lb |
||||||
|
Fenili, Via de^ |
l^j |
(laftbaldt, VU . |
, |
11 |
||||
|
— , Vicolu de' H * H , * , . |
•Ji |
— , Ponte ......... |
14 |
lu |
||||
|
Fefrajnoli, Pal. 30 , , , . . |
10 |
|||||||
|
Ftirratella, ViA d^DA .... |
3(f |
Gut (a, Via della |
tb |
|||||
|
Ferruccio, Via |
i\ |
Gelflomino, Via dtjl , , . , GenoTa, Vi* ........ |
1 2f2 18 |
|||||
|
Flunmd, Vicolo dellfe , . . |
23 IG |
|||||||
|
Flano, Pal. 8 |
Qenovt'fli, Via de* . . . . . |
|||||||
|
Fi^PAfoli^ Vicolo dfl\ * . . |
15 35 |
G(irni!inico, Via ...... |
b |
|||||
|
FUippine, Monajit dolle . . |
Qsw-i, Via Bom |
11 |
||||||
|
S. Filippo Keri. 8 . . , . . — , 6 . . . . |
l'1 |
O^flii, il |
o; |
|||||
|
7 |
— . Via del . . |
lb |
||||||
|
Fli^nie, PflJ, dj |
lil 16 U |
Oesii c Maria. 4 . , » . . . |
IT 17 |
1? |
||||
|
— , PiM!*! |
, Via del |
|||||||
|
Flr^jEze, Via |
Obtttto^ il |
|||||||
|
Fimiie, ViR dcL |
Ghibertj, Via Loten^ii . . . |
u |
||||||
|
FUmlnla, Porta ...*., |
ta |
17 |
3. Oiacamo^ Via |
17 |
||||
|
Fluiidfl, Via |
— in AuguFito (dugU lodtira- |
|||||||
|
FlEirio, Via |
11 |
biin. a. . |
17 |
|||||
|
Fondfimeata, Via dclla , . , |
4 |
^ 8. ScuaaacaTalJi. 7. . . . |
i |
|||||
|
FontAnn.. Via. della |
Ti |
— de' SpagQQt>U. 33 ... , |
1 , |
ij |
||||
|
FontaiiL'ila, Via |
m |
Giaoitolo, Xonte .,,,.. |
, |
a |
||||
|
" di BorgheuB, Via della . |
lb |
— , PaJSfieggin Pnblleo del . |
B |
|||||
|
FoDtaDone, Via do! . , * * |
14 20 |
^ ^, -^ |
9 |
7 |
||||
|
Foraggi, Via de* |
— , Via dtil |
|||||||
|
Fnrnaci, V. dclle, Bee V. Ga- |
UiaHtnOj Via del . , . . . |
lU |
||||||
|
ribaldi. |
- Eesle, Via del |
lit; |
||||||
|
Foro di AngiiBto |
20 |
fUnnaai, Vicolo da' . . . . |
, |
i^ |
||||
|
— dl Kenra tie ct^lonnacee). 7 |
^! |
Ginciri, Via |
i- |
|||||
|
Foro RoRiano ....... |
*flt |
Gioaccblnn Belli, Via , . , |
11 |
|||||
|
— IVajano. . |
13 |
f?io&uTti, Via ....... |
25 |
|||||
|
, Via del ...... . |
m |
Giofgro, Via Ma^tro . . . . |
17 |
|||||
|
8. Franceflcft Roman a , , . |
1/ |
S. Gioteio in Velabro . . . |
il |
|||||
|
, , , |
Ittj |
GiOVjLiiiil Btanca, Vtn . . . |
, |
. |
a |
|||
|
— , al Campo V&cclno . . . |
2a |
9. Giovanni .....,., |
14 |
|||||
|
S, FranccflcOi Via di . , , * |
15 |
— ^ Porta . . , |
j |
33 is |
||||
|
— dl Paola |
3. Giovanni, Via . |
|||||||
|
— a Ripa ......... |
in |
— ia Aiar> ti |
If) |
|||||
|
, Via di . |
f5 |
— Dt'coilato. f^ , |
tft |
|||||
|
— dl SaJflSt Via di .... |
11 |
— d&^ Ftt>fOii|]ni . , |
10 |
|||||
|
, Vicolo di 1 |
11 |
— in Fonte . . . |
, |
30 |
LIST OF STREETS.
