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The Traveller

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CENTRAL ITALY

AND

ROME.

MONEY-TABLE (comp. p. XIV).

Approximate Equivalents.

Italian.
Lire. Centesimi.

American.
Dollars. Cents.

English.
L. St. Shillings. Pence.

9
10
11
12
13
14
15
16
17
18
19
20
■25
100

5 (= 1 soldo)
25 (= 5 soldi)
50 (= 10 „ )
75 (= 15 „ )
- (= 20 „ )

1
1
1
1
1
2
2
2
2
2
3
3
3
3
3
4
5
20

1
5
10
15
20
40
60
80

20
40
60
80

20
40
60

2>|2
5

93|4

J"
2>|2

93/4

7>|2

21^

9»|4

2>|3

93U

2>J2

ITALY.

HANDBOOK FOR TRAVELLERS

K. BiEDEKER.

SECOND PART-

CENTKAL ITALY AJNTD HOME.

With 3 Maps and 9 Plans.

Third Edition, Revised and Augmented.

COBLENZ: KARL BAEDEKER.

1872.

'Go, little book, God send thee good passage,
And specially let this be thy prayere
Unto them all that thee will read or hear,
Where thou art wrong, after their help to call,
Thee to correct in any part or all.'

CHAUCER, 1380.

PREFACE.

The object of the present Handbook, like that of the
Editor's other works of the same description, is to render
the traveller as independent as possible of the services of
guides, valets-de-place, and others of the same class, to
supply him with a few remarks on the progress of civili-
sation and art among the people with whom he is about
to become acquainted, and to enable him to realise to the
fullest extent the enjoyment and instruction of which Italy
is so fruitful a source.

The Handbook is, moreover, intended to place the tra-
veller in a position to visit the places and objects most
deserving of notice with the greatest possible economy of
time , money , and , it may be added , temper ; for in no
country is the traveller's patience more severely put to
the test than in some parts of Italy. The Editor will
endeavour to accompany the enlightened traveller through
the streets of the Italian towns, to all the principal edifices
and works of art; and to guide his steps amidst the ex-
quisite scenery in which Italy so richly abounds.

With a few trifling exceptions , the entire book is fram-
ed from the Editor's personal experience, acquired at the
places described. As, however, infallibility cannot be at-
tained, the Editor will highly appreciate any bond Jide in-
formation with which travellers may favour him. That al-
ready received, which in many instances has been most
serviceable, he gratefully acknowledges.

The Maps and Plans, the result of great care and
research, will abundantly suffice for the use of the ordinary
traveller. The division of the Plan of Rome into three

TI PREFACE.

sections will be found very convenient , entirely obviating
the disagreeable necessity of unfoldung a large sheet of
paper at every consultation. The inexperienced are recom-
mended, when steering their course with the aid of a plan, to
mark with a coloured pencil, before starting, the point for
which they are bound. This will enable them to avoid
many a circuitous route. For the benefit of those who de-
sire to become more intimately acquainted with the country
than the limits of the present work admit of, the admirable
Sii2>plementary Sheets of G. Mayr's Atlas of the Alps (for
Central and Southern Italy) may be mentioned. They are
most easily procured in Germany (price, mounted, 2 dollars
each). For Naples the map of the Real Officio Topografieo
(Naples, 1835) will be found useful.

Altitudes are given in English feet (1 Engl. ft. =
0..304S metre = 0,971 Paris, ft.).

Distances are given in English miles. The Italian
'miglia' varies in different districts. Approximately it may
be stated that 1 Engl. M. = 6/7 Ital. migl. = ll/u Roman
migl.

Railway, Diligence, and Steamboat Time-
tables. The most trustworthy are contained in the
' Guida-Orario vfficiale di tutte le strode fen-ate d' Italia
contenente anche le indicazioni dei Piroscafl (steamboats),
Corrieri, Diligeuze , etc. , with map, published at Milan
(price 40 c).

Hotels. In no country does the treatment which the
traveller experiences at hotels vary so much as in Italy,
and attempts at extortion are probably nowhere so outra-
geous. The asterisks are therefore to be received as in-
dicating those hotels which the Editor believes to be com-
paratively respectable, clean, and reasonable. The average
charges stated in the Handbook will at least enable the
traveller to form a fair estimate of the demands which can
be justly made.

CONTENTS.

Introduction. Page

I. Travelling Expenses. Monetary System XIII

II. Period and Plan of Tour XV

III. Language XVI

IV. Passports and Custom-houses .... XVI
V. Public Safety. Beggars XVII

VI. Intercourse with Natives . XVIII

VII. Locomotion . XX

VIII. Hotels XXIV

IX. Restaurants, Cafe's etc XXVI

X. Churches, Theatres, Shops, etc XXVII

XI. Postal Arrangements XXVIII

XII. Calculation of Time XXIX

XIII. Climate. Mode of Life XXIX

XIV. Chronological Table of Recent Events .... XXX
Historical Sketch of Italian Art XXXIII

Eoute

1. From Marseilles (Genoa) to Leghorn (Civita Vecchia and
Naples) 1

2. From Florence to Rome (by sea) via Leghorn and Civita
Vecchia 8

1. From Civita Vecchia to La Tolfa 11

3. From Florence to Rome by the Maremme 13

1. Piombino and Populonia 14

2. From Grosseto to Rusellse 15

3. Orbetello. Monte Argentario 15

4. From Montalto to Vulci 16

5. Corneto 16

4. From Leghorn to Volterra 18

1. Monte Catini. La Cava. Lagoni di Monte Cerboli . . 21

5. Elba and the Tuscan Islands 21

6. From Florence to Rome by Siena, Orvieto, and Viterbo . 23

1. From Poggibonsi to San Gimignanol 23

2. From Asciano to Torrenieri. Monte Oliveto Maggiore . 30

3. Monte Pulciano. Pienza 31

4. Excursions from Viterbo. Castel d'Asso. Norchia. Tos-
canella. Bomarzo 38

5. Caprarola 39

6. From Konciglione to Monterosi by Sutri 39

7. From Siena to Perugia (and Rome) by Chiusi ... 41

8. From Florence to Rome by Arezzo, Perugia, and Foligno 42
From Florence to Arezzo and Cortona 42

VIII CONTENTS.

Route Page

From Gortona to Perugia 48

1. From Perugia to Narni by Todi 54

2. From Perugia to the Upper Valley of the Tiber . . • 55
From Perugia to Foligno by Assisi 55

3. Bevagna. Montefalco 59

From Foligno to Rome 59

4. From Narni to Otricoli 64

From Borghetto to Rome by Civita Castellana and Rignano 66

5. Falerii 66

6. From Civita Castellana to Home by Nepi 68

9. From Bologna to Rome by Ancona (Fakonara) and Foligno 68

1. From Kimini to San Marino 71

2. From Pesaro to Urbino 72

From Fano to Foligno and Rome via Gubbio ... 74

10. From Trieste to Ancona 77

11. From Ancona to Rome 78

1. From Fabriano to Sassoferrato 80

2. From Ancona to Foligno by Civitanuova, Macerata, To-
lentino, San Severino, and Camerino 81

12. Rome . . 83

Arrival. Consulates. Money. Bankers. Hotels.

Private Apartments. Restaurants 84

Cafes. Gratuities. Baths. Physicians. Chemists. Booksellers.

Teachers £5

Studios. Permessi. Export of works of art 86

Shops. Theatres 87

Church Festivals 88

Popular Festivals. Carnival. Street-scenes. Promenades.

Fiacres and Omnibuses 90

English Church Service. Post and Telegraph Office. Cigars.

Vetturini. Railways. Steamboats 91

Collections, Villas, etc 92

Diary 93

Preliminary drive 94

History of the City of Rome 94

Topography 103

I. Strangers' Quarter and Corso 106

'Piazza del Popolo. English Church. : S. Maria del Popolo 107

"The Pincio 108

Villa Medici 109

SS. Trinita de' Monti. Casa Zuccari 110

Piazza di Spagna. Propaganda. S. Andrea delle Fratte . Ill

"Fontana di Trevi 112

The Corso. S. Carlo al Corso. S. Lorenzo in Lucina . . 113

Palazzo Chigi. "Piazza Colonna. Piazza di Monte Citorio . 114

sDogana (Temple of Neptune). Palazzo Sciarra-Colonna . 115

CONTENTS. IX

Route Page

S. Ignazio. Collegio Romano. -Museo Kircheriano . . . 116

S. Marcello. S. Maria in Via Lata 116

'Palazzo Doria 117

*SS. Apostoli 118

-Palazzo Colonna 118

Piazza di Venezia. Palazzo di Venezia. Palazzo Torlonia 120

S. Marco. Monument of Bibulus 120

--Gesu 121

'Villa Borghese 122

II. The Hills of Rome. Quirinal, Yiminal, Esquiline . 124

"Fontana del Tritone. S. Maria della Concezione . . . 124

'-Villa Ludovisi 125

Gardens of Sallust. "Villa Albani 126

'Palazzo Barberini 129

Piazza di Monte Cavallo. Palazzo .della Consulta . . . 130

"Palazzo Apostolico al Quirinale 130

'Palazzo Kospigliosi 131

S. Silvestro a Monte Cavallo. S. Bernardo 132

Piazza di Termini. S. Maria della Vittoria. Porta Pia. . 133

Villa Torlonia. S. Agnese fuori. S. Costanza .... 134

Railway Station. Thermte of Diocletian. 'S. Maria degliAngeli 135

Campo Militare. S. Pudenziana 136

S. Lorenzo in Pancperna. *S. Maria Maggiore .... 137

S. Antonio Abbate. 'S. Prassede . . . . ' . . . . 13S

Porta S. Lorenzo. "S. Lorenzo fuori le Mura .... 139

Arch of Gallienus. S. Eusebio 140

S. Bibiana. Temple of Minerva Medica. -Porta Maggiore 141

'S. Croce in Gerusalemme. Amphitheatrum Castrense . . 142

S. Martino ai Monti. *S. Pietro in Vincoli 143

III. Rome on the Tiber 144

Mausoleum of Augustus 144

'Palazzo Borghese 145

"S. Agostino 148

S. Luigi de' Francesi 149

Universita della Sapienza. Piazza della Rotonda. "Pantheon 150

t;8. Maria sopra Minerva 152

Palazzo Madama. 'Piazza Navona 153

S. Agnese. 'S. Maria dell' Anima 154

*S. Maria della Pace. Palazzo Vidoni 155

'S. Andrea della Valle. Palazzo Massimi alle Colonne . . 156

Palazzo Braschi. Piazza di Pasquino. Chiesa Nuova . . 157

'Palazzo della Cancelleria. S. Lorenzo in Damaso . . . 158

'Palazzo Farnese 158

'Palazzo Spada alia Begola 160

S. Giovanni de' Fiorentini. S. Carlo a' Catinari . . 161

Palazzo Costaguti. Palazzo Mattei 162

S. Maria in Campitelli 162

Ghetto. Colonnade of Octavia 163

Theatre of Marcellus 164

X CONTENTS.

Route Page

IV. Ancient Rome 164

*S. Maria in Araceli 165

-"'Piazza del Campidoglio. Palazzo del Senatore .... 166

Tarpeian Rock. !'Tabularium 167

'"Forum Romanum. "Temple of Saturn 16S

Colonnade of the Twelve Gods. * Temple of Vespasian.

Temple of Concordia 169

'Triumphal Arch of Septlmius Severus 169

Rostra. ''Column of Phocas. Basilica Julia 170

"Temple of Castor and Pollux. "Career Mamertinus . . . 170

"Temple of Faustina. *SS. Cosma e Damiano .... 171

"Basilica of Constantine 171

S. Francesca Romana. "Triumphal Arch of Titus . . . 172

Temple of Venus and Roma. ""Colosseum 173

"Triumphal Arch of Constantine. "Thermee of Titus . . . 176

Forum of Nerva 177

Accademia di S. Luca. Forum of Augustus 178

"Forum of Trajan 179

The Palatine 180

Farnese Gardens. Palatine Museum 181

Palace of Caligula. Domus Tiberiana 182

Palace of the Flavii 182a

Temple of Jupiter Victor. Palace of Commodus and

Septimius Severus 182c

Paedagogium. S. Tevdoro 183

"Janus Quadrifrons. S. Giorgio in Velabro. "Arcus Argen-

tarius. "Cloaca Maxima. S. Maria in Cosmedin . . . 184

"Temple of Vesta. "S. Maria Egiziaca 185

Circus Maximus. The Aventine 186

Protestant Cemetery. "Pyramid of Cestius. Monte Testaccio 187

*S. Sabina 188

S. Alessio. S. Maria Aventina 189

Porta S. Paolo. ,:S. Paolo fuori le Mura 190

Via Appia. "Thermse of Caracalla. SS. Nereo ed Achilleo . 192

S. Cesareo. S. Giovanni a Porta Latina 193

"Tomb of the Scipios. Arch of Drusus 194

The Cselius. S. Gregorio. SS. Giovanni e Paolo . . . 195

S. Maria in Domnica. S. Stefano Rotondo 196

S. Clemente 197

SS. Quattro Coronati 200

"S. Giovanni in Laterano 200a

Gregorian Museum 201

Villa Massimo. Villa Wolkonsky 204

Collections of the Capitol 205

V. Quarters of the City on the Right Bank .... 210

Ponte S. Angelo. Castello S. Angelo 211

"Palazzo Giraud. Ospedale S. Spirito 212

""Piazza di S. Pietro 213

*"S. Pietro in Vaticano 214

CONTENTS. XI

Route Page

Cimiterio dei Tedesclii 220

Longara. "S. Onofrio 220

;1:Villa Farnesina 221

'Palazzo Corsini 222

Trastevere. S. Pietro in Montorio 224

"Villa Doria Pamfili 22G

Isola di S. Bartolommeo. Ponte Eotto. S. Crisogono . . 228

"S. Maria in Trastevere 229

S. Cecilia in Trastevere. Ospizio S. Michel e 230

The Vatican 230

Sala Ducale. Sala Regia. "'Sixtine Chapel. Pauline Chapel 232

'""Raphael's Loggie 234

"•Raphael's Stanze 235

"Cappella Xiccolina 238

Museum of Statues. Galleria Lapidaria 239

"Braccio Nuovo 239

"Museo Chiaramonti 240

""Museo Pio-Clementino 241

"Raphael's Tapestry 246

"Museo Gregoriano of Etruscan Antiquities 247

Egyptian Museum 248

""Picture Gallery 249

"Library of the Vatican 250

The Catacombs 253

13. Environs of Rome 253

A. Short Excursions in the Campagna 259

From the Porta Portese. Grove of the Arvales. Magliana . 259

From the Porta S. Paolo. Tre Fontane 260

From the Porta S. Sebastiano. Via Appia. Domine Quo Va-

dis. S. Sebastiano 261

"Circus of Maxentius. "Tomb of Csecilia Metella .... 263

Temple of the Deus Rediculus. Grotto of Egeria. S. TJrbano 264

From the Porta S. Giovanni. Via Latina. Porta Furba . . 266

From the Porta Maggiore. Torre Pignattara. Tor de' Schiavi 267

From the Porta S. Lorenzo. From the Porta Pia . . . 268

From the Porta Salara. Fidense 268

From the Porta del Popolo. Acqua Acetosa 269

From the Porta Angelica. Monte Mario. Villa Mellini. Villa

Madama 270

B. Longer Excursions from Rome to the Mountains and

the Sea 271

The Alban Mountains 271

Frascati 271

Grotta Ferrata 273

Marino 274

Rocca di Papa. Monte Cavo 275

Palazzuola. Lago di Albano. Alba Longa 276

Albano. Castel Gandolfo. The Emissarius. Ariccia . . 278

XII CONTENTS.

Route Page

Genzano. Civita Lavinia. Velletri 279

Nemi and its lake 280

The Sabine Mountains 280

Tivoli 280

Subiaco 284

Palestrina 287

Olevano 289

Genazzane 290

Monte Gennaro 291

Valley of Licenza 291

The Volscian Mountains 291

Cori 292

Norma 293

Segni _ 294

Etruscan Towns 294

Veii 294

Galera 296

Bracciano 297

Ceere ... 298

The Sea-coast of Latium 299

Ostia. Castel Fusano. Tor Paterno. Pratica. Ardea . . 299

Porto. Fiumicino. Isola Sacra 301

Porto d'Anzio 302

Nettuno. Astura 303

Index 304

List of streets in the plan of Rome 312

List of Maps and Plans.

1. Map of Italy, facing title-page.

2. Plan of Marseilles, between pp. 2 and 3.

3. Plan of Siena, between pp. 24 and 25.

4. Plan of Perugia, between pp. 48 and 49.

5. Plan of A n c o n a , between pp. 78 and 79.

6. Large Plan, and

7. Key-Plan of Rome, at the end of the volume.

8. Plan of Ancient Rome, between pp. 164 and 165.

9. Plan of the Forum Eomaniim, between pp. 168 and 169.

10. Plan of the Vatican, between pp. 230 and 231.

11. Map of the Environs of Rome, between pp.258 and 259.

12. Map of the Roman Campagna, between pp. 270 and 271.

Abbreviations.

R. = Room, B. = Breakfast, D. = Dinner, A. = Attendance, L. =
Light. — r. = right, 1. = left; also applied to the banks of a river with
reference to the traveller looking down the stream. — N., S., E., W., the
points of the compass and adjectives derived from them.

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.'

Byron.

From the earliest ages down to the present time Italy has
ever exercised a powerful influence on the denizens of more nor-
thern lands, and a journey thither has often been the fondly
cherished wish of many an aspiring traveller. At the present day
this wish may be gratified with comparative facility. Northern
Italy is now connected by a direct 'iron route' with the southern
portion of the peninsula, as far as Naples and Brindisi , and the
approaching completion of a great network of railways will soon
enable the traveller to penetrate into the interior of provinces
hitherto untrodden by the ordinary tourist. Prior to 1860 the
peninsula possessed but few railways , and these of insignificant
extent, and exclusively of local importance. Rapidity of locomo-
tion is not, however, the sole advantage which has been attained
since that period. A single monetary system has superseded the
numerous and perplexing varieties of coinage formerly in use ; the
annoyances inseparable from passports and custom-houses , with
which the traveller was assailed at every frontier, and even in
many an insignificant town, have been greatly mitigated; and
energetic measures have been adopted in order to put an end to
the extortions of vetturini, facchini, and other members of this
irritating class. While those in search of adventure and excite-
ment will miss many of the characteristic elements of former
Italian travel, those who desire the more rational enjoyments de-
rived from scenery, art, or science will not fail to rejoice in the
altered state of the country.

I. Travelling Expenses. Monetary System.

The cost of a tour in Italy depends of course on the travel-
ler's resources and habits. Generally it may be stated that the
expenses need not exceed those incurred in the more frequented
parts of the continent. The average expenditure of a single tra-
veller may be estimated at 25 francs per diem , or about half
that sum when a prolonged stay is made at one place. Travellers
acmiaintpd with thp i»"™'™ •>■"* habits of the country may sue-

XIV TRAVELLING EXPENSES. MONETARY SYSTEM.

ceed in reducing their expenses to still narrower limits. Persons
travelling as members of a party may effect a considerable saving.
Where ladies are of the party the expenses are always unavoidably
greater ; not merely because the better hotels, and the more com-
fortable modes of locomotion are selected, but because the Italians
regard the traveller in this case as wealthier , and therefore a
more fitting object for extortion.

In the Kingdom of Italy the French monetary system is now
universal. The franc (lira or franco) contains 100 centesimi.
1 fr. 25 c. = 1 s. = 10 silbergroschen = 35 German kreuzer =
60 Austrian kreuzer. The silver coins in common circulation
are Italian pieces of 1 and 2 fr., and Italian or French 5 fr. .pieces;
gold coins of the Italian or French currency of 10 and 20 fr. are
the commonest (those of 5 and 40 fr. rare).

Since the introduction of a paper currency during the [war
of 1866. at a compulsory rate of exchange, gold and silver almost
entirely disappeared from ordinary circulation. This at first gave
rise to great confusion, as not only the principal banks, but the
different provinces and towns issued notes of their own, which could
not be realised beyond the limits of their respective districts.
This state of matters has , however , now been remedied to a
great extent, but as the relative values of banknotes and the
valuable metals still differ, the traveller should endeavour to
familiarise himself with the present rates of exchange. The notes
of the Banca Nazionale, for 1, 2, 5, 10, 20, 25, 50, 100 francs,
and upwards are current throughout the whole of Italy. The
principal banks also issue notes of ]/2 ff- > which cannot however
be readily realised except within the district of their issue. Thus
at Rome and in the environs the papal notes and those of the
Banca del Popolo, at Naples and throughout S. Italy those of the
Banca di Napoli, and in Sicily those of the Banca di Sicilia are
confined to local circulation. Gold and silver are worth 5 — 6 per
cent more than paper; those therefore who make a payment in
gold are entitled to decline receiving banknotes in exchange, un-
less the difference in value be taken into account. The traveller
who changes gold for banknotes at a money-changer's should take
care to stipulate for notes of convenient value and of the bank
of the district he intends visiting. The purses employed in most
other countries are of course unsuitable for carrying large bundles
of notes ; one of those adapted for the purpose may be purchased
in Italy for I1/2 — 2 fr. , in addition to which a strong pouch for
copper wiil be found serviceable.

In some parts of Italy the former currency is still employed
in keeping accounts , and the coins themselves are occasionally
seen. Thus the francesconi and crazie of Tuscany , the scudi
and bajocchi of the former States of the Church, the piastri and
grani of Naples, and the uncie and tari of Sicily. An acquaintance

PERIOD AND PLAN OF TOUR. XV

with these now nearly obsolete currencies is, however, not essential
unless the traveller diverges from the beaten track, in which case
the necessary information will be afforded by the Handbook.

The traveller should, before entering Italy, provide himself
with French Gold (one napoleon = 21 — 21 ^ fr. in paper), which
he may procure in England , France , or Germany on more ad-
vantageous terms than in Italy. Sovereigns (equivalent to 26 — 28
fr. in paper) are received at the full value by most of the
principal hotel keepers , but this is not the case in the less
frequented districts. Circular Notes, which may be obtained at
the principal English banks, will be found convenient for the
transport of large sums.

II. Period and Plan of Tour.

The season selected , and the duration of the tour must of
course depend on the traveller himself. Suffice it to remark
that the colder months are those usually preferred. The ma-
jority of travellers bound for the South cross the Alps in Sep-
tember and October , and arrive in Rome about the beginning
of November. Rome is the favourite winter-residence of strangers
until the Carnival, but at the commencement of Lent the city is
deserted by many for the gayer scenes of Naples. At Easter it
is again inundated by a vast concourse of visitors , who flock
thither in order to witness the sumptuous ecclesiastical pagean-
try of the 'Holy Week' , and depart as soon as their curio-
sity has been gratified. Some then proceed to Naples, Florence,
or other parts of Italy ; the majority , however , prepare to quit
the country before the commencement of summer. In this vast
and ever-varying influx of travellers the English element is always
greatly predominant.

No month in the year can be pronounced absolutely unfavour-
able for travelling in Italy, but the seasons recommended are the
late autumn months (Sept. 15th to Nov. loth), and April and
May. The rainy winter months should , if possible, be avoided
for the commencement of a tour, and may be most profitably
spent in one of the larger cities, of which Rome offers by far the
most numerous and varied attractions. June, July, and August are
hardly less unfavourable for a tour. The scenery indeed is then
in perfection , and the long days are hailed with satisfaction by
the active traveller; but the fierce rays of an Italian sun seldom
fail to exercise a prejudicial influence upon the physical and
menta energies. This result is not occasioned so much by the inten-
sity , as by the protracted duration of the heat , the sky being
frequently cloudless , and not a drop of rain falling for several
months in succession. The first showers of autumn , which fall
about the end of August, again commence to refresh the parched
atmosphere.

XVI LANGUAGE. — PASSPORTS AND CUSTOM-HOUSES.

The Plan of a tour in Italy must be framed in accordance
with the object which the traveller has in view. Florence, Rome,
and Naples are the principal centres of attraction ; the less fre-
quented districts of the interior, however, are also replete with
inexhaustible sources of interest. In order to obtain a more than
superficial acquaintance with Italy, the traveller must not devote
his attention to the larger towns exclusively. The farther he
diverges from the beaten track , the better opportunities he will
have of gaining an insight into the characteristics of this fasci-
nating country.

III. Language.

The time and labour which the traveller has bestowed on the
study of the Italian language at home will be amply repaid as he
proceeds on his journey. It is oy no means impossible to travel
through Italy without an acquaintance with Italian or French,
but in this case the traveller cannot conveniently deviate from
the ordinary track, and is moreover invariably made to pay 'alia
Jnglese', by hotel-keepers and others, i. e. considerably more than
the ordinary charges. A knowledge of French is of very great ad-
vantage, for the Italians are extremely partial to that language,
and avail themselves of every opportunity of employing it. For
those, however, who desire to confine their expenditure within
reasonable limits, a slight acquaintance with the language -|- of the
country is indispensable.

Nowhere more than in Italy is the traveller who is ignorant
of the language so much debarred from the thorough enjoyment
of travelling, and from the opportunity of forming an independent
opinion of the country, its customs, history, literature, and art.

IV. Passports and Custom-houses.

On entering the kingdom of Italy, the traveller's passport is
rarely demanded ; but it is unwise not to be provided with one
of these documents , as it may occasionally prove useful. Re-
gistered letters, for example, will not be handed over to strangers,
unless they exhibit a passport as a guarantee of their identity.
In the remote districts, too , where the public safety demands a

t ^Baedeker's Manual of Conversation in four Languages (En g lish
French^ German, and Italian) with Vocabulary etc.1 (20th Edit.) will be
found serviceable for this purpose. With the addition of a pocket-diction-
ary , the traveller may safely encounter the difficulties of the situation. —
In addressing persons of the educated classes 'lei', with the 3rd pers. sing.,
should always be employed (addressing several at once, 'loro' with the 3rd
pers. pi.). 'Voi' is used in addressing waiters, drivers, etc., 'tu' by those
only who are proficient in the language. 'Voi' is the usual mode of address
employed by the Neapolitans^, but is generally regarded as inelegant or
uncourteous.

PUBLIC SAFETY. XVII

more rigorous supervision , especially in thn southern provinces,
the traveller who cannot exhibit his cedentials is liable to de-
tention. — The Italian police authorities will be found uni-
formly civil and obliging.

The examination of luggage at the Italian Custom-houses
is usually extremely lenient. Tobacco and cigars are the articles
especially sought for. Each traveller is , however, allowed a hun-
dred cigars free of duty. Luggage should never be sent to Italy
by goods' train, if it can be avoided, and then only through the
medium of a trustworthy goods' agent, to whom the keys must
be forwarded. As a general rule it is advisable, and less expensive
for the traveller never to part from his luggage, and superintend
the custom-house examination in person. — The 'dazio consumo',
or municipal tax levied on comestibles in most of the Italian towns,
is of course seldom paid by ordinary travellers. An assurance by
them that their luggage contains nothing liable to duty generally
suffices to prevent detention.

Y. Public Safety. Beggars.

Italy is still frequently regarded at the land of Fra Diavolo's
and Rinaldo Rinaldini's — an impression fostered by tales of
travellers, sensational letters to newspapers, etc. The fact, how-
ever, is, that travelling in Northern and Central Italy is hardly
attended with greater hazard than in any of the more northern
European countries. At the same time the traveller may be re-
minded of the danger of seeking quarters for the night in in-
ferior or remote inns in large towns. Rome and Naples are deserv-
edly notorious in this respect. Even in the most secure districts
temporary associations of freebooters are occasionally formed with
a view to some predatory enterprise, but the attacks of such bands
are directed against wealthy inhabitants of the country, who are
known to be travelling with large sums of money , and seldom if
ever against strangers, with whose resources and plans such ma-
rauders cannot easily be acquainted. Strangers, however, espe-
cially when accompanied by ladies, should not neglect the ordinary
precaution of requesting information respecting the safety of the
roads from the authorities, gensdarmes ('carabinieri' , generally re-
spectable and trustworthy), etc.

The Brigantaggio, strictly so called , is a local evil , which
the traveller may always without difficulty avoid. Owing to the
revolution of 1860 it had increased in the Neapolitan provinces to
an alarming extent. The Italian Government has done its utmost
to suppress this national scourge , and its efforts have in a great
measure been crowned with success; but the evil still resembles
a conflagration which has been imperfectly extinguished, and
from time to time bursts forth anew. The demoralisation of the
inhabitants of the southern provinces is still deplorably great, and

XVIII MENDICITY.

the brigandage there is not only fostered by popular discontent
and a pretended sympathy for the Bourbons , but is actually car-
ried on as a speculation by landed proprietors. These 'gentry
frequently equip and harbour gangs of banditti , with whom they
share the spoil; or they at least aid and abet them, on condition
that their own property is respected. The evil is moreover favoured
by the mountainous character of the country, into the remote re-
cesses of which troops cannot easily penetrate. The most notorious
districts are now the Basilicata and Calabria. Sicily has also of late
years been much infested by brigands, especially the provinces of
Palermo and Girgenti ; but even in the most dangerous localities
those who adopt the ordinary precautions may travel with tolerable
safety. Weapons cannot legally be carried without a licence. For the
ordinary traveller they are a mere burden, and in case of a ren-
contre with brigands only serve greatly to increase the danger.

Mendicity, countenanced and encouraged according to the for-
mer system of Italian politics , still continue to be one of those
national nuisances to which the traveller must habituate himself.
Begging in Italy is rather a trade than a genuine demand for
sympathy. The best mode of liberation is to bestow a small don-
ation, a supply of the smallest coin of the realm being kept ready
for the purpose , or else to decline giving with — 'non c' e
niente', or a gesture of disapproval. A beggar, who in return for
a donation of 2 c. thanked the donor with the usual benedictions,
was on another occasion presented with 50 c. , an act of liber-
ality, which , instead of being gratefully accepted , only called
forth the remark in a half -offended tone: 'ma sign ore e molto
poco ! '

VI. Intercourse with Natives.

Travelling in Italy differs essentially in some respects from
that in France, Germany, Switzerland, etc., chiefly owing to the
pernicious practice of bargaining which is almost universally pre-
valent. The system of fixed prices is, however, being gradually-
introduced.

The traveller is regarded by landlords , waiters , drivers, por-
ters, and others of the same class, as their natural and legitimate
prey. Deception and imposition are regarded as very venial of-
fences by Italians of the lower class, who oiew a successful attempt
as a proofs of superior sagacity. The traveller , therefore, who
submits complacently to extortion is regarded with less respect
than he who stoutly resists the barefaced attempt upon his credu-
lity. Among the Swiss Mountains the judicious traveller knows
well when to make the tender of his cigar-case or spirit-flask;
in this country such amiable manifestations are only calculated
to awaken a further spirit of cupidity and discontent.

On the principal routes, and especially in Naples, the insolence

INTERCOURSE WITH NATIVES. XIX

of this mercenary fraternity has attained to such an unexampled
pitch, that the doubt not unfrequently presents itself to the tra-
veller's mind whether such a thing as honesty is known in Italy.
A more intimate acquaintance with the people and their habits
will however, satisfy him that his misgivings apply to the above
classes only, and not to the community generally.

In Italy the highly pernicious custom of demanding conside-
rably more than will ultimately be accepted is universal; but a
knowledge of the custom, as it is based entirely upon the presumed
ignorance of one of the contracting parties , tends greatly to mi-
tigate the evil. Where tariffs and fixed charges exist, they should
be carefully consulted. In other cases, in which an average price
is established by custom , the traveller should make a precise
bargain with respect to the service to be rendered, and never rely
on the equity of the other party.

Those 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' . In
the following pages the prices, even of insignificant objects, are
stated with all possible accuracy; and although liable to constant
fluctuations , they will at least often prove a safeguard against
gross extortions. The Editor ventures to offer the homely hint,
that the equanimity of the traveller's own temper will greatly
assist him if involved in a dispute or bargain , and no attention
whatever should be paid 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 necessarily be at great disadvantage.

It need hardly be observed that the representations of drivers,
guides, etc., with whom even the inhabitants of the place often
appear to act in concert, are unworthy of the slightest reliance.
Thus in Naples the charge for a single drive is 60 c, and yet the
driver would find no difficulty in summoning 20 individuals ready-
to corroborate his assertion that the proper fare is 5 fr. In such
cases the traveller may generally implicitly rely on the data in the
Handbook. Where farther information is required, it should be
sought from fellow-travellers, gensdarmes, respectably dressed per-
sons present, occasionally from landlords, but seldom or never
from waiters.

Caution is everywhere desirable in Italy ; but, if exaggerated, it
may be construed as the result of fear or weakness on the part
of the traveller , whose best safeguard is often his own self-
confidence; and it must be admitted, that, the preliminaries once
adjusted, the trustworthiness exhihited by members of the frater-
nity in question is often greater than at first anticipated.

An abundant supply of copper coins should always be at the

XX LOCOMOTION.

traveller's command in a country where donations trifling , but
very frequent are everywhere expected. Drivers, guides, porters,
donkey-attendants etc. invariably expect, and often demand as their
right, in addition to the hire agreed on, a gratuity (buona mano,.
mancia, da bere, bottiglia, caffe, fumata), varying according to cir-
cumstances from 2 — 3 sous to a franc or more. The traveller need
feel no embarrassment in limiting his donations to the smallest
possible sums. Liberality is often a fruitful source of future an-
noyance and importunity. Half-a- franc bestowed where two
sous would have sufficed may be fraught with disagreeable results
to the injudicious traveller; the fact speedily becomes known, and
other applicants make their appearance, whose demands it becomes
utterly impossible to satisfy. It may be laid down as a rule, that
the exercise of a certain degree of parsimony, however repugnant
to the feelings of the traveller , will tend essentially to promote
his comfort and enjoyment.

The demeanour of the stranger towards the natives must be
somewhat modified in accordance with the various parts of the
country through which he travels. The Italians of the north re-
semble the inhabitants of the south of France, and those of Italian
Switzerland. The character of the Tuscans is more effeminate,
their language and manners more refined. The bearing of the Ro-
man is grave and proud. With all of these, however, the stranger
will find no difficulty in associating ; and acts of civility or kind-
ness will not be misplaced , even when conferred on persons of
the lower ranks. With the class of Neapolitans with whom the
traveller generally comes in contact the case is entirely different,
and one is tempted to believe that they designedly conspire to
embitter one's enjoyment of their delightful country. It is to be
hoped, however, that a better era is dawning under the present
regime, and that the 'policy' of honesty will at length begin to.
penetrate the Italian mind.

VII. Locomotion.

Railways. The principal lines with their respective rami-
fications are four in number : Ferrovie dell' Alta Italia, Romane,
Meridionali, and Calabro-Sicule, each of which belongs to a differ-
ent company. The greatest speed attained by the trains is ex-
tremely moderate. 'Si cambia convoglio' means 'change carriages'.

The traveller is recommended to ascertain the weight of his
luggages if possible, before going to the station, in order to guard
against the possibility of imposition. No luggage is allowed free,
except what is taken by the passenger into his carriage , which
must not exceed 20 kilogrammes (about 44 lbs. Engl.) in weight.
Travellers will therefore find it desirable to limit their 'impedi-
menta' so as to be able to avail themselves of this permission.

LOCOMOTION. XXI

Porters who convey luggage to and from the carriages are suf-
ficiently rewarded with a few sous, where there is no fixed tariff.

In the larger towns tickets may be obtained at the agent's
office before going to the station. In consequence of a law passed
on Oct. 1st, 1866, a tax of 5 c. must be paid on each railway-
ticket. It is a wise precaution to be provided with the exact fare
before taking tickets.

The most trustworthy information respecting hours of depar-
ture, fares, etc. is afforded by the 'Indicatore Ufficiale delle strade
ferrate', etc. (see Preface), with which the traveller should not
fail to provide himself. The local time-tables of the Tuscan, Ro-
man, and Neapolitan lines will also be found useful, and may be
procured at the railway-stations for a few sous.

Through-tickets and excursion-tickets at considerably reduced
rates are issued at many of the principal towns in Germany and
Switzerland. They are generally available for 30 days, and each
passenger is allowed 55 lbs. of luggage free. Excursion-tickets
to the principal towns in Italy and back, available sometimes lor
50 days, are issued in Italy at a reduction of 45 per cent. Farther
particulars will be found in the time-tables, or at the 'agenzia',
or office of the railway. Tickets from Italy to Switzerland, Ger-
many, etc. must be partly paid for in gold. Travellers about to
cross the frontier in either direction are strongly recommended to
superintend the custom-house examination of luggage in person.

Steamboats. A voyage on the Mediterranean or Adriatic is
almost inseparably connected with a tour in Italy and Sicily, irre-
spectively of the fact that the latter can be reached by water only.
If the vessel plies near the coast, the voyage is often extremely
entertaining; and if the open sea is traversed, the magnificent
Italian sunsets, which light up the deep blue water with their
crimson rays, present a scene not easily forgotten. Rough weather
is not very often to be apprehended in summer.

Tickets should be purchased by the traveller in person at the
office of the company. The ticket is furnished with the purchaser's
name and destination, the name of the vessel, and the hour of
departure. Fares, duration of voyage etc. are stated in each in-
stance in the following pages. Family-tickets for the first or second
class , for not fewer than three persons , are issued by all the
companies at a reduction of 20 per cent on the fare, but not on
the cost of food. A child of 2 — 10 years pays half-fare, but in
this case must share the berth of its attendant. Two children are
entitled to a berth for themselves. The tickets of the Messageries
Maritimes are available for four months, and the voyage may be
broken at the passenger's discretion. It may here again be
remarked that the rival French companies Fraissinet and Vale'ry
reduce their fares from 20 to 30 per cent according to circum-
stances. At the same time it should be borne in mind that these

XX]] LOCOMOTION.

ve^sels usually stop to discharge their cargoes during the day, and
proceed on their -voyage at night.

The saloons and berths of the first class are comfortably
and elegantly fitted up , those of the second tolerably. Pas-
sengers of the second class have free access , like those of the
first, to every part of the deck.

Luggage. First-class passengers are allowed 100 kilogr.
(_= 2 cwt.), second class 60 kilogr. (= 135 lbs.), but articles
not intended for the passenger's private use are prohibited.

Food of good quality and ample quantity is included in the
first and second-class fares (except in the vessels of the Florio Co.).
The difference between that provided for first and for second-class
passengers is inconsiderable. Dejeuner a la fourchette is served
at 10, consisting of 3 — 4 courses, tolerable table wine, and
coffee. Dinner is a similar repast between 5 and 6 o'clock. At
7 p. m. tea is served in the first, but not in the second-class.
Passengers who are too ill to partake of these repasts are furnished
with lemonade, etc. gratuitously. Refreshments may of course be
procured at other hours on payment.

Fees. The steward expects 1 fr. for a voyage of 12 — 24 hrs.,
more if the passenger has made unusual demands upon his time
or patience.

Embarcation. Passengers should be on board an hour before
the advertised time of starting. The charges for conveyance to
the steamboat (usually 1 fr. for each pers. with luggage) are
fixed by tariff at all the sea-ports, and will be found in the Hand-
book. Passengers should therefore avoid all discussions on the
subject with the boatmen, and simply direct them to row 'al Va-
ticano", 'alia Bella Venetia', or whatever the name of the vessel
may be. En route, the boatman generally makes a demand extra-
vagantly in excess of the tariff: "Signore, sono cinque lire!' — to
which the passenger may simply reply, 'avanti' ! On arriving at
the vessel, payment should not be given to the boatman until the
traveller with all his luggage is deposited or. deck. The wild
gesticulations of the boatman , who has perhaps calculated upon
the credulity of his passenger, but receives no more than his due
(which is ample remuneration) , may be enjoyed with malignant
serenity from the deck , as on that 'terra sacra' disputes are
strictly prohibited.

On board the passenger gives up his ticket, receives the
number of his berth, superintends the stowing away of his lug-
gage , and finally repairs to the deck to observe the progress of
the vessel as it quits the harbour, of which a fine view is gene-
rally obtained.

Diligences. Corrieri are the swifter conveyances which carry
the mails, and accommodate two or three passengers only at high
fares. , Diligenze. the ordinary stage-coaches, convey travellers with

LOCOMOTION. XXIII

tolerable rapidity, and generally for the same fares as similar vehicles
in other parts of the continent. They are in the hands of private
speculators, and where several run in competition the more expen-
sive are to be preferred. When ladies are of the party the coupe
('/3rd dearer) should if possible be secured. The drivers and
ostlers generally expect a trifling fee (a few soldi) at the end of
each stage.

Vetturini. The communication between many towns is main-
tained by Vetturini, who convey travellers neither very comfortably
nor rapidly, but at moderate cost. Inside places cost somewhat
more than those in the cabriolet. The driver receives a trifling
lee, the ostler 1 soldo; for the removal or replacement of lug-
gage 2 soldi. The ordinary tourist will rarely have occasion to
avail himself of a mode of conveyance rapidly becoming obsolete.
The vetturini are generally respectable and trustworthy, and show
no less zeal for the comfort and safety of their employers than
in the care of their cattle. With three horses and a vehicle to
accommodate six passengers 35 — 40 M. are daily accomplished. At
midday a halt of several hours is made. The vetturini also en-
gage to provide the traveller with hotel accommodation, which,
when thus contracted for , is considerably less costly than when
the traveller caters for himself. In this case it is advisable to
draw up a carefully worded contract , to which the vetturino af-
fixes his signature or mark. This should also be made to include
the gratuity ftutto compreso) ; and , if satisfaction is given , an
additional fee may be bestowed at the termination of the journey.
The entire vehicle, or the interior only, may be engaged. It should
be distinctly arranged before starting, where the night is to be
passed , where breakfast and dinner taken. The agreement con-
cluded, the vetturino gives the traveller a small sum as earnest-
money (caparra), by which both parties are bound.

A single traveller may also bargain with a vetturino for one seat,
the charge for which varies. The back-seats are 'i primi pusti',
which are generally secured by the first comers, who are first
consulted with regard to the arrangement of the journey. For a
single traveller a written contract is hardly necessary. A previous
understanding should, however, be made with regard to the gra-
tuity ; and a separate room fstanza separata) at the inns should be
stipulated for , otherwise the traveller will run the risk of being
• ompelled to share the apartment of his travelling companions.

Besides the above-mentioned conveyances , carriages may be
hired everywhere (with one horse about 65 c. per Engl. M.).