I n ni
iiini
8. Giovanni de' Qenovesi. 7
— in Laterano, Bas
, Via di
— Collegio de' Maroniti. 9 .
— in Oleo, Cappella . . . .
— deUa Pigna
— ante Portam Latinam . .
— e Paolo
, Via di
— e Petronio. 8
Giraad-Torlonia, Pal. 4 . . 8. Oirolamo. 1
— de' Schiavoni
Giubbonari, Via de' . . . .
Giulia, Via
8. Giuliano
—,16
— de' Fiaminghi. 7 . . . . (Hulio Cesare, Via . . . .
— Romano, Via
S. Giuseppe
— de"* Falegnami (Career Ma-
mertinus). 3
Giuati, Via
Ginstiniani, Pal
— , Vicolo
Ginstizia, Pal. di (progetto)
Goito, Via
Governo Veccbio, Pal. del 20
— , Via del
Graccbi, Via
Grazioli, Pal. 4 . . . .
Greca, Via
Greci, Via de'
Gregori, Pal
Gregoriana, Via .... 8. Gregorio
— , Via di
— Magno
— Taumatorgo. 10 . . .
Grillo, Via del
Grimaldi-Potenziani, Pal. 12 Grotte, Vicolo delle . . . Grottino, Via del .... Gaardiola, Viadella . . .
Guarnieri, Pal
Guglielmi, Pal. 25 ... . Gaglielmo Pepe, Piazza .
8. Ignazio
— , Piazza di
— , Via
8. Ildefonso
Incnrabili, Vicolo degli . . Indipendenza, Piazza deir
S. Isidoro
— , Vie
Istituto Archeologico Germa-
nico. 8
Italia, Gorso d^
19
J!
. h.-i
. I-'"
\h
24
271
17
16
8. Ivo. 12
-,20
Labicana, Via
Laboratorio di Cbimica Lamarmora, Hon. . . . La Marmora, Via .... Lancellotti, Pal. 1 . . .
-,16
Lancisi, Via
Lante, Pal
— , Villa (Borghese) . .
Larga, Via
Laterano, 8. Giovanni in
Latina, Porta
-, Via
Laurina, Via
Lauro, Vicolo del ... Lavaggi, Pal. 15 ... . Lavandare, Vicolo delle Lavatore, Via del . . .
Lazio, Via
Leccosa, Via
8. Leonardo
Leoncino, Via del . . .
— , Vicolo
Leone IV., Via ....
Leonina. Via
Leopardi, Via
Lepri, Pal
Leutari, Via de' . . . . Libert^, Piazza della . .
Lignria, Via
Lombardia, Via .... Longara, Via della . . . S. Lorenzino in Piscibus. 10 Lorenzo Ghiberti, Via . S. Lorenzo, Monast. . .
— , Porta
— , Vigna
— in Fonte
— : in Lncina
, Piazza di . . . .
— in Miranda
— a' Monti
— in Panisperna, Via di 88. Lorenzo in Damaso
— Luca e Martina. 4 . . Lucchesi,- Via de"* ... Luce, Via della ....
S. Lucia. 10
8. Lucia
— del Gonfalone. 9 . .
— in 8elci
—, Via di
— della Tinta. 11 . . . Luciano Manara, Via
Lucina, Via in
Lucrezio Caro, Via. . .
Lucullo, Via
Ludovisi, Via
— , Villa
13
13
27 22 8 29 I 13
13
8 10 30
13
20
10
29
22 31 22 19
14
20 20 22 13 20 19 15 10 17 10 26
12
10
LIST OP STREETS.
I nni
IIIIU
8. Luigi de' Frances! . . Lunetta, Vicolo della . . . Lnngara, see Longara. Lnngaretta, Via della . . Langarina, Via della . .
Lupa, Via della
Lupi, Villa
Xaccarani, Pal. 2 ....
— , Vigna
Macchiavelli, Via .... Macelli, Via de' Due . .
Macello, Via
Madama, Piazza
Maddalena, Via
Madonna di Lore to. 3 . .
Magenta, Via
Maggiore, Porta
— , Via de
Magnanapoli, Via ....
Magnani, Pal
— , Vigna
— , Villa
Malatesta, Pal. 13 ... .
Malghera, Via
Malva, Via della
Mamertinus, Career 3. . .
Mamiani, Via
Manara, Via Lnciano . .
Manfroni, Pal. 6
-,10
Manin, Via
Mantellate, Via delle . .
Manzoni, Via
Marana, Via della .... Marcantonio Golonna, Via
S. Marcello
Marche, Via
S. Marco
— , Via di
— , Piazza di
Marco Aurelio, Via . . . Marescotti, Pal. 1 . . . .
,9
Marforio, Via di
Margana, Piazza
Margherita, Ponte ....
S. Margherita. 1
Margatta, Via
— , Vicolo
Marj, Pal. (now Qran-Guar-
dia). 11
S. Maria Addolorata . . .
— Agata. 6
— degli Angeli
— deir Anima
— in Aquiro. 17
— in Aracoeli
— in Gacaberis. 3 . . . .
— in Gampitelli
- in Gampo Marzo. 2 . .
- in Oapella
IS
16
6. Maria della Goncezione .
— della Gonsolazione . . .
— in Gosmedin
— di Gostantinopoli. 14 . .
— in Domnica ,
— Egiziaca
— de' Fiori
, Via di ,
— Maria delle Fornaci . .
— delle Grazie
— di Grottapinta. 5 . . . .
— Imperatrice
— Liberatrice
— Maddalena ,
— Maggiore, Basilica . . - , Piazza and Via di
— sopra Minerva . . . . ■ , Piazza di
— de^ Miracoli. 1
— di Monserrato. 3 . . . ,
— in Monterone. 12 ... .
— in Monte Santo. 2 ...
— a' Monti. 3
, Via di
— a' Monti della Neve. 2 .
— in Monticelli
— della Morte
— della Neve. 13 .....
— deir Orto
— della Pace. 3
— del Pianto. 19
— di PietJt (Oratorio diGara vita). 14
— di Piet^ con Gamposanto (Gimetero de' Tedeschi). 4
— del Popolo
— Porta Paradisi. 1 . . .
— in Pnblicolis. 21 . . .
— della Puriflcazione . . ,14
— della Puritit. 3 . . . .
— di Querela. 9
— Regina Goeli
— Botonda (Pantheon) . .
— della Salute
— della Sanitit
— della Scala
, Via di
— de' Sette Dolori ....
— del Sole
— della Stella
— del Snflfragio. 11 . . .
— della Torre
— Traspontina. 5 . . . .
— in Trastevere
, Piazza di
— in Trivio
— dell' Umilta. 11 ... .
— in ValUcella
— delle Vergini. 1 . . . .
— in Via
23
Itl
20
18 15
'n
IS
13
an
1
ar> 25
IQ t6
10 13
%^
23
14
M
15 17 IB
it
n
n
iO
u
10 10 3-2 i 11 11 13 IB 1 10
22
15 15
19
lf> 10
LIST OF STREETS.
11
I II in
I II in
|
S. Maria in Via, Via di . . — in Via Lata |
W |
17 ! 1 |
|
|
— in Vinci. 6 |
|||
|
— deUa Vittoria Karianna Dionigi, Via . . . Mario dc' Fiori, Via di . . . Marmorata, Via della . . . Marmorella, Via |
29 14 |
18 |
|
|
Marrana, la (brook) .... |
|||
|
Marroniti, Via de' i S. Marta |
4 |
||
|
S. Martino. 6 |
|||
|
— a' Monti . Via di — de Svizzeri. 3 , Via |
id 14 VI JH m la 15 lb 17 ia 16 ifi 29 28 13 24 |
||
|
Maschera d'Oro, Piazza. . . Mascherino, Vicolo del . . . Mascherone, Via del .... Massimi, Pal. 12 |
|||
|
— alle Colonne, Pal. 11 . . MasBimi-Sinibaldi, Pal. 13 . Massimi, Via dei |
|||
|
Mastai, Piazza |
|||
|
— , Via |
|||
|
Mastro Giorgio, Via ... . Mattel, Pal. 27 — , Villa |
17 97 |
||
|
Mattonato, Via del ..'.;. S. Manro. 13 |
|||
|
Mansoleo di Adriano .... — di Angnsto Mazzamnrelli, Vicolo .... |
ID |
||
|
Mazzarina, Via |
|||
|
Mazzini, Via |
|||
|
Medici, Villa |
1H |
||
|
Melone, Vicolo del |
|||
|
Mcrcouri, Via Mercede, Via di Mernlana, Via |
11 in |
||
|
Meta Sndante |
|||
|
Metastasio, Teatro. 8 c . . Metronia, Porta |
VS |
97 |
|
|
8. Michele Arcangelo. . . . |
1 |
||
|
— , Boreo |
|||
|
-, via^di :..:.::.: |
15 |
||
|
SS. Michele e Magno .... Mignanelli, Pal — , Piazza |
i |
OS 21 82 |
|
|
Milano, Via |
|||
|
Milazzo, Via Milizie. Viale delle Mille, Via dei MiUs (Spada), Villa .... |
38 26 |
||
|
Mincio, Via Minerra Medica, Tempio di |
24 |
Ministero di Agricnltnra, In- dnstria e Commercio . . .