Fedestrianism. An Italian never walks if he can possibly drive;
to him it is an inexplicable mystery how walking can afford
pleasure. The remark has been frequently made to the Editor:
'lei e signore e va a piedi?1' In the more frequented districts,
such as the vicinity of. Rome , the inhabitants are accustomed to

XXIV HOTELS.

this mania of strangers , who may wander in the Campagna , and
among the Sabine and Alban Mts . without exciting much sur-
prise. Excursions on foot in other parts of Italy also possess
their peculiar attractions , and among other advantages that of
procuring for the pedestrian the enviable reputation of being a
pittore, or needy individual from whom little is to be extorted.

Prolonged walking-tours such as are undertaken in more
northern climates, and fatiguing excursions, will be found wholly
unsuitable to the Italian climate. Cool and clear weather should
if possible be selected , and the sirocco carefully avoided. The
height of summer is totally adverse to tours of this kind.

A horse (cavallo) or donkey (sommaro, Neapol. ciucio ; Sicil. vet-
tura , applied to both animals) , between which the difference of
expense is inconsiderable, often affords a pleasant and inexpensive
mode of locomotion, especially in mountainous districts, where the
attendant (pedone) also acts as a servant for the time being. A
previous bargain should be made, tutto compreso, a gratuity being
added if the traveller is satisfied.

VIII. Hotels.

The idea of cleanliness in Italy is in arrear of the age j the
brilliancy of the southern climate perhaps in the opinion of the
natives neutralises dirt. The traveller will not, however, suffer
much annoyance in this respect in hotels and lodgings of the
best class. Those who quit the beaten track, on the other hand,
must be prepared for privations. In the villages the pig (ani-
mate nero) appears as a domestic animal , and privileged in-
mate of the houses, to which the poultry also have free access.
Iron bedsteads should if possible be selected , as affording less
accommodation to the active class so hostile to repose. Insect-
powder (polvere di Persia, or Keating's) or camphor somewhat re-
pels their advances. The zanzare, or gnats, are a source of great
annoyance, and often suffering, during the autumn months. Win-
dows should always be carefully closed before a light is introduced
into the room. Light muslin curtains (zanzieri) round the beds,
masks for the face, and gloves are employed to ward off the attacks
of these pertinacious intruders.

In all the more frequented places good hotels of the first class
are always to be found, the landlords of which are often Swiss
or Germans. Rooms 2'/2 — 5 fr., bougie 75 c. — i fr., attendance
1 fr., table d'hote 4 fr., and so on. Families, for whose reception
the hotels are often specially fitted up, should make an agreement
with the landlord with regard to pension (8 — 10 fr. each). The
charges have risen in some respects since the introduction
of the compulsory rate of exchange in 1866. Strangers are
expected to dine at the table d'hote , otherwise the price of the
room is raised , or the inmate is given to understand that it is

HOTELS. XXV

'wanted'. French spoken everywhere. Cuisine a mixture of French
and Italian.

The second-class inns are thoroughly Italian, rarely very clean
or comfortable ; charges about one-half the above ; no table d'hote,
but a trattoria will generally be found connected with the house,
where refreshments a la carte may be procured at any hour. These
establishments will often be found convenient and economical by
the voyageur en garijon, but are of course rarely visited by ladies.

In hotels in the Italian style, especially in the smaller towns,
it is advisable to institute enquiries as to charges beforehand. If
exorbitant demands be made, they may be generally reduced without
difficulty to reasonable limits. An extortionate bill may even be
reduced although no previous agreement has been made, but this
is never effected without long and vehement discussions.

The best hotels have fixed charges. Attendance, exclusive of,
boots and commissionnaire , is charged in the bill. This is not
the case in the smaller inns , where 1 fr. per diem is usually
divided between the waiter and the facchino, or less for a pro-
longed stay. Copper coins are never despised by such recipients.

Hotels Oarnis are much frequented by those whose stay ex-
tends to 10 — 14 days and upwards, and the inmates enjoy greater
quiet and independence than at a hotel. The charges are moreover
considerably more moderate. Attendance about 1/2 fr. per diem.

Lodgings of various degrees of comfort and accommodation
may also be procured for a prolonged residence. Here, likewise,
a distinct agreement respecting the rent should be made before-
hand. Where a whole suite of apartments is hired , a written
contract should be drawn up with the aid of some one acquainted
with the language and customs of the place (e. g. a banker).
For single travellers a verbal agreement with regard to attendance,
linen, stoves and carpets in winter, a receptacle for coal, etc.,
will generally suffice.

A few hints may [be here added for the benefit of the less
experienced :

If a prolonged stay is made at a hotel the bill should be de-
manded every three or four days, by which means errors, whether
accidental or designed, are more easily detected. When the tra-
veller contemplates departing at an early hour in the morning,
the bill should be obtained on the previous evening, but not paid
until the moment for starting has nearly arrived. It is a favourite
practice to withhold the bill till the last moment, when the hurry
and confusion render overcharges less liable to discovery.

The mental arithmetic of waiters is apt to be exceedingly
faulty, though rarely in favour of the traveller. A written
enumeration of the items charged for should therefore be re-
quired, and accounts rejected in which, as not unfrequently
happens, 'colazione, pranzo, vino, etc' figure in the aggregate.

XXVI

RESTAURANTS AND CAFES.

Information obtained from waiters, and others of a similar
class can never be implicitly relied upon. Enquiries should be
addressed to the landlords and even their statements received with
considerable caution.

IX. Restaurants and Cafes.

Restaurants (trattorie) are chiefly frequented by Italians,
and travellers unaccompanied by ladies. Dinner may be obtained
a la carte at any hour between 12 and 7 or 8 p. m. , for H/2
— 3 fr. The waiters expect a gratuity of 2 — 4 soldi. The diner
who desires to confine his expenses within reasonable limits should
refrain from ordering dishes not comprised in the bill of fare.

The following list comprises most of the commoner Italian
dishes :

Zuppa, soup.

Consume, broth or bouillon.

Scinte , or minestra , soup with
green vegetables and bread.

Onocchi, small puddings.

Riso con piselli, rice-soup with
peas.

Risotto, a species of rice pud-
ding (rich).

Maccaroni al burro, with butter ;
al pomidoro ., with tomatas.

Manzo, boiled beef.

Fritti, fried meat.

Arrosti, roasted meat.

Bistecea, beefsteak.

Coscietto, loin.

Arrosto di vitello, or di mongana,
roast-veal.

Testa di vitello, calfs head.

Fegato di vitello, calf's liver.

Braccioletta di vitello, veal-cutlet.

Costoletta alia minuta, veal-cutlet
with calfs ears and truffles.

Patate, potatoes.

Quaglia, quail.

Tordo, field-fare.

Lodola, lark.

Sfoglia, a species of sole.

Principi alia tavola, hot relishes.

i^unpfti,mushrooms(often toorich) .

Presciutto, ham.

Salami, sausage.

Polio, fowl.

Pollastro, turkey.

Vmidi, meat with sauce.

Stufatino, ragout.

Erie, vegetables.

Carciofi, artichokes.

Piselli, peas.

Lenticchie, lentils.

Cavoli fiori, cauliflower.

Fave, beans.

Fagiuoli, French beans.

Mostarda, simple mustard.

Senape, hot mustard.

Ostriche, oysters (good in winter
only).

Giardinetto, frutta, fruit-desert.

Crostata di frutti, fruit-tart.

Crostata di pasta sfoglia, a spe-
cies of pastry.

Fragole, strawberries.

Pera, pear.

Pomi, mele, apples.

Persiche, peaches.

L'va, bunch of grapes.

Limone, lemon.

Portogallo, orange.

Finocchio, root of fennel.

Pane francese, bread made with
yeast (the Italian is made
without).

Formaggio, cheese.

Vino nero, red wine; bianco,
white ; asciutto , dry ; dolce,
sweet; nostrale, table-wine.

CHURCHES. XXVII

Cafes are frequented for breakfast and lunch, and in the
evening by numerous consumers of ices. Cafe' noir (caffe nero)
is usually drunk (15 — 20 c. per cup). Caffe latte is coffee mixed
with milk before served (20 — 30 c); or caffe t latte, i. e. with the
milk served separately, may be preferred (30 — 40 c). Mischio is
a mixture of coffee and chocolate (15 — 20 c). considered whole-
some and nutritious. The usual viands for lunch are ham, sau-
sages, cutlets, and eggs (uova da here, soft; toste, hard; uova al
piatto, fried).

Ices (gelato) of every possible variety are supplied at the
cafes (30 — 90 c. per portion) ; a half portion (mezza) may always
be ordered. Granita, or half-frozen ice (limonata, of lemons ; aran-
ciata of oranges) , is especially in vogue in the forenoon. The
waiter (bottega) expects a sou or more, according to the amount
of the payment ; he occasionally makes mistakes in changing money
if not narrowly wa'ched.

The principal Parisian newspapers are to be found at all the
larger cafe's, English rarely.

Valets de Place (sercitori di piazza) may be hired at 5 fr. per
diem, the employer previously distinctly specifying the services
to be rendered. They are generally trustworthy and respectable,
but implicit reliance should not be placed on their statements
respecting the places most worthy of a visit, which the traveller
should asce:tain from the guide-book or other source. Their ser-
vices may always be dispensed with, unless time is very limited.
Travellers are cautioned against employing the semali, or commis-
sionaires of an inferior class, who pester the stranger with offers
of every descrip'ion. Contracts with vetturini, and similar ne-
gotiations should never be concluded through such a medium, or
indeed any other. Interventions of this description invariably tend
to increase prices, and are often productive of still more serious
contretemps. This remark applies especially to villages and small
towns, whether on or out of the regular track.

X. Churches, Theatres, Shops, etc.

Churches are open till noon, and usually again from 4 to 7
p. m. ; some of the most important, the whole day. Visitors may
inspect the works of art even during the hours of divine service,
provided they move about noiselessly , and keep aloof from the
altar where the clergy are officiating. The verger (sagrestano, or
nonzolo) receives a fee of 1/2 fr. or upwards , if his services are
required.

Theatres. The representations in the large theatres begin at
8, and terminate at midnight or later. Here operas and ballets
are exclusively performed; the first act of an opera is usually
succeeded by a ballet of 3 or more acts. Verdi is the most po-

XXVIII POSTAL ARRANGEMENTS.

pular composer. The pit (platea) is the usual resort of the men.
A box (palco) must always be secured in advance. — A visit to
the smaller theatres , where dramas and comedies are acted , is
particularly recommended for the sake of habituating the ear to the
language. Representations in summer take place in the open air,
in which case smoking is allowed. — The theatre is the usual
evening-resort of the Italians, by whom during the performance of
the music profound silence is never observed.

Shops, rarely have fixed prices. As a rule two-thirds or three-
quarters of the price demanded should be offered. The same rule
applies to artizans, drivers, and others. 'Non volete ?' (then you will
not?) is a remark which generally has the effect of bringing the
matter to a speedy adjustment. Purchases should never be made
by the traveller when accompanied by a valet-de-place. These
individuals, by tacit agreement, receive at least 10 per cent of the
purchase-money, which of course comes out of the pocket of the
purchaser.

Cigars in Italy (Sicily excepted) are a monopoly of Govern-
ment, and bad; those under 3 — 4 soldi scarcely smokable. The
Sicilian cigars are cheaper , but not better. The same remark
applies to the Maltese cigars.

XI. Postal Arrangements.

The address of letters (whether poste restante or to the tra-
veller's hotel) should , as a rule , be in the Italian or French
language. Postage-stamps are sold at all the tobacco-shops.

Letters of 15 grammes (*/2 oz.) to N. America 55 c. ; Ger-
many, Austria, Holland 40 c; Russia 70 c, Sweden 60 c, Den-
mark 50 c, Norway 65 c. ; letter of 10 grammes C/3 oz.) to France
or Belgium 40 c, Switzerland 30 c, Spain 50 c, Greece 60 c;
letter of 7y2 grammes (y4 oz.) to Great Britain and its colonies
60 c. — Registration fee to Switzerland, Germany, Austria 30 c ;
Scandinavia, Russia 40 c ; America, France, Netherlands 50 c;
gland 55 c.

Letters by town-post 5c; throughout the kingdom of Italy
20 c. prepaid, 30 c. unpaid. Registration fee 30 c.

In the larger towns the post-oifice is open daily from 9 a. m.
to 10 p. m. (also on Sundays and holidays).

Telegram of 20 words to Great Britain 9 fr. , France 4,
S. Germany 4^2 > N. Germany 6, Switzerland 3, Austria 3 or 4,
Belgium 5, Denmark 6'/2> Russia 11, Norway 8^/2, Sweden S fr. —
To America 10 words 50 fr.

In Italy, 15 words 1 fr. , with special haste 5 fr. ; each ad-
ditional word 10 or 50 c. — Registered telegrams may be sent
at double charges.

CLIMATE.

XXIX

XII. Calculation of Time.

The old Italian reckoning from 1 to 24 o'clock is now disused
in all the larger towns, but is still almost universally employed
in the country, especially in Sicily. The ordinary reckoning of
other nations is termed ora francese.

The moment of the sun's disappearance below the horizon is
'half past 23 o'clock'; the twilight lasts about half-an-hour, after
which it is '24 o 'clock' , or the close of the day , when 'Ave
Maria' is rung. The following hours are usually termed 'un ora
di notte', 'due ore di notte', etc. This troublesome mode of cal-
culation would necessitate a daily alteration of every time-piece
in the kingdom , but it is thought sufficiently accurate to alter
the hour ol Ave Maria by quarter of an hour about once a fort-
night. The following table shows the Italian compared with [the
ordinary hours.

* .

<8 .

By Ita

. time

d? *"

By Ital

. time

'gat.

our

s°t

our

noon

midnt.

O CJ co

noon

midnt.

< ° ~

< °

Jan. 1—12.

July 1—12.

13-31.

183(4

63(4

5'(4

13—31.

161(4

4i(4

73(4

Febr. 1—15.

181 2

61 12

5i(2

Aug. 1—15.

16i»

4ij2

7i|2

16—24.

18i|,

6i|4

53|4

16-25.

163J4

43|4

7'l«

25—28.

26-31.

March 1—5.

Sept. 1- 5.

6-15.

n»|4

53|,

61(4

6—16.

17i/,

5'J4

63(4

16—26.

17i|2

5i|2

6i|2

17-27.

17i(2

5i|2

61 2

27-31.

"1|4

5',

63)4

28—30.

17«|4

53(4

6M4

April 1—10.

17i|,

5'(4

63(4

Oct. 1-10.

173(4

53(4

61 4

1L— 20.

11-20.

21-30.

163|4

43(4

7i(4

21-31.

18i|,

61(4

53(4

May 1—15.

16i|2

4i|2

7i 2

Nov. 1-15.

I8M2

61 2

51I2

16—31.

16'|4

41 14

73)4

16-31.

1834

63|,

51,

June 1—30.

Dec. 1—31.

XIII. Climate. Mode of Life.

Travellers from the north must in some degree alter their
mode of living whilst in Italy, without however implicitly adopting
the Italian style. Strangers generally become unusually suscep-
tible to cold in Italy, and therefore should not omit to be well
supplied with warm clothing for the winter. Carpets and stoves,
to the comforts of which the Italians generally appear indifferent,
are indispensable in winter. A southern aspect is an absolute
essential for delicate, and highly desirable for the robust. Colds
are most easily caught after sunset, and in rainy weather. — Even
in summer it is a wise precaution not to wear too light clothing.
Flannel is strongly recommended.

XXX CHRONOLOGICAL TABLE.

Exposure to the summer-sun should as much as possible be
avoided. According to a Roman proverb , dogs and foreigners
(Inglesi) alone walk in the sun , Christians in the shade. Um-
brellas , and 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. Repose during the hottest
hours is advisable, a siesta of moderate length refreshing. Win-
dows should be closed at night.

English and German medical men are to be met with in the
larger cities. The Italian therapeutic art does not enjoy a very
high reputation in the rest of Europe. German and English che-
mists , where available , are recommended in preference to the
Italian. It may, however, be a wise discretion, in the case of
maladies arising from local causes, to employ native skill. For-
eigners frequently suffer from diarrhoea in Italy, which is gener-
ally occasioned by the unwonted heat. Ice and rice are two of
the commonest remedies. The homoeopathic tincture of camphor
may also be mentioned. In such cases, however, thorough repose
is the chief desideratum.

XIV. Chronological Table of Recent Events.

1846. June 16. Election of Pius IX.

1848. March 18. Insurrection at Milan.

22. Charles Albert enters Milan.

22. Republic proclaimed at Venice.

May 15. Insurrection at Naples quelled by Ferdinand II.
('Re Bomba').

29. Radetsky's victory at Curtatone.

30. Radetsky defeated at Goito ; capitulation of
Peschiera.

July 25. Radetsky's victory at Custozza.
Aug. 6. Radetsky's victory at Milan.

9. Armistice.
Nov. 15. Murder of Count Rossi at Rome.

25. Flight of the Pope to Gaeta.

1849. Febr. 5. Republic proclaimed at Rome.

17. Republic proclaimed in Tuscany, under Guerazzi.
March 16. Charles Albert terminates the armistice (ten-
days' campaign).

23. Radetsky's victory at Novara.

24. Charles Albert abdicates (d. at Oporto on July
26th); accession of Victor Emmanuel II.

26. Armistice; Alessandria occupied by the Aus-
trians.

31. Haynau conquers Brescia.

April 5. Republic at Genoa overthrown by La Marmora.

CHRONOLOGICAL TABLE. XXXI

April 11. Reaction at Florence.

30. Garibaldi defeats the French under Oudinot.
May 11. Leghorn stormed by the Austrians.

15. Subjugation of Sicily.

16. Bologna stormed by the Austrians.
July 4 Rome capitulates.

Aug. 6. Peace concluded between Austria and Sardinia.
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.

24. Battle of Solferino.
July 11. Meeting of the emperors at Villafranca.
Nov. 10. Peace of Zurich.

1860. March 18. Annexation of the Emilia (Parma , Modena,

Romagna).

22. Annexation of Tuscany.

24. Cession of Savoy and Nice.
May 11. Garibaldi lands at Marsala.

27. Taking of Palermo.
July 20. Battle of Melazzo.
Sept. 7. Garibaldi enters Naples.

18. Battle of Castelfldardo.

29. Ancona capitulates.
Oct. 1. Battle of the Volturno.

21. Plebiscite at Naples.
Dec. 17. Annexation of the principalities , Umbria , and
the two Sicilies.

1861. Febr. 13. Gaeta capitulates after a four months' siege.
March 17. Victor Emmanuel assumes the title of King of

Ltaly.
1864. Sept. 15. Convention between France and Italy.

1866. June 20. Battle of Custozza.
July 5. Cession of Venetia.

20. Naval battle of Lissa.

1867. Nov. 3. Battle of Mentana.

1870. Sept. 12. Occupation of the States of the Church by Italian
troops.
20. Occupation of Rome.

Italian Art.

An Historical Sketch by Professor Springer of Bonn.

One of the primary objects of the enlightened traveller in
Italy is usually to form some acquaintance with its treasures of
art. • Even those whose ordinary vocations are of the most prosaic
nature unconsciously become admirers of poetry and art in Italy.
The traveller here finds them so interwoven with scenes of every-
day life, that he encounters their impress at every step, and
involuntarily becomes susceptible to their influence. A single visit
can hardly suffice to enable any one to form a just appreciation
of the numerous works of art he meets with in the course of an
extended tour, nor can a guide-book teach him to fathom the
mysterious depths of Italian creative genius, the past history of
which is especially attractive; nevertheless a few remarks on
this subject will be found materially to enhance the pleasure and
facilitate the researches of even the most unpretending lover of
art. Works of the highest class , the most perfect creations of
genius, lose nothing of their charm by being pointed out a!
specimens of the culminating point of art; while, on the other
hand, those of inferior merit are invested with far higher interest
when regarded as necessary links in the chain of development,
and when, on comparison with earlier or later works, their relative
defects or superiority are recognised. The following observations,
therefore, will hardly be deemed a superfluous adjunct to a work
designed to aid the traveller in deriving the greatest possible
amount of enjoyment and instruction from his sojourn in Italy.

The two gnat epochs in the history of art which principally
arrest the attention are those of classic antiquity, and of the 16th
century, the culminating period of the so-called Renaissance. The
intervening space of more than a thousand years is usually, with
much unfairness, almost entirely ignored. But this interval not
only continues to exhibit vestiges of the first epoch, but gradually
paves the way for the second. The erroneousness of the view,
that in Italy alone the character of ancient art can be thoroughly
appreciated, may here be demonstrated. This opinion dates from
the period when no precise distinction was made between Greek
and Roman art, when the connection of the former with a parti-

XXXIV ITALIAN ART.

cular land and nation, and the tendency of the latter to pursue
an independent course were alike overlooked. Now, however, that
ue are acquainted with more numerous Greek originals, and have
acquired a deeper insight into the development of Hellenic art,
an indiscriminate confusion of the Greek and Roman styles is no
longer to be apprehended. We are now well aware that the
highest perfection of ancient architecture is visible in the Hel-
lenic temple alone. The Doric order, in which majestic gravity-
is expressed by massive proportions and symmetrical decoration,
and the Ionic structure, with its lighter and more graceful cha-
racter, exhibit a creative spirit entirely different from that mani-
fested in the sumptuous Roman edifices. Again , the most va-
luable collection of ancient sculptures in Italy is incapable of
affording so admirable an insight into the development of Greek
art as the sculptures of the Parthenon and other fragments of
Greek temple-architecture preserved in the British Museum. But,
although instruction is afforded more abundantly by other than
Italian sources, ancient art is perhaps thoroughly admired in Italy
alone, where works of art encounter the eye with more appro-
priate adjuncts, and where climate, scenery, and people materially
contribute to intensify their impressiveness. As long as a visit to
Greece and Asia Minor is within the reach of comparatively so
few travellers , a sojourn in Italy may be recommended as best
calculated to afford ins. ruction respecting the growth of ancient art.
An additional facility, moreover, is afforded by the circumstance,
that in accor dance with an admirable custom of classic antiquity
the once perfected type of a plastic figure was not again arbitrarily
abandoned, but rigidly adhered to, and continually reproduced. Thus
in numerous cases, where the more ancient Greek original had
been lost, it was preserved in subsequent copies; and even in
the works of the Roman imperial age Hellenic creative talent is
still rellected.

The non - scientific traveller will hardly be disposed to de-
vote much of iiis attention to the works of the earliest dawn of
art, to the so-called Cyclopean walls, constructed of polygonal
blocks of stone (as those of Pyrgi, Cosa, Saturnia, but more com-
monly met with in Lower Italy), or to the artistic progress of the
mysterious Etruscan nation (manifested in their tombs , cinerary
urns, implements of metal, and mural paintingsj; but the eye
will not fail to rest with interest upon their magnificent golden
ornaments, their beautiful designs engraved on metal (bronze-
mirrors: the finest engraved design handed down by antiquity is
on the Ficoronian cista in the Museo Kircheriano at Rome), and
their numerous painted vases. The latter not only disclose to
the observer a wide sphere of ancient artistic ideas , and prove
how intimately a love of the beautiful and graceful was associated
with the pursuit of a mere trade, but at the same time present

ITALIAN ART. XXXV

one of the earliest instances of artistic industry. Although most
of these vases were discovered in Etruscan tombs, they are not
all to be regarded as specimens of Italian workmanship, lor many
of them were imported from Greece, where they were systemati-
cally manufactured, originally perhaps at Corinth, and subsequently
at Athens (vases with red figures).

The artistic dependence of ancient Italy on Greece was not
confined to this single, and comparatively subordinate branch of
art, but gradually extended to every other department, including
those of architecture and sculpture. This supremacy of Greek in-
tellect in Italy was established in a twofold manner. In the first
place Greek colonists introduced their ancient native style into
their new homes. This is proved by the existence of several
Doric temples in Sicily, such as those of Selinunto (but not all
dating from the same period), and the ruined temples at Syra-
cuse, Girgenti, and Segesta. On the mainland the so-called Temple
of Neptune at P;estum, as well as the ruins at Metapontum, are
striking examples of the fully developed elegance and grandeur
of the Doric order. But , in the second place , the art of the
Greeks did not attain its universal supremacy in Italy till a later
period, when Hellas, politically ruined, had learned to obey the
dictates of her mighty conqueror, and the Romans began to com-
bine the refinements of more advanced culture with their political
superiority. The ancient scenes of artistic activity in Greece
(Athens for example) became re-animated at the cost of Rome ;
Greek works of art and Greek artists were introduced ; and osten-
tatious pride in the magnificence of the booty acquired by victory mer-
ged, by an easy transition, into a taste for such objects. To surround
themselves with artistic decoration thus gradually became the univer-
sal custom of the Romans, and the foundation of public monuments
came to be regarded as an indispensable duty of government.

Although the Roman works of art of the imperial epoch are
deficient in originality compared with the Greek, yet their au-
thors never degenerate into mere copyists , or entirely renounce
independent effort. This remark applies especially to their Archi-
tecture. Independently of the Greeks, the ancient Italian na-
tions, and with them the Romans, had acquired a knowledge of
stone-cutting , and discovered the method of constructing arches
and vaulting. With this technically and scientifically important
art they aimed at combining Greek forms, the column supporting
the entablature. Moreover the sphere of architecture became ex-
tended. One of the chief requirements was now to construct
edifices witli spacious interiors, and several stories in height. No
precise model was afforded by Greek architecture, and yet the
current Greek forms appeared too beautiful to be lightly dis-
regarded. The Romans therefore preferred to combine them
with the arch-principle, and apply this combination to their new

XXXVI ITALIAN ART.

architectural designs. The individuality of the Greek orders, and
their originally so unalterable coherence were thereby sacrificed,
and divested of much of their importance; that which once pos-
sessed a definite organic significance frequently assumed a super-
ficial and decorative character; but the aggregate effect is always
imposing, the skill in blending contrasts, and the refinement of
the directing taste admirable. The lofty gravity of the Doric, f
style must not be sought for at Rome. The Doric column in the
hands of Roman architects lost the finest features of its original
character, and was at length entirely disused. The Ionic column
also, and corresponding entablature, were regarded with less par-
tiality than those of the Corinthian order, the decorative surnp-
tuousness of which was more in unison with the artistic taste of
the Romans. As the column in Roman architecture was no longer
destined exclusively to support a superstructure, but formed a
projecting portion of the wall, or was merely of an ornamental
character, the forms in which the enrichments were most conspi-
cuous were accordingly the most appropriate. It is, moreover, intelli-
gible that the graceful Corinthian capital, consisting of slightly
drooping acanthus -leaves, was at length regarded as insufficiently

t Those' unacquainted with architecture may without difficulty learn to
distinguish the different Greek styles. In the Doric the shafts of the co-
lumns (without bases) rest immediately on the common pavement, in the
Ionic they are separated from it by bases. The (lutings of the Doric co-
lumn are immediately contiguous, separated by a sharp ridge, whilst those
of the Ionic are disposed in pairs, separated by broad unflutcd intervening
spaces. The Doric capital, expanding towards the summit, somewhat resem-
bles a crown of leaves, and was in fact originally adorned with painted re-
presentations of wreaths; the Ionic capital is distinguished by the volutes
(or scrolls) projecting on either side, which may be regarded rather as an
appropriate covering of the capital than as the capital itself. The entabla-
ture over the columns begins in the Doric style with the simple, in the
Ionic with the threefold architrave; above which in the Doric order are the
metopes (originally openings, subsequently receding panels) and triglyphs
(tablets with two angular channels in front, and a half channel at each end,
extremities of beams, as it were), in the Ionic the frieze with its sculptured
enrichments. In the temples of both orders the front culminates in a pe-
diment. The so-called Tuscan, or early Italian column, approaching most
nearly to the Doric, exhibits no decided distinctive marks; the Corinthian,
with the rich capital formed of acanthus-leaves, is essentially of a decora-
five character only. The following technical terms should also be observed.
Temples in which the columns are on both sides enclosed by the projecting
walls are termed 'in antis' (antce = end-pilasters); those which have one ex-
tremity only adorned by columns, prostyle ; those with an additional pedi-
ment in the rear, supported by columns, ampbiprostyle ; those entirely sur-
rounded by columns, peripteral. In some temples it was imperative tluit
flie image of the god erected in the eella should be exposed to the rays of
the sun. In this case an aperture was left in the ceiling and roof, and such
temples were termed liypyethral. Temples are also named tetrastyle , hexa-
style, oct.istyle, etc. according to the number of columns at each end. — A
most attractive study is that of architectural mouldings and enrichments,
and of those constituent members which indicate superincumbent weight, or
a free and independent existence. Research in these matters will enable the
traveller more fully to appreciate Ihe strict harmony of ancient architecture.

ITALIAN ART. XXX VII

enriched, and was superseded by the so-called Roman capital (first
used in the arch of Titus), a union of the Corinthian and Ionic. As
an impartial judgment respecting Roman architecture cannot he
formed from a minute inspection of the individual columns, so
the highest rank in importance is not to be assigned to the
Roman temples. The sole circumstance of the different (pro-
jecting) construction of their roofs excludes them from com-
pari.-son with the Greek. Attention must be directed to the
several-storied structures, in which ttm tasteful ascending grada-
tion of the component parts, from the more massive (Doric) to
(he lighter (Corinthian), especially attracts the eye; and the vast
and artistically vaulted interiors, as well as the structures of a
merely decorative description, must be examined, in order that
the chief merits of Roman art may be recognised. In the em-
ployment of columns in front of closed walls (e. g. as members
of a facade), in the construction of domes above circular interiors,
and of cylindrical and groined vaulting over oblong, spaces , the
Roman edifices served as models to posterity , whose work-
manship has often fallen short of the originals. No dome-building
has yet been erected which will bear comparison with the simple
and strikingly effective Pantheon , originally a pertinent of the
Therma: of Agrippa; nor does there exist any edifice so sumptuous,
combining so varied an aggregate of structures , and yet bearing
so harmonious and monumental a character, as from their ruins
we presume the Therma: of Caracalla and Diocletian to have been.
Boldness of design, skill in execution, accurate estimation of re-
sources, consistent prosecution of the object in view, and practical
utility combined with imposing splendour characterise most of the
Roman fabrics, whether destined for public traffic like the basili-
cas of the fora, to gratify the popular love of pageantry like the
amphitheatres, theatres, and circuses, to commemorate the achieve-
ments of the living by means of triumphal arches, or to preserve
a reminiscence of the dead by monumental tombs. Finally it is
worthy of note that architecture resisted degradation longer than
any other art, and does not betray palpable signs of declension
until the commencement of the 4th century, after having con-
siderably earlier attained its culminating point under the Flavii.
The history of the Art of Sculpture among the Romans,
which moreover never evidenced their national greatness in the'
same degree as architecture, is of briefer duration. Two different
methods of investigation may here be pursued. Those who pos-
sess sufficient preliminary information, and do not shrink from an
arduous although interesting task , should examine the numerous
statues representing gods and heroes in accordance with the Greek
models, of which we possess written records, and compare them
with the descriptions. In the statue of Zeus from the house of the
Yerospi, and in the bust of Otricoli (Vatican), the lineaments of

XXXVIII ITALIAN ART.

the Olympic Zeus created by Phidias will be sought for, in the
statues of Hercules their derivation from the ideal of Lysippus,
in the Juno Ludovisi, and the other head of Hera in the Museum
at Naples , their descent from the Juno of Polyclete* ; whilst the
discus-throwers of Myron, the Amazons of Phidias, Ctesilaus, etc.,
the Ares and Apollo of Scopas, the statues of Venus by Praxiteles
and others will be recognised in their imitations and slightly vary-
ing copies. By these means a correct judgment will be formed
with regard to the position of the individual work in the develop-
ment of ancient art, and the relation of the later sculpture of the
Romans to that of the earlier Greeks will be well understood.
By this systematic criticism the science of archicology has of late
years arrived at brilliant results; it has proved that a series of
Greek works, once regarded as irrecoverably lost , still survive in
their copies , and it has correctly explained other misinterpreted
sculptures (e. g. the Apollo Belvedere). The amateur , however,
will probabl> prefer to adhere to the course which was formerly
enthusiastically pursued by the scientific, and be satisfied with
contemplating the mere artistic beauty of the sculptures , irre-
spective of their historical significance. This aesthetic mode of
investigation is justified by the fact that the sculpture of anti-
quity presents to our eye a harmonious whole, in which the same
principles and the same bias of imagination almost invariably
recur. Strongly marked as the distinction is between Greek and
Roman views of art, and between the earlier and later develop-
ment of the art of sculpture , yet the existence of numerous
common elements , and the voluntary subordination of the later
artists to the once established type cannot be disputed. This will
be rendered clearer by an example. A universally predominant
ideal of the Madonna, on which the images of medieval and mo-
dern art are based, cannot possibly be discovered. Between the
Madonnas of Raphael, and Our Lady of the old German and Dutch
schools , not the faintest resemblance can be traced ; were the
former lost, their character could never be divined from the latter.
In ancient art, on the contrary, the image of a god, even of the
later Roman period, continues to exhibit the distinctive character
of the original ideal, and often serves admirably to throw light
upon defects in the earlier images; moreover every plastic work
of antiquity, whether remote or more recent, faithfully embodies
for us the precepts of sculpture, and teaches us the treatment
of the nude, the disposition of the drapery, and the just
standard of expression and movement. Whether the areliwolo-
gical or resthetical interest be placed in the foreground, opportu-
nities will always present themselves for an examination of the
characteristic features of Roman sculpture. This art developed
itself most freely between the reigns of Augustus and Hadrian,
flourishing contemporaneously with the most brilliant period of

ITALIAN ART. XXXIX

the Empire, and constituting its artistic adornment. Aptitude in
imparting a living and attractive character to allegorical represen-
tations, as is well exemplified by the charming group of the Nile
(Vatican), is not to be regarded as a peculiar feature of Roman
art so much as the strikingly individualising stamp expressed in
portrait-busts and statues , and the realistic element from which
the creation of historical reliefs has emanated. Specimens of this
faithful and detailed historical representation, which however occa-
sionally deviates from the plastic standard, are afforded by the trium-
phal arches of Titus and Constantine (reliefs partly transferred from
the arch of Trajan), and the columns of Trajan and Marcus Aure-
lius. As late as the time of Hadrian a new ideal was sought in
Antinous, but after that period the art rapidly declined, although
even down to the latest era of the Empire groat technical skill
was still frequently exhibited. The most interesting of these later
works are sarcophagus-sculptures , owing to their almost encyclo-
paedic richness in representations , and the extensive sphere of
ideas which they embrace. They constituted the most important
school of art for subsequent generations, whence their historical
significance ; but the same cannot be said of the later monumen-
tal architecture, although it now exhibits the most diversified and
attractive picture of the artistic life of antiquity. The ruins of
Herculaneum and Pompeii prove more forcibly than any record,
how universally art was applied in the ancient world , and how
even the humblest implements were ennobled by artistic forms;
they form an inexhaustible mine of decorative enrichments, and
refute the prevailing idea that an entirely subordinate rank is to
be assigned to ancient painting. As they were not rescued from
oblivion till the 18th century, they exercised no influence on the
art of the middle ages or the Renaissance, while on the other
hand we no longer possess the decorative paintings of the Roman
Thermae, which wrought so powerfully on the arlistic imagination
as lately as the 16th century.

In the 4th century the heathen world, which had long been
in a tottering condition, at length became Christianised, and a
new period of art commenced. This is sometimes erroneously re-
garded as the result of a forcible Tupture from the ancient Roman
art, and a sudden and spontaneous invention of a new style. But
the eye and the hand adhero to custom more tenaciously than the
mind. While new ideas, and altered views of the character of the
Deity and the destination of man were entertained, the wonted
forms were still necessarily employed in the expression of these
thoughts. Moreover the heathen sovereigns had by no means been
unremittingly hostile to Christianity (the most bitter persecutions
did not take place till the 3rd century), and the new doctrines
were permitted to expand, take deeper root, and organise them-
selves in the midst of heathen society. The consequence was,

XL ITALIA M ART.

that the transition from heathen to Christian ideas of art was a
gradual one, and that in a formal respect early Christian art pro-
secuted the tasks of the ancient. The best proof of this is
afforded by the paintings of the Koman Catacombs. These, form-
ing as it were a subterranean belt around the city , were by no
means originally the secret and anxiously concealed places of re-
fuge of the primitive Christians, but constituted their legally-
recognised, publicly accessible burial-places (e. g. the catacombs of
Nicomedes and of Fl. Domitilla), and were not enveloped in in-
tentional obscurity until the periodically recurring persecutions of
the 3rd century. Reared in the midst of the customs of heathen
Rome, the Christian community perceived no necessity to deviate
from the artistic principles of antiquity. In the embellishment of
the catacombs they adhered to the decorative forms handed down
by their ancestors; and in design , choice of colour, grouping of
figures, and treatment of subject, they were entirely guided by the
customary rules. The earlier the date of the paintings in the
catacombs, the more nearly they approach the ancient forms. Even
the sarcophagus-sculptures of the 4th and 5th centuries differ in
purport only, and not in technical treatment , from the type ex-
hibited in the tomb-reliefs of heathen Rome. Five centuries
elapsed before a new artistic style was awakened in the pictorial,
and the greatly neglected plastic arts. Meanwhile architecture had
developed itself corumensurately with the requirements of Christian
worship , and , in connection with the new modes of building,
painting acquired a different character.

The term Basilic a- Style is often employed to designate
early Christian architecture down to the 10th century. The name
is of great antiquity, but it is erroneous to suppose that the early
Christian basilicas possessed anything beyond the mere appellation
in common with those of the Roman fora. The lalter structures,
which are proved to have existed in most of the towns of the
Roman empire, and served as courts of judicature and public as-
sembly-halls, differ essentially in their origin and form from those
of the Christian church. The forensic basilicas were neither fitted
up for the purposes of Christian worship, nor did they serve as
models for the construction of Christian churches. The latter
are rather to be regarded as extensions of the private dwelling-
houses of the Romans, where the first assemblies of the commu-
nity were held , and the component parts of which were repro-
duced in ecclesiastical edifices. The most faithful representative
now extant of the architectural character and internal arrange-
ments of an early Christian basilica is the church of ,S. Clemente
at Rome. A small portico borne by columns leads to the anterior
court (atiiumj, surrounded by colonnades and provided with a.
fountain (cantharus) in the centre; the eastern colonnade is the
approach to the interior of the church, which usually consisted of

ITALIAN ART. XLI

a nave and two aisles, the latter lower than the former, ami se-
parated from it by two rows of columns, the whole terminating in
a semicircle (apsis). In front of the apse a transverse space
(transept) sometimes extended; the altar, surmounted by a co-
lumnar structure, occupied a detached position in the apse; the
space in front of it, bounded by cancelli or railings, was destined
for the choir of officiating priests , and contained the two pulpits
(ambones) where the gospel and epistles were read. Unlike the
ancient temples, the early Christian basilicas exhibit a neglect of
external architecture , the chief importance being attached to the
interior, the decorations of which , however, especially in early
mediaeval times, were often procured by plundering the ancient Ro-
man edifices, and transferring them to the churches with little regard
to harmony of style and material. Thus the churches of >S. Maria in
Trastevere and >S. Lorenzo fuori le Mura each possess columns of
entirely different workmanship and materials. Other instances of
a similar transference of columns are afforded by the churches of
iS. JSabina, S. Maria Maggiore, etc. The most appropriate orna-
ments of the churches were the metallic, objects, such as crosses
and lustres , and the tapestry with which papal piety presented
them; while the chief decoration of the walls consisted of mosaics,
especially those covering the background of the apse and the (trium-
phal) arch which separates the apse from the nave. The mosaics, as
far at least as the material was concerned, were of a sterling mo-
numental character, and contributed 10 give rise to a new style
of pictorial art; in tliem ancient tradition was for the first time
abandoned, and the harsh and austere style erroneously termed
Byzantine gradually introduced. Some of the earliest mosaics
(composed of fragments of glass) are in the church of S. Puden-
ziana , dating, like those of S. Costanza and the Baptistery of
Naples, from the 4th century, while those of S. Maria Maggiore
and S. Sabina belong to the 5th. The mosaics in the church of
SS. Cosma e Uamiano in the Forum (date 526—530) are re-
garded as the finest compositions of the description.

Christian art originated at Rome , but its development was
greatly promoted in other Italian districts, especially at Ravenna,
where during the Ostrogothic supremacy (493 — 55'2), as well as
under the succeeding Byzantine empire, architecture was zealously
cultivated. The basilica-type was there more highly matured, the
external architecture enlivened by low arches and projecting but-
tresses, and the capitals of the columns in the interior appro-
priately moulded with reference to the superincumbent arches. At
Ravenna the occidental style also appears in combination with the
oriental, and the church of S. Yitale (dating from 547) may be
regarded as a fine example of a Byzantine structure. The term
•Byzantine is often totally misapplied. Every work of the
so-called dark centuries of the middle ages , everything in archi-

XLII ITALIAN ART.

tectiire that intervenes between the ancient and the Gothic, every-
thing in painting which repels by its uncouth , ill-proportioned
forms, is designated as Byzantine; and it is commonly supposed
(hat the practice of art in Italy was entrusted exclusively to By-
zantine hands from the fall of the Western Empire to an ad-
vanced period of the 13th century. This belief in the universal and
unqualified prevalence of the Byzantine style, as well as the idea
that it exhibits no other characteristics than unsightliness and a
clumsy, lifeless character, is entirely unfounded. The forms of
Byzantine architecture are at least strongly and clearly defined.
While the basilica appears as a long-extended hall , over which
the eye is compelled to range until it finds a natural resting-
place in the recess of the apse, every Byzantine structure may be
circumscribed with a curved line. The aisles, which in the basi-
lica run parallel with the nave, degenerate in the Byzantine style
to narrow and insignificant passages ; the apse loses its intimate
connection with the nave, and is separated from it; the most
conspicuous feature in the building consists of the central
square space , bounded by four massive pillars which support the
dome. These are the essential characteristics of the Byzantine
style, which culminates in the magnificent church of S. Sophia,
and prevails throughout oriental Christendom , but in the West,
including Italy, only occurs sporadically. With the exception of the
churches of S. Vitale at Ravenna, and St. Mark at Venice, the
edifices of Lower Italy alone exhibit a frequent application of this
style. When baptisteries and mortuary chapels are styled Byzan-
tine on account of their circular form, this is no more justifiable
than the popular classification of the whale among fishes. External
points of resemblance must not be confounded with fundamental
relationship.

The influence of the Byzantine imagination on the growth of
other branches of Italian art appears to have been no greater. A
brisk traffic in works of art was carried on by Venice, Amalii, etc.
between the Levant and Italy; the position of Constantinople re-
sembled that of the modern Lyons; silk wares, tapestry, jewel-
lery were most highly valued when imported from the Eastern
metropolis. Byzantine artists were always welcome visitors to
Italy, Italian connoisseurs ordered works to be executed at Con-
stantinople, especially those in metal, and the superiority of By-
zantine workmanship was universally acknowledged. All this,
however, does not justify the opinion that Italian art was entirely
subordinate to Byzantine. In the main , notwithstanding various
external influences, it underwent an independent and unbiassed
development, and never entirely abandoned its ancient principles.
\ considerable interval indeed elapsed before the fusion of the
original inhabitants with the early mediaeval immigrants was com-
plete, before the aggregate of different tribes, languages, customs,

ITALIAN ART. XLIII

and ideas became blended into a single nationality , and before
the people attained sufficient concentration and independence of
spirit to devote themselves successfully to the cultivation of art.
Unproductive in the province of art as this early period is , yet an
entire departure from native tradition, or a serious conflict of the
latter with extraneous innovation never took place. It may be
admitted, that in the massive columns and cumbrous capitals of the
churches of Upper Italy, and in the art of vaulting which was
here developed at an early period , symptoms of the Germanic
character of the inhabitants arc manifested, and that in the Lower
Italian and especially Sicilian structures , traces of Arabian and
Norman influence are unmistakeable. The pointed arches of the ca-
thedral of Amalfl, and those in the cloisters of the monastery-churcji
of Ravello, the interior of the Cappella Palatina at Palermo, etc.
point to Arabian models ; whereas the facades of the churches at
Cefalu and Monreale , and the enrichments of their portals recal
Norman types. In the essentials , however , the foreigners con-
tinue to be the recipients; the might of ancient tradition, and the
national idea of form could not be repressed or superseded. About
the middle of the 1 1th century a zealous and promising artistic
movement took place in Italy , and the seeds were sown which
three or four centuries later yielded so luxuriant a growth. As
yet nothing was matured, nothing completed, the aim was obscure,
the resources insufficient; meanwhile architecture alone satisfied
artistic requirements , whilst attempts at painting and sculpture
were barbarous in the extreme ; these, however, were the germs
of the subsequent development observable as early as the 11th
and 12th centuries. This has been aptly designated as the Ro-
manesque period, and the then prevalent forms of art as the Ro-
manesque Style. As the Romance languages, notwithstanding
alterations, additions, and corruptions, maintain their relation of
daughtership to the language of the Romans, so Romanesque art,
in spite of its rude and barbarous aspect, reveals its immediate
descent from the art of that people. The Tuscan towns were the
principal scene of the prosecution of medieval art. There an in-
dustrial population gradually arose, treasures of commerce were
collected, independent views of life were acquired in active party-
conflicts , loftier common interests became interwoven with those
of private life, and education entered a broader and more enligh-
tened track, — whence a taste for art also was awakened, and
esthetic perception developed itself. When Italian architecture
of the Romanesque period is examined, the difference between its
character and that of contemporaneous northern works is at once
apparent. In the lat'er the principal aim is perfection in the
construction of vaulting. French, English, and German churches
are unquestionably the more organically conceived, the individual
parts are more inseparable and more appropriately arranged. But

XL1V ITALIAN ART.

the subordination of all other aims to that of the secure and ac-
curate formation of the vaulting does not admit of an unrestrained
manifestation of the sense of form. The columns are apt to be
heavy, symmetry and harmony in the constituent members to be
disregarded. On Italian soil new architectural ideas are rarely
found, constructive boldness is not here the chief object; on the
other hand, the decorative arrangements are richer and more grate-
ful, the sense of rythm and symmetry more active. The cathe-
dral of Pisa, founded as early as the 1 1th century, or the church
of S. Miniate near Floience, dating from the 12th, may be taken
as an example. The interior with its rows of columns, the moul-
dings throughout, and the flat ceiling recal the basilica-type ; whilst
the exterior, especiall) the facade destitute of tower, with the
small arcades one above the other, and the variegated colours of
the layers of stone, present an aspect of decorative pomp. But
the construction and decoration of the walls already evince a taste
for the elegant proportions which we admire in subsequent Ita-
lian structures; the formation of the capitals, and the design of
the outlines prove that the precepts of antiquity were not entirely
forgotten. In the Baptistery of Florence (S. GiovanniJ a definite
Roman structure (the Pantheon) has even been imitated. A pe-
culiar conservative spirit breathes throughout the mediaeval archi-
tecture of Italy; artists do not aim at an unknown and remote
object; the ideal which they have in view, although perhaps in-
stinctively only, lies in the past; to conjure up this and bring
about a Renaissance of the antique appears to be the goal of their
aspirations. They apply themselves to their task with calmness
and concentration, they indulge in no bold or novel schemes, but
are content to display their love of form in the execution of de-
tail. What architecture as a whole loses in historical attraction
is compensated for by the beauty of the individual edifices. While
the north possesses structures of greater importance in the history
of the development of ait, Italy boasts of a far greater number
of pleasing works.

The position occupied by Italy with regard to Gothic archi-
tecture is thus rendered obvious. She could not entirely ignore
its influence, although incapable of according an unconditional re-
ception to this, the highest development of vault-architecture.
Gothic was introduced into Italy in a mature and perfected con-
dition. It did not of necessity, as in France, develop ilself from
the earlier (Romanesque) style, its progress cannot be traced step
by step; it was imported by foreign architects (practised at Assisi
by the German master Jacob), and adopted because in consonance
with the tendency of the age; it found numerous admirers among
the mendicant orders of monks and the humbler classes of citizens,
but could never quite disengage itself from Italianising influences.
It was so far transformed that the constructive constituents of Gothic

ITALIAN ART. XLV

are degraded to a decorative office , and the national taste thus
became reconciled to it. The cathedral of Milan cannot be regarded
as a fair specimen of Italian Gothic , but attention should be
directed to the mediaeval cathedrals of Florence, Siena, Orvieto,
as well as numerous secular edifices , such as the loggia of the
Lanzi at Florence, and the communal palaces of mediaeval Italian
towns. An acquaintance with true Gothic construction , so con-
tracted notwithstanding all Us apparent richness , so exclusively
adapted to practical requirements, can assuredly not be acquired
from these cathedrals. The spacious interior inviting, as it were,
to calm enjoyment, whilst the cathedrals of the north appear to
call forth a sentiment of longing, the predominance of horizontal
lines, the playful application of pointed arches and gables, of
finials, canopies, etc. prove that an organic coherence of the dif-
ferent architectural distinguishing members was here but little
regarded. The characteristics of Gothic architecture, the towers
immediately connected with the facade, and the prominent flying
buttresses are frequently wanting in Italian Gothic edifices —
whether to their disadvantage, it may be doubted. It is not the
sumptuousness of the materials which disposes the spectator to
pronounce a lenient judgment, but a feeling that Italian architects
pursued the only course by which the Gothic style could be re-
conciled with the atmosphere and light, the climate and natural
features of Italy. Gothic lost much of its peculiar character in
Italy, but by these deviations from the customary type it there
became capable of being nationalised. This was the more infalli-
bly the case as at the same period the other branches of art also
aimed at a greater degree of universality, and entered into a new
combination with the fundamental trait of the Italian character,
that of retrospective adherence to the antique. The apparently
sudden and unprepared-for revival of ancient ideals in the 13th
cent, is one of the most interesting phenomena in the history of
art. The Italians themselves could only account for this by attri-
buting it to chance. The popular story was that the sculptor
Nicola Pisano was induced by an inspection of ancient sarcophagi
to exchange the prevailing style for the ancient. We are, however,
in a position to trace the course pursued by Italian sculpture
more precisely; we conjecture that Nicholas of Pisa was sti-
mulated by the example of Lower Italy, where during the Hohen-
staufen sway a golden era of civilisation was developed; we more-
over know that this inclination towards antiquity was by no
means confined to Italy, but was equally active at an even earlier
period in the north (e. g. in the ancient district of Saxony); ne-
vertheless Nicola Pisano's influence was instrumental in inaugura-
ting a new epoch in the development of Italian imagination. His
sculptures on the pulpits in the Baptistery of Pisa and the Ca-
thedral of Siena introduce us immediately into a new world. Their

XLVI ITALIAN ART.

obvious resemblance to the works of antiquity does not alone arrest
the eye ; a still higher interest is awakened by their peculiarly
fresh and lifelike tone , betokening the enthusiastic concentration
with which the master devoted himself to his task. During the
succeeding period (Pisan School) ancient characteristics were placed
in the background, and importance was attached solely to life
and expression (e. g. reliefs on the facade of the Cathedral at
Orvieto). Artists now began to impart to their compositions the
impress of their own peculiar views. Art, moreover, became moTe
interwoven with the public taste , which had already fully mani-
fested itself in poetry also. From this period (14th century) there-
fore the Italians date the origin of their modern art. Contem-
poraneous writers who observed the change of views, the revolution
in sense of form, and the superiority of the more recent works
in life and expression, warmly extolled their authors, and proclaim-
ed how greatly they surpassed their ancestors. But succeeding
generations began to lose sight of this connection between ancient
and modern art. A mere anecdote was deemed sufficient to con-
nect Giotto di Bondone (1270 — 1336), the father of modern Ita-
lian art , with Giovanni Cimabue , the most celebrated represen-
tative of the earlier style (Cimabue is said to have watched Giotto,
when as a shepherd-boy he relieved the monotony of his office
by tracing the outlines of his sheep in the sand , and to have
received him as a pupil in consequence). But it was forgotten
that a revolution in artistic ideas and forms had taken place at
Home and Siena still earlier than at Florence, that both Cimahue
and his pupil Giotto possessed numerous professional brethren,
and that the composition of mosaics, as well as mural and panel-
painting, was still successfully practised. Subsequent investigation
has rectified these errors , pointed out the Roman and Tuscan
mosaics as works of the transition-period, and restored the Sienese
master Duccio, who was remarkable for his sense of the beauti-
ful and the expressiveness of his figures , to his merited rank.
At the same time, however, Giotto is fully entitled to rank in
the highest class. The amateur, who before entering Italy has
become acquainted with Giotto from insignificant panel-pictures
only, often arbitrarily attributed to this master, and even in Italy
itself encounters little else than obliquely drawn eyes, clumsy
features, and cumbrous masses of drapery as characteristics of his
style, will regard Giotto's reputation as ill-founded. He will be
at a loss to comprehend why Giotto is regarded as the inaugura-
tor of a new era of art, and why the name of the old Florentine
master is only second in popularity to that of Raphael himself.
The fact is, Giotto's celebrity is not due to any single perfect
work of art. His indefatigable energy in different spheres of art,
the enthusiasm which he aroused in all directions, and the de-
velopment for which he paved the way, must be taken into con-

ITALIAN ART. XLV1I

sideration, in order that his place in history may be understood.
Even when, in consonance with the poetical sentiments of his age,
he embodies allegorical conceptions, as poverty, chastity, obedience,
or displays to us a ship as an emblem of the Church of Christ,
he shows a masterly acquaintance with the ait of converting what
is perhaps in itself an ungrateful idea into a speaking, life-like
scene. Giotto is an adept in narration, in imparting a faithful
reality to his compositions. The individual figures in his pictures
may fail to satisfy the expectations , and even earlier masters,
such as Duccio , may have surpassed him in execution , but in-
telligibility of movement and dramatic effect were first naturalised
in art by Giotto. This is partly attributable to the luminous co-
louring employed by Giotto in place of the dark and heavy tones
of preceding masters, enabling him to impart the proper expres-
sion to his artistic and novel conceptions. On these grounds there-
fore Giotto, so versatile and so active in the most extended spheres,
was accounted the purest type of his century , and succeeding
generations constituted a regular school of art in his name. As
in the case of all the earlier Italian painters, so in that of Giotto
and his successors, an opinion of their true merits can be formed
from their mural paintings alone. The intimate connection of the
picture with the architecture , of which it constituted the living
ornament, compelled artists to study the rules of symmetry and
harmonious composition, developed their sense of style, and, as
extensive spaces were placed at their disposal, admitted of broad
and unshackled delineation. Almost every church in Florence
boasted of specimens of art in the style of Giotto, almost every
town in Central Italy during the 14th century practised some
branch of art akin to Giotto's. The most valuable works, however,
are preserved in the Churches of S. Croce and S. Maria Novella
at Florence (in tiie latter the t'appella degli Spagnuoli is espe-
cially important). Beyond the precincts of the Tuscan capital the
linest work of Giotto is to be found in the Cappella dell' Arena
at Padua, where in 1303 he executed a representation of scenes
from the life of the Virgin. The Campo Santo of Pisa affords
specimens of the handiwork of his pupils. In the works on the
walls of this unique national museum the spectator cannot fail
to lie struck by their finely-conceived, poetical character (e. g.
the Triumph of Death), their sublimity (Last Judgment, Trials
of Jcib), or their richness in dramatic effect (History of St. Rai-
nerus, and of the Martyrs Kphesus and Fotitus).

In the 15th century, as well as in the 14th, Florence conti-
nued to take the lead amongst the capitals of Italy in matters of
art. Vasari attributes this merit to its pure and delicious atmos-
phere, which he regards as highly conducive to intelligence and
refinement. We are, however, now in a position to offer a soun-
der explanation. The fact is, that Florence did not itself produce

XL VIII ITALIAN ART.

a greater number of eminent artists than other districts. During a
long period Siena successfully vied with her in artistic fertility,
ard Upper Italy in the 14th cent, gave birth to the two painters
d'Avanzo and Aldighieri (paintings in the Chapel of S. Giorgio in
Padua) , who far surpass Giotto's ordinary style. On the other
hand, no Italian city afforded in its political institutions and public
life so many favourable stimulants to artistic imagination, or
promoted intellectual activity in so marked a degree, or com-
bined a love of enjoyment with dignified principles so harmo-
niously as Florence. What therefore was but obscurely expe-
rienced in the rest of Italy , and manifested at irregular inter-
vals only, was usually first realised here with tangible distinct-
ness. Florence became the birthplace of the revolution in art
effected by (iiotto, and Florence was the home of the art of the
Renaissance, which began to prevail soon after the commence-
ment of the 15th cent., and superseded the style of (iiotto. The
word Renaissance is commonly understood to designate a revi-
val of the antique. It must be admitted that ancient art now
began more powerfully to influence artistic taste, and that its study
was more zealously prosecuted. But the essential character of the
Renaissance by no means consists exclusively, or even prin-
cipally, in the imitation of the antique; nor must the term be
confined merely to art, as it may be said to embrace the entire
progress of civilisation in Italy during the 15th and 16th centuries.
How the Renaissance manifested itself in political life , and the
different phases it assumes in the scientific and the social world,
cannot here be discussed. It may, however , be observed that
the Renais.-ance in social life was chiefly promoted by the 'huma-
nists', who preferred general culture to great professional attain-
ments, who enthusiastically regarded classical antiquity as the gol-
den age of great men, and who exercised the most extensive in-
fluence on the bias of artistic views. In the period of the Re-
naissance the position of the artist with regard to his work, and
the nature and aspect of the latter are changed. Personal educa-
tion , individual taste leave a more marked impress on the work
of the author than was ever before the case; his creations are
pre-eminently the reflection of his intellect; his alone is the re-
sponsibility, his the reward of success or the mortifiation of
failure. Artists now seek to attain celebrity, they desire their
works to be examined and judged as testimonials of their personal
endowments. Mere technical skill by no means satisfies them,
although they are far from despising the drudgery of a handicraft
(many of the most eminent quattrocciitists received the rudiments
of their education in the workshop of a goldsmith), the exclusive
pursuit of a single sphere of art is regarded by them as an in-
dieation of intellectual proverty, and they aim at mastering the
principles of each different branch. They work simultaneously

ITALIAN ART. XLIX

as painters and sculptors, and when they apply their abilities to
architecture , it is (Itemed nothing unwonted or anomalous. A
comprehensive and versatile education, united with refined per-
sonal sentiments, forms their loftiest aim. This they attain in
but few instances , but that they eagerly aspired to it is proved
by the biography of the illustrious Leo Battista Alberti , who is
entitled to the same rank in the 15th century, as Leonardo da
Vinci in the 16th. Rationally educated, physically and morally
healthy, keenly alive to the calm enjoyments of life, and possess-
ing clearly defined ideas and decided tastes, the artists of the
Renaissance necessarily regarded nature and her artistic embodi-
ment with different views from their predecessors. A fresh and
joyous love of nature seems to pervade the entire epoch. In
accordance with the diversified tendencies of investigation, artistic
imagination also strives to approach her at first by a careful
study of her various phenomena. Anatomy, geometry, perspective,
and the study of drapery and colour are zealously pursued and
practically applied. External truth, fidelity to nature, and a correct
rendering of real life in its minutest details are among the ne-
cessary qualities in a perfect work. The realism of the represen-
tation is, however, only the basis for the expression of life-like
character and enjoyment of the present. The earlier artists of
the Renaissance exhibit no partiality for pathetic scenes, or events
which awaken painful emotions and turbulent passions ; their pre-
ference obviously inclines to cheerful and joyous subjects. In the
works of the 15th century strict faithfulness, in an objective
sense , must not be looked for. Whether the topic be derived
from the Old or the New Testament, from history or fable, it is
always transferred to the immediate present, and adorned with
the colours of actual life. Thus Florentines of the genuine national
type are represented as surrounding the patriarchs, visiting Elisa-
beth after the birth of her son , or witnessing the miracles of
Christ. This transference of remote events to the present bears
a striking resemblance to the naive and not unpleasing tone of
the chronicler. The development of Italian art, however, by no
means terminates with mere fidelity to nature, a quality likewise
displayed by the contemporaneous art of the north. A super-
ficial glance at the works of the Italian Renaissance enables one
to recognise the higher goal of imagination. The carefully selected
groups of dignified men, beautiful women, and pleasing children,
occasionally without internal necessity placed in the foreground,
prove that attractiveness was pre-eminently desired. This is
also evidenced by the early -awakened enthusiasm for the nude,
by the skill in disposition of drapery, and the care devoted to
boldness of outline and accuracy of form. This aim is still
more obvious from the keen sense of symmetry observable in all
the better artists. The individual figures are not coldly and

Bjedekek. Italy II. 3rd Edition. d

L ITALIAN ART.

accurately drawn in conformity with systematic rules. They are
executed with refined taste and feeling; harshness of expression
and unpleasing characteristics are sedulously avoided , whilst in
the art of the North physiognomic fidelity is usually accompanied
by extreme rigidity. A taste for symmetry does not prevail in
the formation of the individual figure only ; obedience to rythmical
precepts is perceptible in the disposition of the groups also, and
in the composition of the entire work. The intimate connection
between Italian painting (fresco) and architecture naturally leads
to the transference of architectural rules to the province of picto-
rial art, whereby not only the invasion of a mere luxuriant na-
turalism was obviated , but the fullest scope was afforded to the
artist lor the execution of his task. For to discover the most
effective proportions , to inspire life into the representation by
the very rythm of the lineaments, are not accomplishments to be
acquired by extraneous aid; precise measurement and calculation
are here of no avail; a happily organised eye, refined taste, and a
creative imagination , which instinctively divines the appropriate
forms for its design, can alone excel in this sphere of art. This
enthusiasm for external beauty and just and harmonious propor-
tions is the essential characteristic of the art of the Renaissance.
A veneration for the antique is thus also accounted for. At first
an ambitious longing for fame caused the Italians of the 15th
and 16th centuries to look back to classical antiquity as the era
of illustrious men, and ardently to desire its return. (Subsequently,
however, they regarded it simply as an excellent and appropriate
resource, when the study of actual life did not suffice, and an
admirable assistance in perfecting their sense of form and sym-
metry. They by no means viewed the art of (he ancients as a
perfect whole , or as the product of a definite historical epoch,
which developed itself under peculiar conditions ; but their atten-
tion was arrested by the individual works of ant quity and their
special beauties. Thus ancient ideas were re-adniitted into the
sphere of Renaissance art. A return to the religious spirit of
the Romans and Greeks must of course not Ik; inferred from the
veneration for the ancient gods during the humanistic period;
belief in the Olympian gods was extinct; but precisely because
no devotional feeling was intermingled, because the forms could
only receive life from creative imagination, did they exercise so
powerful an influence on the Italian masters. The significance of
mythological characters being entirely due to the perfect beauty
of their forms, they could not fail on this account pre-eminenfly
to recommend themselves to artists of the Renaissance.

These remarks will, it is hoped, convey to the reader a general
idea of the significance of the Renaissance. Those who examine
the architectural works of the 1 5th or Kith century should refrain
from uiarrini! their enjovment by the not altogether justifiable

ITALIAN AKT. LI

reflection , that in the Renaissance style no new system was in-
vented , as the architects merely employed the ancient elements,
and adhered principally to tradition in their constructive principles
and selection of component parts. Notwithstanding the apparent
want of organisation, however, great heauty of form, emanating
from the most exuberant imagination , will be observed in all
these structures, from the works of Brunelleschi (1377 — 1446)
to those of Andrea Palladio of Vicenza (1518—1580), the last
great architect of the Renaissance. The style of the loth century
may without difficulty be distinguished from that of the 16th.
The Florentine palaces (Pitti, Riccardi, Strozzi) are still based on
the type of the mediaeval castle. A taste for beauty of detail,
coeval with the realistic tendency of painting, produces in the
architecture of the 15th century an extensive application of graceful
and attractive ornaments, which entirely cover the surfaces, and
throw the true organisation of the edifice into the background.
For a time the true aim of Renaissance art appears to have been
departed from , anxious care is devoted to detail instead of to
general effect; the re-application of columns did not at first ad-
mit .of spacious structures, the dome rose but timidly above the
level of the roof. But this attention to minutiae, this disregard
of effect on the part of these architects, was only, as it were, a
restraining of their power, in order the more completely to master,
the more grandly to develop the art. The early Renaissance is
succeeded by Bramante's epoch (1444 — 1514), with which the
golden age of symmetrical construction commenced. "With a wise
economy the mere decorative portions were circumscribed, whilst
greater significance and more marked expression were imparted
to the true constituents of the structure , the real exponents of
the architectural design. The works of the Bramautine era (High
Renaissance) are less graceful and attractive than those of their
predecessors, but superior in their well defined, lofty simplicity
ami finished character. Had the Church of St. Peter been com-
pleted in the form originally designed by Bramante, we should
be in a position to pronounce a more decided opinion respecting
the ideal of the church-architecture of the Renaissance. The cir-
cumstance that precisely the mightiest work of this style has been
subjected to the most varied alterations (for vastness of dimen-
sions was the principal aim of the bold plans of the architects)
teaches us to refrain from the indiscriminate blame which so
commonly falls to the lot of Renaissance churches. It must at
least be admitted that the favourite form, that of a Greek cross
(with equal arms) with rounded extremities, crowned by a dome,
possesses concentrated unity, and that the pillar-construction re-
lieved by niches presents an aspect of imposing grandeur; nor
can it be disputed that in the churches of the Renaissance the
same artistic principles are applied as in the universally admirei!'

LII ITALIAN ART.

palaces and secular edifices. If the former therefore excite less
interest, this is not due to the inferiority of the architects, but
to causes altogether beyond their control. The succeeding gene-
ration of the 16th cent, did not adhere to the style establish-
ed by Bramante, but never reduced by him to a finished system.
They aim more sedulously at general effect, so that harmony
among the individual members begins to be neglected; they
endeavour to arrest the eye by boldness of construction and
striking contrasts; or they borrow new modes of expression from
antiquity, the precepts of which had hitherto been applied in
an unsystematic manner only. Throughout the diversified stages
of development of the succeeding styles of Renaissance archi-
tecture, felicity of proportions is invariably the aim of all the
great masters. To appreciate their success in this aim should
also be regarded as the principal task of the spectator, who with
this object in view will do well to compare a Gothic with a
Renaissance structure. This comparison will prove to him that
other elements than harmony of proportion are effective ingre-
dients in architecture ; for , especially in the cathedrals of Ger-
many, the exclusively vertical tendency, the attention to form
without regard to measure, the violation of the precepts of rythm,
and a disregard of proportion and the proper ratio of the open to
the closed cannot fail to strike the eye. Even the unskilled
amateur will thus be convinced of the abrupt contrast between
the mediaeval and the Renaissance styles. Thus prepared, he may,
for example , proceed to inspect the Palace of the Pitti at Flo-
rence, which, undecorated and unorganised as it is, would scarcely
be distinguishable from a rude pile of stones, if a judgment were
formed from the mere description. The artistic charm consists in
the simplicity of the mass , the justness of proportion in the
elevation of the stories, and the tasteful adjustment of the win-
dows in the vast surface of the facade. That the architects tho-
roughly understood the :csthetical effect of symmetrical proportions
is proved by the mode of construction adopted in the somewhat
more recent Florentine palaces, in which the roughly hewn blocks
f rustica) in the successive stories recede in gradations , and by
their careful experiments as to whether the cornice surmounting
the structure should bear reference to the highest story, or to the
entire fac;ade. The same bias manifests itself in Bramante's imagina-
tion. The Cancelleria may justly be regarded as a beautifully orga-
nised structure; and when, after the example of Palladio in church-
facades, a single series of columns superseded those resting above
one another, symmetry of proportion was also the object in view.
Every guide-book and every cicerone points out to the traveller
in Italy the master -pieces of Renaissance architecture which he
should inspect. Of that of the 15th cenlury the Tuscan towns
afford the finest selection, but at the same time the brick struc-

ITALIAN ART. LIII

tures of the cities of Lombardy, which display a taste for
copious and florid decoration, should not be overlooked. An ac-
quaintance with the style of Bramante and his contemporaries
(Peruzzi, San Gallo the younger) may best be formed at Rome,
although the architecture of the 17th century is most characteristic
of the Eternal City. The most important works of the middle and
latter half of the 16th century are also to be sought for in the
towns of Upper Italy (Genoa, Vicenza, Venice). In Venice espe-
cially, within a very limited space, the development of the Re-
naissance architecture may conveniently be surveyed. The funda-
mental type of the domestic architecture here continues with little
variation. The nature of the ground afforded little scope for the
caprice of the architect, whilst the conservative spirit of the in-
habitants gave rise to a definite consuetude in style. The nicer
distinctions of style are therefore the more observable, and that
which emanated from a pure sense of form the more appreciable.
Those wdio by careful comparison have discovered the great
superiority of the Bibliotheca (in the Piazzetta) of Sansovino over
the new l'rocnrazie of Scamoz/.i, although the two edifices exactly
correspond in many respects, have made great progress towards
an accurate insight into the architecture of the Renaissance. Much,
moreover, would be lost by the traveller who exclusively devoted
his attention to the master-works which have been extolled from
time immemorial, or solely to the great monumental structures.
As even the insignificant vases (majolicas, manufactured at Pesaro,
Urbino, Gubbio, and Castel-Duvante) bear testimony to the taste
of the Italians, their partiality for classical models, and their en-
thusiasm for purity of form, so also in inferior works, some of
which fall within the province of a mere handicraft, the peculiar
beauties of the Renaissance style are detected , and in remote
corners of Italian towns charming specimens of a prolific architec-
tural imagination are discovered. Nor must the vast domain of deco-
rative sculpture be disregarded, as such works, whether in metal,
stone or stucco, inlaid or carved wood, often verge on the sphere
of architecture.

On the whole it may be asserted that the architecture of the
Renaissance , which in obedience to the requirements of modern
life manifests its greatest excellence in sumptuous secular struc-
tures, cannot fail to gratify the taste of the most superficial obser-
ver. With the sculpture of the same epoch, however, the case is
different. The Italian architecture of the liith and Kith centuries
possesses a practical value for us , and is frequently imitated at
the present day; the painting of the same period we believe to
have attained its highest consummation; the sculpture of the Re-
naissance, on the other hand, does not appear to us worthy of re-
vival, and cannot compete with that of antiquity; and we are
wont to regard its position as subordinate in the sphere of art of

LIV ITALIAN ART.

tli at age from latter opinion, however, is erroneous. The plastic
art, far. Theciijoying a lower degree of fa\ our, was rather viewed
l>y artists as the proper centre of their sphere of activity. Sculpture
was the first art in Italy which was launched into the stream of the
Renaissance, in its development it was ever a step in advance of
the other arts, and in the popular opinion possessed the advantage
of most clearly embodying the current ideas of the age , and of
affording the most brilliant evidence of the re-awakened love of
art. It is probably to be ascribed to the intimate connection be-
tween the plastic art of the Renaissance and the peculiar national
culture, that the former lost much of its value after the decline of
the latter, and was less appreciated than pictorial and architectural
works, in which adventitious historical origin is obviously of less
importance than general effect. In tracing the progress of the
sculpture of the Renaissance , the enquirer at once encounters
serious deviations from its strict precepts, and numerous infringe-
ments of iestlietieal rules. The execution of reliefs constitutes
by far the widest sphere of action of the Italian sculpture of the
loth century. These, however, contrary to the precepts of im-
memorial usage, are executed in i pictorial style. Ghiberti, for
example , in his celebrated (eastern) door of the Baptistery of
Florence, is not satisfied with grouping the figures as in a paint-
ing , and placing them in a rich landscape copied from nature.
lie treats the background in accordance with the rules of per-
spective ; the figures at a distance are smaller and less raised
than those in the foreground. He oversteps the limits of the
plastic art, and above all violates the laws of the relief-style,
according to which the figures are always represented in an ideal
space, and the usual system of a mere design in j rofile seldom
departed from. So also the painted reliefs in terracotta by Luca
della Robbia do not quite coincide with the current views of pu-
rity of plastic form. But if it be borne in mind that the sculp-
tors of the Renaissance did not derive their ideas from a pre-
viously defined system, or adhere to abstract rules, the fresh and
life-like vigour of their works (especially those of the 15th cen-
tury) will not be disputed, and prejudice will be dispelled by the
great attractions of the reliefs themselves. The sculpture of the
Renaissance adheres as strictly as the other arts to the funda-
mental principle of representation ; scrupulous care is bestowed on
the faithful and attractive rendering of the individual objects; the
taste is gratified by expressive heads, graceful female figures, and
joyous children; the sculptors have a keen appreciation of the
1 eauty of the nude , and the importance of a calm and dignified
flow of drapery. Fidelity of representation, however, becomes for
them a source of poetry in a higher degree than for their con-
temporaries in art. Actuated by a sense of the value of person-
ality, as true disciples of the humanistic precepts, they do not

ITALIAN AUT. LY

shrink from harshnes.. »>f expression or rigidity of form; and by
imparting the impress of tlieir individual senilis to the intractable
exterior, tliey approach to the verge of the sublime. A predilec-
tion for bronze-casting accords with this inclination lor the cha-
racteristic. In this material, decision and pregnancy of form are
expressed without restraint, and almost, as it wore, spontaneously.
Works in marble also occur, but these generally trench on the
province of decoration, and seldom display the bold and unfettered
aspirations which aie apparent in the works in bronze. It is re-
markable that the reformatory character of the earlier sculpture
of the Renaissance is confined to form alone, whilst in the selec-
tion of subjects tradition is invariably followed. Most of these
works have been executed for ecclesiastical purposes. The
best museum of Italian sculpture of the loth century is constitu-
ted by the external niches of Or San Michele in Florence, where,
besides Donatello the principal master, Ghiberti, Veroeehio, and
others have immortalised their names. These with other statues
on church-facades (the best specimens of the second generation
of sculptors of this period are perhaps the works of Rustici and
Sansovino in the Baptistery of Florence), reliefs of pulpits, organ-
parapets, altar-enrichments, church-doors, etc. form the principal
sphere of plastic activity. The most admirable specimens of the
earlier Renaissance sculpture are to be found in Central Italy.
Resides Florence, the towns of Lucca (where Civitali wrought),
Pistoja, Siena, and Prato should be explored. At Rome (S. Maria
del Popolo) and Venice (school of the Lombardi, Bregni, and of
Leopardo) the monumental tombs especially merit careful exami-
nation. We may perhaps frequently take exception to their in-
flated and somewhat monotonous style, which during an entire
century remained almost unaltered, but we cannot fail to derive
genuine pleasure from the inexhaustible freshness of imagination
so richly displayed within these narrow limits.

As a museum cannot convey an adequate idea of the sculp-
ture of the 15th century, so a visit to a picture gallery will not
afford an accurate insight into the painting of that period. Sculp-
tures are frequently removed from their original position, as has been
the case with the Florentine churches , which of late have been
deprived of many of their treasures, while mural paintings are of
course generally inseparable from the architecture. Of the frescoes
of the 15th century of which a record has been preserved, perhaps
one-half have been destroyed or obliterated, but those still extant
are the most instructive and attractive examples of the art of this
period. The mural paintings in the Church del Carmine (Cap-
pella Brancacci) at Florence , executed by Masaccio and others,
are usually mentioned as the earliest specimens of the painting
of the Renaissance. This is a chronological mistake, as some of
these frescoes were not completed before the second half of the

LVI ITALIAN ART.

loth century; but in the main the classification is justifiable, as
this cycle of pictures may be regarded as a programme of the
earlier art of the Renaissance, and served to maintain the signi-
ficance of the latter even during the age of Raphael. Here the
beauty of the nude was first revealed, here a calm dignity in the
single figures, as well as in the general arrangement, was for the
first time faithfully pourtrayed ; and the transformation of a group
of indifferent spectators in the composition into a sympathising
choir, which as it were forms a frame to the principal actors in
the scene, was first successfully effected. It is, therefore, intelli-
gible that these frescoes should he still regarded as models by
the succeeding generation, and that, when during the last cen-
tury the attention of connoisseurs was again directed to the beau-
ties of the pre-lfaphaelite period , the works of Masaccio and
Filippino Lippi should have been eagerly rescued from oblivion.
A visit to the churches of Florence is well calculated to con-
vey an idea of the subsequent rapid development of the art of
painting. The most important and extensive works are those of
Domenico Ghirlandajo : the frescoes in S. Trinita (a comparison
with the mural paintings of Giotto in S. Croce , which also re-
present the legend of St. Francis, is extremely instructive; so also
a parallel between (rhirlandajo's Last Supper in the monasteries
of S. Marco and Ognissaiiti, anil the work of Leonardo), and those
in the choir of S. Maria Novella, which in sprightliness of con-
ception are hardly surpassed by any other work of the same pe-
riod. Beyond the precincts of Florence, Benozzo Oozzoli's char-
mingly expressive scenes from the Old Testament on the nor-
thern wall of the Campo Santo of Pisa, forming genuine biblical
genre-pictures, then Filippo Lippi's frecoes at I'rato, Piero della
Francesca's Finding of the Cross in S. Francesco at Arezzo, and
finally Luca Signorelli's representation of the end of the world in
the Cathedral at Orvieto, present the most brilliant survey of the
character and development of Renaissance painting in Central Italy.
Arezzo and Orvieto should by no means be passed over, not only
because the already-mentioned works of Piero della Francesca anil
Luca Signorelli show how nearly the art even of the lf)th cen-
tury approaches perfection, but because both of these towns afford
an immediate and most attractive insight into the artistic taste
of the mediaeval towns of Italy. Those who cannot accomplish a
visit to the provincial towns will find several at least of the prin-
cipal masters of the l:>th cent, united in the mural paintings of
the Sixtine Chapel at Rome, and by studying the pictures in the
gallery of the Florentine Academy will obtain a general idea of
the development of Renaissance-painting. At the same time an
acquaintance with the Tuscan schools alone can never suffice to
enable one to form a judgment respecting the general progress of
art in Italy. Chords which are here but slightly touched vibrate

ITALIAN VKT. LVJI

powerfully in Tipper Italy. .Mantegna's works (Padua and Man-
tuaj derive their chief interest from having exercised a marked
influence on the German masters Holbein and Diirer. The Uni-
brian school, which originates with Gubbio, and is admirably re-
presented early in the loth century by Ottaviano Nelli, blending
with the Tuscan school in Gentile da Fabriano and Giovanni da
Fiesole, and culminating in its last ami greatest masters Peru-
gino and Pinturicchio , also merits attention, not only because
Raphael was one of its adherents during; his first period, but be-
cause it in fact supplements the broadly delineating Florentine
style, and notwithstanding its peculiar and limited bias is impres-
sive in its character of lyric sentiment and religious devotion (e.
g Madonnas). The fact that the various points of excellence
were distributed among different local schools showed the necessity
of a loftier union. Transcemlaiit talent was requisite, in order
harmoniously to combine what could hitherto be viewed separately
only. The loth century, notwithstanding all its attractiveness,
shows that the climax of art was not yet attained. The forms
employed, graceful and pleasing though they be, are not yet lofty
and pure enough to be regarded as embodying the noblest
conceptions. The figures still pre-ent a local colouring, hav-
ing been selected by the artists rather because sensually at-
tractive, than because characteristic and expressive of their ideas.
A portrait style still predominates, the actual representation does
not appear always wisely balanced with the internal significance
of the event, and the dramatic element is insufficiently empha-
sised. The most abundant scope was therefore now afforded for
the labours of the great triumvirate, Leonardo da Vinci, Michael
Angelo Buonarotti, and Raphael Hanti, by whom an entirely new
era was inaugurated.

Leonardo's ( 1452- -1519) remarkable character can only be
thoroughly understood by means of prolonged study. His compre-
hensive genius was only partially devoted to art; he also directed
his attention to scientific and practical pursuits of an entirely
different nature. Refinement ami versatility may be described as
the goal of his aspirations; a division of human power, a parti-
tion of individual tasks were principles unknown to him. He laid,
as it were, his entire personality into the scale in all that he
undertook. He regarded a careful physical training as scarcely less
important than a comprehensive culture of the mind; the vigour
of his imagination aroused the application of his intellect also,
his minute observation of nature developed his artistic taste and
organ of form. One is frequently tempted to regard Leonardo's
works as mere studies, in which he tested his powers, and which
occupied his attention so far only as they gratified his love of
investigation and experiment. At all events his personal impor-
tance has exercised a greater influence than his productions as

LVIII ITALIAN ART.

an art.int , especially as his prejudiced age strenuously sought to
obliterate all trace of the latter. But few of Leonardo's works
have been preserved in Italy, and these sadly marred by neglect.
A reminiscence of his earlier period , when he wrought under
Verocchio at Florence, and was a fellow-pupil of Lorenzo di Credi,
is the fresco (Madonna and donor) in S. Onofrio at Home. Se-
veral oil-paintings, portraits, Madonnas, etc. fin the Galleria Sciarra
at Koine) are attributed to his Milan period, although careful re-
search inclines us to attribute them to his pupils. The best in-
sight into Leonardo's style, his reforms in the art of colouring, etc.,
is obtained by an attentive examination of the works of the Mi-
lan school (Luini, Salaino), as these are far better preserved than
the original works of the master, of which (his battle -cartoon
having been unfortunately lost with the exception of a single
equestrian group) the Last Supper in S. Maria delle Grazie at
Milan is now the only worthy representative. Although this in
its damaged condition may be termed the shadow of a shadow,
it is still well calculated to convey to the spectator, who has
been prepared by the engravings, an idea of the new epoch of
Leonardo. lie should first examine the delicate equilibrium of
the composition, how the individual groups are complete in them-
selves , and yet simultaneously point to a common centre , and
impart a monumental character to the work : then the remarkable
physiognomical fidelity which pervades every detail, the psycholo-
gical distinctness of character, the dramatic life, together with the
calmness of the entire bearing of the picture. He will then com-
prehend that with Leonardo a new era in Italian painting was
inaugurated, that the development of art had attained its perfection.
The accuracy of this assertion will perhaps be regarded by the
amateur as dubious when he turns from Leonardo to Michael
Angelo (1474 — 1563). On the one hand he hears Michael Angelo
extolled as the most celebrated artist of the Renaissance, whilst
on the other it is said that he exercised a prejudicial influence
on Italian art, and was the precursor of the decline of sculpturo
and painting. Nor is an inspection of this illustrious master's
works calculated to dispel the doubt. Unnatural and arbitrary
features often appear in juxtaposition with the perfect, the pro-
foundly significative, and faithfully conceived. As in the case of
Leonardo, biographical studies alone afford an explanation of these
anomalies , and lead to a just appreciation of Michael Angelo's
artistic greatness. His principles do not differ from those of his
contemporaries. Educated as a sculptor, he exhibits partiality to
the nude, and treats the drapery in many respects differently
from his professional brethren. Rut, like them, Ins aim is to in-
spire his figures with life-like expression, which he endeavours to
attain by imparting to them an imposing and impressive character.
At the same time he occupies an isolated position, at variance

ITALIAN ART. LIX

with many of the tendencies of It is age. Naturally predisposed
to melancholy, concealing a gentle and almost effeminate tempera-
ment beneath a mask of austerity, Michael Angelo was continued
in his peculiarities by adverse political and ecclesiastical circum-
stances, and wrapped himself up within the depths of his own
aKsorbing thoughts. His sculpture especially bears testimony to
the profound sentiment of the artist, to which however he sacri-
fices symmetry and precision of form. His figures are thus con-
verted into anomalous types , in which a grand conception , but
no distinct or tangible thoughts , and least of all the traditional
ideas are apparent. It is difficult now to comprehend what hidden
sentiments the master embodied in his statues and pictures, which
often present nothing but a massive and clumsy form, and appear
to degenerate into meaningless mannerism. The deceptive ef-
fect produced by Michael Angelo's style is best exemplified by
some of his later works. His Moses in S. Pietro in Vincoli is of
impossible proportions; such a man can never have existed; the
huge arms and the gigantic torso are utterly disproportionate ; the
robe which falls over the celebrated knee could not be folded as
it is represented. Nevertheless the work is grandly impressive;
so also are the monuments of the Medicis in S. Lorenzo at Flo-
rence, in spite of the forced attitude and arbitrary moulding of
some of the figures. Michael Angelo only sacrifices the accuracy
of constituents in order to enhance the aggregate effect , in the
contemplation of which we forget to examine the details. Had so
great and talented a master not presided over the whole , the
danger of an inflated style would have been incurred , the forms
selected would have been exaggerated, and a professional coldness
apparent. Michael Angelo's numerous pupils, desirous of faithfully
following the example of the master's Last Judgment in the Six-
tine, succeeded only in representing complicated groups of unna-
turally foreshortened nude figures, whilst Eaccio liandinelli,
thinking even to surpass Michael Angelo, produced in his group
of Hercules and Cacus (in the Piazza della Signoria at Florence]
a mere caricature of his model.