— degU Affari Eaten. . . .
— delle Finanze
— di Grazia e Ginstizia. 8b
— di Gnerra
— deir Interno. 17
— deir Istmzione Pubblica. 18
— dei Lavori Pubblici . . .
— della Marina. 8 a ....
Minnzzi, Pal. 3
Miracoli, Vicolo de' .... MiBsione, Via della ....
Modena, Via
Molara, Piazza
Mole, Vicolo delle
Monserrato, Via di
Monianara, Piazza
MontebeUo, Via
Monte Brianzo, Via di . . .
— Gaprino, Via di
— Cavallo, see Piazza del Qairinale
— Citorio, Pal. di (Camera de' Deputati). 24 . . .
— Citorio, Piazza di . .
— della Farina, Via del
— di Pieti
, Piazza di . . . .
Monte Tarpeo, Via di . Monterone, Via .... Monteverde, Vicolo di .
Montoro, Pal
-, Via
Monumento deir Immacolata
Concezione. 1 . . . Moretto, Via del . . . Moro, Via del ... . Moroni, Vicolo . . .
— , Vi^a
Morte, Via della . . . Mortella, Via della. . Morticelli, Via de' . . Muratte, Via delle . . Mnronova, Via .... Mnseo Capitolino. 12 .
— Lateranense. . . . Mnti-Papamzzi, Pal. 9 Napoleon III., Via . . Napoli, Orto di. . . .
-, Via
— , Via Principe di .
Nari, Pal. 14
Kavicella, Piazza della
— , Via della
Navona, Piazza (Circo Ago-
nale)
Kazionale, Via ....
18 22
19
18 16
10 17
27
17 19
13 14 14 20 13
10 13
10
20 19
15 11
16
17 22 90
14 14 16
*15 20 90 19 28
25
18
27 24
23
13 32
12
LIST OF STREETS.
I n in
mm
Kazsareno, Via del, by the
CoUegio Nazsareno. . . .
SS. Nereo ed Achilleo . . .
Keroniano, Pal
Niccolini, Pal. 2
S. Nicola
— in Arcione. 11
— in Garcere
— degli Incoronati. 7 . . .
— de Lorenesi. 8
— de' Perfetti. 3
— da Tolentino
, Vicolo di
Kicosia, Piazza
Kome di Maria. 4
Komentana, Porta
— , Via
S. Norberto
Nuova, Via
Kossiner, Vigna
Oca, Piazza deir
Odescalchi, Pal
S. Offlzio, Pal. del
— , Via del
Olmata, Via deir
S. Omobuono. 7
S. Onofrio
— , Via .
Orazio, Via
Orfanotrofio
Orfeo, Vicolo di
Ornani, Pal. 22
Oro, Monte d'
Orologio, Piazza deir. . . .
Orsini, Pal
— , Via Virginio
Orsini-Savelli, Pal
Orao, Via deir
S. Orsola. 1
-, 8
88. Orsola e Caterina. 11. . Ortaccio degli Ebrei ....
Orto Botanico
Ospedale Ecclesiastico. 1 . .
— S. Gallicano
— di 8. Giovanni Calabita .
— di S. Giovanni Laterano .
— degli Incnrabili
— 8. Micbele
— Militare
— de' Pazzi
Ospizio de' Poveri
Osteria, Vicolo deir ....
Ostilia, Via
Ottaviano Sforza, Via . . .
Ottobpni, Villa
Otto Cantoni, Vicolo dei . .
Ovidio, Via
Pace, Piazza della
''adella, Piazza
'anica. Piazza
19
15
12
li>
27
15
15
Paglia, Via della . . . Palatipo, Monte . . .