Amateurs will best be enabled to render justice to Michael
Angelo by first devoting their attention to his earlier works,
among which in the province of sculpture the group of Pieta, (in
>St. Peter's) occupies the highest rank. The statues of Bacchus
and David (at Florence) likewise do not transgress the customary
precepts of the art of the Renaissance. Paintings of Michael
Angelo's earlier period are rare ; the finest , whether conceived
during his youthful development, or his maturer years, is unques-
tionably the ceiling-painting in the Sixtine. The architectural
arrangement of the ceiling, and the composition of the several
pictures arc equally masterly ; the taste and discrimination of the
painter and sculptor are admirably combined. In God the Father,

L.Y ITALIAN ART.

Michael Angelo produced a perfect type of its kind ; lie under-
stood how to inspire with dramatic life the abstract idea of the
act of creation , which he conceived as motion in the prophets
and sibyls. Notwithstanding the apparent monotony of the
fundamental intention (foreshadowing of the Redemption), a great
variety of psychological incidents are displayed and embodied in
distinct characters. Finally, in the so-called ancestors of Christ,
the forms represented are the genuine emanations of Michael
Angelo's genius , pervaded by his profound and mystically ob-
scure sentiments, and yet by no means destitute of gracefulness
and beauty.

Whether the palm be due to Michael Angelo or to Raphael
( 14SB — 10*20 ) among the artists of Italy is a question which for-
merly gave rise to vehement discussion among artists and amateurs.
The admirer of Michael Angelo need, however, by no means be
excluded from enjoying the works of Raphael. We now know
that it is far more advantageous to form an acquaintance with
each master in his peculiar province , than anxiously to weigh
their respective merits; and the more minutely we examine their
works, the more firmly we are persuaded that neither in any way
obstructed the progress of the other, and that a so-called higher
combination of the two styles was impossible. Michael Angelo's
unique position among his contemporaries was snch, that no one,
Raphael not excepted, was entirely exempt from his influence;
but the true result of preceding development was turned to ac-
count, not by him, but by Raphael, whose susceptible and discri-
minating character enabled him at once to combine different ten-
dencies within himself, and to avoid the faults of his predeces-
sors. Raphael's pictures are replete with indications of profound
personal sentiment, but his imagination was so constituted that
he did not distort the ideas which he had to embody, in order
to accommodate them to his own views, but rather strove to iden-
tify himself with them, and to render them with the utmost pos-
sible fidelity, In the case of Raphael, therefore, a knowledge of
his works and the enjoyment of them are almost, inseparable, and
it is difficult to point out any single sphere with which he was
especially familiar. He presents to us with equal enthusiasm
pictures of the Madonna, and the myth of Cupid and Psyche; in
great cyclic compositions he is as brilliant as in the limited sphere-
of portrait-painting; at one time he appears to attach paramount
importance to strictness of style, architectural arrangement sym-
metry of groups, etc., at another one is induced to believe that
he regarded colour as his most effective auxiliary. His excellence
consists in his rendering equal justice to the most varied subjects
and in each case as unhesitatingly pursuing the right course
both in his apprehension of the idea and selection of form as if
he had ne^er followed any other. In each period of his develop-

ITALIAN ART. LXI

ment worthy rivals trench closely on his reputation. As long
as he adhered to the I'mbrian School, Pinturicchio, and to some
extent the Bolognese goldsmith Francia, contested the palm with
him, and when lie went over to the Florentine School (1504)
numerous competitors maintained their reputation by his side.
Leonardo's example had here given a great impetus to art , and
his works had yielded an insight into a new world of ideas and
forms. Without entirely quitting local ground, the artists of Flo-
rence became familiar with the loftier spheres of imagination, and
proceeded far beyond the original goal of life-like fidelity of re-
presentation. It is hardly necessary to direct the attention to Fra
Bartolommeo (1467 — 1517) and Andrea del Sarto (1488—1536);
those who visit the Pitti Gallery only may form an adequate idea
of the styles of these masters ( the altar-piece in the cathedral of
Lucca by Fra Bartolommeo, however, should not be overlooked);
but other Florentine painters of the 16th century deserve more
notice than usually falls to their share. It is commonly believed
that all the gems of the Galleria degli Uffizi are collected in the
Tribuna , and the other pictures are therefore passed over with
a hasty glance; yet on entering the second Tuscan room the
visitor encounters several highly finished works, such as the
Miracles of St. Zenobius by the younger Ghirlandajo ; nor is the
enjoyment and instruction afforded by the portraits of artists,
most of them by their own hands , to be despised. There is
nothing unintelligible in the fact that Raphael did not at once
rise above all his contemporaries in art during the first period of
his development. The enthusiastic admirer of Raphael will be
still more unwilling to admit that even in his Roman period
(1508 — 1520) his then matured qualities, especially his charming
gracefulness of representation, were most successfully cultivated by
another master. This was Razzi or Sodoma, who has been most
unfairly treated by the biographers of Italian artists. His frescoes
in the Farnesina and his numerous mural paintings at Siena,
where he spent the greater part of his life , are worthy rivals of
Raphael's works of the same description, and even surpass them
in the colouring. But, whilst Sodoma, like all other rivals of the
master of Urbino , vie with him in a single branch of art only,
the latter excels equally in all. Raphael's versatility, therefore,
constitutes his principal merit.

Several of Raphael's most celebrated easel-pictures are distri-
buted throughout different farts of the world, but Italy still
possesses a valuable collection , together with the three works
which correspond to the terminations of the three distinct periods
of the master's development (Nuptials of Mary, at Milan, at the
close of the Umbrian period ; Entombment of Christ, in the Gall.
Borghese, at the close of the Florentine period ; Transfiguration, in
the Vatican, at the close of the Roman period, left uncompleted by

LX11 ITALIAN ART.

Raphael), as well as a great number of portraits, anions which the
so-called Foniarina in the Barberini Gallery derives a still higher
interest from its subject. The amateur, moreover, should on no
account omit to see the St. Cecilia in Bologna, and the Madonna della
Seggiola in the Pitti Gallery. The latter is a characteristic specimen
of Raphael's Madonnas, which are by no means calculated to awaken
feelings of devotion. The fundamental ecclesiastical idea generally
yields to feelings of a less elevated character; and maternal hap-
piness , the bliss of unsullied family-life , or the perfection of
female beauty are the predominating features. In Italy only, or
rather in Rome (the mural painting in S. Severo at Perugia is a
solitary specimen of his earlier period), Raphael's merits as a
fresco -painter can be appreciated. Like all the great Italian
painters, his finest productions have been in this province of art.
The highest rank must be assigned to his works in the papal
chambers of state in the Vatican. In order to understand them,
the spectator should on the one hand bear in mind that fresco-
painting is never entirely divested of a decorative character, and
on the other keep in view the peculiar position of papacy at the
commencement of the 16th century. In the Palace of the Vatican
the same courtly tone, the same taste for pleasure and enjoyment
as in the residences of other Italian princes are exhibited; se-
cular views here met with a willing reception , and humanistic
tendencies especially appear not to have been repugnant to the
dignity of the Roman court. All these qualities are more or
less apparent in Raphael's frescoes; the courtly tone is repeatedly
assumed, even the refined compliment paid to the patron of the
artist is not disdained, the ceremonial representation not excluded,
and personal allusions are not less frequent than political. We
must finally remember that Raphael was always compelled to
employ with discrimination the space at his command, and to
distribute his decorative paintings appropriately on walls and ceil-
ings, and that the limits imposed on him could not fail fre-
quently to hamper his movements, and oblige him to alter his
plans. His theological and philosophical erudition, exhibited in
the Disputa and the School of Athens, his address in combining
the most disconnected subjects, such as the expulsion of Ilelio-
dorus from the Temple, and the retreat of the French from Italy,
and his unvarying success in the treatment of all the complicated
series of subjects in the Stanze are sources of just astonishment.
Raphael is, moreover, worthy of the highest admiration on account
of his discrimination in selecting what was capable of artistic
embodiment from a heterogeneous mass of ideas, and on account
of the energy with which he asserts the privileges of imagination
and his sense of the beautiful, thus rendering the most intract-
able materials obedient to his designs. This is must strikingly
exemplified in the picture which represents the <on lUiar.i i icm of

ITALIAN AUT. LXIII

the Leonine city, the so-called Horgo, or rather, in accordance at
least with the design of the donor, the extinction of the lire by
means of the papal benediction. No spectator can here detect
the unreasonableness of the demand that a miracle should be ma-
terially represented. Raphael transfers the scene to the heroic
age, paints a picture replete with magnificent figures and lifelike
groups , which have stimulated every subsequent artist to imi-
tation, and depicts the confusion, and preparations for flight and
rescue, accompanied by the corresponding emotions. The painting
does not perhaps contain what the donor desired, but on the
other hand is transmuted into a creation inspired by imagination,
and suggested by the most versatile sense of form. Raphael
executed his task in a similar manner in the case of the cele-
brated frescoes in the first Stanza, viz. the Disputa and the
School of Athens. Although he was not precisely desired to
illustrate a chapter in the history of ecclesiastical dogmas (deve-
lopment of the doctrine of transubstantiation), or to produce a
sketch in colours of the history of ancient philosophy, yet the
task of representing a mere series of celebrated philosophers and
propounders of church doctrine could possess but little attraction.
By interspersing ideal types amid historical characters , by repre-
senting the assembled congregation of belie\ers in the Disputx as
having beheld a vision , which necessarily called forth in each
individual evidences of profound emotion, and by emphasising in
the School of Athens the happiness of knowledge and the plea-
sure of being initiated in the higher spheres of science, Raphael
has brilliantly asserted the rights of creative imagination.

After these observations the amateur scarcely requires another
hint respecting an impartial examination of Raphael's works. If
he directs his attention solely to the subjects of the representa-
tion, and inquires after the name and import of each figure , if
he feels bound to admire the versatility of the artist, who derives
the different forms from remote provinces of learning and abounds
in erudite allusions, he loses the capability of appreciating the
special artistic value of Raphael's works. He will then perceive
no material distinction between them and the great symbolical
pictures of the middle ages; nay, he will even be tempted to
give the latter (e. g. the mural paintings in the Cap. degli
Spagnuoli, in S. Maria Novella) the preference. These unquestion-
ably comprise a wider range of ideas , aim with greater boldness
at the embodiment of the supersensual, and may boast of having
cultivated the didactic element in the most comprehensive manner.
It is a matter of doubt to what extent Raphael's scientific know-
ledge was based on his intercourse with contemporaneous scho-
lars (as such, Castiglione, Bembo , Ariosto , etc. have been

ntioned), or whether he was entirely independent of these.

In the former case the merit of versatility would be due to these

LXIV ITALIAN ART.

savants; but in the latter, had Raphael independently recollected
all the recondite allusions which the paintings in the Stanze are
said to exhibit, his artistic character would not thereby be more
clearly revealed to us; his intellect, not his imagination, would
have been exercised. Raphael's pictures will not only be enjoyed
in a higher degree, but a better insight into his character and
greatness acquired, if the attention be principally directed to the
manner in which the artist, by the power of his imagination, im-
parted a living form to ideas in themselves devoid of life , in
which he distinguished the various figures by a marked psycho-
logical impress , so that the bearers of historical appellations at
the same time appear to the spectator as actual human charac-
ters, and in which he skilfully produced an equilibrium of move-
ment and repose in his groups, and not only devoted attention
to beauty of outline , but effected a happy reconciliation of pro-
found intellectual contrasts. It must not, however, be imagined
by those who undertake such an investigation, that their task and
its interest will speedily be exhausted. Numerous questions still
present themselves to the enquirer : by what motives Raphael
was actuated in the entirely different colouring of the Disputa and
the School of Athens; how far the architectural background of
the latter contributes to the general effect; why the predominance
of portrait-representation is in one part limited, at another (Juris-
prudence) extended: what considerations gave rise to the various
alterations in the compositions which we discover by comparison
with the numerous sketches, etc. Unfortunately the condition of
the paintings in the Stanze is little calculated to produce pleasure
in their examination ; and we cannot now without difficulty ap-
preciate in the Loggie the ancient magnificence of this unique
decorative painting, or in the sadly disfigured tapestry recognise
the culminating point of Raphael's art. A clue to the details of
the composition of the latter is indeed afforded solely by the car-
toons, now preserved in the Kensington Museum; but the designs
at the base, and the marginal arabesques, partially preserved in
the original tapestry, contribute materially to convey an idea of
the festive impression which these representations, originally des-
tined for the Six-tine Chapel, were intended to produce.

Raphael's frescoes in the cheerful Farnesina present an ap-
parently irreconcilable contrast to his works in the Vatican. The
latter bear the impress of religious fervour, aspiration to the
sublime , a tendency to serious reflection , whilst in the former
the art of the master is dedicated to joyous scenes, and every
figure beams with pleasure and innocent happiness. But even
the frescoes of the Farnesina are a characteristic manifestation of
Raphael's genius. Ife derived his knowledge of the myth of Cupid
and Psyche from the well-known work of Apuleius, which was as
eagerly perused in the 16th century as during Roman antiquity.

ITALIAN ART. LXV

No author of ancient or modern times ran boast of a more charm-
ing illustration than that of Apuleius by Raphael , although the
subject is somewhat freely treated. In Raphael's hands the
myth acquires a new form. Well aware that his task was the
decoration of a festive hall, Raphael has studiously avoided every-
thing of a sombre character. Psyche's sufferings are placed in the
background; her triumph alone occupies the artist's attention.
The confined limits of the hall appear transformed into stimulants
of the artist's sense of form. He embodies the myth in an
abridged form, suggests many scenes in a superficial manner, yet
without omitting any essential point, and thus without constraint
contrives to render the historical compatible with the decorative.
Harmony in conception and design , symmetrical precision , and
capacity of concentration in adhering strictly to the subject,
without admixture of personal caprice , — all genuine attributes
of Raphael, — are as distinctly observable in the frescoes of the
Farnesina as in those of the Vatican. The ceiling -paintings in
the principal hall are far inferior in execution to the so-called
Ualatea in the adjoining apartment; but the contemplation of
both works affords enjoyment of the highest order, a repetition
of which is longed for by every spectator.

The traveller cannot duly prepare himself north of the Alps
for a just appreciation of the works of Leonardo, Michael Angelo,
and Raphael; however familiar he may imagine himself to be with
them, he will be forcibly struck by the new light in which they
appear on their native soil. The case is different with Correggio
and Titian , who are frequently extolled in the same breath as
heroes of art, and elevated to equal rank with these three great
masters. An approximate idea of Correggio's merits may easily be
formed in the galleries of the north , but some peculiarities will
be detected for the first time in Italy. He will be discovered
to tend to a naturalistic bias ; it will be observed that not only
his treatment of space (perspective cupola - painting) is devoid of
delicacy, but that the individual characters possess nothing beyond
their natural charm. Correggio cannot be regarded as a perfect
and comprehensive character, embracing as it were an entire world,
but merely as an attractive colourist , who highly matured one
branch of his artistic education, but totally neglected the other.
Giorgione and Titian , the great masters of the Venetian school,
cannot, on the other hand, be duly appreciated as artists of the
Renaissance except in Italy. These are not mere colourists, they
arc not indebted exclusively to local impulses for their peculiar
art; the joyous and festive seenes which they are unwearied in
depicting are a true emanation of the culture of the Renaissance
(Titian's connection with the 'divine' Aretino is in this respect
very suggestive); the happy individuals, rejoicing in the soft
delights of love, whom they so often represent, remind one of

LXVI ITALIAN ART.

the ancient gods, and afford a clue to the manner in which the
revival of the antique is associated with the Renaissance-period.
Correggio, as well as subsequent Venetian masters, were fre-
quently regarded as models by the Italian painters of the 17th
century, and the influence they exercised could not fail to be de-
tected even by the amateur, were not the entire post-Raphaelite
period usually overlooked. Those who make the study of the great
cinquecentists their principal object will doubtless be loth to exam-
ine the works of their successors. Magnificent decorative works
are occasionally encountered (those of Giulio Romano at Mantua,
and Perino del Vaga at Genoa), but the taste cannot but be of-
fended by the undisguised love of pomp and superficial profes-
sionalism which they generally display. Artists no longer ear-
nestly identify themselves with the ideas which they embody; they
mechanically reproduce the customary themes, they lose the desire,
and finally the ability to compose independently. They are, more-
over, deficient in taste for beauty of form, which, as is well known,
is most attractive when most simple and natural. Their techni-
cal skill is not the result of mature experience , slowly acquired
and justly valued : they came into easy possession of great re-
sources of art, which they frivolously and unworthily squander.
The quaint, the extravagant, the piquant alone stimulates their
taste; rapidity, not excellence of workmanship, is their aim.
Abundant specimens of this mannerism are encountered at Rome
and Naples (cupola of the cathedral at Florence by Zuccaro,
frescoes in the Roman churches of S. Maria Maggiore and S. Pras-
sede by d'Arpino , in S. Stefano by Tempesta , etc. J. The fact
that several works of this class produce a less unfavourable im-
pression does not alter the general judgment , as it is not want
of talent so much as of conscientiousness which is attributed to
these artists. The condition of Italian art , that of painting at
least, improved to some extent towards the close of the 16th
century; a species of second efflorescence, known in the schools
as the 'revival of good taste', took place, and is said to have
manifested itself in two main directions, the eclectic and the
naturalistic . But these are terms of little or no advantage in
the study o' art, and the amateur is recommended entirely to
disregard them. The difficulty , however , of forming a fair
judgment is not thereby terminated. Down to the close of the
preceding century the works of Bernini, Guido Reni, Domenichino,
and even of Carlo Dolce and Maratta were in high repute. Scaf-
foldings were erected in the Tiber in order to afford an opportu-
nity of inspecting Bernini's statues on the Ponte S. Angelo more
closely, and travellers indulged in unbounded admiration of the
paintings of the 17th century. At a later period a reaction took
place; under the influence of the modern 'romantic' period the
public became averse to fluent beauty and easy gracefulness of

ITALIAN ART. LXVII

foTDi. Censure of the 17th century and the barock style was
hailed as a sign of the revival of better artistic taste. At the
present day the bias of the preceding period has again become
a subject of investigation, and Bernini's architecture is now less
frequently stigmatised as 'barock'. The Italian art of the 17th
century has already become a constituent of modern art, and the
estimation in which it is held is there tore often dependent on
the fashion of' the day. The safest course to be pursued here
also is that of historical investigation. The principal monuments
of the architecture of the 17th century are the churches of the
Jesuits, which unquestionably produce a most imposing effect ; but
the historical enquirer will not easily be dazzled by their mere-
tricious magnificence. He will perceive the absence of organic
forms , and the impropriety of combining totally different styles,
and he will steel himself against the gorgeous, but monotonous
attractions of the paintings and other works of the same period.
The bright Renaissance is extinct, simple pleasure in the natural
and human obliterated. A gradual change in the views of the
Italian public, and the altered position of the church did not fail
to influence the tendencies of art, which in the 17th century
again devoted itself more immediately to the service of the church.
Devotional pictures now became more frequent , but at the same
time a sensual, naturalistic element gained ground. At one time
it veils itself in beauty of form , at another it is manifested in
the representation of voluptuous and passionate emotions; classic
dignity and noble symmetry are never attained: Allori's Judith
should be compared with the beauties of Titian, and the frescoes
of Caracci in the Palazzo Farnese with Raphael's ceiling-paintings
in the Farnesina , in order that the difference between the 16th
and 17th centuries may be distinctly comprehended ; and the en-
quirer will be still farther aided by consulting coeval Italian poe-
try, and observing the development of the lyric drama or opera.
The latter especially furnishes a suitable key to the mythological
representations of the School of the Caracci. Gems of art, how-
ever, were not unfrequently produced during the 17th century,
and many of the frescoes of this period are admirable (the Aurora
of Guido Reni in the Pal. Rospigliosi , Life of St. Cecilia in
S. Luigi , Life of St. Nilus in Grottaferrata , paintings on the
cupola and vaulting of S. Andrea by Domenichino, etc.). Beau-
tiful oil-paintings by various masters are also preserved in the
Italian galleries. Besides the public collections of Bologna (St.
Jerome by Ag. Caracci , Slaughter of the Innocents and II Pal-
lione by Guido Reni), Naples, and the Vatican and Capitol (Guer-
cino's Petronilla) , the private galleries of Rome are of essential
importance. The so-called gallery-pieces, figures and scenes de-
signated by imposing titles, and painted in accordance with the
prevailing taste of the 17th century, were readily admitted to,

LXVIII ITALIAN ART.

and indeed most .ippropriately placed in the palaces of the Roman
nobles, most of which owe their origin and decoration to that age.
This retreat of art to the privacy of the apartments of the great
may be regarded as a symbol of the universal withdrawal of the
Italians from public life. Artists, too, henceforth occupy an iso-
lated position, unsustained by reliance on a healthy national cul-
ture, exposed to the caprices of amateurs, and themselves inclined
to an arbitrary deportment. Several qualities, however, still exist
of which Italian artists are never entirely divested ; they retain a
certain address in the arrangement of figures , they uphold their
reputation as ingenious decorators , and understand the art of
occasionally imparting an ideal impress to their pictures; even
down to a late period in the 18th century they excel in effects
of colour, and by devoting attention to the province of genre and
landscape-painting they may boast of having extended the sphere
of their native art. At the same time they cannot conceal the
fact that they have lost all faith in the ancient ideals, that they
are incapable of new and earnest tasks. They breathe a close,
academic atmosphere, they no longer labour like their predeces-
sors in an independent and healthy sphere, and their productions
are therefore devoid of absorbing and permanent interest.

This slight outline of the decline of Italian art brings us to
the close of our brief and imperfect historical sketch , which , be
it again observed , is designed merely to guide the eye of the
enlightened traveller, and to aid the uninitiated in independent
discrimination and research.

1. From Marseilles [Genoa) to Leghorn (Civita
Vecchia and Naples).

Steamboats. Those who travel for pleasure, especially when accompanied
by ladies, should invariably select the vessels of the french Messageries
31 ari times on account of their superior organisation, punctuality, and
comfort (comp. Introd.). The subjoined data are only designed to convey
an idea of the usual routine, as alterations usually take place every spring
and autumn. On these occasions the Company issues a new edition of
their '■Livrtt des lignes de la Me'diterrane'e et de la Mer Noire1, which may
be procured at the offices gratis, or may be written for by prepaid letter
addressed '.4 V Administration des Messageries Maritimes'.
Messageries Maritimes (Office at Marseilles , 16 Rue Cannebiere ;
at Paris , 28 Rue Notre-Dame des Victoires) : every Monday evening
at 8 to Civita Vecchia direct, arriving on Wednesdays at 5 a. m.
— From Civita Vecchia to Marseilles every Thursday at 12 noon, ar-
riving on Fridays at 9 p. m.

By the vessel bound for the Piraeus and Constantinople , direct to
Messina every Saturday in 64 hrs.

By the vessel for Alexandria , to Messina direct on the 9th , 19th,
and 29th of every month at 2 p. m., returning on the 3rd, 13th, and
23rd of every month at 4 p. m.

By the vessel for Syra, Smyrna, and Alexandria, to Palermo
and Messina direct on the 8th, 18th, and 28th of every month.

The company's vessels have for the present ceased to run to Genoa,
Leghorn, Naples, and Malta.
Besides the Messageries the following companies despatch vessels to
the Italian ports (Genoa, Leghorn, Civita Vecchia, and Naples):
Marc Fraissinet pere et fils (Office at Marseilles, 6 Place Royale):
steamers every Sunday and Wednesday at 8 a. m. to Naples via Ge-
noa, Leghorn, and Civita Vecchia; every Monday at 8 p. m. to Nice,
Savona , Genoa , and Leghorn ; every Friday at 8 p. m. to Cannes,
Nice, Genoa, He Rousse (Isola Rossa) in Corsica, and Calvi, also in
Corsica.
Valery freres et Comp. (Office at Marseilles, 7 Rue Suffren): every
Monday , Wednesday , and Friday at 9 p. m. to Naples via Genoa,
Leghorn, and Civita Vecchia.
Peirano Danovaro et Comp. (Office at Marseilles, 7 Rue Beauveau) :
every Wednesday at 10 a. in. to Genoa; thence to Leghorn and Naples
on Monday, Wednesday, Friday, and Saturday at 9 p. m.-
Average passage from Marseilles to Genoa 18—20 hrs., from Genoa
to Leghorn 9 hrs. , from Leghorn to Civita Vecchia 12 hrs. , from Civita
Vecchia to Naples 12 — 14 hrs., from Naples to Messina direct in 20 hrs.,
from Messina to Palermo in 9—10 hrs. — From Marseilles direct to Leghorn
in 24 hrs., to Civita Vecchia in 30 hrs., to Messina in 64 hrs., to Palermo
in 53 hrs. — From Leghorn to Naples direct in 28 hrs. , to Palermo in
38 hrs. — From Naples to Palermo direct in 20 hrs.

Fares (comp. Introd.): from Marseilles to Genoa, 1st class 76 fr., 2nd
class 58 fr; to Leghorn 1st 98 fr., 2nd 71 fr. ; to Civita Vecchia 1st 110 fr. ,
2nd 77 fr.; to Naples 1st 181 fr.. 2nd 12S fr. ; to Messina direct 1st 167 fr.,

B,edeker. Italy II. 3rd Edition. 1

2 Route 1. MARSEILLE? Hotels.

2nd 12*6 fr. ; via Palermo 1st 195 fr., 2nd 132 fr. ; via Leghorn, Civita Vecchia,
and Naples (i. e. the entire circuit, comp. Introd.) 1st 250 fr., 2nd 174 fr. ;
to Palermo direct 1st 220 fr., 2nd 154 fr. ; via Leghorn etc. and Messina 1st
260 fr., 2nd 184 fr.; to Malta direct via, Messina 1st 253 fr., 2nd 1S3 fr., via,
Leghorn etc. and Messina 1st 274 fr., 2nd 199 fr.

All the above vessels start from the Bassin de la Joliette at Marseilles;
embarcation and landing are therefore unattended with expense. An om-
nibus conveys passengers gratis from the office (p. 1) of the Messageries
to the vessel, where the 'facteurs' are forbidden to accept gratuities

Marseilles, the principal sea-port of France, termed Massalia
by the Greeks, Massilia by the Romans, an important place even
at an early period of antiquity, and now a city with 300,000
inhab. , is the capital of the Department of the Embouchures of
the Rhone , and the depot of a brisk and flourishing trade with
the East, Italy, and Africa (Algiers).

Hotels. 'Grand Hotel du Louvre et de la Paix (PI. a), a very
extensive establishment, facing the S. , containing 250 bedrooms; ';Grand
Hotel de Marseille (PI. b); Hotel de Koailles (PI. c) , Rue de
Koailles, all in the Cannebiere-Prolongee, and fitted up in the style of the
great Parisian hotels; rooms from 2 fr. upwards, table d'hote at 6 p. m.
5, B. li/z, A. and L. 3 fr. ; * Hotel du Petit Louvre, Rue Cannebiere,
R. 2 fr. ; Hotel du Luxembourg (PI. e). Rue St. Ferreol 25, R. 3,
L. and A. l'|2, D. 4 fr. ; 'Hotel des Colonies, Rue Vacon ; Hotel des
Ambassadeurs, Rue Beauveau, R. ltjs fr. ; Hotel des Princes (PI.
g), Place Royale; Hotel d'ltalie (PI. k), on the quay; Hotel de Rome
(PI. i) , patronised by Rom. Cath. clergymen. — The atmosphere of the
town in summer is hot and oppressive. Those who contemplate a sojourn
of several days during the warm season are therefore recommended to select
the "Hotel des Catalans (open from May 1st to Oct. 31st), in the im-
mediate vicinity of the sea-baths (PI. E, 6) , and near the former Residence
Impiriale (p. 6) ; the situation is delightful , and the house spacious and
comfortable ; omnibus to and from the station. A small establishment, some-
what more distant, is the "Hotel Victoria, situated at the extremity
of the Cours du Prado, at the point where it approaches the sea ; there is
a good bathing - place near it', and the house is recommended for a pro-
longed stay.

Restaurants. Dela Cannebiere; Roubion (a la Reserve) beau-
tifully situated on the new road La Corniche; Hotel du Luxembourg
(Parrocel). Bouillabaisse, good fish. Chablis, Graves, and Sauterne are the
white wines usually drunk.

Cafes. The following attractive cafes are in the Cannebiere: de
France, de l'Univers, Turc, Bodoul (Rue St. Ferre'ol), etc., all in
the showy Parisian style. — Munich and Vienna beer at the Cafe Alle-
m a n d , also in the Cannebiere.

Post Office, Rue de Grignau.

Bookseller. Veuve Camoin in the Cannebiere, with reading-rooms
(25 c. per day). French newspapers, Galignani. etc.

Carriages are of two descriptions. First, the voitures du service de In
gare , destined for the conveyance of travellers to and from the railway-
station , and posted there only. The passenger on entering receives a de-
tailed tariff, in which even the driver's name is stated : one-horse carr. 1 fr.
25 for 1 pers., for each additional pers. 25 c. ; two-horse carr. 1 fr. 75 c,
for 1 pers., for each additional pers. 25 c, for a drive at night 25 c. more;
each article of luggage 25 c. ; if the traveller fail in obtaining accommo-
dation at the hotel, 25 c. more for driving to another. Secondly, the voi-
tures de place (fiacres): one-horse 1 fr. 50 c. per drive, 2 fr. 25 c. for the
first, and 2 fr. for each succeeding hour ; two horse 2 fr. per drive , 2 fr.
50 c. for the first and 2 fr. for each succeeding hour. From 6 p. m. to 6

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History. MARSEILLES. 1. Route. 3

a. m. one-horse 1 fr. 75 c, two-horse 2 fr. 50 c. per drive. — Omnibus 30 c,
each article of luggage 25 c.

Steamboats. To Aj actio once weekly in about 26 hrs., fares 30 and
20 fr. ; to Algiers 3 times weekly in about 50 hrs.', fares 95 and 71 fr. ; to
Civita Vecchia and Messina see above.

Boats in the Ancien Port at the extremity of the Rue Cannebiere :
l'J2 fr. for the first, 1 fr. for each additional hour. In fine weather a de-
lightful excursion mav be made to the islands of Ratonneau, Pomegues. and
the Chateau d'lf (p. 6).

Sea-Baths, handsomely fitted up, in the Anse des Catalans, on the E.
side of the town , below the conspicuous former Residence Impiriale ; also
warm sea-water baths, douche, vapour, etc. for gentlemen and ladies. Ad-
jacent is the large "HCtel des Catalans (see p. 2), with restaurant. Omnibus
to or from the baths 30 c.

Consuls. British, American, etc.

English Church Service performed bv a resident chaplain.

Theatres. Grand Opera (PI. 41)', W. of the Place Royale, and
Theatre du Gymnase (PI. 42), in the Allee de Meilhan, both good.
There are also two smaller theatres frequented by the humbler classes.

Massilia was a colony founded about B. C. 600 by Greeks from Pho-
csea in Asia Minor, who soon became masters of the sea, conquered the
Carthaginians in a naval battle near Corsica, and established new colonies
in their neighbourhood, such as Tauroeis (near Ciotat), Olbia (near Hyeres),
Antipolis (Antibes), and iftcaea (Nice), all of which, like their founders,
rigidly adhered to the Greek language, customs, and culture. Massilia
maintained this reputation down to the imperial period of Rome, and was
therefore treated with leniency and respect by Julius Csesar when conquered
by him B. C. 49. Tacitus informs us that his illustrious father-in-law
Agricola, a native of the neighbouring Roman colony Forum Julii (Frejus),
even under Claudius found ample opportunities for completing his educa-
tion at Massilia in the Greek manner, for which purpose Athens was usually
frequented. The town possessed temples of Diana (on the site of the pre-
sent cathedral), of Neptune (on the coast), of Apollo, and other gods. Its
government was aristocratic. After the fall of the W. Empire Marseilles
fell successively into the hands of the Visigoths, the Franks, and the Sara-
cens, by whom it was destroyed; in the 10th cent, it was restored and be-
came subject to the Vicomtes de Marseille; in 121S it became independent,
but shortly afterwards succumbed to Charles of Anjou. In 14S1 it was unit-
ed to France, but still adhered to its anciept privileges, as was especially
evident in the wars of the Ligue, against Henry IV. In 1660 Louis XIV.
divested the town of its privileges, so that it retained its importance as a
sea -port only. In 1720 and 1721 it was devastated by a fearful pestilence.
During the revolution it remained unshaken in its allegiance to royalty, and
•was therefore severely punished. In 1792 hordes of galley-slaves were sent
hence to Paris , where they committed frightful excesses. It was for them
that Rouget de I' Isle , an officer of engineers , composed the celebrated
Marseillaise: 'Allons, enfants de la patrie', which subsequently became the
battle-hymn of the republican armies.

The town contains few objects worthy of special mention. The
harbour whence it derives its commercial importance , is one of
the most interesting points. Since 1850 it has been extended
to four times its former size, notwithstanding which there is still
a demand for increased accommodation. In 1853 the Bassin de la
Joliette was added to the Ancien Port, and is now the starting-
point of most of the steamboats. The Bassin du Lazaret, d'Arine,
and Napoleon were next constructed. It is now proposed to form
two new docks and an entrance-harbour (avant-port) , which will
render Marseilles one of the greatest sea-ports in the world.
About 20,000 vessels, of an aggregate burden of 2,000,000 tons.

4 Route 1. MARSEILLES. Consigne.

enter and quit Marseilles annually. The annual amount of
customs-dues exceeds 60 million francs (i. e. 2,400,000 l.~).

The old harbour is long and narrow. Its entrance is defended
by the forts of St. Jean and St. Nicolas.

Near the former is the * Consigne (PI. 6 ; entrance by the
gate ; fee 50 c.) , the Office of the Intendance Sanitaire (quaran-
tine authorities). The large saloon contains several good pictures :
Horace Vernet, The cholera on board the frigate Melpomene;
David , St. Eoch praying to the Virgin in behalf of persons sick
of the plague, painted at Rome in 1780; Puget , The plague at
Milan , a relief in marble ; Gerard , Bishop Belsunce during the
plague in 1720 (see below); Tanneurs, The frigate Justine return-
ing from the East with the plague on board ; Guerin, The cheva-
lier Rose superintending the interment of those who have died of
the plague.

A few paces farther N. is situated the Cathedral , a new
edifice , constructed of alternate layers of black and white stone,
in a mixed Byzantine and Romanesque style, recently erected on
the site of the ancient church of St. Lazaire , the removal of
which had become necessary.

On the N. side of the Ancien Port is the church of St. Victor,
dating from 1200, with a crypt of the 11th cent. The towers
were erected in 1350 by Pope Urban V. , who was once abbot
of the monastery. — To the E., opposite the centre of the Ancien
Port, is situated the new Residence Imperiale (PI. E., 5), which
however was never occupied by the late Emperor. In the vicinity
are the sea-baths and the Hotel des Catalans.

La Cannebiere , a broad street , intersects the town from W.
to E. , from the extremity of the Ancien Port to the centre of
the town where the ground rises. In this street, a few paces
from the harbour, stands the Bourse, with a portal of Corinthian
columns , and adorned with the statues of (r.) Euthymenes and
(l.)Pytheas, two natives of Massilia who distinguished themselves
as navigators in the 4th (?) cent. B. C. To the latter we are
indebted for the earliest data with respect to the length of the
days in the different northern latitudes and the ebb and flow of
the tide. The opposite Place Royale is used as a fish-market.

A short distance further, on the 1. , the Cours de Belsunce
is reached , a shady promenade generally thronged with foot-
passengers , at the S. extremity of which stands the statue of
Bishop Belsunce, 'pour perpetuer le souvenir de sa charite et de
son devouement durant la peste qui desola Marseille en 1720'.
This intrepid prelate , during the appalling plague which carried
off 40,000 persons, alone maintained his post and faithfully
performed the solemn duties of his calling. Prom this point the
Rue d'Aix ascends to the Arc de Triomphe, erected originally to
commemorate the Spanish campaign of the Duke of Angouleme

Museum. MARSEILLES. 1. Route. 5

(1823), now decorated with sculptures by Ramey and David
d' Angers of the battles of Marengo , Austerlitz , Fleurus , and
Heliopolis , and bearing the inscription : 'A Louis Napoleon Mar-
seille reconnaissante' . The railway-station is situated to the N.
of this point; the cemetery adjoins it.

We now return to the Cannebiere. Opposite to the Place
Belsunce opens the Cours St. Louis , continued by the Rue de
Rome and the Cours du Prado, which is 2l/% M. in length. At
the S. extremity of the latter is the Chateau des Fleurs, a small
park with fish-ponds , affording various kinds of entertainments,
a poor description of 'Tivoli'.

The following pleasant drive of several hours is recommended, especially
for the afternoon and evening: Frome the Porte de Rome or the Place Cas-
telane (both PI. E , 2) up the Cours du Prado , passing the Chateau des
Fleurs; then down to the coast, where some charming views are ob-
tained, and by the Chemin de Ceinture to the village of Endoume; hence,
skirting the Anse des Catalans (baths and hotel p. 3), to the Promenade
Bonaparte. The stranger may now either return to the town, or ascend on
foot to the r. to the church of Notre Dame de la Garde (see below).

To the 1. in the Cours St. Louis, at the entrance to the narrow
Rue de la Palud, is a fountain, adorned with an insignificant
bust of Pierre Puget , the celebrated sculptor , who was a native
of Marseilles.

At the E. extremity of the Boulevard de Longchamp rises the
handsome new * Musee de Longchamp (PI. 34), designed by Espe'-
randien , and completed in 1869. It consists of two extensive
buildings connected by an Ionic colonnade, in the centre of which
is an ornamental fountain. The r. wing contains the Musee
d'Histoire Naturelle, the 1. the Musee des Beaux Arts. The latter
is entered through a vestibule adorned with frescoes from the
history of Marseilles.

Principal Saloon. To the r. of the entrance: Jos. Vernet, Har-
bour; Murillo , Capuchin; Spagnoletto, St. Peter; Salvator Rosa , Hermit
regarding a skull ; Langlois, Bishop Belsunce. On the opposite wall : Hol-
bein, Portrait of a young man (retouched) ; Snyders, Still life ; Guercino,
Hector taking leave of Priam ; Rubens, Wild boar hunt ; Schalken, News-
paper reader; -Flem. School, Portrait of an old man. To the 1. of the
entrance : Ruysdael, Landscape. — The adjoining room on the r. contains
works of the Provencal School; that on the 1. modern pictures. In the
latter : " Philippoteaux , Farewell repast of the Girondists, on the eve of their
execution; Curzon, Female weavers of Neaples; Ary Scheffer, Magdalene.

At the back of the Museum are pleasant grounds, which extend
as far as the Zoological Garden (adm. 1 fr.).

The Old Museum in the Boulevard du Musee now contains
few objects of interest.

*View. The finest survey of the city is obtained from the
church of * Notre Dame de la Garde (PI. F, 3) , situated on an
eminence to the S. of the old harbour. The old chapel and fort
of Notre Dame have been removed , and the church has been
erected on the site of the latter in the same style of architecture
as the cathedral (p. 4). It contains an image of the Virgin and

6 Route 1. TOULON. From Marseilles

numerous -votive tablets presented by persons who have survived
the perils of shipwreck or disease. The terrace in front of the
church affords an admirable survey of the extensive city, occupying
the entire breadth of the valley , the innumerable white villas
(bastides) on the surrounding hills, the harbour and the group of
barren islands at its entrance, with the Chateau dlf, where Mira-
beau was once confined (see below), and a portion of the Mediter-
ranean ; to the E. extends the sea with its barren and rocky
coast. The prospect is still more extensive from the gallery of
the tower (154 steps) , which contains a bell weighing 10 tons,
and is about to be crowned with a gilded figure of the Virgin.
The church is reached in */2 hr. from the old harbour, by se-
veral different paths , and finally by steps , a somewhat fatigu-
ing ascent. Here the full force of the Mistral, or piercing N. W.
wind, the scourge of Provence, is often felt.

Departure. The vessel slowly extricates itself from the
Bassin de la Joliette and emerges into the Avant-Port. To the 1.
above the lighthouse rises the former Residence Impe'riale (p. 4),
surrounded with pleasure-grounds ; beyond it Fort Nicolas. Notre
Dame de la Garde on the more distant height long remains a
conspicuous object. The view of the town of Marseilles itself is
by no means imposing. The vessel steers towards the S. ; to the
1. the Batterie du Phare, adjoining the Anse des Catalans and the
baths (p. 3). To the r. the islands of Ratonneau and Pomegues;
then the Chateau d'lf, described in Dumas" novel Monte Christo ;
to the 1. the rugged coast, presenting a picturesque appearance.

At 10. 45 a. m. (Marseilles having been quitted at 10. 30,
the Cap de la Croisette is pasted, Marseilles gradually disappears)
and the steamer directs its course towards the E. At 11. 20 a
rocky basin is traversed ; 1 hr. later the vessel passes between
the lies de Calseraigne, and shortly afterwards affords a view of
the town and bay of Cassis. 12. 20 , to the 1. in the sea the
Rockers de Cassidaine with a lighthouse , beyond which are the
bay of Lecques and the small town of La Ciotat. After passing
the Cap Notre Dame the steamboat nears

(2 p. m.) Toulon, the principal naval depot of France, sur-
rounded by barren mountains and commanded by forts, the strong-
est of which are La Malyue , Aiguillette and Ballaguier, and the
Fort Napoleon, surnamed 'le petit Gibraltar. The latter was
defended by English troops in 1793 , but was compelled to sur-
render to the French under the command of Buonaparte, lieutenant
of artillery, then 23 years of age.

(3. 30 p. m.) The steamboat steers between the lies d'Hyires
and the mainland. Porquerolles, the first of these islands, is de-
fended by the Fort du Qrand Langoustier. To the 1. in the bay

to Leghorn. GENOA. J- Route. 1

rise the Salines d'Hy'eres in tenace-like gradations; in the back-
ground the wooded heights of the Montagues des Maures. The
rocky character of the landscape has disappeared. To the r. the
islam! of Portcros is next passed; then the long lie du Titan,
or du Levant , with two forts , the last of which rises from a
rocky prominence. To the 1. Cap Benat, in the distance Cap
Carmiret. The vessel now proceeds in the direction of Leghorn
and gradually leaves the coast, which however still continues
visible.

The following morning at (3 o'clock the steamer nears Genoa,
the forest of masts in the harbour of which may be distinguished
with the aid of a telescope. Then to the r. the island of Cor-
sica, afterwards that of Capraja (p. 21 J; 8. 45 a. m., the islet
of Gorgona (p. '21) rises abruptly from the sea; to the N. the
coast of Spezia with its lofty mountains. After Gorgona is passed,
Elba (p. 21) becomes visible in the distant to the S. — 10. 15,
Leghorn is sighted, the Apennines become more conspicuous (to
the r.). and (11 o'clock) the harbour is entered (landing p. 9).
A visit to Pisa (comp. Part I. of this Handbook) is strongly
recommended to the traveller, and may easily be accomplished by
railway it the train departs in time (by carriage not to be re-
commended). About 0, sometimes 7 p. m. , the steamer again
weighs anchor and proceeds on its course to Civita Vecchia
(,ee p. 11).

From Genoa to Leghorn (Civita Vecchia and Xaples).

The Ital. Mail Steamers (comp. p. 1 and Introd.; fares and average
passage see p. 1) of the Societa R. Jlubatino e Comp. start daily (Saturdays
excepted) for Leghorn at 9 p. m., and on the evening of the 5th, 15th, and
25th" 'if every month for Naples and Mussina via Leghorn (arriving at
Naples on the Sth, 18th, and 2Sth. and at Messina on the 9th, 19th, and
28th 'f the month); those of the Societa Peirano on Mondays, Wednesdays,
Fridays, and Saturdays at 9 p. m. for Leghorn and Naples. The vessels of
the French Compwjnie Fraissinet leave on Mondays and Thursdays at 8 p.
m. Those "f the Compagnie Valiry on Sundays at 8 a. m. (comp. p. 1 and
Introd.) for Naples via Leghorn and Civita Vecchia; also on Wednesdays
and Fridays at 8 a. m. for Leghorn , and twice monthly for Palermo
and other Sicilian harbours. The French Messageries have discontinued
touching at Genoa. — Boat to or from steamer 1 fr. for each pers. , incl.
luggage. — Travellers arriving at Genoa by sea, and intending to proceed
thence by railway, avoid trouble and annoyance by at once booking their
luggage for their destination at the harbour, immediately after the custom-
house examination. For this purpose a facchino of the douane (20 c).
distinguished by a badge, should be employed, and not one of the unau-
thorised and importunate bystanders.

Hotels at Genoa, all externally unprepossessing. Hotel Feder,
formerly palace of the admiralty. K. 3 fr. and upwards, B. 1>|2, D. inc. W.
at 5 o'clock 4, L. 1, A. 1 fr. ; Hotel d'ltalie, R. from 2'j2, D. inc. W.
31-, L. 1, A. 1 fr. ; tjuattro Nazioni; Hotel de la V ill e, R. from
2>j2. D. inc. W. 4.1 !2, L. 1 , A. 1 , omnibus l';2 fr. — Hotel Royal;
'Croce di Malta; Grande Bretagne; Hotel de France; Pen-
sion Suisse, R. 2, D. 3, A. l'ij; "di Genova, by the theatre Carlo
Felice, etc.

8 Route 1». SIGN A.

For a description of the town and its sights see Part I. of
this Handbook.

As the vessels for Leghorn and Civita Vecchia generally start
at night, the charming retrospect of Genoa 'la superba' is lost,
unless indeed the beautiful picture is illumined by moonlight.
The steamer pursues its course within sight of the coast, which
from Genoa southwards to Spezia is termed Riviera di Levante,
passes the towns of Nervi, Recco , Rapallo (sea-port with shrine
of the Madonna di Montallegro) , Chiavari , and Sestri a Levante,
and after a run of about 6 hrs. nears Porto Venere and the island
of Palmaria, at the entrance to the bay of Spezia. In the back-
ground rise the Apennines. As Leghorn is approached the island
of Gorgona (p. 21) appears to the S. ; arrival at Leghorn see
p. 9; excursion to Pisa see p. 9. Passage to Chita Vecchia
see p. 10.

2. From Florence to Rome (by sea) via Leghorn
and Civita Vecchia.

From Florence to Rome the traveller lias a choice of different routes.
The shortest and most agreeable is by railway via Foligno. Two other
routes are via Leghorn and Civita Vecchia, one by sea, the other by rail-
way, traversing the Tuscan and Roman 'Maremme'. The cost of each is
about the same ; the land-route is the shorter by a few hours, but far more
fatiguing. A selection between the two must depend on the season, the
weather, the traveller's inclination, etc. The sea-voyage is very pleasant in
favourable weather. The vessels keep within view of the coast; they
generally weigh anchor in the afternoon , pass between the island of Elba
and the Punta di Piombino in the evening, and arrive at Civita Vecchia on
the following morning. Average passage about 12 hrs.

Offices of the different steamboat -companies (comp. Introd. and p. 1)
at Florence: Comp. Fraissinet, Comp. Valery, Societa Rubattino, Menage-
ries Maritimes (corner of the Via della Farina), all in the Piazza, della
Signoria ; that of the Societa Peirano in the Piazza S. Margherita, adjoining
the Badia.

Fares from Florence to Leghorn: 1st class 10 fr. 25 c, 2nd 7 fr. 5 c,
3rd 4 fr. 90 c. ; from Leghorn to Civita Vecchia 1st cl. 45 , 2nd 34 fr.
(comp. p. 2 and Introd.). Railway-fares from Civita Vecchia to Rome : 1st
cl. 10 fr. 95 c, 2nd 7 fr. ; 1st class alone tolerable, 2nd bad and not recom-
mended to ladies.

The line skirts the N. bank of the Arno, passing the Cascine
and numerous villas. Beyond stat. S. Donnino the valley of the
Arno expands. Stat. Signa with its grey pinnacles and towers is
celebrated for its straw-plaiting establishments. The line intersects
undulating vineyards, 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. Stat. Montelupo is ap-
proached by an iron bridge across the Arno. Beyond it the Villa
Ambrogiana is visible on the v.. founded by Ferdinand I. on the
site of an old castle of the Ardinghelli. Then, crossing the small
river Pesa, the train reaches

LEGHORN. 2. Route. 9

Stat. Empoli (described in Part I. of this Handbook), a small
town (6000 inhab.) with antiquated buildings and narrow streets,
situated in a fertile district. Here the line to Siena (R. 6) di-
verges to the S. The following stations are S. Pierino, S. Romano,
and La Rotta. To the r. rise the Apennines; to the 1. on the
height San Miniato dei Tedeschi , a small town which the Emp.
Frederick II. in 1226 appointed to be the seat of the Vicar
of the empire. Stat. Pontedera lies at the influx of the Era
into the Arno, where the road to Volterra (p. 18) diverges. Stat.
Cascina on the Arno, where on the day of S. Vittorio, July 28th.
1364, the Pisans were defeated by the Florentines. Stat. Navacchio :
to the r. the Monti Pisani with the ruins of a castle on the sum-
mit of Verruca.

Pisa , with its cathedral , baptistery , and Campo Santo , see
Baedeker's N. Italy.

The railway from Pisa to Leghorn traverses flat meadow-land
intersected by cuttings, and near Leghorn crosses the Arno-Canal.

Leghorn, Ital. Livorno, French Livourne.

The vessels generally anchor in the inner harbour (Porto Vecchio or J/—
diceo), but sometimes in the outer harbour (Porto Nuovo). The different
charges for landing are: from the Porto Nuovo 1 fr. for each pers., li|j for

1 pers. with ordinary luggage (trunk, carpet-bag, hat- box), 30 c. for each
additional article; from the Porto Vecchio 50 c. for each pers., 1 fr. for 1
pers. with luggage ; children under 8 years free, others half-fare. Payment
is made to the superintending official, and not to the boatmen. — Facchino
with ordinary luggage between the railway-station and the wharf, or to any
other part of the town, 1 fr. ; for a box alone 80 c, hat-box 20 c. (according
to tariff).

Hotels. -Hotel Vittoria e Washington, on the harbour and
canal, R. from 3—4 fr. upwards, D. at 5 o'clock 3'la fr. ; *Gran Bretagna
with Pension Suisse, near the harbour, Via Vittorio Emanuele 17, R.
from2fr., good table d'hote at 5 o'cl. 3'Ja fr. ; Hotel duNord andHotel
d'Angleterre, both on the quay ; lies Britanniques, Via Vit.
Emanuele 33; besides these there are numerous smaller hotels, most of
them in the Rue Vit. Emanuele.

Restaurants. Giappone; Giardinetto; Pergola, all in the Via
Vittorio Emanuele ; Ghiaccaio, Piazza d'Arme. — Beer at Meyer's,
Via Ricasoli 6, and Via de' Prati 1.

Cafes. -Vittoria, Piazza d'Arme; Post a, opp. the post-office.

Post Office corner of the Corso Vitt. Eman. and Piazza Carlo Alberto.
— Telegraph Office Via de' Lanzi 5.

Sea Baths. Casino e Bagni di Mare and dello Scoglio della
R e g i n a , both outside the Porta a Mare. Bath with boad and towel 1 fr. ;
season from the middle of June to August.

Theatres. Regio Teatro degli Avvolorati, in the street of that
uame; Regio Teatro dei Floridi, Via S. Marco 9, etc.

Carriages. Per drive in the town 85 c. , outside the town 1 fr. TO c. ;
per hour 1 fr. 70 c. , each additional 1/2 hr. 60 c. ; to or from the station
i fr. ; from 1 to 6 a. m., for a drive in the town 1 fr. 15, outside the walls

2 fr. 80, per hour 2 fr. 25, to or from the station 1 fr. 80 c. ; small articles
of luggage 10 c. , trunk etc. 40 c. The facchini of the railway transfer
luggage to and from the train gratuitously; a trifling fee (10 — 20 c.) may
however be bestowed.

Consulates. Great Britain: Alex. Macbean Esq., Via della Madonna 12;
American: John Hutchison Esq., next door to the Victoria Hotel.
English Church, resident chaplain.

10 Route 2. LEGHORN. From Florence

As late as the 16th cent. Leghorn was a mere village (in 1551
the population amounted to 749). For its present importance it
is indebted to the Medicis , who attracted hither the oppressed
and disaffected from every country, Roman Catholics from Eng-
land , Jews and Moors from Spain and Portugal , and merchants
from Marseilles who sought to escape from the civil war. Mon-
tesquieu therefore termed Leghorn the 'master-piece of the Me-
dicis dynasty'. Population 99,500; seafaring and other tempo-
ra y residents, 3000.

Leghorn , a well-built . entirely modern town , contains few
objects to arrest the traveller's attention, and may be sufficiently
explored in a few hours. The Harbour, where extensive improve-
ments are now in progress , presents a busy scene. The inner
harbour (Porto Vecchio or Mediceo) cannot accommodate vessels of
great draught of water ; a second (Porto Nuovo) was therefore con-
structed during the present cent, to the S. of the former, and
protected by a semi-circular molo. On the harbour stands the
Statue of the Grand-Duke Ferdinand I. by Giovanni delV Opera,
with four Turkish slaves in bronze by Pietro Tacca.

The Corso Vittorio Emanuele (formerly Via Ferdinanda) is the
principal street. Proceeding from the harbour, it leads to the
extensive Piazza d'Armi with the cathedral , the Palazzo Comu-
nale (or town-hall), and a small royal palace. From this point it
then leads to the Piazza Carlo Alberto , formerly Piazza dei due
Principi, with the colossal Statues of the Grand-Dukes Ferdinand III.
and Leopold II., with reliefs and inscriptions.

Departure. On quitting the harbour, the steamboat com-
mands a beautiful retrospect of the town. To the W. the island
of Gorgona rises abruptly from the sea. The vessel now proceeds
in a S. direction, and the island of Capraja soon appears; in the
distance the dark outlines of Corsica. To the E. the coast con-
tinues visible, to the N.E. the Apennines. The steamer then
threads its way between the island of Elba (p. 21), with the
Porto Longone and the islands of Palmaiola and Cerboli, and the
Punta di Piombino (p. 14), a beautiful passage. The retrospect
of the small rocky islands, furnished like the numerous promon-
tories of the coast with lighthouses , is particularly picturesque.
Somewhat later the island of Pianosa is passed ; farther to the S.
Giglio and Argentaro with the beautifully-formed Monte Argentario
(p. 16), rising immediately from the sea; farther off is the small
island of Giannutri.

The coast becomes flat. Civith Vecchia, situated picturesquely
on an eminence, soon becomes visible in the distance.

Arrival at CivitaVecchia. The traveller orders his luggage to be
placed in one of the boats in attendance, bestows (unless dissatisfied) 1 fr.
on the steward, and is speedily conveyed on shore. On landing, a wooden
gate is passed through , and on the 1. by the outlet the fare for conveyance
i^n shore is paid. The tariff is >j2 fr. for each pers. : for a box from the

to Rome. CIVITA VECCHIA. 2. Route. 1 1

steamboat to the station 1 fr. ; travelling-bag or hat-box '|2 fr. The railway-
station is situated in the vicinity, outside the town. One-horse carr. to the
stat. ']2 fr., two-horse 1 fr. All the above charges are the same for embar-
cation. Travellers from Rome who spend the night at Civita Vecchia pay
for a box from the stat. to the town 40 c. , thence to the harbour 25 c,
from the harbour to the vessel i'l-- fr. , travelling-bag half these charges.
Omnibus from the station to the town 25 c.

;f time permit, the traveller may obtain a glimpse of the town before
the departure of the train. He need not accompany his luggage to the sta-
tion .

Civita Vecchia (* Orlandi at the entrance to the town, ex-
pensive, dinner may be ordered at a fixed sum; Europa, more
moderate; *Railway-Restaurant), formerly the fortified sea-port of
the States of the Church -with about 8000 inhab., the ancient Cen-
tum Cellae founded by Trajan, and sometimes termed Portus Tra-
jani, was destroyed by the Saracens in 828, but in 854 the in-
habitants returned into the 'ancient city. The entrance to the
harbour, in front of which a small fortified island with a light-
house is situated, is defended by two strong towers, which have
lately been restored by the French. Visitors are permitted to in-
spect the Bagno, where the galley-convicts are at work.

The town contains little that is interesting. The traveller may
speii'i a leisure hour in walking on the quay, the archaeologist
in inspecting the inscriptions and antiquities in the ante-room of
the Delegazione della Folizia, or in visiting the shop of Bucci, a
dealer in oldbooks, in the Piazza.

A good road leads from Civita Vecchia to the volcanic mountains of
La Tolfa and the loftily situated village of that name , in the vicinity of
which are extensive mines of alum. The scenery is picturesque , and the
locality interesting to geologists. Some mineral springs, with the ruins of
ancient baths (Aquae Tauri) are situated about 3 M. from Civita Vecchia.

A diligence runs 3 times weekly in 7 hrs. to Viterbo (p. 36), alternately
by Corneto and Toscanella (p. 88), and by Monte Romano and Vetralla (p. 38).

The Railway from Civita Vecchia to Rome (express
in '2, ordinary train in 3 — 4 hrs.; fares see p. 8; views to the
r. till Rome is approached, when a seat on the 1. should if pos-
sible be secured) traverses a dreary tract , running parallel with
the ancient Via Amelia near the sea-coast as far as Palo. On
clear days the Alban and Volscian mountains are visible in the
distance, and still farther off the promontory of Circeii. The first
stat. Santa Marinella possesses a mediaeval castle rising above a
small bay, in the garden of which a date-palm flourishes. Stat.
Rio Fiume ; then the picturesque baronial castle of Santa Severa
(_stat.), formerly the property of the Galera, afterwards of the
Or?ini family, now of the Hospital Santo Spirito at Rome. Here
in ancient times was situated Pyrgos or Pyrgi, the harbour of the
once powerful Etruscan city Caere, formerly termed Agylla or the
'circular city' by the Phoenicians, with whom the town carried on
a flourishing trade. It is now Cervetri (p. 298), and is situated
on the height 6 M. farther to the 1. Next stat. Furbara. The

12 Route 2. PALO.

solitary towers on the shore were erected during the middle
ages for protection against the dreaded Turkish Corsairs.

Stat. Palo (poor railway-restaurant), with a chateau and villa
of the Odescalchi, occupies the site of the ancient Alsium, where
Pompey and Antoninus Pius possessed country-residences. Relics
of antiquity now scanty. Stat. Palidoro, on the river of that name,
which rises on the heights by the Lago di Bracciano. The line
now approaches the plantations of Maccarese (stat.) to the r., be-
lieved to be the ancient Fregenae, situated near the mouth of
the Arrone, a river which descends from the Lago di Bracciano.
The Lago di Ponente or Stagno di Maccarese is now skirted.
Stat. Ponte Galera, beyond which the line runs in the vicinity
of the Tiber.

Beyond stat. Magliana (p. 260) a more unbroken view is obtained
of the extensive Campagna di Roma and the Alban Mts. (at the
base of which glitter the white houses of Frascati, p. 272), and
of the Sabine Mts. in the background; in the foreground the
handsome Benedictine monastery of S. Paolo fuori le Mura with
its sumptuous new basilica. To the 1. is disclosed a view of Rome,
the Aventine p. 186), the Capitol (p. 167), and Trastevere (p. 224).
The train crosses the Tiber by a new iron bridge and slowly ap-
proaches the walls of Rome, of which the S. E. side is skirted.
Above the wall rises Monte Testaccio (p. 187) ; adjacent is the
Pyramid of Cestius (p. 187) with the cypresses of the Protestant
cemetery ; in the vicinity, the Porta S. Paolo, farther distant the
Aventine with S. Sabina (p. 188). The line then traverses gardens
and unites with the railway from Naples. The Porta S. Sebastiano,
approached by the Via Appia (p. 191), is visible. The latter having
been crossed , the Lateran (p. 199) appears with the numerous
statues of its facade ; then the monastery of S. Croce in Gerusa-
lemme (p. 142) , with lofty Romanesque tower. The train now
enters a tunnel beneath the aqueduct of the Aqua Felice and
passes the Porta Maggiore (p. 141), which is crossed by two an-
cient water-conduits. The line then intersects the city-wall; to
the 1. a decagonal ruin , usually termed a Temple of Minerva
Medica (p. 141), two stories in height. A view is next obtained
of £. Maria Maggiore (p. 137), a handsome edifl.ce with two
domes and a Romanesque tower. To the r. insignificant remnants
of the ancient Wall of Servius, discovered and destroyed by the
construction of the railway. The train enters the station at the
N.W. extremity of the town, opposite the Thermae of Diocle-
tian, and the traveller is now in the Imperial City (p. 83).

3. From Florence to Rome by the Maremme.

This is one of the most direct routes between Florence and Rome. The
train leaves Florence at 9. 10 a. m., arr. at Leghorn 11. 30 a. m.; dep.
thence at J 2. 5 a. m. , arr. at Civita Vecchia 7. 50 p. m. , at Rome 9. 50
p. m. Fares from Leghorn to Rome 36 fr. 45, 27 fr. 40, 22 fr. 30 c. ; from
Florence to Rome 47 fr. 30, 31 fr. 70, 22 fr. 60 c.

The direct route from Florence to Naples is via Foligno and Rome
IR. 8).

This route is coincident with the ancient Via Aurelia , constructed by
jEmilius Scaurus, B. C. 109. During the present century the Tuscan go-
vernment caused a road to be constructed here , in order to benefit the
coast-district. Although the most direct route, it is of greatly inferior im-
portance to the others. This tract of country is by no means destitute of
picturesque scenery, and the traveller who desires to explore it may devote
a few days to the journey. Owing to the malaria , however , this is not
practicable between June and the end of October (comp. p. 15). During
that period the majority of the inhabitants remove to the mountainous di-
strict of Siena. Even in October entire villages are still deserted. — Views
always on the right.

From Florence to Leghorn see p. 8; Leghorn p. 9.

The Maremme train runs for a short distance on the Pisan
line (p. 9) , and then diverges to the S. It runs inland as far
as Cecina, where it approaches the coast, commanding fine views
of the sea with its promontories and islands. Soon after Leghorn
is quitted , a view is obtained of La Madonna di Monte Nero,
situated on one of the hills which intervene between the railway
and the coast. This celebrated place of pious resort , especially
revered by seafaring men , possesses an ancient picture of the
Virgin brought from the East in the middle ages , with which a
variety of legends are connected.

Stations Colle Salvetti, Acciajolo, Orciano, Acquabuona. The
adjacent villages are all of recent origin and contain nothing of
interest ; they testify, however, to the rapid improvement which
has taken place during the present century in this formerly so
dreary district. The line crosses the Cecina, the ancient Caecina;
the family of that name was settled in this district, as is proved
by numerous inscriptions at Volterra.

Stat. Cecina (halt of 8 min. ; indifferent cafe'), where a branch
line to Volterra (see p. 18) diverges. The village of Cecina,
situated in the vicinity, is of modern origin.

The line now approaches the coast. The loftily-situated, ancient
Etruscan Populonia becomes visible on a chain of hills projecting
into the sea; beyond it the island of Elba (p. 21). Stat. Bambolo,
then stat. S. Vincenzo, with a small fort and harbour. Stat. La
Cornia, on the small river of that name; to the 1. on the height
lies the small town of Campiglia, with a ruined castle and Etruscan
tombs of no great interest.

14 Route 3. PIOMBINO. From Florence

Piombino and Populonia. On the arrival of the last train from
Leghorn a diligence runs in about 2 hrs. from La Cornia to Piombino, re-
turning thence at noon. A forenoon suffices for a visit to Populonia.

Piombino is a small town (poor inn) situated at the S. extremity of a
wooded promontory, which on the land side is bounded by a flat district.
A weather-beaten tower on the harbour commands a magnificent prospect
of the sea and the neighbouring island of Elba (in front of which rise the
cliffs of Cervoli and Palmaiola), of S. Giglio and the coast, and Corsica in
the distance.

Piombino originally belonged to Pisa, in 1399 became a principality of
the Appiani, in 1603 was acquired by Spain, and finally by the family of
Buoncampagni-Ludovisi, from whom it was wrested by Napoleon in 1805 in
favour of his brother-in-law the Corsican Felix Bacciocchi. In 1816 it was
restored, and till 1859 remained under the Tuscan supremacy.

The mail ferry-boats maintain the communication between this point
and Porto Ferrajo, starting from Piombino at noon daily , from Porto Fer-
rajo in the morning. The duration of the passage depends on the state of
the weather and other circumstances (comp. p. 21).

About 6 M. from Piombino, at the N. extremity of the peninsula, is
situated the ancient Populonia, the Etruscan Pupluna. A shorter route
through the woods should not be attempted without a guide. The town
with its mediseval castle, situated on a lofty and precipitous eminence , is
a conspicuous object from all sides. Once a prosperous seaport , it suffered
greatly from a siege by Sulla; in the time of Strabo it had fallen to decay,
and is now a poor village. In ancient times the iron of Elba was smelt-
ed here. The old town-walls may still be distinctly traced, and are espe-
cially well preserved on the side towards 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 be-
long to an amphitheatre, and a reservoir may also be mentioned as relics
of the Roman period. The Etruscan tombs in the vicinity are objects of
no great interest.

The district now begins to exhibit the distinguishing charac-
teristics of the Maremme : a world of its own, consisting of forest
and swamp, uncultivated, and in summer poisoned by malaria.
During the Etruscan period the Maremme were richly cultivated
and possessed several considerable towns: Populonia, Vetulonia,
Busellae, Cosa. On the decline of agriculture in Italy and the
conversion of the farms into pasture-land , the desolation of the
Etruscan coast- district made rapid progress; for in this fiat dis-
trict, where the water easily becomes stagnant , high cultivation
is alone capable of keeping the poisonous exhalations in check.
Even Pliny describes this district as unhealthy. In the middle ages
the desolation was still more complete ; during the present cen-
tury, however, under the wise administration of the grand-dukes
of Tuscany, much was done to counteract the evil by the drainage
and rilling up of swamps and the establishment of new farms ; but
the evil is still very great. Charcoal-burning and in winter cattle-
grazing are the chief resources of the inhabitants , all of whom
withdraw to the Tuscan hill-country in May, when the malaria be-
gins. A few only of the more densely peopled localities enjoy a
tolerably healthy atmosphere. Those of the natives who are com-
pelled to remain suffer severely from fever, and their gaunt and
emaciated countenances distinctly betoken the curse of the district.

to Rome. GROSSETO. 3. Route. 15

Stat. Follonica near the sea , a small but industrial place
which is deserted in summer , possesses considerable smelting-
foundries for the iron from Elba. Beautiful view towards the sea :
to the r. the promontory of Piombino and Elba, to the 1. the
promontory of Castiglione with a lighthouse , and the small, gro-
tesquely shaped island of Formica. On an eminence inland rises
Massa , one of the largest villages of the Maremme , with about
4000 inhabitants. The line again quits the coast in order to avoid
the Promontory of Castiglione.

Stat. Potassa. Farther to the 1. an ancient chateau is visible ;
to the r., at the mouth of the small river Bruna, is situated the
small fortified harbour of Castiglione della Pescaia. Here , as in
the other seaports of the Maremme , wood and charcoal form the
principal exports.

Stat. Monte Pescali.

On the hills to the 1. (not easily distinguished from the railway) are
situated the ruins of Rusellae , one of the 12 capitals of the Etruscan con-
federation. The place has been deserted since the middle of the 12th cent,
and is thickly overgrown with underwood. The walls , in most places ac-
cessible, consist partly of horizontal layers, partly of polygonal blocks (6 —
8 ft. high, 7—12 ft. long). They are usually visited from Grosseto. The
route is by the sulphureous Bagni di Moselle, 5 M. distant, whence the ruins
are reached in 1(2 hr.

To the 1. stat. Grosseto (*Aquila), the fortified capital of the
Maremme, a cheerful little town with 3000 inhab. The cure' Chelli
possesses a collection of Etruscan antiquities.

Around Grosseto and in the direction of Castiglione extends a plain of
considerable magnitude, in ancient times a lake (the Lacus Prelius of Cicero),
which gradually became shallower (Palude di Castiglione and di Grosseto),
and by its exhalations formed one of the chief sources of the malaria.
By means of skilful drainage, and by conducting hither the deposits
of the neighbouring rivers , the government has succeeded in almost entire-
ly filling up the morass and converting it into a valuable pasture , 15 M.
in length.

A short distance beyond Grosseto the Ombrone is crossed. The
line skirts the wooded Promontory of Talamone; towards the S.
the imposing Monte Argentario (see below) becomes visible.

Stat. Talamone, where a beautiful view of the sea is disclosed.
The village lies at the extremity of the promontory and possesses
an anchorage sheltered by the island of Giglio and the M. Argen-
tario. The creek has been greatly encroached on by alluvial de-
posits. Here, B. C. 224, the Roman legions landed and signally-
defeated the Gauls who were marching against Rome.

The line crosses the small river Osa, then the more important
Albegna (ancient Albinia), at the mouth of which salt-works are
situated. Stations Albegna, Orbetello. The horizon is bounded by
M. Argentario (1765 ft. J, on the N. side of which lies the har-
bour Porto S. Stefano.

On the arrival of the train an omnibus (1 fr.) starts for Orbetello (poor
inns, the best is the Trattoria del buon Gusto, or Saccoccione), ll|2 M. dis-

16 Route 3. CORNETO. From Florence

tant, a visit to which will amply repay the lover of the picturesque and
the archaeologist. M. Argentario, an isolated promontory, is connected with
the mainland by two narrow tongues of land, thus forming a large salt-
water lagoon. Into the latter a third promontory projects, at the extre-
mity of which the small fortified town, with 3000 inhab., is situated. Be-
yond its remarkable situation the place contains nothing of interest, except
the polygonal walls on the side towards the sea , which testify to the great
antiquity of the town, although its ancient name is unknown. An embank-
ment has been constructed from the town across the shallow lake , which
abounds in fish, to M. Argentario. A carriage-road leads to the N. harbour
Porto S. Stefano , and to PorC Ercole on the S. side. The mountain culmi-
nates in two peaks, on one of which a monastery of the Passionists is situat-
ed. The ascent is extremely interesting, and is accomplished from Orbe-
tello in 2 — 3 hrs. (with guide). The "view embraces the coast of Tuscany
and the surrounding district as far as M. Amiata, and the sea with its
numerous rocky islands as far as Sardinia. If time is limited, the first and
lower eminence , 3\i hr. from Orbetello , commanding a picturesque view of
the coast, should be visited. — Orbetello is also the most convenient
point from which an excursion to the interesting ruins of the ancient Cosa,
the present Ansedonia, 4'|2 M. distant, may be undertaken. — It is likewise
a suitable starting-point for a visit to the ancient towns of Salurnia and
Sovana, about 30 M. inland.

On an eminence to the r. beyond Orbetello lie the ruins of
Cosa , an ancient Etruscan town , deserted as early as the 5th
cent, (see above). The polygonal walls with their towers are
admirably preserved. A beautiful prospect of the sea and coast
is enjoyed hence.

The line next traverses the Roman Maremma ; the scenery is
unattractive. The Fiora is crossed, and stat. Montalto reached
(halt of 25 min.), a poor village.

From Jlontalto the traveller may ascend by the bank of the Fiora to
the ancient Ponte delta Badia and the site of Vulci, where since 1820 most
successful excavations have been made , and thousands of Etruscan vases
etc. discovered.

Beyond Montalto the country becomes more undulating. The
line crosses the small rivers Arrone and Marta, the outlet of the
Lake of Bolsena. Stat. Corneto. The town with its numerous
towers is loftily situated, and conspicuous from several points of
the line which passes at its base. A visit to this interesting place,
unfortunately inconvenient to the passenger who travels direct
from Florence to Rome , requires 4 — 5 hrs. The excursion is
generally made from Rome.

Corneto (Palazzacio , in a palace of the Vitelleschi dating from 1437,
bargaining necessary. Agapito Aldanesi, a well-informed old man, is the
custodian of the tombs; fee for 1 pers. l>|a tr., for 2 pers. 2 fr., for a party
more in proportion) , a small town of antiquated appearance and loftily
situated, commands fine views of the sea with M. Argentario and the neigh-
bouring islands. The interiors of the Romanesque churches have been sadly
modernised. The town arose at the commencement of the middle ages after
the decline of Tarquinii. A genealogical tree 'a) fresco' in the Palazzo Co-
munale professes to trace the origin of the place to a remote mythical era
— a striking instance of the disregard for history often manifested by simi-
lar small towns. At the extremity of the principal street (II Corso), near a
spot on the town-wall termed 11 Belvedere, an interesting survey is obtained
of the bleak environs. On the stony hill opposite (Turcinna), separated from
Monlarozzi, the hill of the tombs, by a ravine, lay Tarquinii, anciently one

to Rome. CORNETO. 3. Route. 17

of the 12 Etruscan capitals, and remarkable for the influence which it exer-
cised on the development of the national religion of Etruria. It participated
in the war of the Etruscan confederation against Rome, but was com-
pelled to sun-under after the Samnite war and to receive a Roman colony.
The town continued to flourish during the empire, but subsequently del
clined and was devastated by the Saracens ; it was, however, inhabited til—
1307, when its last remnants were totally destroyed by the inhabitants of
Corneto. No ruins are now visible save the scanty vestiges of walls and
foundations. Of its seaport Graviseae a few fragments on the r. bank of the
Marta, life M. from its mouth, still remain.

The principal interest attaching to Corneto is derived from its tombs,
which are scattered in great numbers over the hill where the town itself
stands. This Necropolis of the ancient Tarquinii was accidentally discovered
in 1823 by Carlo Avvolta, a native of Corneto, who whilst digging penetrated
into a tomb, and through an aperture beheld a warrior extended, accou-
tred in full armour. The influence of the air caused the body to collapse
after a few minutes' exposure. The unsophisticated discoverer subsequently
described the spectacle as the happiest moment of his life. Even in ancient
times the tombs were frequently plundered for the sake of the precious
trinkets they contained, and modern excavations have despoiled them of
every moveable object which remained, so that the empty vaults alone are
now left. A visit to them is nevertheless extremely interesting to those
who desire to form an idea of the civilisation, art, and religion of the
Etruscans; and for this purpose the tombs of Corneto , the paintings in
which are in the best state of preservation, are well adapted. The painting
of the chambers is peculiar to the towns of southern Etruria, and indicates
a particularly close relationship to Hellenic art. The Tumuli which exter-
nally distinguished the tombs have in the lapse of ages been entirely de-
stroyed ; the subterranean chambers now alone remain, of which the follow-
ing are the most interesting :

1 . Grotta delta caccia del cignale (boar-hunt) , or Grotta Querciola. The
paintings, copied in the Museo Gregoriano, are much faded; they represent
a banquet with music and dancing, and a boar-hunt. - — Opp. to the latter :
:'2. Grotta del Convito funebre, or del Triclinio, also containing the represen-
tation of a banquet. The men here, as in all the others, are sketched in
outline on the walls in dark red, the women in whitish colours. — 3. Grotta
del Morto, small; scene of mourning for the deceased and of dancing. —
*4. Grotta del Tifone, more extensive, supported in the centre by a pillar,
on which are Typhons, winged genii of death terminating in serpents. The
sarcophagi bear Latin as well as Etruscan inscriptions , a proof that they
belong to a comparatively recent epoch. To the r. on the wall souls es-
corted by genii ; beneath Charon, with the hammer. — 5. Grotta del Cardi-
nale, the most spacious tomb of Tarquinii, supported by 4 pillars, opened
in the last century; colours almost entirely faded. — l'|2 M. from Corneto
is : 6. Grotta delle Bighe ; a copy of the paintings is preserved in the Vati-
can. — In the vicinity : 7. Grotta del Mare, small , with sea-horses. — * 8.
Grotta del Barone, so called from the Hanoverian ambassador by whom it
was opened, contains warlike games, riders, etc., partly in the archaic style;
colours well preserved. — 9. Grotta Francesca or Giustiniani , with dancers
and races, much faded ; copies in the Museo Gregoriano. — 10. Grotta delle
Iscrizioni, so called from the numerous Etruscan inscriptions , with warlike
trials of skill.

Toscanella is now best visited from Corneto, see p. 38.

The railway skirts the foot of the hill of Corneto. Farther to
the r. the traveller perceives the insignificant Porto Clementino,
entirely abandoned in summer on account of the malaria. The
horizon is bounded inland by the mountains of Tolfa, which yield
an abundant supply of alum and sulphur. The line then crosses
the small river Mignone, at the mouth of which is situated the
Torre Bertaldo (where according to a legend an angel refuted the

B^deker. Italy II. 3rd Edition. 2

18 Route 4. VOLTERRA.

doubts which St. Augustine entertained respecting the Trinity),
and soon reaches Stat. Civita Vecchia (halt of 10 M.).
From Civita Vecchia to Rome see p. 12.

4. From Leghorn to Volterra.

Railway from Leghorn to Cecina in li|2 hr., fares 5 fr. {20 , 4 fr. 20,
3 fr. 15 c. ; from Cecina to Saline in li|4 hr., fares 3 fr., 2 fr. 40, 1 fr. 80 c.
From Saline to Volterra diligence in 2 hrs., fare 1 fr.

A visit to Volterra, interesting on account of its antiquities, may be
most conveniently and inexpensively accomplished from Leghorn, and com-
bined with the continuation of the traveller's journey to Rome, if luggage be
left at Cecina. — From Pontedera (p. 9), a stat. on the line from Florence
to Pisa, Volterra is reached by carriage through the valley of the Era in
5—6 hrs. ; from Poggibonsi (p. 24), stat. on the line from Empoli to Siena,
by a hilly road in 3—4 hrs.

From Leghorn to Cecina (Maremme Railway) see p. 13. Our
line here diverges and ascends on the r. bank of the Cecina,
traversing a district remarkable for its mineral wealth. Stations
San Martino, Casino di Terra, Ponte Ginori, and Saline, the ter-
minus , in a bleak situation where the malaria prevails in sum-
mer. The extensive salt-works in the vicinity supply the whole
of Tuscany with salt and yield a considerable revenue.

The road from Saline to Volterra ascends. The country pre-
sents a peculiarly bleak aspect.

Volterra (Vnione; Nazione), the ancient Volaterrae, Etruscan
Velathri, one of the most ancient Etruscan cities, now containing
5000 inhab. , an episcopal residence, loftily situated (1602 ft.),
commands in clear weather charming prospects , extending to the
heights of Pisa, the Apennines, and the sea with the islands of
Gorgona, Elba, Capraja, and Corsica. The environs are dreary and
desolate; the effect of the rain on the soft and spongey soil is
most prejudicial to agriculture.

Volterra was one of the 12 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 subsequently
became a Roman municipium, but gradually fell to decay and was
totally destroyed in the 10th cent. It was re-erected under the
Ot'aos, but does not now extend to one-third of its ancient magni-
tude. In the middle ages it was a free town , until it became
subject to Florence.

Among the Antiquities the ancient *Town Walls, once 6 M. in
circumference, of double the extent of those of Fiesole and Cor-
tona, are especially worthy of notice. Their dimensions (40 ft.
in height, 15 ft. in thickness) and construction of horizontal
layers of sandstone blocks (panchina) are best inspected outside
the Porta S. Francesco and in the garden of the monastery of
Santa Chiara. One of the ancient gateways is also still in exis-
tence, the *Porta alV Arco, 22 ft. in height. The corbels are adorned
with almost obliterated heads of lions, or guardian deities of the.

VOLTERRA. 4. Route. 19

city , imitated on an urn in the museum which represents the
battle of Thebes. Another gateway, outside the Porta Fiorentina
termed Porta di Diana, has been much altered. Outside the same
gate, below the burying-ground, is situated the ancient Necropolis,
about midway on the slope of the hill, at the place which is now
termed S. Marmi. A number of the curiosities in the museum
were found here, but the tombs have all been reclosed.

The Piscina , outside the fortifications , a reservoir resting on
6 columns, is only accessible by permission from the bishop, and
is reached by means of a long ladder.

The Thermae, near the fountain of S. Felice, are of Roman
origin. Traces of an Amphitheatre near the Porta Fiorentina.

The *Museum in the Palazzo Pubblico in the piazza is the
most interesting object which the town possesses. The hand-
some edifice , begun in 1208 , completed in 1257 , is unfortu-
nately somewhat modernised ; the exterior is adorned with mediae-
val coats of arms.

The museum , established in 1731 , greatly enriched by the collections
of the erudite Mario Guarnacci in 1761 , contains in 10 rooms a valuable
collection of inscriptions, coins, bronzes, statues, vases, etc., and upwards
of 4000 cinerary urns. A few of the latter, 2 — 3 ft. in length are com-
posed of terracotta and sandstone, but most of them of the alabaster of the
environs. On the lid the greatly reduced recumbent effigy of the deceased,
the sides adorned with reliefs ; traces of painting and gilding distinguishable
on some. The collection is admirably calculated to afford an insight into
the customs, faith, and art of this remarkable people. The representations
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 his good and evil deeds, or is accom-
panied by Charon with the hammer. The flowers which are often ob-
served, when half in bloom, denote the youth, when completely opened the
riper age of the departed. Sacrifices and funeral-processions occur fre-
quently, as well as banquets, races, contests of skill, etc. Greek mythology
has supplied an abundant selection of subjects, e g. Ulysses with the Si-
rens and with Circe, the abduction of Helen, death of Clj temnestra, Orestes
and the Furies, the Seven before Thebes , Polynices and Eteocles , GMipus
with the Sphynx , CEdipus slaying his father , Rape of Proserpine. An
austere bias is exhibited in the choice of subjects and in their treatment.
A certain degree of technical perfection has been attained, but the realism
of art has been carried so far that ease and harmony are almost entirely
wanting.

The Sala della Magistratura contains a Library of 13,000 vols.,
ivory carving, diptychs, etc. On the wall the Annunciation, a large
fresco by Orcagna, greatly damaged.

The *Cathedral, consecrated in 1120 by Pope Calixtus II.,
enlarged in 1254 by Nicola Pisano , restored in the 16th cent.,
the facade dating from the 13th cent., is remarkable for the rich
marble decorations and sculptures of the interior. The * Oratorio
di 8. Carlo in the S. transept resembles a complete picture-
gallery, containing works of Luca Signorelli, Leonardo da Pistoja,
Benvenuto da Siena , Filippo Lippi, and Daniele da Volterra.

20 Route 4. VOLTERRA.

The chapel of the Virgin is adorned with a fresco by Benozzo
Gozzoli.

S. Giovanni, in the vicinity , of octagonal form , supposed to
date from the 7th cent. , occupies the site of an ancient temple
of the sun. The entrance - archway and the capitals of the co-
lumns, decorated with animals and birds, as well as the fine arch
of the high -altar, are by Balsimelli da Settignano (16th cent.),
the octagonal font by Andrea di Sansovino (1502), and the cibo-
rium by Mino da Fiesole (1471).

.5. Lino, a church and monastery , founded in 1480 by Raf-
faele Maffei, contains the tomb of that scholar with a recumbent
statue by Silvio da Fiesole.

The churches of S. Francesco, with the Gothic chapel of the
Confraternita della Croce di Giorno of 1315 , S. Agostino, and
S. Michele (of 1285) also contain frescoes and pictures worthy of
inspection.

The Citadel consists of two portions , the Cassero or Rocca
Vecchia , erected on the ancient town- walls in 1343 by Walther
de Brienne, Duke of Athens, and the Rocca Nuova, built by the
Florentines after the capture of the town. At the same time they
constructed the prison II Mastio for the incarceration of political
offenders , into which the mathematician Lorenzo Lorenzini was
thrown as a suspected individual in 1682 by the Grand -duke
Cosmo III. and where he was confined for 11 years. The citadel
has been converted into a house of correction and may be visited
with permission of the Sotto Prefetto.

The Casa Guarnacci, opposite the church of S. Michele, with
its three towers , the oldest dating from the 13th cent. , is an
interesting edifice.

The Casa Ducci bears the Roman epitaph of a boy of 5 years,
probably a member of the family of the poet Persius, who was
born A. D. 34 at Volateme.

In the Casa Ricciarelli , Daniele da Volterra , the celebrated
pupil of Michael Angelo, was born in 1509 (he died at Paris in
1567). The house still belongs to the family of Ricciarelli, who
possess the artist's *Elias.

The alabaster-works of Volterra are celebrated, and afford oc-
cupation to nearly two -thirds of the population. The ordinary
descriptions are found in the vicinity , the more valuable in the
mines of La Castellina, S. of Leghorn. A visit to the work-shops
is interesting , and suitable objects for presents or reminiscences
of Italy may be purchased here far more advantageously than at
Florence or Leghorn.