Palermo, Via
Palestro, Via
Palle, Vicolo delle . . Palline, Vicolo delle . Palma, Vicolo della . Palombara, Pal. 11 . . Palombella, Via della PampbDj, Giardino .
— , Pal. 18
— Villa
8. Pancrazio, Porta . Panico, Via di . . . . 8. Pantaleone ....
— , Via di
Pantheon
Paolina. Via
8. Paolino
Paolo Emilio, Via . . . 8. Paolo Eremita. . . .
8. Paolo, Porta
— , Via di
Paradiso, Via del ... Parione, Via in ....
Parma, Via
Pasquino, Piazza del . . Passionisti, Giardino de' Pastini, Via de' . . . .
Pastrengo, Via
Patrizi, Pal
— , Villa
Pavone, Via del .... Pellegrini, Piazza dei .
8. Pellegrino
Pellegrino, Via del . . . Pelliccia, Via della . . Penitenza, Vicolo della Penitenzieri, Coll. de' . Pepe, Piazza Gnglielmo Perfetti, Via de' . . . .
Pergola, Via
Perucchi, Pal
Pescberia, Via della . .
Petrarca, Via
Pettinari, Via de' ...
Pia, Porta
— , Piazza
Pianellari, Via
Pianto, Via del .... Pife di Marmo, Via del .
Piemonte, Via
Pier Luigi da Palestrina,
Via
Pietra, Piazza di . . . .
— , Via di
Pietrelle, Vicolo delle . Pietro Cossa, Via . . . 8. Pietro in Vaticano, Bas..
^2 21
IS 13
iil
25 14
22
13
13
26
J a 24
m
Ui 14
13 15 11
r
38
25
17
14
17
36
LIST OF STREETS.
13
I II ni
mm
S.Pietro inVaticano,Piazza di
— , in Montorio ....
— in Vincoli
, Piazza di . . . .
-, Via di
88. Pietro e Marcellino
Pighini, Pal. 4
Pigna, Giardino della. 1 Pilotta, Piazza della . .
— , Via della
Pinaco, Via del .... Pinciana, Porta ....
— , Via di
Pincio, Monte
Pinellari, Via
Pio, Pal
Piombino, Pal. 22 . . . Piombo, Via del ... .
Piscinola, Via
Plebiscito, Piazza del, see
Piazza Pia
Plinio, Via
Po, Via
Polaccbi, Vicolo de' . . .
Poli, Pal
— , Piazza
— , Via .
Politeama
—, Via del
Polveriera, Via della . . . Polverone, Via del .... Pompeo Magno, Via . . . Pomponio Leto, Via . . .
Ponieri, Via de^
Ponte, Piazza di
Ponte Nomentano, Via di
— Sisto, Vicolo di . . . . Ponteflci, Via de' .... Popolo, Piazza del ... .
— , Porta del
Porta, Pal. della
Porta Gastello, Via di . .
— Latina, Via di ....
— Leone, Via di
— 8. Lorenzo, Via di . . .
— 8. Pancrazio, Via di
— S. Paolo, Via di . .
— Pia, Via di
— Pinciana, Corso di . , Via di
— 8alara, Via di . . . .
— 8. Sebastiano, Via di Portico di Ottavia. 18 . Porto di Bipa Grande .
— di Bipetta
Portuense, Porto ....
Poflta
Postzetto, Via del ... .
Pozzi, Via de'
S. Prawede
14
13
17
26
21
14
Prenestina, Porta
Presbyterian Church .... Principe Amedeo, Via . . .
— Engenio, Via
— di Napoli, Via
— Umberto, Via
Principessa Margherita, Via .
S. Prisca
Propaganda Fide. 16
— , Via di
Properzio, Via
Protestant Church
8. Pudenziana
Puglie, Via
Pnriflcazione, Via della . .
Claaranta 8anti
88. Quattro, Via de' . . . . 88. Quattro Coronati .... Quattro Cantoni, Via ....
Quattro Capi. 4
— , Ponte de'
Qnerceti, Via dei
Questura
88. Quirico e Giuditta. 8 . Quirinale,Pal. e Giardino del
— , Piazza del
—, Via del
Quiriti, Piazza dei ... .
Eaifl, Vigna
Rasella, Via
Batazzi, Via
Bavenna, Pal
Beggio, Via
Begina, Viale della . . . Begola, Via della ....
Beinach, Villa
Benella, Via della ....