In the neighbourhood of Volterra , in the valley towards the
E., is situated the Villa Inghirami, with the rocky labyrinth termed
Le Buche de' Sarazini. About 3/4 M. to the N.W. of the town,
between the churches of S. Giusta and La Badia, lies a deep

LA CAVA. 4. Route. 21

ravine which has been comparatively recently formed by the action
of water and continues to increase in extent , termed Le Baize.
Several buildings have already been undermined and destroyed,
and the celebrated abbey of San Salvatore of the order of Camal-
doli is now threatened with the same fate. It was founded in
the 11th cent, and possesses Doric cloisters and several treasures
of art: *St. Romuald by Domenico Ohirlandajo , frescoes by
Volaterra.no, etc.

A pleasant excursion may be made to the copper - mines of La Cava,
near Monte Catini, ll1^ M. from Volterra. The road leads by the eminence
of La Bachetona to Monte Catini on the summit of the Selagite, a mountain
of volcanic origin ; the square tower of the old castle commands an ex-
tensive prospect. The mines have been worked since the loth cent. , and
the operations have been successfully conducted since 1837 by an English
firm (Sloane and Hall). M. Schneider, the director (a German) readily
affords information respecting the extremely interesting geological pecu-
liarities of the locality, and admits visitors to the mines. A red species of
rock, resembling porphyry, here known as gabbro rosso, of which a number
of peaks , such as Monte delV Abete , Poggio alia Croce , and Monte Massi,
consist, has been upheaved at a comparatively recent period through the
surrounding sand and limestone.

The view from "Monte Massi (2028 ft.) or from Poggio alia Croce 0|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, Capraja, and Corsica.

From Le Saline a walk of 3 hrs., by the village of Pomarance, may be
undertaken to the borax -works of Count Lardarello, the Lagoni di Monte
Cerboli, where 300 persons are employed , an establishment of great interest
to experts. In 1856, 4>|2 million lbs. were prepared and exported to England
fnr the use of potteries and glass-manufactories. Count Lardarello possesses
eight other similar establishments , all situated between the sources of the
Cornia and Cecina, a fact which appears to indicate one vast common recep-
tacle of these gaseous emissions.

5. Elba and the Tuscan Islands.

A visit to Elba, strongly recommended to the scientific and admirers
"f the picturesque, is most conveniently accomplished from Leghorn. A
small steamboat (Societa Rubattino k Comp.) runs thence in 7 hrs. to Piom-
bino and Portoferrajo, starting every Sunday at 10 a. m. (fares 13'|2, 9l|2,
or 6 fr.) and returning to Leghorn at 8 a. m. on Mondays. Every Wednes-
day at 8 a. m. to Gorgoua.. Capraja , Portoferrajo , Pianosa , Giglio, and S.
Stefano (the N. harbour of M. Argentario). From Porto S. Stefano Thurs-
days 3. 30 p. m. , and from Portoferrajo Fridays 8 a. m. to Leghorn by
Capraja and Gorgona. Another means of communication is afforded by
the mail-boats which run every morning from Portoferrajo to Piombino
and correspond with a diligence to the Maremme-line , thus shortening the
sea-passage.

Half-an-hour after the harbour of Leghorn has been quitted,
the cliff Meloria comes in sight, near which the Pisans were
defeated in a naval battle by the Genoese in 1283, and thus de-
prived of their supremacy. Farther W. Gorgona, inhabited by
fishermen, sterile, and affording pasture to wild goats only. Be-
tween the latter and Elba lies Capraja ( 'island of goats', so
called by the ancients also) , with 2000 inhabitants , and produ-
cing wine.

22 Route 5. ELBA.

Elba, Lat. llva, Greek /Ethalia, consisting of an imposing
mountain-group, is reached from Piombino in l1^ nr- ^ne Torre
di Giove, situated on the highest point, serves as a landmark to
sailors. The vessel rounds the Capo della Vita and enters the
beautiful bay of Porto Ferrajo , enclosed amphitheatrically by
mountains. The island was celebrated in ancient 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 Piombino , and was
finally presented by the Emp. Charles V. to the Grand- Duke
Cosmo I. of Florence, who in 1548 fortified the harbour of Porto
Ferrajo. As the name of the town indicates, the export of iron
and its manufacture constitute the principal occupation of the in-
habitants (22,000), others of whom are supported by the tunny
and sardine fisheries. Elba has acquired a modern celebrity as
the retreat of Napoleon, after his abdication, from May 5th, 1814,
to Feb. 26th, 1815 , after which he again embarked on his last
and desperate venture. A few days later (March 1st) he landed at
St. Raphael near Fre'jus. The small palace 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 Cosmo
I., and command a view of the bay in front, and of the sea in the
direction of Piombino in the rear. It is now the residence of the
governatore , and contains reminiscences of its former imperial
occupant. The cathedral, theatre, arsenal, etc. of which the island
boasts contain nothing which requires comment. After the fall of
Napoleon in 1815 Elba was restored to Tuscany , in the fortunes
of which it has since then participated. Length of the island
about 18 M., breadth Q1/^ M., area 152 sq. M. ; it contains two
fertile valleys , but lofty and precipitous mountains predominate.
Monte Capanne, the highest point, near the village of Marciana,
is upwards of 3000 ft. in height. The coast towards the main-
land of Italy is less abrupt, and produces wine and fruit of re-
markably fine quality, especially in the environs of Capoliveri,
where an excellent quality of Aleatico is grown. Most of the vil-
lages, e. g. the picturesque stronghold of Porto Longone, founded
by the Spaniards, are situated on the coast. Rio, where the iron-
mines are worked, lies more inland. The yield of ore is still
abundant, and in ancient times formed a source of wealth to the
Etruscans. The strata containing the ore lie on the surface, and
are recognised at a distance by the reddish- black appearance of
the hills.

Between Elba and the mainland are the two small islands of
Palmaiola and Cerboli.

To the S. lies Pianosa, the ancient Planasia , which, as its
name indicates, is perfectly flat, the place of banishment of Agrippa
Posthumus, grandson of Augustus. To him are referred the con-
siderable Roman remains still existing in the island. Farther S.

POGGIBONSI. 6. Route. 23

rises Monte Cristo, consisting of granite - rock , 6 M. in circum-
ference. It contains numerous springs, and the ruins of a monas-
tery destroyed by pirates in the 16th cent. Nearer the coast
is Giglio, Lat. Igilium , containing a village and vestiges of Ro-
man palaces.

6. From Florence to Rome by Siena, Orvieto, and

Viterbo ,

Railway from Florence to Orvieto in 7'|2 hrs., tares 24 fr. 25, 17 fr. 25,
12 fr. 50 c. From Florence to Siena in 3'|2hrs., fares 9 fr. 40, 7 fr. 30. 5 fr.
40 c. ; from Siena to Orvieto in 4 hrs., fares 14 fr. 30, 10 fr, 5, 7 fr. 15 c.
From Orvieto the line (lately opened as far as Baschi, a few miles beyond
Orvieto ; no inn) is in course of construction to Orte (p. 65) on the Tiber,
a station on the line between Borne and Ancona (R. 11). Since the open-
ing of the railway Florence -Foligno- Rome, the former diligence communi-
cation between Rome and Orvieto has been suspended, thus rendering this
route more difficult, although opportunities frequently offer for driving
to Viterbo and thence to Rome. Carriage from Orvieto to Rome 40 fr.,
to Orte via Viterbo 20—25 fr. Unless the traveller has a particular desire
to see Viterbo , it is better to return from Orvieto , either to Florence or
Chiusi , and proceed thence to Perugia (R. 7) ; or he may drive to Poggi-
bonsi and thus reach the Maremme Railway to Rome via, Volterra and
Saline (p. 18).

From Florence to Empoli see p. 9. Passengers to Siena change
carriages here; halt of 23 min.

The line to Siena traverses the fertile valley of the Elsa, on
the r. bank of the stream. To the r. on the height S. Miniato dei
Tedeschi, picturesquely situated, and possessing a lofty mediaeval
tower. Stat. Osteria Bianca, beyond which a fruitful valley is
traversed. Stat. Castel Fiorentino; the town, on the height to
the 1., is the principal place in the Val d'Elsa.

Stat. Certaldo ; the town on the hill to the 1., was the native
place of "the poet Giovanni Boccaccio , who died here , Dec. 1st,
1375, at the age of 62. Until 1783 his tomb was in the church
of S. Michele e Oiacomo (La Canonica); it was erected in 1503
and adorned with a statue of the poet, who held the 'Decame-
rone' in his hand. The monument was subsequently removed and
the bones scattered. The house of Boccaccio was restored in 1823
by the Countess Carlotta Lenzoni- Medici, and fitted up in the
antique style. The remains of his monument were also brought
hither.

Stat. Poggibonsi ; the town (3500 inhab.) lies to the r. From
this point to Volterra in 3 — 4 hrs. (comp. p. 18). Carriage 10 fr.

S. Gimignano, which may be reached in 2 hrs. from Poggibonsi, is an
ancient, loftily-situated town, possessing a number of lofty square towers
and presenting a thoroughly mediaeval aspect, whence its appellation '$. Gi-
mignano delle belle torri'. The * Palazzo Pubblico of the 14th cent, contains
a large fresco by Lippo Mernmi of 1317, restored by Benozzo Gozzoli in 1467;
also several ancient pictures by Taddeo Barloli, Filippino Lippi, etc. Adja-
cent to the latter is the Torre del Comune, the loftiest of the 13 towers
(175 ft.), erected 1298. The largest of the three bells dates from 1328. The
double towers of Ardinghelli are of the 13th cent.

24 Route G. SIENA. From Florence

Of the 36 churches which formerly existed here, the following should
lie noticed:

La Collegiata of the 11th cent., altered in the 15th by Giuliuno da Ma-
jano, contains frescoes (badly preserved) by Bartolo di Fredi of Siena (1356),
Barna di Siena, and Giovanni daAscanio (1380). " Martyrdom of St. Sebastian
by Benozzo Qozzoli (1465). * Chapel of S. Fina with altar by Benedetto da
Majano , frescoes by Dom. Ghirlandajo , pictures by Benozzo Gozzoli , Piero
di Pollajuolo, and <S. Mainardi. Chapels of S. Gimignano, della Purificazione,
della Concezione, all adorned with frescoes; likewise the sacristy and ora-
torium of S. Giovanni.

S. Agostino, erected 1280 , contains frescoes by Benozzo Gozzoli, S. Mai-
nardi and Bartolo Fredi.

S. Girolamo, S. Giacopo (of the 11th cent., church of the Knights
Templar), S. Lorenzo in Ponle, and the church of the monastery of Monte
Oliveto, 3 M. distant, also contain good pictures.

Beyond Poggibonsi the line begins to ascend considerably. To
the r. Staggia with a mediaeval chateau ; farther to the r. the an-
cient and picturesque chateau of Monte Riggioni ; then through
a long tunnel (3 min.).

Siena. :"Albergo Beale (PI. a), formerly Arrne d^Inghilterra;
A qui) a Sera (PI. b), more unpretending, near the cathedral, R. 2 fr. ;
Scala (PI. c); Caffe Greco, by the Casino de' Xobili. — Carriage from
the stat. to the town, one-horse l'ja, two -horse 2 fr. , after sunset 2 and
2i|2 fr. ; smaller articles of luggage free. — When time is limited the tra-
veller may engage one of the ciceroni who offer their services, and some of
whom are well-informed ; fee 2—3 fr. according to circumstances.

Siena, the ancient Sena Julia, or Colonia Julia Senensis, is said to have
been founded by the Senonian Gauls and converted into a Roman colony
by Augustus, whence it derives its arms the lemale-wolf and the twins. Of
Etruscan antiquities there is no trace. The town attained the culminating
point of its prosperity in the middle ages , after at the commencement of
the 12th cent, it had become a free state , and having banished the nobility
had united with the party of the Ghibellini. Farinata degli Uberti and the
Ghibellini from Florence were welcomed in Siena, and on Sept. 4th, 1260,
a great victory over the Guelphs was gained near Monte Aperto (6 M. distant).
The nobility now returned to Siena, but the city kept a jealous watch over
its privileges and increased to such an extent that it numbered 200,1100
inhab. , and vied with Florence in wealth and love of art. At length the
supremacy was usurped by tyrants, such as (about 1500) Pandolfo Petrucci
(whom Macchiavelli represents as a model of a tyrant), by whose aid the
Jledicis of Florence gradually exercised an influence and linally obtained
the sovereignty over the city. During this period , under the Grand-Duke
Cosmo I. , the savage Count of Marignano devastated Siena with fire and
sword, and cruelly massacred the population of the JIaremme, in consequence
of which the malaria obtained so fatal an ascendancy in that district.

The School of Painting of Siena is remarkable for its delicacy and pathos,
pervaded with a deep sentiment of devotion , and is no mean rival of that
of Florence. The most illustrious names of the 13th cent, are Diotisaku,
Guido and Ugolino da Siena, and Duccio di Buoninsegna. The, most celebrat-
ed master was Siinone di Martino, who died in 1344, the friend of Petrarch.
Among his pupils were his brother-in-law Lippo Memmi, Pietro und Ambrogio
Lorenzetti, and Barna di Siena. Somewhat later (15th cent.) Andrea di Vanni,
Taddeo Bartolo, and Jacopo Pacchiarotlo. After a short period of decline in
the 15th cent., Gianantonio Razzi, a contemporary of Raphael, surnamed 11
Sodoma (1480—1549), distinguished himself above bis predecessors. He was
born at Vercelli , was a pupil of Leonardo da Vinci , and subsequently set-
tled in Siena. His works are remarkable for their earnestness and tender-
ness of expression. His contemporaries were Domenico Beccafumi of Siena,
surnamed Meccherino, and Baldassare Peruzzi (1481—1536), especially distin-
guished as an architect.

Eii, »;lf/„,

to Rome. SIENA. (i. Route. 25

Siena, with 23,000 inhab., possesses a university founded in
1203, an archbishop, several libraries and scientific societies, a
thriving trade and manufactories , and is one of the busiest and
most agreeable towns in Tuscany. The climate is healthy, the
atmosphere in summer being tempered by the lofty situation ;
the language and manners of the inhabitants pleasing and pre-
possessing. The pronunciation of Italian is here purer and less
guttural than in Florence. The town is situated on undulating
ground ; the streets are for the most part narrow and crooked,
but contain a considerable number of palaces and handsome chur-
ches, in the architecture of which fas is rarely the case in Italy)
the Gothic style predominates.

The handsome *Piazza Vittorio Emanuele. formerly named del
Oimpo from some verses of Dante (Purgat. 11, 134), forms the
central point of the town. Its form is that of an elongated semi-
circle, in some degree resembling an ancient theatre. Here the
popular assemblies and festivals of the ancient republic took place.
Horse-races are still annually held here (II Palio) on Aug. 15th.

On the diameter of the semicircle of the piazza stands the

* Palazzo Pubblico (PI. 17), or Town-Hall, erected in 1293—1309
from designs by the Sienese architects Agostino and Agnolo. In
front of it is a small chapel of the Virgin (Cap. di Piazza) with
damaged frescoes by Sodoma, built after the cessation of the great
plague of 1348 which is said to have carried off 80,000 persons.
The frescoes in the interior of the palace merit inspection (custo-
dian 1/2 — 1 fr.). The beautiful chapel is adorned with frescoes
from the life of the Virgin by Taddeo di Bartolo; the *altar-piece
a Holy Family by Sodoma. The beautifully carved choir-stalls are
by Dornenico di Niceolb (1429). The contiguous vestibule contains
a iresco by Taddeo di Bartolo, in which are represented in quaint
juxtaposition St. Christopher, Judas Maccabsus , and six states-
men of the Roman republic. Here is the entrance to the Sala
del gran Consiglio, or delle Balestre, which contains large frescoes :

* Madonna and Child under a canopy borne by saints, by Simone
di Martina (1315); opposite *S. Ansano, *S. Victor, and B. Ber-
nardo by Sodoma. The Sala dei Priori with * Events in the life
oi the Emp. Frederick I. and of Pope Alexander III. by Spinello
Aretino , and a Madonna by Matteo da Siena (14S4). The Sala
del f'oncistoro is adorned with ceiling-paintings by Beccafumi from
Roman history , and with portraits of 8 popes and 39 cardinals
who were natives of Siena. The Sala dei Nove or della Pace is
decorated with frescoes by Ambrogio Lorenzetti (1337), represent-
ing 'good and bad government'. In the Sala del Sindaco is a
*fresco by Sodoma, the Resurrection. Above the palace rises the
tower, della Mangia, begun in 1325, finished after 1545, which
commands an extensive panorama (fee V2 fr0-

The *Fonte Gaja, a fountain adorned with bas-reliefs in marble

26 Route 6. SIENA. From Florence

(damaged) of subjects from the Scriptures , executed by Jacopo
della Querela, who is therefore surnamed delta Fonte, has been
conveyed to a place of safety, and a copy by Sarrochi erected on
the same spot. A subterranean conduit conveys hither the most
excellent water, the merits of which were extolled by Charles V.,
from a distance of 18 M.

From the Piazza the visitor ascends to the cathedral , passing
the Loggia di S. Paolo, the hall for the sessions of the commercial
tribunal, erected in 1417 , now Casino de' Nobili. To the r. in
the cathedral-square is a royal palace, to the 1. the archiepiscopal
palace ; opposite to the cathedral is a hospital , the Spedale di
S. Maria della Scala. founded in 832.

The **Cathedral, occupying the most elevated position in the
town, commenced in the 11th cent., stands on the site of the
older church of S. Maria Assunta , which is said to have super-
seded an ancient temple of Minerva. In 1339 it was intended to
erect a much more extensive edifice, of which the present cathe-
dral was to have been the transept; but after the plague of 1348
the design was abandoned, and (1355) the present structure erect-
ed. The *Facade, constructed in 1270 — 1380, a combination of
the pointed and circular styles, is adorned with red, white, and
black marble, and numerous sculptures representing prophets and
angels by Jacopo della Querela of Siena (1368 — 1442). The cam-
panile was erected by Bisdomini.

The interior contains clustered columns with beautiful capitals; at the
extremities "' circular windows. Above the arches of the nave are placed the
busts of the popes down to Alexander III. in terracotta. Two large co-
lumns at" the door (of 1483) support a graceful tribune, with 4 bas-reliefs:
Annunciation, Nuptials, Exaltation, and Assumption of the Virgin. One of
the basins for the consecrated water was executed by Jacopo della Quercia.
The dome is an irregular hexagon, with small columns. The "pavement is
unique: dark grey marble inlaid on white, shaded with lines, with repre-
sentations from the Old Testament : Moses, Samson, Judas Maccabseus, So-
lomon, Joshua by Buccio; the sacrifice of Isaac, Adam and Eve, Moses on
Mt. Sinai, etc. by Beccafumi ; the emblems of Siena and the towns allied
with it, Hermes Trismegistus, Socrates and Crates, the Sibyls, etc. by less
celebrated masters. (Some of these are covered by boards which the visi-
tor may cause to be removed.) The choir contains beautiful 'carving from
designs by Bartolo Negroni , named Riccio , completed in 1569 , and inlaid
work (tarsia) by Fro, Giovanni da Verona. A '-tabernacle in bronze by Lo-
renzo da Pietro (1472); octagonal ' pulpit; reading-desk of white marble by
Nicola Pisano, his son Giovanni, and his pupils Arnolfo and Lapo (1266). By
the columns of the dome are two poles of the flag-waggon (carroccio) of the
Florentines, captured at Montaperto in 1260, and on an altar near them the
crucifix which the Sienese carried with them on that occasion. The two
chapels in front of the entrance to the choir contain the two halves of a
" picture by Buccio di Buoninsegna : in the chapel of the Eucharist the life
of the Saviour in 27 sections , and (in the chapel of S. Ansano) the Ma-
donna and Child with saints, of the year 1311. For this work the artist
received the sum of 3000 ducats. In the chapel of St. John a * statue of
the saint by Bonatello, and font by Jacopo della Quercia. The 5 small fres-
coes are by Pinturicchio.

In the 1. aisle is the entrance to the -Library (libreria), formerly Sala

to Rome. fSIENA. 6. Route. 27

Piccolominea, erected (1495) by order of Card. Francesco Piccolomini, after-
wards Pope Pius III., and (1502—1506) adorned with ten -frescoes by Ber-
nardino di Betto of Perugia , surnamed Pinturicchio , a fellow-pupil of Ra-
phael under Pietro Perugino , representing scenes from the life of the cele-
brated sEneas Sylvius Piccolomini of Siena (or Pienza), born 1405, subsequently
Pope Pius II. (1458—1464). In the interior another fresco of the coronation
of his nephew Pius III. (1503), who reigned 27 days only. Raphael is said
to have assisted in the execution of these frescoes , but apparently only in
the drawings and cartoons ; the colouring is admirably preserved, especially
in that to the r. by the window, representing the journey of ^Eneas Sylvius
to the Council of Bale with Cardinal Capranica. On the ceiling mythological
representations.

The 29 choir-books contain beautiful * miniatures by Ansano di Pietro,
Liberate di Verona , Girolamo di Cremona, etc. A few modern monuments,
as that of Giulio Bianchi by Tenera.ni, and the anatomist Mascagni (b. 1752
near Siena, d. 1815 at Florence), by Ricci.

To the 1. of the door the monument of Bandino Bandini , with Christ
and angels after the resurrection, an early work of Michael Angela. Farther
1. the !: Altar dedicated to the Piccolomini family with statues of SS. Peter,
Pius , Gregory , and James (?| by Michael Angelo. St. Francis , begun by
Torrigiani, completed by Michael Angelo.

In the r. transept the Chapel of the Chigi , erected by Alexander VII.
(Fabio Chigi of Siena , in 1648 papal nuncio at the conclusion of the Peace
of Miinster, Pope 1665 — 67), sumptuously decorated with lapis lazuli,
marble and gold, and statues of S. Jerome and Mary Magdalene (said origi-
nally to have represented Andromeda) by Giov. Bernini of Naples (1598 —
1680).

In the rear of the cathedral and beneath the choir is the an-
cient Baptistery , now the church of St. John the Baptist, with
Gothic * facade and beautiful brazen *font, with sculptures by
Lorenzo Ghiberti, Donatello. and Jacopo delta Quercia; and frescoes
of the 15th cent.

Opposite the facade of the cathedral is the * Pellegrinajo. a
hospital with the church of S. Maria della Scala. On the 1. of
the beautiful entrance hall is a *room with frescoes by Dom.
Bartoli (1440—1443) and other masters (fee i/2 ft-)

iS. Agostino was completed by Vanvitelli in 1755. 2nd altar
r., * Crucifixion, by Pietro Perugino; chap, r., * Slaughter of the
Innocents, by Matteo da Siena, and a statue of Pius II. by Dupre ;
altar-piece, *Adoration of the Magi, by Sodoma.

S. Domenico (1220—1465), in .the nave r. *chapel of S. Ca-
therine of Siena with frescoes by Sodoma. Altar-piece, 1. Legend
of the Stigmata, r. Vision of the Saints: 1. wall, execution of an
infidel. Last altar r., *Adoration of the shepherds by L. Signo-
relli. 2nd chap. 1. of the high-altar, Madonna by Ouido da Siena
(1221?). 2nd chap. r. Madonna by Matteo da Siena (1478).

S Carmine (S. Niccolb), a beautiful brick-structure, with tower
and cloisters by Baldassare Peruzzi, now a barrack.

S. Coneezione (dei Servi) : 4th altar r. , Slaughter of the
Innocents, by Matteo da Siena. Behind the high-altar: Madonna
by Giov. di Pietro (1436).

S. Francesco, completed 1236, now dilapidated and despoiled
of most of the pictures. 2nd chap. 1. of the high-altar two
frescoes by Lorenzetti, formerly in the refectory. Adjacent is the

28 6. Route SIENA. From Florence

* Confraternith di S. Bernardino. (Keys to be had of the
bastiere Giuseppe Fineschi, saddler, in the Piaggio di Provenzano,
fee J fr.) On the 1st floor, oratory with frescoes: *Mary visiting
the temple ; *Annunciation, Visitation, *Assumption, and Corona-
tion of the Virgin by Sodoma ; the others by Pacchiarotto and
Beccafumi.

Confraternith di Fonteyiusta (1482) with a fresco by B. Peruzzi:
Sibyl announcing to Augustus the Nativity of Christ.

S. Spirito, facade by Bald. Peruzzi (1519). 1. chap, r., altar-
wall with frescoes by Sodoma; in the cloisters the Crucifixion, a
fresco by Fra Bartolommeo (Vo fr.).

Two Oratories in the * House of St. Catharine of Siena, daugh-
ter of a dyer and fuller (in fullonica) deserve special mention.
Born in 1347 , a nun at the age of 8, and celebrated for the
visions and inspiration alleged to have been vouchsafed to her,
she prevailed on Pope Gregory XI. to re-transfer the papal throne
from Avignon (1377) to Rome. She died in 1380, and was cano-
nised in 1461. The lower oratory contains pictures from the life
of the saint, by Sodoma, Pacchiarotto, and Salimbeni. The upper
contains the miraculous crucifix, a work of Giunta da -Pi'sa(v), from
which Catherine , according to the legend , received her wounds.
The floor here is beautifully inlaid (J/2 fr- )•

The Istituto delle Belle Arti (PI. 9, in the Via della Miseri-
ccT'iia near S. Domenico) contains a valuable collection of pic-
tures, principally of the older Sienese school, formed at the com-
mencement of the present century from the works of art procured
from suppressed monasteries and from the Palazzo Pubblico, and
subsequently enlarged. Admission gratis, 9 — 3 o'clock daily, ex-
cept on holidays , when access may be obtained for a gratuity.
The interest attaching to this collection is especially of a histo-
rical nature.

At the entrance reliefs of little value. The first section contains pic-
tures of the old school of Siena. 1 — 5. in the Byzantine style; 6. Madonna,
tiy Guido da Siena. The following unknown. 18. S. Francis , by Margari-
tone d'Arezzo; 20 and 21. Chamberlains of Siena , Diotisalvi Petroni (1264);
2l. Madonna with 4 saints, Duccio di Buoninsegna; 43. Madonna with 4
saints. Sim-one di Martina (V); 4S— 52. hv Arnbrogio Lorenzetti (49. Annun-
ciation, 1344); 54, 56— 63. by Pietro Lorenzetti (about 1330); 70. Crucifix,
Nir.old di Segna (1345); -94. Madonna, Lippo Memmi. — 113. Madonna, Mino
del Pelliciaio (1362); ia.V-136. by Taddeo di Bartolo (1409) ; 139—144. by Gio-
vanni di Paolo (1445); 145. 8. Bernardino, Pietro di Giovanni; 146—153. by
Sano di Pietro (1479); 160. Madonna and Saints, Neroccio di Bart. Lanii
(1476); 175—179. by Maiteo da Siena (1470); 209. Madonna appearing to Ca-
lixtus III., Sano di Pietro; "211. Christ about to be scourged, al fresco,
from the cloisters of S. Francesco, by Sodoma; 224 and 225. two frescoes
with beautiful frames (JEneas departing from Troy, Liberation of captives),
Luna Signorelli; 245 and 246. Death and Coronation of the Virgin, Spinelto
Aretino (1384); 302. Nativity, Francesco di Giorgio. — In the centre of the
following large saloon the celebrated marble-group of the "Three Graces, of
Greek workmanship, found in the 13th cent, at the foundation of the ca-
thedral. "336. Descent from the Cross, Sodoma; "333, 334. Christ on the
Mt. of Olives and in Paradise , frescoes by Sodoma ; 347. Madonna Becca-

to Rome. SIENA. 6. Route. 29

fumi; 346. Judith, Sodoma; 358. Fall of the angels, Beccafumi. — The
following apartment contains upwards of i'JO pictures of different schools,
among which: 26. Copy of Raphael's Madonna della Perla (at Madrid);
36. Five morra-players, Caravaggio ; 39. Portrait. Morone ; 45. Holy Family,
Pinturicchio ; :::53. Portrait, Schongauer (7); 54. Portrait of Charles V.,
German School; 63. St. Catharine of Siena with the wounds, Beccafumi;
71. Same, by Sodoma; 73. Portrait, German School; 85 — 87. "Nativity, So-
doma; 91. St. Catharine, Fra Bartolommeo ; 99. Mary Magdalene, same
master \ 103. Brazen Serpent, Paliiia Giovine ; 105, 106. Pietas and Madonna,
Sodoma. — The large saloon of the casts of ancient statues contains the
seven original cartoons of Beccafumi from the history of Moses, executed in
mosaic on the pavement of the cathedral. Here , too , are specimens of
wood-carving , an art in which Siena surpassed all the towns of Italy. In
the 15th and 16th centuries the family of Barili excelled in the art ■, at the
present day the workshop of Giusti , near the monastery of S. Domenico,
merits a visit.

The Palaces of Siena are more interesting on account of their
architecture than their collections of objects of art. Most of them
were designed by the architects Agostino and Agnolo (about 1300).

The *Palazzo del Magnifico (PI. 14), near the cathedral, was
erected in 1504 for the tyrant Pandolfo Petrucci , surnamed il
Magnifico; decorations in bronze on the exterior by Cozzarelli and
Mazzini. Palazzo Saracini (PI. 19). Palazzo Buonsignori (PI. 12),
in the Gothic style , with facade of brick. Palazzo Piccolomini
(PI. 15), with two halls painted by Bernard van Orley , who
abandoned the school of Van Eyck for that of Raphael. Palazzo
Piccolomini, now del Governo, with handsome loggia, begun in
1469, with the inscription : 'Gentilibus Suis', i. e. for his relations.
In 1859 the great Archives (Director Cav. Bianchi) were placed
here. They form one of the largest collections in Italy, and con-
sist of 30,000 parchment documents dating from 814 downwards.
Interesting specimens of records, the hand-writings of celebrated
men, miniatures, etc. are arranged in glass-cases. Palazzo Pollini,
ascribed to Peruzzi . with frescoes by Sodoma : Susanna, Scipio,
Burning of Troy, Judgment of Paris. Palazzo Tolomei , erected
by Tozzo in 1205.

The Fonte Fullonica, near the Palazzo Piccolomini, was erected
in 1249.

The early-Gothic Fonte Branda (PL 8). at the S. W. base of
the hill of S. Domenico, dating from 1198, was praised by Dante
(Inferno 30, 78), and after it the nearest gate is named.

The University (PI. 22) is in the Via Ricasoli, not far from
the Piazza ; in the vestibule is the monument of the celebrated
jurist Niccolb Aringhieri (1374), with a bas-relief representing the
professor in the midst of his audience.

The Library (PI. 6), in the spacious hall of the Accademia
degli Intronati, is reputed the most ancient in Europe (in the
17th cent. Siena possessed 16, and in 1654 even one for women),
and contains 40,000 vols, and 5000 MSS.; among the latter the
* Greek Gospels, formerly in the chapel of the imperial palace at
Constantinople, of the 9th cent., magnificently bound with work-

30 Route 6. ASCIANO. From Florence

manship in silver ; * Treatise on architecture by Francesco di Gior-
gio, with sketches and drawings by the author; Sketch-books of
Baldassare Peruzzi and Giuliano da Sangallo.

The Citadel, constructed by the Grand-Duke Cosmo I. , rises
at the N. extremity of the town, contiguous to La Lizza, the fa-
vourite promenade of the inhabitants , and occupies the site of
a fortress founded by Charles V. in 1551.

Near Siena is the Franciscan Monastery U Osservanza, erected
in 1423, where Pandolfo Petrucci, who died in 1512, is interred.

From Siena a pleasant excursion may be made to the neighbouring
castle Bel Caro (carr. 1 fr.), whence there is a splendid view of Siena and
the surrounding country. On the ground-floor a frescoed ceiling, Judgment
of Paris , by B. Peruzzi . who also painted the chapel , now undergoing
restoration.

The train backs out of the station and is transferred to an-
other line of rails, on which it passes Siena on the N. side. It
now traverses the hills which form the watershed between the
Ombrone and the valley of the Chiana, and passes through 6 tun-
nels. This district is one of the bleakest in Italy; grotesquely
shaped hills of sand, barren and rugged mountains, interesting to
the palaeontologist alone.

Stat. Asciano is reached; village to the r., l1/^ M. from the
railway, with several beautiful churches.

A railway is in course of construction from this point to Grosseto (p. 16),
the capital of the Jlaremme . and is now open as far as the second stat.
Torrenieri (18>|2 31., one-third of the entire distance). This line is of little
importance to the ordinary traveller except from the fact, that the first sta-
tion (two trains daily, fares 1 fr. 35 c, 1 fr., 75 c.) S. Giovanni cTAsso (Stella
d'Oriente, tolerable) is only half an hour's walk (to save time a guide had
better be taken ; one-horse carr. also procurable) from the Benedictine mon-
astery, now dissolved, of Monte Oliveto Maggiore near Chiusure, with cele-
brated " frescoes by Luca Siynorelli and Sodoma. Entrance to the mon-
astery-court to the r. of the church. The r. wall, except the first picture
(by Sodoma) and the last (by Riccio), is painted by L. Signorelli, the other
three by Sodoma, of whom this is the earliest-known and perhaps most im-
portant work. The scenes commence, on the wall opposite that painted
by Signorelli , with the departure of S. Benedict from his father's house.
— This line, when completed, will enable the traveller conveniently to com-
bine a visit to Siena with the direct route to Rome through the Maremme.

Stat. Rapolano, reached in 10 min.; the village (on the r.)
possesses baths which are frequently visited in July and August.

The country becomes more attractive; several villages on the
hills to the 1. Then stat. Lucignano ; the mediaeval village lies on
the hill to the 1. The higher cultivation of the soil indicates the
proximity of the charming valley of the Chiana. To the 1. in the
distance the chain of the Apennines is visible above Cortona.

Stat. Sinalunga or Asinalung a ; village on the r., where Gari-
baldi was taken prisoner on his march to Rome, Sept. 24th, 1867.

From this point the traveller may proceed in 3 hrs. through the luxu-
riant Valley of the Chiana to Cortona, and thence by the Trasimene Lake to

to Rome. CHIUSI. <S. Route. 31

Perugia (see p. 49). This route is far more attractive than that by Chiusi;
a visit to Cortona is also extremely interesting. One day more , however,
is necessary [quarters for the night at Camuscia (p. 46), or Cortona] to visit
the extensive and well-conducted farms (fattorie) oiBettole, Foiano, Crete, etc.,
which are situated on this route.

Stat. Torrita, beyond which the lofty Monte Pulciano is visible
to the i. Stat. Salarco.

From Salarco the picturesque town (2000 inhab.) of Monte Pulciano,
with mediaeval walls, may be reached in 1>|j hr. The principal church, S.
Biagio, was erected by Sangallo ; the Palazzo Buccelli contains Etruscan and
Roman antiquities. The full-bodied wine produced here enjoys a high re-
putation. Here in 1454 the erudite Angelus Politianus was born , the con-
fidant of Lorenzo the Magnificent and preceptor of his children (d. at Flo-
rence 1494). — About lO1^ M. from M. Pulciano is situated Pienza , birth-
place of Pope Pius II. (./Eneas Sylvius Piccolomini) and his nephew Pius III.,
who embellished the town with sumptuous edifices, e. g. the extensive Pa-
lazzo Piccolomini.

To the r. the Monti di Cetona become visible , with which
M. Amiata (5300 ft. J, the highest point of the Tuscan Apennines
is connected. To the 1. extends the long Lake of Monte Pulciano;
beyond , and connected with it by a canal , the similar Lake of
Chiusi. The exhalations from these lakes render the neighbour-
hood unhealthy in summer.

Stat. Chiusi , town on the height to the r. Carriage (V4 hr. J
1 fr. for 1 pers. ; to the r. of the road are the small catacombs
of S. Caterina, to the 1. a Roman tomb.

Chiusi (Leon d'Oro, no fixed charges ; landlord offers Etruscan
relics for sale at exorbitant prices. Travellers are cautioned
against making such purchases at Chiusi. where the manufacture
of spurious 'antiquities' is much in vogue), the ancient Clusium,
one of the 12 Etruscan capitals , frequently mentioned in the
wars against Rome , and as the headquarters of Porsenna. The
town was fearfully devastated by the malaria in the middle ages,
and now scarcely numbers 3000 inhab. The walls are mediaeval;
a few relics of those of the Etruscan period may be disting-
uished near the cathedral, outside the Porta delle Torri. A walk
thence round the town to the Porta Romana affords pleasing
views of the S. portion of the Chiana Valley, Citta della Pieve,
the mountains of Cetona, to the N. the lakes of Chiusi and Monte-
pulciano, and the latter town itself.

Beneath the town is a labyrinth of subterranean passages, the
object of which has not yet been precisely ascertained. The
Etruscan tombs in the vicinity have yielded a rich spoil, con-
sisting of vases , bronzes , mirrors , sarcophagi , and especially of
cinerary urns, most of them of terracotta, a few of alabaster and
travertine. The Bishop , Msgr. Ciofl and Sgr. Mazetti possess
valuable collections of these objects.

The Cathedral (8. Mustiola) consists almost entirely of frag-
ments of ancient structures ; the 18 columns of unequal thickness
in the interior, and the tomb of S. Mustiola are derived from a

32 Route S. ORVIETO. From Florence

similar source. The walls of the arcades in the cathedral-square
hear numerous Etruscan and Roman inscriptions.

The Etruscan Tombs are numerous ; four of the largest com-
pete for the honour (probably without reason) of being the Mau-
soleum of Porsenna mentioned by Pliny and Varro. The tombs,
situated in isolated mounds, are generally closed. As they are
scattered and at some distance from the town , the visitor may
consult the guide (Zeppotoni can be recommended, 3 — 4 fr. per
diem) respecting the time to be devoted to each. The most in-
teresting are: the Deposito del Poggio Gajelli, 3 M. to the N. E.
of the town, much damaged; Deposito del Granduca, 2lji M.,
and Deposito della Scimia, 3/4 M. to the N. E.; Deposito de' Dei,
21/i M. (now filled up), and Deposito dei Monachi, l^M. to the
N. W. ; * Deposito del Colle , with mural paintings. The Tombs
of the Early Christians (near S. Caterina and S. Mustiola) may
be glanced at in passing (the custodian must be summoned
beforehand).

From Chiusi to Perugia, see R. 7.

The Railway proceeds through the Chiana Valley to stat.
Carnaiola or Ficulle ; village 3 M. distant , on the hill to the 1.
The line next follows the valley of the Paglia, an impetuous
tributary of the Tiber, which in rainy seasons frequently occasions
great damage. The formation here consists of tertiary sandstone,
whilst at Orvieto the volcanic district begins, of which the central
point is the lake of Bolsena (p. 34).

The station lies at the base of the hill occupied by Orvieto.
The corriere starts hence after the arrival of the 3 p. m. train.
A long and winding road (omnibus 1 fr.) ascends to

Orvieto (the principal hotel delle Belle Arti, formerly much
complained of, is now improved; Aquila Bianca, unpretending;
the Caffetiere Agostino lets comfortable apartments ; bargaining
as usual) , situated on an isolated tufa rock , 765 ft. above the
Paglia, 1327 ft. above the sea-level, the Urbibentum of Proco-
pius , termed Urbs Vetus in the 8th cent. , whence its name.
In the middle ages it was a stronghold of the Guelphs which
often afforded an asylum to the popes, and is now a small town
and episcopal residence.

The * * Cathedral . one of the most magnificent specimens of
Italian Gothic, consists, like those of Florence and Siena, of alter-
nate blocks of black and white marble ; the facade richly decorated
with mosaic and sculptures, the interior with frescoes and statuary
of the 16th cent. Founded in consequence of the 'miracle of
Bolsena' (cornp. p. 35), the edifice was begun in 1290 by Lorenzo
Maitani, and continued till the end of the 16th cent. Pope Nicho-
las IV. laid the first stone. The *Facade is said to be the
largest and most gorgeous 'polychromatic' structure in existence.
The lower portions of the pillars are adorned with * bas-reliefs by

to Rome. ORVIETO. 6. Route. 33

Giovanni Pisano , Arnolfo , and other pupils of Nicola Pisano,
representing Scripture scenes: 1st pillar 1., from the creation
down to Tubalcain; 2nd, Abraham, genealogy of the Virgin; 3rd,
history of Christ and Mary; 4th , Last Judgment with Paradise
and Hell; above are the bronze emblems of the -1- Evangelists.
Above the principal portal a Madonna under a canopy, in bronze.
Above the doors and in the three pointed pediments are modern
* mosaics on a golden ground: Annunciation, Nuptials of the
Virgin, Baptism of Christ, Coronation of the Virgin.

The interior, of black basalt and greyish - yellow limestone (from quar-
ries in the vicinity), is in the form of a Latin cross, 295 ft. Ions;, 109 ft.
broad and 122 ft. high. The windows pointed, upper parts filled with stained
glass. The nave is separated from the aisles by 6 arches supported by columns
liti ft. in height, above which is a gallery adorned with rich carving. The
framework of the roof is visible, and was formerly richly ornamented.
At the sides of the principal entrance, r. St. Sebastian by Scalza, 1. St.
Pellegrino. Immediately to the 1. a fresco of the "Madonna and St. Cathe-
rine, by Gentile da Fabriano. Before this stands a marble "font, the lower
part by Luca di Giovanni (1390), the upper by Sano di Matteo (1407). In
front of the columns the statues of the 12 Apostles, by Mosca, Scalza, Toli,
Giovanni da Bologna, and other masters. On the high altar the *Annnni'.iata
and Archangel , by Mocchi. In the choir frescoes from the life of the Vir-
gin by Ugolino d'jlario and Pielro di Fuccio; the tarsia (inlaid wood-work)
in the choir by artists of Siena of the 14th cent.; altars on either side willi
-reliefs in marble: 1. Visitation of Mary , executed by Moschino when 15
years of age, from designs by Sammic/teli of Verona; r. Adoration of the
Magi, by Mosca.

In the r. aisle the Chapel of Ike Madonna di S. Briiio , with a miracu-
lous image of the Virgin and a Piefa by Jppolilo Scalza. The 'Frescoes
here, by Luca Signorelli and Fra Angclico da Fiesole, are celebrated. On the
ceiling: Christ as Judge, and prophets, by Fra Angclico; apostles, 'signa ju-
dicii', patriarchs and doctors, virgins and martyrs, by Luca Signorelli, partly
from tin; drawings of Fiesole. The pictures on the walls are entirely by
Signorelli. On the wall of the entrance: Announcement of the end of the
world by Sibyls and prophets, rain of fire; on the window-wall: Summons
to Judgment, archangels beneath. On the 1. : Arrival of Antichrist (in the
corner portraits of Luca Signorelli and Fra Angclico) and Paradise; r. Last
Judgment and Hull. (These admirable frescoes of Signorelli bear no mean
comparison with those of Michael Angelo in the Sixtine chapel at Rome.)
Iteneath these pictures are.: r. the portraits of Cicero, Ovid, and Horace, 1.
Seneca, Oante , and Virgil, surrounded by medallions representing scenes
from their works. On the r. wall , in a niche behind the Pi eta of Scalza :
-Entombment of Christ by Signorelli. Opposite, in the R. aisle, is the
Cappella del Corjierali , containing the large silver shrine (400 lbs. in weight)
by Cgoiino di Vieri of Siena, with brilliant enamel representing the Passion and
Easter Sunday. Modernised frescoes representing the 'Miracle of Bolsena'
(p. 35), by Ugolino. Altar 1., Madonna by Filippo Memmi.

Opposite the cathedral , No. 30 , the * Opera del Dwomo (if
closed apply to the sacristan of the cathedral). In a room on the
first story are preserved: * Designs for the facade of the cathedral
and a pulpit (which was never completed) on parchment; a beauti-
fully carved reading-desk; a precious *Reliquary by Ugolino du
Siena; a * Magdalene by L. Signorelli (1504); two specimen-
frescoes by Signorelli, portraits, one of himself.

S. Giovenale (if closed, visitors knock at the door r. of the
facade, whence access can be obtained to the older church at the

B/uiiKKEK. Italy II. 3rd Edition. 3

34 Route 0. BOI.SENA From Florence

back), a basilica with nave and two aisles, open roof, and remains
of old paintings (1312 and 1399).

S. Domenico contains (in the r. transept) the monument of
Cardinal di Brago, by Arnolfo (1282).

Near the dilapidated Fortress a celebrated fountain, * 11 Pozzo
di S. Palrizio, begun in 1527 by Sang alio , completed in 1[>40
by Mosca, partly hewn in the tufa rock, partly consisting of
masonry. Visitors descend by a flight of 250 steps, and quit it
by another of the same height (fee i/2 — 1 fr.). Near the fountain
a fine view is obtained of the valley of the Tiber and the
Umbrian Mts. The Palazzo Comunale and several towers have a
mediaeval aspect.

A short distance beyond Orvieto the former frontier of the
States of the Church is crossed. The main -road from Orvieto
to Montefiascone (l81/2 M.) traverses a somewhat dreary district
on the E. side of the Lake of Bolsena, which is partly con-
cealed from view by the surrounding crater-wall.

About 14 M. from Orvieto a road to the 1. leads to (4% M.)
Bagnorea , situated on a hill surrounded by ravines , the ancient
Balneum Regis. The modern village is connected by a narrow
strip of land with the older Civita , which, owing to the gradual
erosion of the earth, is threatened with slow but certain destruction.
The situation of the village is strikingly peculiar and picturesque,
and especially interesting to geologists.

A far more interesting route than the above-mentioned is that
by Bolsena , about 2'/^) M. longer. From the mainroad the tra-
veller diverges to the r. and descends to the lake, the vast crater
of an extinct volcano which formed the central point of a wide
sphere of volcanic agency extending as far as Orvieto.

The Lake of Bolsena, the ancient Lacus Vulsiniensis, 910 ft.
above the sea-level , is 28 M. in circumference , and abounds in
fish (its eels are mentioned by Dante, Purg. 24, 24). Its form is
circular, and the banks, especially towards the W., are bleak and
deserted, owing to the malaria, which, confined in the basin of the
lake, is not easily dispelled by the wind. The monotony of the
surface is relieved by the two picturesque islands, Bisentina and
the rocky Martana. On the latter Amalasuntha, Queen of the
Goths, 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 (formerly a monastery, now
private property) was erected by the Farnese family and em-
bellished by the Caracci. It contains the relics of St. Christina,
a native of Bolsena.

Bolsena (Hotel in the Piazza) is a small town situated below
the Roman Volsinii (birthplace of Sejanus , the favourite of Ti-
berius), of which fragments of walls, columns etc are still seen.

to Rome. MONTKFIASCONK G. Route. 35

It was one of the 12 capitals of the Etruscan League, and after
various vicissitudes was at length conquered and destroyed by the
Romans. The spoil is said to have comprised 2000 statues. Its
wealth has been proved by the discovery, in the vicinity, of nu-
merous vases, trinkets, statues, etc., among the latter the statue
of an orator, termed 'l'Arringatore', now in the museum at Florence.
The present town contains inscriptions , columns , and sculptures
of the Roman municipiiim which superseded the pjtruscan city.
The ancient site is reached in a few minutes by an antique cause-
way of basalt. Among the ruiiis is an amphitheatre, worthy of
special attention, now converted into a vegetable-garden. Beauti-
ful views of the lake.

The triple church of S. Cristina possesses a facade embellished
with bas-reliefs from an ancient temple , and a sarcophagus with
the triumph of Bacchus.

The 'Miracle of Bolsena', the subject of a celebrated picture by Raphael
in the Vatican , occurred in 1263. A Bohemian priest , who entertained
doubts respecting transubstantiation , was convinced of the truth of that
doctrine by the miraculous appearance of drops of blood on the host which
he had just consecrated. In commemoration of this, Pope Urban IV., then
present in Orvieto, instituted the festival of Corpus Christi.

From Bolsena the road ascends on the bank of the lake through
woods to (6 M.)

Montefiascone (Aquila Nera, outside the gate) , a town with
2600 inhab. , situated 1800 ft. above the sea-level. The un-
completed cathedral of S. Margareta , with octagonal dome , was
one of the earliest works of Sammieheli. Near the gate , on the
road to Viterbo, is *S. Flaviano, a structure of 1030, restored by
Urban IV. in 1262 , in the Gothic combined with the circular
style. In the subterranean chapel the *tomb of the Canon Jo-
hannes Fugger of Augsburg, with the inscription :

Est, Est, Est. Propter nimium est,
Johannes de Fuc, D. mens, morluus est.

It is recorded of this ecclesiastic that, when on a journey, he
directed his valet to precede him and to inscribe the words
'Est, Est' on the doors of the taverns where the wine was of a
superior quality. The good canon relished the produce of Monte-
fiascone so highly that he never got any farther. The best mus-
catel of the district is still known as Est Est , and may be pro-
cured for 1 fr. per flask.

The traveller should not omit to ascend into the town for the
sake of the magnificent view : N. the lake of Bolsena as far as
the chain of M. Amiata , E. the IJmbrian Apennines, S. as far
as the Ciminian forest, W. as far as the sea. The extensive
plain of ancient Etruria with its numerous villages may be sur-
veyed from this point ; the conjecture that the celebrated Fanum

36 Route 6. VITERBO. From Florence

Voltumnae, the most sacred shrine of the Etrurians , stood here,
has much in its favour.

The old high -road from Siena to Rome, little used since the construc-
tion of the railway to Orvieto, leads by Torrenieri , Radicofani , Acquapen-
dente, S.Lorenzo, Bolsena, and Montefiascone, where it unites with that above
described. From Siena to Montefiascone is a distance of 84 M. Monte
Amiaia is sometimes ascended from Radicofani. Acquapendenle was for-
merly the papal frontier -town. The route is picturesque, but in other re-
spects uninteresting.

From Montefiascone to (14 M.) Viterbo the road traverses the
somewhat bleak and unattractive plain between the Ciminian
Forest and the Lake of Bolsena. Midway, near the Osteria della
Fontanella , a portion of the ancient Via Cassia lies to the r.
About 2iJ2 M. farther, '/4M, to the 1. of the road, are situated
the ruins of Ferento, the Etruscan Ferentinum , birthplace of the
Emperor Otho. In the 11th cent, it was destroyed by the in-
habitants of Viterbo on account of its heretical tendencies, for the
Ferentines 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 mediae-
val, Roman, and Etruscan remains, a Theatre of a peculiar and
primitive construction, with subsequent additions, deserves spe-
cial notice.

About 2 M. farther is situated Bulkame, a warm sulphureous
spring, mentioned by Dante (Inferno, 14, 79), still used for baths.

Viterbo (Tre Re, unpretending, zudAngelo, both in the Piazza),
situated in the plain on the N. side of the Ciminian Forest,
1700 ft. above the sea-level, was the central point of the exten-
sive cession made by the Countess Matilda of Tuscia to the papal
see , the so-called patrimony of St. Peter, frequently mentioned
as a residence of the popes, and as the scene of the papal elections
which took place here in the 13th cent. The town, surrounded
by ancient Lombard walls and towers, an episcopal residence with
14,000 inhab., is termed by old Italian authors the 'city of hand-
some fountains and beautiful women'. The objects of interest
may, however, be seen in the course of a brief visit.

The Cathedral of S. Lorenzo, occupying the site of a temple
of Hercules, contains the tombs of the Popes John XXI., Alexan-
der IV., and Clement IV., a few pictures of little value, etc. At
the high-altar of this church, in 1279, Count Ouido de Montfort,
the partisan of Charles of Anjou, 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 righting against the latter.
Dante mentions this deed and places the assassin in the seventli
region of hell (Inferno 12, 120). In front of the church is the
spot where in July, 1155, Pope Hadrian IV. (Nicholas Break-
speare, an Englishman) compelled the Emperor Frederick I. , as
his vassal, to hold his stirrup. Adjacent is the dilapidated Epii

to Rome, VITERBO G. Route. 37

copal Palace of the 13th cent. The hall is shown in which, by
order of Charles of Anjou, the Conclave assembled in 1271 and
elected Tebaldo Visconti of Piacenza Pope as Gregory X., and in
1281 De Brion , a Frenchman , as Martin IV. On the latter
occasion Charles excited a tumult and caused the roof to be re-
moved in order to compel the cardinals to proceed with (he election.
Here, too, is the apartment in which, on May 16th, 1277,
John XXI., a Portuguese (elected here in 1276), was killed by
the falling in of the ceiling.

The church and monastery of <S. Rosa contain the remains
(a blackened mummy) of that saint , who was born here in the
13th cent. She urged the people to rise against the Emp. Fre-
derick II., was expelled by the Ghibellini, and after the death of
the emperor returned in triumph to Viterbo.

8. Francesco, a Gothic structure, contains (in the 1. transept)
a * Descent from the Cross by Sebastiano del Piombo (design by
Michael Angelo) and (r.) the *Tomb of Adrian V. (de' Fieschi
of Genoa, elected July 11th, died Aug. 16th, 1276, at Viterbo),
with recumbent effigy. The church of the Osservanti del Para-
diso also possesses a picture by Seb. del Piombo, the Scourging,
and on the exterior a fresco (Madonna and saints) ascribed to
Leonardo da Vinci.

S. Maria delta Verith contains a *fresco by Lorenzo di Oiacomo
of Viterbo ( 1469), representing the Espousals of the Virgin, with
numerous portraits introduced as characters.

In front of 8. Angelo in Sparta, a Roman *sarcophagus bears
an inscription to the memory of the beautiful Oaliana (1138), in
behalf of whom, like Helen of old, a war was once kindled be-
tween Rome and Viterbo, in which the latter was victorious.

In the court of the * Palazzo Pubblico are five large Etruscan
sarcophagi with figures and inscriptions. The hall of the Acca-
demia degli Ardenti possesses frescoes by Baldassare Croce, pupil
of Annibale Caraccl. In the Museum Etruscan and Roman anti-
quities and paintings; also the 'decree of Pesiderius, king of the
Lombards', and the Tabula Cibellaria, forgeries of the infamous
Annius of Viterbo, a Dominican of the monastery outside the
Porta Romana, who died at Rome in 1502.

The most remarkable fountains are : Fontanel Grande, begun in
1206; one in the market-place; that in the Piazza della Rocca,
of 1566, ascribed to Vignola; and one in the court of the Pa-
lazzo Pubblico.

The Palazzo 8. Martino , property of the Doria Parnfili , con-
tains a magnificent staircase 'a cordoni', by which a carriage may
ascend , and a portrait of the well-known Olympia Maldachini
Pamfili, sister-in-law of Innocent X., who reigned 1644 — 55.

From Viterbo a number of remarkably attractive excursions, especially
interesting to the antiquarian, may be made to the ruins of the surrounding
Etruscan towns.

38 Route 6. TOSCANELLA. From Florence

The farther the traveller deviates from the main route, the more miser-
able do the. inns become. The principal places can be reached by carriage,
but some of the excursions must be performed on horseback or on foot.

The volcanic nature of the district, betokened by the profound ravines
and fissures of the rock, and the dreary desolation which prevails, combined
with the proximity of the graves of 2000 years' antiquity, tend to awaken
a sentiment of awe.

Castel d'Asso, popularly known as Castcllaccio , 43|4 M. to the W. of
Viterbo, may be visited by carriage (one-horse carr. there and hack 5 fr.,
fee 1 fr.) or on foot (guide necessary; lights should not be forgotten by
those who purpose exploring the tombs). Passing the Bulicanie, the roail
traverses a moor and leads to the valley , which contains a succession of
Etruscan Tombs, hewn in the rock. The fronts of these arc architecturally
designed, and bear some resemblance to the rock-tombs of Egypt. The
numerous inscriptions in an enigmatical language have bidden defiance to
all the efforts of modern research. On the opposite hill the picturesque
ruins of a mediaeval castle ; scanty remains of an ancient village, probably
the Castellum Azia of Cicero.

The traveller may from this point proceed to Velralla, 9'|2 M. from Vi-
terbo and communicating with it by diligence, in the vicinity of the Roman
Forum Cassii. A carriage-road gradually ascends thence to (14 M.) Sulri (p. 39),
and leads to Rome. On certain days the diligence runs from Viterbo to
Corneto and Civita Vecchia by Vetralla and M. Romano (comp. p. 11).

From Vetralla a bridle-path, traversing a bleak moor, leads in l'fe hr.
to the necropolis of Norchia (with guide), similar to Castel d'Asso, but more
imposing. Two of the tombs manifest a bias to the Hellenic style. Adja-
cent are the picturesque ruins of a Lombard church ; in the 9th cent, the
village was named Orcle} ancient name unknown.

A similar locality is at Bieda, the ancient Blent, a miserable village,
4i[a M. from Vetralla, with rock-tombs and two ancient bridges. Scenery
strikingly grand.

Toscanella (Inn at the gate), the ancient Tuscania, a small town 14 Jl.
from Viterbo , reached by the diligence to Corneto 3 times weekly (since
the completion of the railway it is better to make this excursion from Rome
via Corneto, sec p. IT). The walls and towers impart a mediaeval aspect to
the place, which contains two noble Romanesque structures of that epoch:
■ S. Pietro, on the height, with crypt and antique columns, and on the ex-
terior fine sculptures. Smaller but even more interesting is ~~S. Maria. Both
churches now disused. On the hill of S. Pietro stood the ancient citadel.
Etruscan tombs in the vicinity.

"Campanarfs small garden, situated in the lower part of the town, em
bcllished with sarcophagi and other relics, and containing an imitation ofa«
Etruscan tomb, is an extremely interesting spot. The sarcophagi , with the
life-size portraits of the deceased framed in the living green, produce a
profound impression, and the traveller will nowhere acquire a more accu-
rate idea of the contents ojf an Etruscan tomb than here. Sign. Carlo Cam-
■panari , as obliging as he is well-informed , has with his father conducted
many of those extensive excavations which have filled the museums of Eu-
rope with Etruscan vases, goblets, mirrors, etc. — From Toscanella to
Corneto 16»|a M.

Interesting excursions may also be made to the E. into the Valley o/
the Tiber. The road to (lli|2 M.) Bomarzo leads by the Dominican monas-
tery of the Madonna delta (Inertia, designed by Bramante (l3\t M. from Vi-
terbo, handsome quadrangles worthy of a visit), and Bagnaia with the now
deserted Villa Lanle, erected by Vignola (13|4 M. from the monastery; a visil
to both occupies about 3 hrs.). The route by Ferento (p. 36) and Le Qrottt
is more interesting and not much longer ; from the latter a guide necessary;
both routes inaccessible to carriages.

Bomarzo, a village in a remarkably picturesque situation on a precipi-
tous rock near the Tiber; opposite to it lay the ancient Polimartwm, vtben
considerable excavations have been made. From Bomarzo to Orte a beau-

to Rome. SUTRI. 6. Route. 39

tiful route of 9'|2 M., on wliich, near Bassano, is situated the small Laghetto
di Bassano, the Lcccttn Vadimoitis, celebrated in ancient history tor the signal
victories of the Unmans over the Etruscans, li. C. 309 and 2K3, and described
by the younger Pliny (Epist. 8, 2U) with its floating islands; at the present
day, however, it is greatly reduced in extent.

From Viterbo the ancient Mons Ciminius, nuw usually termed
Munte di Viterbv , is slowly ascended. The culminating point
(2673 it.) of the road is attained in l'/2 — 2 lira, at the post-
station I'lmposta ; the summit of the mountain is 3200 ft. above
the sea-level. These, wooded heights , now clothed with heath
and brushwood, intermingled occasionally with oaks and chestnuts,
were regarded as an insuperable barrier for the protection of
central Etruria, until the Consul Q. Fabius, B. C. 308, success-
fully traversed them and signally vanquished the Etruscans. The
road is lonely , and piquets of gensdarmes , who effectually
watch over the public safety, are encountered at intervals. The
culminating point commands an admirable *survcy of the plain
towards the N. , as far as the chain of Cetona and M. Arniata,
and W. as far as the sea. A more imposing view is soon dis-
closed, towards the IS., of the vast Campagna di Roma; E. the
long chain of the Umbrian and Sabine Apennines as far as Pa-
lestrina and the Alban Mts. ; then the sinuous course of the
Tiber and the isolated Soractc, and, in clear weather, the dome
of St. Peter's and the distant Volscian Mts. Beneath lies the
small Layo di Vino, the Lacus Ciminius (1486 ft.), the E. bank
of which the road skirts , of circular form , surrounded by wood,
and doubtless an extinct crater (similar to the Laacher See in
the Rhenish Province of Prussia). This entire range is of vol-
canic origin. In the centre of the ancient crater rises the beau-
tifully wooded Monte Venere. According to a tradition of antiquity
a town, overwhelmed by the lake , may be distinguished beneath
the surface.

Midway between I'lmposta and Konciglione a path to the 1. leads through
a beautiful wood to (1>|2M.) the chateau of Caprarola, of pentagonal form,
surrounded by a rampart and fosse , erected by Vignola for Cardinal
Alexander Farnese, nephew tjf Paul III. (1534 — 49). The saloons and other
apartments are adorned with frescoes, representations from the history of
the Farnese family, allegories, etc., by Federigo , Oltaviano and Taddeo Zuc-
chero, Tempcsla, and Vignola. A magnificent prospect is enjoyed from the
upper terrace of the PttUi:ziwlo, a tasteful structure (by Vignola) situated in
the grounds.

Beyond the Lago di Vico, with its miserable village, the tra-
veller soon reaches Uonciylione (Posta , Aquila Nera , both good),
a beautifully situated little town, with ruined castle on the height
(1300 ft.), on the verge of the extensive Campagna di Roma,
a plain which stretches hence S. to the promontory of Circeii near
Terracina, E. to the Sabine Apennines, and W. as far as the sea.

From Ronciglione to Monterosi by the main road is a distance
of 8 M., by Sutri V/4 M. farther.

Sutri, the ancient. Etruscan Sutrium, frequently mentioned in the papes
of history as the ally of Rome in the wars against the Etruscans, from

40 Ro-uU (I. LA STOUT A.

whom it was wrested by Camillus, B. C. 365 (Clamtra Etruriae), converted
into a Roman colony in 383, is most picturesquely situated on an isolated
volcanic ridge. The deep ravine contains numerous Etruscan tombs , and,
on the S. side, fragments of the ancient walls. Of the 5 gates 3 are an-
cient, 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 closed by
masonry. Outside the Porta Komana at the foot of an eminence , near the
Villa Savonelli and shaded by dense forest, is situated an admirably pre-
served "Amphitheatre, hewn in the rock, dating from Augustus, erroneously
regarded by some as Etruscan. The rocks above contain numerous tomb-
chambers, one of which has been converted into a ''church, where, accor-
ding to the various local traditions, the early Christians celebrated divine
service. A legend attaching to the Grotla (T Orlando, near the town, describes
it as the birthplace of the celebrated paladin of Charlemagne.

A bridle-path leads in '2 hrs. from Sutri to the Lake of Bracciano and
Trerignano (p. 297).

The road from Monterosi to Home (28 M.) is almost entirely
coincident with the ancient Via Cassia, which led by Sutri, Bol-
sena, and Chiusi to Florence. Sette Vene, an *inn 3 M. beyond
Monterosi, is recommended in preference to the latter as a halt-
ing-place. About 3 M. farther the brink of the crater is attained
in which the somewhat unhealthy 'village of Baccano (*Posta) lies ;
in the vicinity a mephitio pond, to the W. the two small lakes
of Martignano (Lacus Alsietinus) and Stracriacappa. Traces of
ancient drains (emissarii) are distinguished on the 1. side of the
road. Immediately beyond Baccano the road ascends and traverses
the S. extremity of the crater, whence (better from one of the
hills to the 1.) in favourable weather a beautiful panorama of
Rome and its environs is enjoyed. E. the chain of the Umbrian
and Sabine Apennines, snow-clad in winter and spring, the Tiber
winding through the plain ; from a lower point of the road appeals
the summit of Monte Oennaro, the ancient Lucretilis (comp., how-
ever, p. 291), at its base the eminences of Monticelli and Sant'
Angelo; more towards the S., the opening whence the A nio issues,
with Tivoli, and still more distant the precipitous rocks on which
Palestrina, the ancient Pneneste, stands. The broad plain of the
valley of the Liris extends between the Apennines and the Volscian
range. Nearer the spectator are the Alban Mts., now Monte Cavo,
and the towns of Frascati, Marino, and Castel Gandolfo. The dome
of St. Peter's, appearing above the low ridge of Monte Mario, is
now all that is visible of Home.

The road descends gradually to the Osteria del Fosso , on the
verge of a ravine through which a branch of the Cremera (now
Valchetta) flows , a river celebrated as the scene of the defeat of
the three hundred Fabians by the Veientines, July llith, B. C. 477.
The mountain-slope , which is skirted on the ]., was the site of
Veil, once the rival of Home, conquered at length by Camillus in
390. The precise position which it occupied is not visible from
this side (see p. 294).

La Storta, last post-station before Rome is reached. The Cam-
pagna retains its bleak aspect, relieved only by an occasional

PONTE MOLLK. fi Tionlr. 41

dilapidated tower of the middle ages , the remains of a Roman
tomb or a miserable farm-house, and betrays no symptom of the
proximity of the ancient capital of the world, until after an angle
at the 7th milestone the dome of St. Peter's and the castle of
S. Angelo become distinctly visible. To the r. Monte Mario,
clothed with cypresses; opposite the traveller the heights of Frascati
and Albano, to the 1. the plain of the Tiber, beyond it the Sabine
Mts. Between the 4th and 5th milestones, to the r. of the road,
on a dilapidated basement, stands a sarcophagus with a long in-
scription, commonly termed , although without the slightest foun-
dation, the Tomb of New ; for the inscription (at the back, facing
the line of the ancient road) expressly records that it was erected
by Vihiu Maria Maxima (probably about the close of the 2nd cent.
after Christ) to the memory of her father P. Vibius Marianus and
her mother Regina Maxima.

The pleasant valley of the Acqua Traversa (ancient Tuliri),
in which Hannibal encamped when retreating from Rome, is now
entered, a height witli villas and farm-houses is traversed, and the
traveller descends to the tawny Tiber. The river is crossed by
the Ponte Molle , which occupies the site of the ancient Pons
Milvius, or Mulvius, constructed B. ('. 109 by the Censor M. Mm\-
lius Soaurus. Here, in the night of Dec. 3rd, B. C. 63, Cicero
caused the emissaries of the Allobrogi, who were in league with
Catiline, to be captured. Here, too, Oct. 27th, A. D. 312, Maxentius,
who had been defeated at Saxa Rubra by Constantine under the
auspices of the labarum or sign of the cross, was thrown into
the river and drowned. The present bridge was almost entirely
rebuilt in 1815 under Pius VII., and embellished with statues of
Christ and John the Baptist by Mocchi, and a species of triumphal
arch. In May, 1840, one of the arches was blown up, but shortly
afterwards restored. Beyond the bridge, on the 1., stands a chapel
erected by Pius II. on the spot where he met the procession with
the head of St. Andrew, which was brought from the Peloponnesus
in 1462. The load, now straight and tedious, and enclosed by
garden - walls , leads to the Porta del Popolo. Arrival in Rome,
p. 83.

7. From Siena to Perugia (and Rome) by Chiusi.

This is a favourite land-route between Florence and Rome, as it com-
bines Siena (and Orvieto, compare p. S'i, R. 6) with Perugia and a tour
through TJmbria (R. 8). It is necessary to perform part of this route by di-
ligence, but the traveller has the advantage of visiting the most interesting
towns uf Central Italy. The country is admirably cultivated and produces
a very different impression from the bleak and melancholy route from Or-
vieto tu Rome. Inns generally good.

On the arrival of the train from Siena and Florence at Chiusi a dili-
gence starts from the stat. at 1. 25. p. m. for Perugia, arriving there in
7 hrs. and departing again on the following morning. When necessary two
diligences run daily (enquiry should be made at the railway-station at Siena).

42 Route 7. CITTA DELLA PIEVB.

Fares: interim 8, coupe 9 IV. ; 35 lbs. of luggage free; for overweight 15 c.
per lb.

Ascending from the, valley of the Chiana, the traveller reaches
(1 hr.) Citt& della Pieve, where horses are changed, a loftily
situated town (1800 ft.) , birthplace of Pietro Vannucci in 1446,
surnaraed Perugiiio because he afterwards became the founder of
a new school of painting at Perugia. He was the master of
Raphael, and died at Perugia in 1524. His native place possesses
some of his finest works. Thus in the oratory de Disciplinati, or
S. Maria dei Bianchi , the * Adoration of the Magi. Two letters
from the artist at Perugia are shown relative to the price of this
fresco, reducing it from 200 to 75 ducats. The remains of the
Crucifixion, another fresco by Perugiiio, are still seen in the
church of the Servites f outside the gate, towards Orvieto); in the
cathedral (interior modernised) the Baptism (1st chap. 1.) and
"'Madonna with saints (Peter, Paul, Gervasius, and Protasius) in
the choir, date 1513. In the church of S. Antonio a picture of
St. Antony with S. Paulus Eremita and S. Marcellus, all by
Pietro Peruyino.

The road intersects the chain of hills which separate the
Chiana Valley from the Tiber, passes through extensive woods, and
commands fine views of the Chiana Valley, and, in some places,
of the Trasimcne Lake towards the N. At the small village of
Tavernelle (midway) horses are again changed. To the I. on the
height is the much-frequented shrine of the Madonna di Mongio-
vino. With the aid of auxiliary oxen the diligence slowly ascends
to Perugia.

A far more picturesque route from Sinalunga by Cortona and
the Trasimcne Lake to Perugia requires an additional half-day,
see p. 49.

Perugia, and thence by Spolcto to Rome, see pp. 55and follg.

8. From Florence to Rome by Arezzo, Perugia,
and Foligno.

This is the most interesting, and since ttie completion of the railway,
the shortest and cheapest route from Florence to Rome. If the traveller
desire to visit the principal points, 4—5 days are required: 1st, Arezzo and
Curluna; 2nd, Perugia; 3rd, Assisi and Spolelo; 4th, Terni and the water-
falls , in the evening to livmc ; but this is reckoning very closely , and
Spello and Foligno are passed by. — From Florence to Rome two trains
daily (express starts in the night.) in 12—16 hours; fares 39 fr. 90, 31 fr.,
22 fr. 70 c.

Prom Florence to Arezzo and Cortona.

Railway to Arezzo in 3'|2 (express 2'1'a) hrs. ; fares 8 fr. 70, 7 fr. 15,
and 5 fr. 55 c. ; to Cortona (from Florence) in 4'J2 hrs. ; fares 11 fr. 50, 9 h.
40, and 7 fr. 35 c. Those who wisli to see Arezzo and Cortona and arrive
at Perugia in one day, bad better leave in the afternoon or evening for
Arezzo and there pass the night.

MONTEVARCHI. 8. Route. 43

From the central station near S. Maria Novella the train
describes a circuit round the town to the Porta S. ('voce, where
travellers who reside in that neighbourhood may join it. The
line intersects the valley of Florence on the N. bank of the Arno;
the valley contracts; Fiesole to the 1. on the height long remains
visible. Stat. Compiobbi. The surrounding heights are barren,
the slopes and valley well cultivated; to the 1. is seen the
mountain chain of the Pratomagiio , on which the monastery of
Vallonibrosa lies, and which bounds the upper valley of the Arno.
Stat. Pontassieve, at the influx of the Sieve into the Arno. From
the valley of the Sieve mountain-passes cross the Apennines to
Korli and Faenza. From this point Vallonibrosa and the Casentino,
or upper valley of the Arno, are usually visited. In crossing the
Sieve the train commands a beautiful glimpse of the valley to the
1. ; farther on a small tunnel is passed through. The line crosses
to the 1. bank of the Arno; beautiful view to the r. and 1. as
the bridge is crossed. The valley contracts. To the r. stat. Rignano.
The fortress of Incisa is a conspicuous object from a distance.
The train passes through another tunnel and reaches (r.) stat.
Incisa. Here the river forces its way through the limestone rock,
whence the name of the village. On the r. stat. Fiyline. In the
environs, and also near Montevarchi and in the plain of Arezzo,
bones of the elephant, rhinoceros, mastodon, hippopotamus, hyaina,
tiger, bear, etc. have frequently been discovered, often erroneously
believed to be remains of Carthaginian elephants of (he train of
Hannibal. Collections at Florence and Arezzo.

Stat. S. Giovanni, a small town to the 1., where in 1402 the
celebrated painter Masaccio was born (d. at Florence, 1443);
also Giovanni da 8. Giovanni, one of the best fresco-painters of
the 17th cent. Pictures by the latter in the Cathedral : Beheading
of John the Baptist, Annunciation, etc. The chapel to the r. of
the high-altar in the church of S. Lorenzo contains a Madonna
formerly attributed to Masaccio.

To the 1. stat. Montevarchi (Locanda dTtalia , in the main
street , Per gli Ortaggi ; names of streets here always introduced
by 'per') , a small town with 9500 inhab. The loggia of the
principal church in the piazza is embellished with a richly sculp-
tured terracotta-relief by delta Robbia. Opposite is the house ol
Benedetto Varchi, the Florentine historian and independent favou-
rite of Cosmo.

Views as far as Arezzo on the left. The train ascends, pass-
ing through four tunnels, to stat. Ducine ; the village is close to
the line on the r. Four more tunnels in rapid succession ; r.
and 1. large embankments , often supported by walls. Stations
Laterina and Ponticino, beyond which the train gradually ascends
to the level of Arezzo, visible to the 1. from a distance.

Arezzo (Inyhilterra, Victoria, both in the Via Cavour, li.

44 Route ft. ARKZZO. From Florence

'2— 2i/2 fr. ; Cafe. Italia, Corset ; del Conslanli, Via Cavour), the
ancient Arretium , the seat of a bishop and a prefect , is a clean
and pleasant town with 10,000 inhab. , in a beautiful and fertile
district, abounding in historical reminiscences.

Arretium was one of the most powerful of the 1'2 confederate cities of
Etruria, and (like Cortona and Perusia) concluded peace with the Romans
in the great war of 1'.. C. 310, after which it continued to be an ally (if
Rome. In 187 the Consul C. Flaminius cnnslructed the Via Flaminia from
Arretium to tSononia (Bologna), of which traces are still distinguishable. In
the civil war Arretium was destroyed by Sulla, hut was subsequently colo-
nised (C'olonia Fidens Julia Arretium) and agidn prospered. Its manufactures
were red earthenware vases of superior quality, and weapons. The town
suffered greatly from the Goths and the Lombards, and at a later date from
the party - struggles of the Guelphs and Ghibellines. In the 14th cent, it
was for a time subjected to the dominion of the Tarlati, in 1337 tempora-
rily, and in the 16th cent, under Cosmo 1. finally to that of Florence. In
1799 an insurrection against the French broke out here, which was sangui-
narily avenged.

Here C. Vilnius Mtxcenas, the friend of Augustus and patron of Virgil
and Horace, scion of the ancient ami originally royal family of the Cilnii,
was born; also Petrarch, Vasari, Cexa/pini the botanist, Spinello Aretino the
painter, Pielro Aretino the satirist, (litido Artlino founder of the modern
school of music, Leonardo Areliuo historian of Florence , Margarilone pain-
ter and sculptor of the 13th cent., Count Vitlorio Fossombrone the statesman,
and Pielro lienvenuli, painter of the chapel of the Medicis at Florence.

Leaving the station , the traveller follows a broad new street
leading to the Via Cavour. Turning to the r. in the latter, he
soon reaches a small open space adorned with a Monument to
Count Fossombrone (p. 46). Here , too , is situated the church
of S. Francesco, decorated with frescoes by Pielro delta Francesca
and Spinello Aretino (the latter recently discovered under white-
wash). The Via Cavour forms a right angle with the Torso
VUtorio Emanuele , the principal street, which ascends from the
gate to the cathedral-square. Ascending this street, the visitor
perceives to the r. the interesting church of

*S. Maria delta Pieve, said to have been erected at the com-
mencement of the 9th cent, on the site of a temple of Racchus;
tower and facade of 1216. The latter is very peculiar, consisting
of 4 series of columns, distributed with extraordinary incongruity.
Ancient sculptures over (he door. The interior, now undergoing
restoration, consists of a nave and two aisles and a dome. Above
the high-altar * St. George by Vasari ; r. an altar-piece by Pietro
Laurati in sections, Madonna surrounded by saints; both of these
are temporarily placed in the liadia.

Higher in the street, 1. is the Palazzo Pubblico of 1332, sadly
modernised ; in front numerous armorial bearings of the ancient
Podesta. It now serves as a piison.

Somewhat farther the Via dell' Orlo diverges to the 1. , near
the entrance to which a long inscription indicates the house in
which Francesco Petrarca was born, July 20th, 1304. His parents,
like Dante, the victims of a faction, were expelled from Florence.
The visitor now proceeds to the not far distant

to Rome. AREZZO. 8. Route. 45

* Cathedral, a fine specimen of Italian Gotbic, begun in 1177,
with additions of 1290 ; facade unfinished. The interior contains
stained glass * windows, dating from the beginning of the 16th
cent., by Guillaume de Marseille; the middle window in the choir
is modern. In the r. aisle is the* Tomb of Gregory X., of 1276,
by Maryaritone. This indefatigable prelate expired at Arezzo,
Jan. 10th, 1276, whilst returning from France to Rome, after
having proclaimed a new crusade. On the high-altar marble
sculptures by Giovanni da Pisa of 1286: Madonna with St. Donatus
and Gregory, and bas-reliefs from their lives. In the 1. aisle is
the tomb of the poet and physician Hedi (d. 1698). Near it is
the chapel of the Madonna del Soccorsu with two altars of the
llobbia school. Farther on, the *Tomb of Guide Tarlati di Pietra-
mala, the warlike bishop of Arezzo, the work of Ayostino and
Aynolo da Siena about 1330, from the design of Giotto, as Vasari
conjectures, in 16 sections, representing the life of this am-
bitious and energetic prelate, who, having been elected governor
of the town in 1321, soon distinguished himself as a conqueror,
and afterwards crowned the Emperor Louis the Bavarian in the
church of S. Ambrogio at Milan. These events, as well as his
death in 1327, are all represented here.

In front of the cathedral , the marble statue of Ferdinand de
Medicis, by Giovanni da Bologna, erected in 1595. In the cathe-
dral-square (No. 1) is the Palazzo Comunale, adorned with nume-
rous armorial bearings.

Opposite the Palazzo Pubblico a street, containing the Loggie
erected by Vasari , soon leads to the Piazza. In the centre a
monument to Ferdinand III., erected in 1832. Contiguous to the
tribune of S. Maria della Pieve is the * Museum, in the cloister
of the Fraternitu della Misericordia, with handsome facade in the
Gothic style, of the 14th cent. On the first floor the museum
and library. It closed, visitors ring for the custodian at the door
opposite the entrance.

1,'sjt and 2jnd Rooms. Minerals and fossils ; among them a stag's-head
found in the Uliiana Valley not far from Arezzo. 3rd Room. By the wall
of the entrance antique and modern bronzes. R. wall : Roman inscriptions
and reliefs. On the wall of egress: antique utensils in bronze. In the cen-
tre : ,:mediseval and antique saals. 4th Room: majolicas, in the centre an
antique vase, Combat of Hercules and the Amazons. In the cabinets, cine-
rary urns and other vessels in red clay (vasa Arretina). 5th Room:
Etruscan cinerary urns. In the centre several antique vases; on one of
them the 'abduction of Hippodamia by Pulops.

At the extremity of the Corso , near the gate , the Via dell'
Anliteatro leads to the church of S. Bernardo; in the sacristy a
fresco by Spinello. From the corridor to the 1. are seen in the
garden the insignificant remnants of a Roman amphitheatre.

Some of the other churches also possess objects of interest,
as L'Annunziata , a fresco by Spinello Aretino , over one of the
doors ; S. Bartolornmeo, a fresco by Jacopo da Casentino ; S. Do-

46 Route 8. CORTONA. From Florence

menico , white-washed frescoes by Spinello; the monastery della
Croce , a * Madonna by Luca Signorelli; in the refectory of the
Badia di 8. Flora, in the Via Cavour, the Banquet of Ahasuerus
by Vasari.

In the Strada S. Vito (No. 27) is the House of Vasari, in its
original condition, containing works by the master.

Beyond Arezzo (to the r. a beautiful retrospect of the town,
from which the cathedral rises picturesquely) the line, as well as
the highroad, skirts the chain of hills which separate the valleys
of the Arno and Chiana from the upper valley of the Tiber. Pass-
ing through a tunnel, the train crosses the plain in a straight
direction to stat. Frassinetlo and Castelfiorentino , the latter si-
tuated on a mountain ridge ; farther on , the dilapidated fortress
of Montecchio is seen to the 1. Somewhat farther Cortona becomes
visible to the 1. in the distance, loftily situated on an olive-clad
eminence.

The luxuriant and richly cultivated Valley of the Chiana , at
a remote period a lake, was until the middle of the last century
a noisome swamp. 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 judieions system was originated
by Torricelli and Viviani, celebrated mathematicians of the school
of Galileo , and carried out by the worthy Count Fossombrone,
who combined the pursuits of a scholar with those of a statesman.
The Chiana, Lat. Clanis, which once flowed into the Tiber, now
falls into the Arno.

Cortona (*Albergo della Stella , to the 1. at the entrance to
the town , clean ; Casa Nuti ; omnibus from the station to the
town 1 fr. each pers.), a small, loftily situated town, above the
Valle di Chiana and not far from the Trasimene Lake, commanding
a beautiful view of both, is one of the most ancient cities of Italy.
It appears that the Etruscans, immigrating from the plain of the
Po, wrested the place from the Umbrians, and constituted it their
principal stronghold when they proceeded to extend their conquests
in Etruria. Cortona was one of the 12 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. Among the artists of whom Cor-
tona boasts may be mentioned Luca Signorelli (b. 1439, d. at Flo-
rence in 1521), and Pietro Berettini , surnamed Pietro da Cor-
tona (b. 1596, d. at Rome 1669).

The ascent from the inn at Camuscia occupies upwards of
% hr. (pedestrians follow the old road which intersects the carriage-
road several times); the road passes 8. Spirito on the r. and leads
to the low-lying S, gate of the town ; thou a long and straight
street; to the 1. 5. Agoslino, with a picture by Pietro da Cortona;
farther on, a handsome palazzo of the Kith cent , now the Guar-

to Rome CORTONA «. Route, 47

dia Nazionale ; the Piazza with the Municipio is then entered.
To the 1. lies the small square of the Palazzo Pretorio, in which
there is an ancient mazocco. On the first floor of the Palazzo
Pretorio the Accademia Etrusca, founded in 1726, possesses a

* Museum of Etruscan Antiquities (gratuity), the principal orna-
ment of which is an Etruscan * candelabrum (lampadario), circular
iu form, and destined for 16 lights; on the lower side in the
centre a Gorgoneion, around which a combat of wild beasts, then
waves with dolphins , finally 8 ithyphallic satyrs alternately with
IS sirens , between each lamp a head of Bacchus. An encaustic
painting on lavagna-stone, 'Polyhymnia1, said to be ancient. Re-
markable Etruscan bronzes, a votive hand with numerous symbols,
vases, urns, inscriptions, etc. The Ponbuni Library, in the same
building, possesses a fine MS. of Dante.

From the Palazzo Pretorio the street to the 1. descends to the

* Cathedral , a handsome basilica , ascribed to Antonio da San
Gallo, altered in the 18th cent, by the Florentine Galilei. In
the choir a Descent from the Cross, and ^Institution of the
Last Supper, by Luca Signorelli. To the 1. of the choir a Greek
sarcophagus , representing the contest of Dionysius against the
Amazons , erroneously supposed to be the tomb of the ill-fated
Consul Flaminius (p. 48). — Opposite to the cathedral is the

* Church of the Jesuits (al Gesu) , containing two pictures by
Luca Signorelli , the Conception and Nativity, and three by Fra
Angelico da Fiesole, the Annunciation and *t\vo 'predelle', repre-
senting scenes from the life of the Virgin and S. Domenico.

From the Piazza del Municipio the street leads direct to

S. Domenico, dating from the beginning of the 13th cent. ; on
the 1. wall an altar-piece, the Coronation of the Virgin by Lorenzo
di Niccolb (1440), presented by Cosmo and Lorenzo de Medicis ;
r. near the high-altar a *Madonna with four saints and angels
by Fra Angelico.

Somewhat higher in the street is the Compagnia S. Niccolb,
containing a restored fresco , Madonna and saints, and an * altar-
piece, the Body of Christ with angels and saints, by Luca Signorelli.