Benzi, Piazza di
Biarj, Vicolo de"*
Bicasoli, Via .......
Bicovero, Via di ....
Bipetta, Via di
— , Passeggiata di . . . . Bisorgimento, Piazza . . . Bisparmio, Cassa di . . .
Bita, Beata. 11
Bobbia, Via della ....
8. Bocco
Bomana, Piazza
de Bomanis, Pal
8. Bomualdo, Via .... Boncioni, Orto ..*... Bondinini, Pal
— -, 13
Bosa. Via della
Bospigliosi, Pal
Bossini, Teatro. 17 . . . Botonda, la (Pantheon) . .
Buaccia, Piazza
88. Bufina e 8econda. 2 . Bnspoli, Pal
19
21
19
25
27 27 27 25 17 17 27 16 20 I 19
19
26
25
14
15 15 11 28 18
16
20
17
15
19 21
16
14
LIST OF STREETS.
mm
iiini
Bosticncci, Piazza . . .
S. Baba
— , Via di
S. Sabina
Saccbetti, Pal
-, Via
Sacripante, Pal. 5 . . . Sagrestia, Piazza della .
— , Via della
Salara, Porta
, Via della . . . .
Salara Veccbia, Via . . Salltistiana, Via . . . . Salami, Viade' . . . . S. Salvatore
— in Campo. 6 .
— della Corte. 6 .
— in Laoro . . .
— al Torrione. 6 SalTiati, Pal. . .
Sampieri,Pal.(Cicciaporci). 3
Santacroce, Pal. 4
Santinelli, Vigna
Saponari, Vicolo de"" . . . .
Sardegna, Via
Sassi, Vigna
Satamo, Tempio di . . . .
Savelli, Via
Savorelli, Villa
Scaccia, Via
Scala Santa
Scalcaccia, Vicolo della . .
Scbiavoni, Via de'
Sciarra-Colonna, Pal. . . .
Sciarra. Villa
Scilla, Via
Scimia, Vicolo della .... Scipioni, Via degli .... Scossa-Gavalli, Piazza . . .
Scrofa, Via della
Scuole degli Ebrei. 2 . . . S. Sebastianello, Via ... . S. Sebastiano de** Mercanti.
24
S. Sebastiano. Porta ....
Sediari, Via del
Semenzaio comunale ....
Seminario. 7
—, Via del
Senato del Regno
Senatore, Pal. del 2 . . . . Sepolcro di Bibulo. 2 . . .
— de^ Scipioni
Serlnpi, Pal
,17
Serpenti, Via de'
Serristori, Pal. 8
10
24
17
13
18
16
12
26
25
Servio ToHio, Aggere di .
Sette Sale
, Via delle
Settimiana, Porta ....
Sforza, Piazza
— , Via
Sforza-Cesarini, Pal. . . .
— Pallavicini, Via. . . .
Sicilia, Via
8. Silvestro
— in Capite
, Piazza di
S. Silvia
S. Simone
S. Simone e Ginditta. 5 .
Sistina, Via
8. Siflto
Siflto, Ponte
Soldato, Via del
Solferino, Via
Sora, Pal
— , Piazza di
Spada, Pal
— -,19
— , Villa
Spagna, Pal. di
Spagna, Piazza di . . . .
Specchj, Piazza de' . . . . S.Spirito, Oratorio di. 16 . — , Porta
— in Sassia. 12
Spirito Santo de' Napoli-
tani. 5
Stamperia e Galcografla Ga-
merale. 7
Stamperia, Via della . . . .
S. Stanislao
Statuto, Via dello
Stazione della Ferrovla . . 8. Stefano
— del Gacco
— in Piscinnla. 21 . . . .
— Botondo
, Via di
Stelletta, Via della
Strozzi, Pal
-,16
Struzzo, Vicolo dello . . . .
Sublicio, Ponte
S. Sudario, Gappella del. 8.
—, Via del . . .
S. Susanna
— , Vicolo
Tacito, Via
Tanaro, Via
Tartaruga, Piazza
Tasso, Via
Teatro Argentina
— Gapranica
— di liarcello. 5
28
20
U JO
JO
20
m
24
18 13 14
U
10
17
18
m
10
27 ! 16 17 10 18 13 13
16
17
ay 'la
'l7
LIST OF STREETS.
15
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I |
n HI |
inm |
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Teatro Metaatasio. 8 c.. . . |
13 |
13 13 13 13 21 21 14 16 |
23 13 17 21 19 |
Trielinio Leoniano |
^^ |
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— della Pace |
8. Trifone. 2 S. Trinitii |
la 16 17 2l» |
10 11 |
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— di Pompeo |
— 11 |
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— della Valle. 15 |
— de' Monti — de' Pellegrini |
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8. Tecla. 15 |
7 16 10 16 |
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Telegrafo, Ufficio centrale . Telline, Vicolo delle .... Teodoli, Pal. 9 8. Teodoro |
Tritone, Via del Trofei di Mario , see Acqua Giulia. Tronto, Via 8. Uffizio, Pal. del TTjnb^rto, Pontft • t . . . |
19 d |
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— , Via di |
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Terenrio, Via |
8 |
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S. Teresa. 7 |
Umilti, Via deir XJniti, Piazza deir |
19 4 |
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Terme di Agrippa |
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di Garacalla |
University deUaSapienza. 25 Urbana, Via 8. Urbano |
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— di Gostantino |
19 35 26 19 |
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— di Diocleziano |
25 |
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— di 8. Elena |
Vaccarella, Vicolo Valadier, Via Valentini, Pal |
13 11 |
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— di Tito |
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Terme, Piazza delle (di Ter- mini) |
25 |
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— Villa |
13 |
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Termini, Fontana, see Acqua Felice. — , Piazza di, see Piazza |
Valle, Piazza e Via di . . . Vantaggio, Via del Vanvitelli, Via |
14 |
17 |
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|
delle Terme. Testa snaccata. Via .... |
Varese, Via Varrone, Via Vascellari, Vicolo de' . . . Vaschette, Piazza delle . . Vaticano, Monte _, Pal |
38 8 |
13 21 17 13 !d Ifi 22 15 13 13 22 14 21 22 22 16 26 28 |
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Testaccio, Honte |
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— Via di |
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T*rere, Via Tibnllo, Via |
27 8 28 24 17 |
17 13 13 |
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Tiburtina, Porta Ticino, Via |
Vecchiarelli, Vicolo .... Velabro, Via in |
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Tomacelli, Via |
8. Venanzio |
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|
8. Tommaso. 1 |
Venere e Roma, Tempio di Veneto, Via Venezia, Pal. di |
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— Gantuari. 2 |
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— in Formis |
— , Piazza di |
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Tor Argentina, Via di . . . — Gantarelli |
16 25 20 23 13 17 25 19 16 19 19 17 16 |
— , Via |
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Venti 8ettembre, Via . . . Vergine, Beata del Car- mine. 5 |
36 |
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de' Gonti . . ... |
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|
, Via di |
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|
— Mellina |
Vergini, Via delle Verospi, Pal. 10 Vespasiano, Via Vetrina, Via della |
19 16 5 |
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— 8anguinea. 4 — de' Specchj, Via di . . . Tordinona, Via di |
13 10 26 17 16 23 |
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Torino, Via Torlonia, Pal. 10 |
Vicenza, Via ...*... Vidoni, Pal |
28 |
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|
— -Bolognetti, Pal. 1 . . . — , Villa |
Viminale, Via del 88. Vincenzo ed Anastasio ,3 |
25 19 12 14 |
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Torre Argentina, Via di . . Torre delle Milizie. 6 . . . Torretta, Piazza Toscana, Via Trajana, Golonna |
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Virginio Orsini, Via ... . Visconti, Via Visitozione, Monastero della 8. Vitale |
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Travicella, Via della .... |
13 |
— , Via di |
22 16 |
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Tre Archi, Via de' Tre Gannelli. 3 |
Vite, Via della Vitellescbi. Pal. 1 |
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Tre Ladroni Vicolo .... |
S. Vito |
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|
Tre Pupazzi, Via dei. . . . Trevi, Fontana di Tribunali, Piazza dei . . . |
7 19 13 |
88. Vito e Modesto .... Vittoria, Via — Oolonna, Via |
17 14 |
16
LIST OF STREETS. I nm
mm
Yittorio Emannele, Oorso
— , Monomeiito
— , Piusa
Volpe, Via del
Voltumo, Via
Wolkonsky, ViUa ....
10
Zabaglia, Via
Zecca Papale
Zingari, Piazsa
Zoccolette, Monast. delle. 2 Zuccheri, Palazzo .... Zacchetie, Via delle . . .
14
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