Having explored the town with its precipitous streets , the
visitor may ascend to the * church and monastery of S. Margherita,
a Gothic structure by Nicola and Giovanni Pisano, commanding a
line *vie\v, especially from under the cypresses in the garden.
The *Tomb of the saint (in the high-altar) is of the 13th cent.;
the silver front with the golden crown a gift of Pietro da Cortona.
Among the pictures the following merit inspection : Dead Saviour,
by Luca Signorelli; S. Catharina, by Fed. liaroccio ; Conception,
with saints, by Vanni; Madonna and saints, by Jacopo da Empoli.
The visitor should not omit to ascend somewhat higher to the
dilapidated Fortezza (trifle to the porter), from the walls of which
the view is completely uninterrupted , except in the rear, where

48 Route 8. LAGO TRASIMENO. From Florence

it is bounded only by the mountain-chain, — a most noble pro-
spect.

In returning, the archaeologist may inspect the ancient Etrus-
can * Town Walls , composed of huge blocks , for the most part
well preserved. Even the gates may still be distinguished. Be-
sides these, there are several less interesting objects: ancient vault
beneath the Palazzo Cecchetti; near S. Margherita remains ol ' Bo-
man Baths, erroneously termed a 'Temple of Bacchus' ; outside the
gate of S. Agostino an Etruscan tomb, the 'Grotta di Pitayora .

The connoisseur of art may (by presenting a visiting-card or
passport) possibly procure access to the private collection of Sign.
Ulisse Colonnese in the Palazzo Madama, near the Municipio (p. 47):
beautiful half-length picture of St. Stephen and a Nativity by
Luca S'njnorelli, a picture of the German school, and two Italian
of the 15th cent.

From Cortona to Peruyia.

Railway in li|2 hr. ; fares 4 fr. SO, 3 fr. 90, and 3 l'r. 10 c.

The train leaves Cortona , and in iji hr. reaches stat. Bor-
yhetto-Tuoro on the

Lago Trasimeno, the ancient Lacus Trasimenus. The lake is
30 M. in circumference, and in some places 8 M. in breadth,
surrounded by wooded and olive-clad slopes, which as they recede
rise to a considerable height. The lake contains three small
islands , lsola Muygiore with a monastery , Isola Minore near
Passignano , and lsola Polvese towards the S. ; on the W. side
an eminence abuts on the lake, bearing the small Castiylione del
Lago. Its shores abound with wild-fowl , and its waters with
fish (eels, carp, etc.). The brooks which discharge themselves
into the lake gradually raise its bed. The greatest depth, formerly
30 — 40 ft. , is now 20 ft. only. A drain (emissarius) in tlie
15th cent, conducted the water into a tributary of the Tiber,
In ancient times the extent of the lake appears to have been
less considerable. A project for draining it entirely is at present
zealously canvassed.

The reminiscence of the sanguinary victory which (June 23rd , B. C.
217) Hannibal here gained over the Roman consul C. Flaminius imparts a
tinge of gloom to this lovely landscape. It is a matter of no great diffi-
culty to reconcile the descriptions of Livy (22, 4 et seqq.) and Polybius (3,
83 ct seqq.) with the present aspect of the lake. In the spring of 217 Han-
nibal quitted his winter-quarters in Gallia Cisalpina, crossed the Apennines,
marched across the plains of the Arnus, notwithstanding an inundation, de-
vastating the country far and wide , and directed his course towards the
S-, passing the Roman army stationed at Arezzo. The brave and able con-
sul followed incautiously- Hannibal then occupied the heights which sur-
round the defile extending on the N. side of the lake from Borghetto to
Passignano, upwards of 5 M. in length. The entrance at Borghetto, as well
as the issue at Passignano, were easily secured. Upon a hill in the centre
(site i if the present Torre) his principal force was posted. A dense fog cover-
ed the lake and plain, when in the early morning the consul , ignorant of
the plan of his enemy whom he believed to be marching against Rome,

to Rome. PERUGIA. 8. Route. 49

entered the filial defile. When he discovered his error, it was too late: his
entire 1. flank was exposed, whilst his rear was attacked hy the hostile ca-
valry from lloiguetto. No course remained to him hut to force a passage
by Passignano, and the vanguard of UUHJ men succeeded in effecting their
tigress (1ml on tin-' following day were compelled to surrender). The death
of the consul rendered the delV.it slill more disastrous. The Komans lost
I5,t)00 men, whilst the remaining half of the army was effectually dispers-
ed ; and the Roman supremacy in Italy began to totter. The slaughter con-
tinued for three hours. From Ihe Gualandro two small brooks fall into the
lake. One of these, crossed by the road, has received its appellation San-
'j,ninetlo in reminiscence of the streams of tdooil which once Mowed into the
lake here.

The line skirts the lake, passes through a tunnel, and at stat.
I'litsiijnano reaches the issue of the defile where the battle took
place; it again passes through a short and a long tunnel, and ar-
lives at stat. Mayione , a borough with an ancient watch-tower
ol' the period of Fortebraceio and f-iforza. The line once more
passes through a long tunnel and reaches stat. Ellera. On the J.
Perugia is visible, picturesquely situated on the heights.

Perugia. Omnibus from the railway-station to the town 1 fr. , gene-
rally well-filled; so no time should be lost in securing a seat. : Alhergo
del la Posta (PI. a), or Grande Pretagne, a tew paces from the dili-
;:< ncc-office, li. 3 fr. and upwards, J). 3'|a, A. i|», L. '|» fr. ; accommodation
not always to he had without previous notice. — ; Alhergo del Trasi-
iiirnn (PI. f|. lately removed to Via ilei < ablerari , Piazza del Sopramuro,
of the 2nd cl.', P.. 2. lb 'Ji|2 fr. ; Corona (PI. d) , not far from the Corso,
with tolerable accommodation, 11. l'|2 fr. — Trattoria del Progresso, Via
Nuova 31-, several others in the Corso. Cafes: * Baduel (PI. e) , Tra-
.<i/nrito, both in the Corso. (Siovanin Saih-hi is recommended as a valet-
de-placc, amateurs however are cautioned against purchasing his 'antiqui-
ties'. Perugia is well adapted for a stay of some duration; apartments mo-
derate, 2 rooms well situated about 30 Ir. per month.

Diligences (Office, Corso oS(: To C/iiitsi (p. 31) daily at 5 a. m. , fare
.S fr., coupe 0 fr. To Vitlit di i.'aslello (p. 55) daily at S a. in. To Gulibio
tp. 7fi), route ol 26 M. through a bleak, but not uninteresting hilly district ;
corriiTe daily, diligence twice weekly.

I'truijiit , beautifully situated mi the heights (1600 ft.) above
the valley of the Tiber, commanding extensive views, capital of the
prmince of Unibria , and residence of the prefect and a military
commandant, is built in an antiquated style, and consists of two
distinct portions : the upper part of the town , with numerous
palaces of the 1-tth and loth centuries, the Corso, cathedral, etc..
above which rises the foit, destroyed in 1848 arid 1859; and tin-
lower town connected by walks witli the upper. The town, with
a, population of 10,1)00, boasts of a bishop, a university, numerous
monasteries and churclie-, and a considerable traffic

Perusia was one of the 12 Etruscan confederate cities, and not, less an-
cient than Corlona , with which and Arretium it fell into the hands of the
humans, li. C. 31(1. It subst'qiiently became a inunicipium. In the war
Ixluccn Oitavianus and Antony, who in the summer of 41 occupied Pe-
rusia, and alter an obstinate struggle was compelled by the former to sur-
render (helium I't iiisinnm), the town suffered severely, and was finally re-
duced tu ashes. It was subsequently rebuilt and became a Human colony
under the name of Augusta Pertma. lu the 6lh cent, it was destroyed by
the Culh Tolila alter a siege of 7 years. In the wars of the Lombards,
Cuelphs, and Chitiellihes it also suffered greatly; in the 11th cent, it acquired

B.tUKK h

50 Route 8. PERUU1A. trvm Florence

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 II. Leo X. caused him to be executed
at Borne in 1520. In 1450 Paul III. erected the citadel , lad coercendam
Perusiuonim audaciam\ as the inscription, destroyed during the last revo-
lution, recorded. In 1708 the town was captured by the Duke of Savoy, on
May 31st, 1S49, by the Austrians, and in 18G0 by the Piedmontese.

The Umbrian School of Painliny, whose works are most numerously en-
countered at Perugia, developed itself under the influence of the new phase
of religious life which emanated from Assisi, unaffected by the realistic ten-
dency of the Florentines, lievery, longing, and profound devotion are the
characteristics which they most successfully represent, and which repea-
tedly recur. This was the case even with the older masters whose pro-
ductions were more original, as Gentile da Fabriano, Benedetto Bonfigli,
Giovanni Santi, Raphael's father, and Mccold Alunno da Foligno. This
bias of art attained its climax in Pietro Vannucci of Citta della Pieve
(p. 42), surnamed II Perugino, who, though a pupil of Bonfigli, was entirely
devoted to the Florentine style whilst resident at Florence , but after his
removal to Perugia followed the Umbrian tendency, to which he thence-
forth systematically adhered. Next to Perugino in importance ranks Ber-
nardino Pinturicchio (1454 — 1512), then the Spaniard Giovanni, surnamed Lo
Xpagna. Other pupils of the great Umbrian master were Giannicola, Tiberio
d'Assisi, Adone Doni, Eusebio di S. Giorgio, the two Alfani, and Raphael.

On the site of the former Citadel rises an extensive new
building, which is about to be fitted up as a Palazzo Comunale.
The piazza in front of it commands a magnificent prospect, em-
bracing the Umbrian valley (or valley of Foligno) with Assisi,
Spello, Foligno, Trevi, and numerous other villages, bounded by
the principal chain of the Apennines from Gubbio onwards; then
the Tiber and a portion of Perugia. By the citadel is an ancient
gateway with interesting sculptures , bearing the inscription Co-
lonin Vibia; underneath, Augusta Perusia was formerly inscribed,
but removed on the construction of the citadel.

In the Corso is the *Palazzo Comunale (PI. 12), 1282—1333,
an Ital. Gothic structure , marred by modern alterations , with a
handsome entrance adorned with the arms of the confederate
towns. In the group of animals over the principal entrance (No. 118)
the griffin represents Perugia, and the wolf overcome by it Siena.
Passing through the principal gate , and ascending to the third
story, the visitor reaches (1.) the Sala della Prefettura, decorated
with damaged frescoes from the history of St. Herculanus and
St. Louis of Toulouse , by Bonfigli. On the ground-floor is the
*Sala del Cambio (exchange, now disused; custodian, to be found
at No. 103 in the Corso, fee i/2 fr., best light in the morning),
adorned with frescoes by Pietro Perugino : r. sibyls and prophets ;
above , God the Father ; 1. heroes , kings , and philosophers of
antiquity; among them a small portrait of Perugino, by himself;
opposite, the Nativity and Transfiguration. On a pillar to the 1.
the portrait of Perugino. In the execution of these frescoes,
especially the arabesques on the ceiling, Raphael is said to have

to Rome. PERUGIA. 8. Route. 51

assisted. They were painted in 1500, and Perugino received a
remuneration of 350 ducats from the guild of merchants. An
altar-piece and frescoes by Gian. Manni in the adjoining chapel.

The Corso terminates in the cathedral square. In front of the
cathedral rises a * Fountain, consisting of 3 basins, adorned with
a number of biblical and allegorical figures in relief, executed by
Nicola and Giovanni da Pisa in 1277—1280. The statuettes of the
central basin are by Arnolfo di Cambio.

On the other side of the cathedral is the Piazza del Papa,
so named from the statue in bronze of Julius III. by Vincenzio
Danli (1556).

The * Cathedral of S. Lorenzo (PI. 11), dating from the close
of the loth cent., is an unfinished edifice of imposing, but heavy
proportions. The chapel in the r. aisle contains Baroccio's master-
piece (covered), a * Descent from the Cross, conveyed to Paris in
1797, but restored in 1815. Painted window above by Constantino
da Rosaro and Fra Brunacci, a Benedictine of Monte Casino (15(35).
In the 1. aisle the Cappella dell' Anello, which till 1797 con-
tained the celebrated Sposalizio of Perugino, now in the museum
of Caen in Normandy. In both the chapels are beautifully carved
seats. On the r. by the high-altar a marble sarcophagus contain-
ing the remains of Popes Innocent II., Urban IV. and Martin IV.
The winter-choir contains an altar-piece by Luca Signorelli : Ma-
donna with SS. John the Baptist, Onuphrius the Hermit, Stephen,
and a bishop receiving alms. In the library precious MSS. are
preserved, as the Codex of St. Luke of the 16th cent., gold on
a purple ground.

Opposite the cathedral , No. 10, is the Palazzo Conestabile,
with a small galle'ry containing frescoes by Perugino (brought from
the Pal. Alfani), S. Rosalia by Sassoferrato, and a ** Madonna by
Raphael, a small circular picture of his Perugian period.

From the rear of the cathedral the Via Vecchia descends to
the * Areo di Augusto, an ancient town-gate with the inscription
Augusta Perusia. The foundations date from the Etruscan period,
the upper portion from that subsequent to the conflagration. From
this point the direction of the walls of the ancient city, which
occupied the height where the old part of the present town stands,
may be distinctly traced. Considerable portions of the wall are
still preserved.

From the Arco di Augusto the visitor proceeds to the 1. to
the University (PI. 29), founded in 1320, now established in a
monastery of Olivetans suppressed by Napoleon (custodian, cor-
ridor to the 1., No. 19; fee V'2 — 1 fr0- Jt possesses a small
Botanic Garden, Scientific Collections, a Museum of Etruscan and
Roman Antiquities, and a Picture Gallery.

The Pinacoleca on the basement-floor, formed (since 1863) from the spoils
of suppressed churches and monasteries, is an invaluable aid in the study

52 Route 8. PERUGIA. From Florence

of the ITmbrian School. 1st Room : at the entrance No. 185 and follg.,
Angels, by Bon/mli ; 1. 164. St. Sebastian, Pertigino; 151. Madonna, School
of Siena; 153. Annunciation, Siuibahlo Jhi; frescoes from S. Giuliano and
IS. Sc\cro, the finest a l'iet.i, In Ilie 1. Miniatures of the 14th and 15th cen-
turies. -- 2nd noom: r. 206. Madonna and Saints, Lenozzo (iozzoli ; 207. Ma-
donna and Sainls, Fwren.o do Lorenzo; 209, 210, 212, 214, 227, 228, 233,
234. Miracles of St. llernardino of Siena, masttr vnknovii; 220. Miracles
id' St. Nicholas of Rari, J-'iesole ; 221, 222. Annunciation, same muster ; 216,

223, 229. Madonna with sainls, same master; 236. Madonna, Rajihael (.V);
237. Circumcision , J'trutjuio; 247. Adoration, same master; unnumbered.
The Lord's Supper and Ascension, same master; Madonna with saints and

lueilella', Domenico Jlartvli. — 3rd Room, nothing worthy of mention. —
4 ill lloom (corridor): Pictures of the school of Siena. — 5th Room (form
crly a church) contains the principal works: 1. St. Bernardino of Siena,
ISonfigh ; 2. Transfiguration, I'eruyiiio; 4. Madonna and saints, livccali do
Caimrino; 5. Madonna and sainls, Dom. Alfani; S. Adoralion of the Magi,
liusebio eta ,S. Uionjio ; 23. Adoration of the Shepherds, l'eriujino; 25. Ilia-
donna, SjHi'jiHi ; 30. Altar- piece by Pinlnricchio , Madonna and saints;
35. Madonna, Penujino; ! 39. Adoration of the Magi , (tliirlandajo (V); 41.
Baptism of Christ, J'erugino; 411. I-iuiette: God tie- Father and angels,
Sjiatjiia; 51. Annunciation, lionfiijli; 59. Madonna, Alfaiet '; 75. Annunciation,
A/ceotti Aiunno.

The tirsf floor contains the Antiejuai ion Museum. On the staircase and
in the passages Etruscan cinerary urns and Lat. inscriplions. Contents of
the rooms similar. In the 1st Room the longesl Ktruscan inscription known,
consisting of 45 lines, as yet undeciphorod, and ancienl Etruscan sculptures.
2nd Room: niediaval coins and other objecls. 3rd lioom : ancient bronzes,
among which are bronze and silver plates, found in JSIO, appurtenances of
a chariot, or as now thought, from a tomb. 4lh Koom : lerrarottas and
several painted vases. Lid of a sarcophagus: IH'ath seizing his victims.
5th Room: cinerary urns of terracotta with (races of painling. in the
centre a sarcophagus of terracotta, with sacrificial procession.

The other scientific collections arc of liltle value. Two of the corri-
dors contain casts of ancient and modern sculptures.

From the Piazza del Papa the visitor soon leaches the chapel
N. Strew (PI. 14), formerly a monastery of the order of Vamal-
doli , now a college, containing Raphael's lirut * fresco (greatly
damaged), of 1505: God the Father (obliterated! with ■! angels
and the Holy Ghost; beneath, the Redeemer and the saints
Maurus, Placidus, Benedict, Bomuald , Lanrentius , and Jerome.
The painting resembles the upper portion of Raphael's Disputa in
the Vatican. Inscription: Raphael de Lrl'i'iia Ifnm/iio Ociariana
Stephano Yolaterrano Priori Sanctum Tr'mitnltm Amjdas astantes
Sanctosque pin.ril, A. D. M. J). V. At the sides, lower down,
St. Scholastica, St. Jerome, St. John, St. Giegory the (neat,
Boniface, and Martha, by Pktro l'eruijino.

The traveller next reaches the Piazza del Sojiramuro , rest-
ing on extenshe foundations, between the two hills on which
the fortress and the cathedral are situated.

From the Piazza del Sopraniuio he proceeds to the Fortezza,
and descends thence to the suburb of S. Domenico.

S. Domenico (PI. 7), "with a lofty and now partially removed
campanile, was erected in lOo'i on the site of an older church built
in 1304 by Giovanni Pisano, of which the choir with a Gothic window
(1411) now alone remains. 4th Chapel with ciiiqiiecento deco-

to Rome t'KRUGIA. 8. Route. 53

ration. In the 1. transept the * Monument ( l>y (iiovtmni I'isano) of
Pope Benedict XT., wlio fell a victim to the intrigues of Philip IV.,
and died after partaking of poisoned figs, July 6th, 1304.

Farther on, near the Porta S. Costanza, outside the Porta S.
Pietro, the traveller readies the church of * S. Pictro tie' Ctisi.nen.si
(PI. loj, a basilica with IS antique columns of granite and marble
and a number of valuable pictures (entrance in the 1. corner of
the first court). Tn the r. aisle the (4th) chapel of St. Joseph:
:!:Munument of the Countess Baldeschi , from drawings by /•>.
Orerbeck; above the sacristy: Saints, copies by Xaxso ferritin.
In the Sacristy !> Saints, by Prruyino (which formerly surrounded
the Ascension by the same master, removed by the French, now
at Lyons); Holy Family, Pitrmeggitinin/t ; * Jesus and John, copy
from Peruginn, by Raphael. The choir-books contain fine minia-
tures of the Kith cent. In the 1. aisle, by the first altar : Pieta,
Perugino. \i. of the '.2nd Altar: Adoration of the Magi, by Atlrme
I>oni , assisted, it is believed, by Raphael whose portrait is said
to be here recognisable. In the Cappella del Snyraniento frescoes
by Vasnri; Madonna, an altar-piece by Lo Spagna, much damaged ;
Judith, Xtissnftrrtito. At the end of the 1. aisle: Madonna and
saints by JPmfigli (1469). * Choir-stalls in walnut, carved by
Stefano da Bergamo from designs by Raphael (153f)). A planted
terrace is now reached, whence a magnificent * prospect of the
valley of Foliirno and the surrounding Apennines is obtained.

Besides the above (if time permit), the traveller should inspect
the following churches (most id' the paintings with which they were
formerly decorated have been removed to the Pinacoteca):

S. Agrtese ( PI. 4~), with two chapels adorned with paintings by
Perugino (not easily accessible).

S. Angela (PI. 6), a circular structure with 16 antique columns
in the interior, resembling S. Stefano Rotondo in Rome, and pro-
bably dating from the Kith cent. ; fresco of the period of Giotto.

"'■ ('onfTaternil.ii delta O'iustizia di 8. Bernardino (PI. 17), with
very tasteful facade by Agostino Fiorenlino (1461). Near it

S. Francesco tlei Convert tun i i (PI. llj. A wooden receptacle in
the sacristy contains the remains of the Condottiere Braccio Forte-
braccio , slain at the siege of Aquila,. June 5th, 14'24, a few
months after his rival Sforza had been drowned in the Pescaia.
Raphael's Entombment of Christ, now in the Borghese Gallery
at Rome (p. 146), was originally painted for this church.

Private Collections :

Palazzo Baldeschi (PI. 21"), in the Corso, containing Raphael's
* drawing for one of the frescoes of Pinturicchio in the library of
the cathedral of Siena (see p. '27J : yEneas Sylvius as bishop at
the betrothal of Frederick III. with Eleonora of Portugal.

Palazzo Donini (PI. '24), with two drawings by Perugino,
Madonna by the same, etc.

54 Route S. TODI. From Florence

Palazzo Penna (PI. 27), with an extensive gallery, containing
pictures by Perugino , Salvutor Horn, Luca Slynorelli, and other
celebrated masters.

Collection of Avv. Ronrualdi (Via del Bufalo 5, not far from
the Albergo della PostaJ , comprising bronzes , coins , cameos,
drawings and pictures by An. Caracci, Peruyino, etc., is about to
be opened as a museum.

The Libreria Pubblica (PI. 3), containing 30,000 vols, and
MSS., such as Stephanus Byzant. of the 5th cent., St. Augustine
with illuminations, etc.

The House of Peruyino is in the Via Deliziosa, Mr. 18.

The Necropolis of Perugia , discovered in 1840 , lies on the
new Roman road, mar the Ponte S. Giovanni. The *Tomb of
the Volumnii, lGrotta de' Volunni', by the road, recognised by a
group of cypresses, 3 M. from the town, one of the finest, though
not most ancient of N. Etruria, was first discovered. It consists
of 10 chambers, hewn in the coarse-grained tufa rock of the hill;
in front inscriptions in Etruscan and Latin. Here a number of
cinerary urns , with portraits and various kinds of decorations,
wero found. The tomb is well-preserved. The urns, lamps, and
other curiosities may be inspected at the neighbouring villa of
Count Baglioni, where the custodian is to be found.

Those who travel by carriage may combine this visit with
their onward journey ; otherwise it must be undertaken from
Perugia. Pedestrians in going may select the old road, quitting
the town by the Porta 8. Pietro; in returning, the new road to
the Porta Costanza.

From Perugia to Narni by Todi. Distance 49 M. ; communica-
tion by corriere. Before the opening of the railway between Foligno and
Rome this road, being the shortest route between Perugia and Rome, was
the scene of a very brisk traffic. Its importance is now merely local, as
it is far interior to that by Foligno and Terni in natural attractions and
historical interest.

Perugia is quitted by the Porta Costanza; the road to Foligno soon di-
verges to the 1. It descends rapidly into the valley of the Tiber, which it
crosses near Ponte Nuovo, 7 M. from Perugia. For a distance of about 18 M.
the road remains on the 1. bank of the Tiber, then ascends to

Todi (Posta, at the gate), the ancient Umbrian Tudor, a loftily situated
town with 4 — 5000 inhab. ; the mountain is so abrupt that the upper part
of the town is not accessible to carriages. Its ancient importance is beto-
kened by the fragments of walls and the extensive ruin of a Temple, or Ba-
silica, usually styled a temple of Mars. Although poor in treasures of art,
the town possesses several edifices of architectural interest, among which
are the Cathedral and the Town Hall in the piazza. " S. Maria della Consola-
zione, in the form of a Greek cross , with lofty dome, is a masterpiece of
Bramanle (dome often ascended for the sake of the splendid panorama).
S. Fortunato, with handsome portal. Todi was the birthplace of the poet
Jacopone da Todi (d. 1S06), author of the 'Stabat mater dolorosa'.

From Todi to Narni 23 51., by the villages of Rosaro, Castel Todino, and
Han (ienmie. About l'|2 M. from the last, on the ancient, now abandoned
Via Flaminia, are the interesting ruins of the once prosperous Carsulae.
From San Oeminc (01 |s M. from "Kami) the road gradually descends to the
beautiful valley of the A\r«- As the river is crossed, a good survey may be

to Rome. CITTA DI uaoit.li.v <S. Route. 55

obtained of the : bridge nf Augustus. Travellers may here alight icump
p. 64) and ascend in a straight direction by the bridle-path, while carriages
describe a long circuit to the Porta Ternana.

Narni see p. G4.

Frnm Perugia to the Upper Valley of the Tiber (diligence
daily at 8 a. m. to Citta di Castello). The road goon crosses the Tiber and
ascends on its left bank to Fralta, or Umbci tide, a small town IS'feJl. from
Perugia. In the church of S. Cruce a Descent from the dross by Luca
Siijnurelli. Valuable collection of'majolicas at the house of Sign. Dom. Ma-
varclli. At. Fratta the road crosses to the r. bank of the river, and shortly
afterwards re-crosses by a ferry to the 1. bank, traverses a luxuriantly cul-
tivated district, and reaches (13 M.)

Citta di Castello, with G0U0 inhab., occupying the site of Tifcrtiitm Tt-
bcriuivitt, which was [destroyed by Tolilas. In the 15th cent, it was under
the dominion of the Vitelli family, subsequently under that of the Church.
Raphael resided at the court of the Vitelli, but the pictures by him which
were formerly here have been sold, among them the Sposalizio in the Urera
at Milan. The f'nthedrtil (St. Floiidus) is of 1503 , from a design by lira-
iiiantt:; beautiful carving in the choir. In S. Cecilia a Madonna by Litea
Si'/itorelli. The Cvttfritternita delta S. Trinita possesses two procession-tlags,
the designs of which are ascribed to Raphael.

Palazzo C'omunale in the Gothic style. Four palaces of the Vitclh.
Palazzo Ma/iciiii, with fine paintings, among them a "Nativity by Luca
Sigiiorelli; a small * Annunciation by lla'phacl.

From Citta di f'aslello 8 M. to Borgo *S\ Sepolcro , formerly pertaining
to Tuscany, a small and cheerful town. The churches contain several pie-
fui'es by Pielro della F'raticcsca, who was born here.

Reads lead from Borgo S. Sepolcro to Arezzo (p. 43), and across the
Central Apennines to Uriiania and Urbitio. From Porgo S. Sepolcro the
Source of the Tiber, near the village of Le llalze, may also be visited.

From Perugia to Foligno by Assist.

Railway to Assist in 1 hr., fares 2 fr. 35, 1 fr. 95, 1 fr. 55 c. ; from
Assist to Sjiello 1 fr., 75 c, and GO c. ; from Assist to Foligno 1 fr. 50, 1 fr.
15 c. , 95 c. ; from Assisi to Spolelo 4 fr. 40, 3 fr. 20, 2 fr. 40 c. Foligno is
unattractive. On the other hand a visit to Assisi (p. 50'), for which 3—4 hrs.
suffice, should on no account be omitted.

The line runs along the heights on which Perugia is situated,
passes through several tunnels, and, beyond stat. Ponte S. (iio-
ranni , crosses the Tiber, which in ancient times formed the
frontier between Etruria and Umbria. Then across the Chiascio
to stat. Bastia, and a short distance farther stat. Assisi. The
town is picturesquely situated upon the hill. Before ascending to
Assisi the magnificent church of **'. Maria degli Angeli (about
'/j M. W. of the stat.) should be visited; it was erected by
Viynola on the site of the original oratory of St. Francis, the so-
called Portiuncula. After the damage occasioned by the earthquake
of 1831 the nave and choir of the church were re-erected; the
dome, however, had not suffered. Beneath the latter, in front of
the oratory, the *Vision of St. Francis, 'Mary with a choir of
angels', alleged to have been witnessed by the saint in 1121, a
fresco by Overbeck, 1829. Farther on, to the r. . is the hut in
which Francis expired , Oct. 4th. , 1226 , with inscription and
frescoes by Lo Spagna , representing the followers of the saint.
The other parts modern.

56 Route 8. ASSISI. From Florence.

A beautiful path leads from S. Maria degli Angeli to Assisi
in '/.) lir. The services of the guides who importune travellers at
S. Maria dejrli Angeli and at Assisi are entirely superfluous.

Assisi (Nuovo Albergo del Subasio , next to the monastery of
S. Francesco; Leone, near the Piazza, good), a small town and
episcopal see, the ancient Umbrian Assismm, where P. C. 4G the
elegiac poet Propertius, and in 1698 the opera-writer Pietro
Metastasis (properly Trapassi , d. at Vienna in I7S'2) were born,
stands in a singularly picturesque situation.

It is indebted (or its reputation to St. Francis who was born here in
1182. He was tlie son of the merchant Pietro Bernardone, 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 Franris-
anis, which speedily found adherents in all the countries of Europe, and
was sanctioned in 1210 by Innocent. III., and in 1223 by Ilonorius III. Po-
verty and self-abnegation formed the essential cbaiacteristics of the order,
which under different designations (Seraphic Brethren, Minorites, Observiin-
tes, and Capuchins, who arose in 152GJ was soon widely diffused, and still
•"lists. St. Francis is said to have been favoured with visions, the most
important of which was that of 1224, when Christ impressed on him the
marks of his wounds (stigmata). From the 'apparition of the crucified
seraph' the saint is also known as Pater Seraphir.us.

St. Francis expired Oct. 4th, 1226, and in 122S was canonized by Gre-
gory IX., who appointed the day of bis death to be kept sacred to his me-
mory. He wrote several works, especially letters which display talent, and
was one of the most remarkable characters oi' the middle ages. Ilanfe
(Paradiso 11, 50) says of him that he rose like a sun and illumined every-
thing with his rays.

Having reached the town, the visitor proceeds to the 1. to the
Monastery of the Franciscans, which, reposing on its massive
foundations on the verge of (he hill, has long attracted the atten-
tion. Passing the church, the visitor enters the monastery, now
dissolved, and requests one of the few surviving monks, to act
ns guide (I fr. or more). The monastery was founded in 12-S,
it is believed, by the Fmp. Frederick II.; with the exception of
several frescoes in the refectories, it contains nothing of interest.
From the external passage a magnificent *view of the luxuriant
valley is enjoyed.

The two Churches, erected one above the other , are objects
of far greater interest. A third, the C'rypt, with the tomb of the
saint, was added in 1818, when his remains are said to have
been re-discovered. The lower church was erected in P2J8 — 32,
and consecrated by Innocent IV. The style is Ital. Gothic; the
architects were Jacopo d'Alemanvia, also named Lapo by the Ita-
lians, and the monk Fra Filippn da Campel.lo.

The 'Lower Church, used for divine service, is always accessible; en-
trance by a side-door on the terrace, in front of which is a vestibule of
1487. The interior is low and obscure. To the r. a tomb, above it a vase
of porphyry, said to be that of John de Brienne , King uf Jerusalem, who
in 1237 entered the order of St. Francis: or that oi' Hecuba of Lusignan,
Queen of Cyprus (d. 1243). Opposite the entrance is the chapel of the Cru-
cifixion. To the r. in the nave, the chapel of St. Louis, with frescoes by
Adone Doni (1560). On V~~ "■•••**** .>»;!;„<» "nronhets and sibyls, by Andrea

to Rome.

ASSIST.

8. Route. 57

del Inurquo of Assisi. The chapel of S. Antonio di Padua, \vi(h frescoes liy
Giotliuo, is entirely modernised. In lie cl.apol of S. Maddalcna frescoes by
Buffatmarco [ 1320) , representations from the 1 i I > ■= of the saint. In the S.
transept frescoes by Tad.deo Gaddi and Giocanni da Jfi/ano. The high-alt;ir
st;uiil,s on the spot where tin- remains of St. Francis lay. The lour triangles
of Ihe vaulting above are decorated with frescoes liy Ciiotto: Poverty, <'bns-
tify. Obedience, and Ihe praises of St. hranris.

In tlie. N. transept frescoes by Pum'o Copanita , pupil of Ointto, reprc
sen tiny, St. Francis receiving tlie stigmata. '1 he small altar of St,. John un-
fortunately conceals io some extent, the Crucifixion , by P/r/ro ('arallini,
painted for Walther de Tirietine. Duke of Athens, whilst, captain of the Flo-
rentines (1342). The figure on the mule, with golden accoutrements, is said
to represent Walther. At this point is the entrance to the sacristy , to the
r. of which is a Madonna with St. Cnihartne and other saints, by ho S/xiana
(1510). The sacristy contains handsome cabinets of the 17th cent., in which
(before Ihe spoliation of I7H7) the treasures of the church were preserved.
Among the relics' are the 'veil of the Virgin1, a beneiiid ion in the hand-
writing of St. Francis, and the rules of his order, sanctioned by llonorius Hi.,
which Ihe holy man always curried with him. His portrait over the door,
painted soon after his .death, is attributed to Giuula da Pisa. Farthei' on
in the church, to (lie 1. , Is (lie pulpit, adorned with a Coronation of (he
Virgin, ascribed to Fra Martina, pupil of Simone di Martino. P.eneath the
music-gallery, 'St. Francis receiving the stigmata, a fresco by Giotto. The
last chapel to the N. is dedicated to St. Martin; scenes from his life by
Simone di Martina.

The stained windows of the lower church are by Any clef to and Pielro
da Giibbio ami Bonino tfAxsisi , those of the upper church more than a
century later.

The Cryjd. was constructed in the Ituric style, harmonising liltle with
the two churches, in ISIS, al'ter the relics of the saint had been discovered
in a rude stone coffin. It is approached by a double staircase.

The l')ipi-r Glfurch, the simpler of the two, is opened on the occasion
of great festivals only, but may be visited by the stranger accompanied by
the sacristan. It is in the.- form of a Latin cross, with niches for Gothic
windows, transept, and tribune. The W. side has a handsome wheel-window
and beautiful pediment. The ceiling and walls of the nave are adorned
with * frescoes by Cim<di)w and Giotto (f'W) of events from the life of St.
Francis, those above are from the Old and New Testament, by Gintabiie.
Frescoes in the transept by Gun/la da Pisa (about I'JiYil, injured. "Choir-
stalls carved and decorate'! with figures by bomeriira da S. Xeverino (about
I ■I 0(f). Papal throne, of red marble of Assisi (by Fuvrio), erected by
Crogory IX.

On quitting the upper chinch and emerging on the space in
front of it, the traveller, may follow the street ascending thence
in a straight direction, which will load him to the Piazza. Here is
situated the beautiful fragment of a -''Temple of Mintrva, consisting
of (> columns of travertine, con\erted into a church of >S. Maria
tUifu Minerva. Ancient inscriptions immured in the vestibule. Ad-
jacent to the church is the entrance to the ancient Forum, which
corresponded to the present Piazza, but lay considerably lower. In the
forum a Basement for a statue with a long inscription (fee '/.? fr.|.

The Chiesa Nuoca occupies the site of the house in which
St. Francis was bom.

The Cathedral of S. Rafino . in the upper part of the town,
named after the first bishop (f2-i0j , dates from the first half of
the Vhh cent., the crypt from 10l«S. Facade ancient; the interior
entirely modern. Entrance r. of the church (25 c.J.

58 Route S. SPELLO. From Floren,*

From the cathedral a broad , unpaved road to the r. leads in
a i'ew minutes to the church of <S. Chiara, near the gate, a line
Gothic structure by Fra Filippo da Vcimpello (1253. unfortunately
altered afterwards), now undergoing' restoration (if closed, visitors go
round the church to the 1. and knock at the door at the back).
Beneath the high-altar are the remains of S. Clara, who, inspired
with enthusiasm for St. Francis, abandoned her parents and wealth,
and died as first abbess of the order of Clarissines which she had
founded. A handsome crypt of different coloured marbles has
recently been constructed about her tomb. On the arch above the
high-altar frescoes by Oiottinu; those in the lateral chapel on the
r. are attributed to Giotto.

In a ravine of the lofty Monte Subasio (3844 fi.J, in the rear
of Assisi , is situated the hermitage delle Carcere, whither St.
Francis was wont to retire for devotional exercises.

The drive from Assisi to Spello is very beautiful (one-horse
carr. 4 — 5 fr.). Ily train it is reached in 13 mill, (express does
not stop). To the r. of the road as the town is approached arc
the ruins of an amphitheatre of the imperial period, but they are
not visible from the railway.

Spello, a small town with '2500 inhab. , picturesquely situated
on a mountain-slope, is the ancient Ilispellum (Colonia Julia
Hispellwn). The Porta Veneris by which the town is entered, with
its three portrait-statues, as well as portions of the wall, are an-
cient. In S. Maria Magyiore, r. of the entrance, an ancient cippus
serves as basin for consecrated water. To the 1. the Cap. del
Sagramento with *frescoes by Finturicchio (1501), 1. Annunciation
(with the name and portrait of the painter), opposite the visitor
the Adoration, r. Christ in the Temple; on the ceiling, the Sibyls.
L. of the high-altar Pieta, r. a Madonna by Peruyino. Above the
altar in the sacristy a Madonna by Finturicchio.

S. Francesco (or Andrea'), consecrated in 1228 by Gregory IX.,
contains in the r. transept an altar-piece, Madonna and saints, by
Finturirrhiii (1508) ; above, a letter to the painter by (I. Baylione.

Among other antiquities (lie 'House of Propertius' is shown,
although it is by no means certain that the poet was born here.
In the Pal. Comunale and the church-wall of S. Lorenzo, Roman
inscriptions. The upper part of the town commands an extensive
view of the plain, with Foligno and Assisi. Numerous ruins
occasioned by the earthquake of 1831 are still observed.

The line to Foligno crosses the Topino and reaches stat.
Foliyno (halt of 25 min., good refreshment-room). About 1/2 M-
from the stat. is

Foligno (*Posta; *Albergo di Oius. Barbacci, R. li/2 fr. ; *Croce
hianca; Trattoria Stella d'Oro. One-horse carr. from the stat. to
the town for 1 pers. with luggage 40 c), near the ancient Ful-
yinium, an industrial -tewu with. 13,000 inhab., .md an episcopal

to Rome. FOLIGNO. 8. Route. 59

residence, situated in a fertile district. In 1'2S1 it was destroyed by
Perugia, in 1439 united to the States of the Chinch, and in 18I>0
again separated from them. The earthquake of 1<S;3 1 occasioned se-
rious damage; those of 183'J, 1853, and 1.S54 were less destructive.

Foligno also boasts of a school of painting akin to that of
Perugia, the most distinguished master of which is Niccolb Alunno,
or da Foligno.

Beyond its pleasant and attractive exterior the town possesses
little to arrest the traveller, who should therefore , if possible, at
once proceed on ids journey to Spoleto.

In the Piazza is the cathedral of 8. Feliciano with (iuthic
facade of the 15th cent., interior renovated.

8. Anna, or delle Contesse, with dome by Bramante, formerly
contained the celebrated Madonna di Foligno by Raphael , now in
fehe Vatican.

8. Niccolb; in the chapel r. of the high-altar is a fine altar-
piece and a Coronation of the Virgin with 'predclla' by Niccolb
Alunno. — S. Maria infra Portas, with frescoes by the same master.

La Nunziatella , with a fresco by Perugino , the Baptism of
Christ.

The Palazzo del (joverno is adorned with frescoes by Ottaviano
Nelli (in the old chapel). Palazzo Comunale, a modern building
of the Ionic order.

About 6 M. to the W. is Bevagna on the Clitumnus , the ancient Me-
vania of the Umbri, celebrated for its admirable pastures, with remains of
an amphitheatre and other antiquities. From Bevagna (or from Foligno di-
rect 7 M.) the traveller may visit the lofty Montefalco , a small town with
several churches containing a number of fine paintings ; thus, S. Francesco,
with frescoes from the life of the Saint by Jienozzo Gozzoli (1422) ; in the
chapel good frescoes by various masters. The churches thir llluminata, S.
Leonardo, and S. Forlitnalo {_3\t M. from the town, on the way to Trevi) also
contain objects of interest; charming views of the plain from the height.

At Foligno the line unites with that from Ancona (see K. 11).

From Foligno to Rome.

Railway. From Foligno to Rome 3 trains daily in 7 — 8 hrs.; fares
19 fr 75 14 fr. 60, 9 fr. 75 c. A fourth train runs as far as Narni only,
in 3 hrs. ; fares 7 fr. 50, 5 fr. 25, 3 fr. 75 c.

The railway, as well as the high-road, intersects the luxuriant,
well-watered valley of the Clitumnus , whose Hocks are extolled
by Virgil, and proceeds in a straight direction to

Stat. Trevi. The small town, the ancient Trehia, lies pictu-
resquely on the slope to the 1. The church of *La Madonna delle
Lagrime possesses one of Perugino's finest frescoes, the Adoration
of the Magi. The church of S. Martino , outside the gate, also
contains good pictures by Tiberio d'Assisi and Lo Spagna.

The small village of Le Vene, on the Clitumnus, is next passed.
Near it, to the 1. , a small ancient * Temple , usually regarded as
that of Clitumnus mentioned by Pliny (Epist. 8, 8), but probably
not earlier than Constantine the Great, as the Christian emblems,

60 Route 8. .SPOLETO. From Florence

tin- vine and the cross, on the facade testify. The temple, now
chinch of N. Salvatore, lies with its rear towards the road; it may
easily be reached on foot from Trevi in 1 hr. Near Be Vene the
abundant and clear Source of the Clitumnus, beautifully described
liy Pliny, wells forth from the limestone-rock. On the height to
the 1. the village of Campello. On the way to Spoleto, to the 1.
in the village of S. Giaromo, is a church with frescoes by Lo
Spni/nii, of l:>'2(>; beautiful road through richly cultivated land.

Spoleto (Posta; Albcryo Nuovo ; from the stat. to the town
'/.j M., two-horse carr. 1 fr.), the ancient Spolelimn, said to have
been an episcopal residence as eaTly as A. f>. f>0, now an archi-
episc.op.il see with 11,000 inhab. , is an animated town , beauti-
fully situated, and containing some remarkable antiquities.

In 1'. C 242 a Roman colony was established here, and in ''17 the town
vigorously repelled the attack of Hannibal when on his march to I'ieenum
alter the battle of the Trosimenc Lake, as Livy (22, 9) relates. It subse-
quently became a Homan muuicipiuni, suffered se\rerely during the civil
wars of Sulla a.nd Marios, and again at the hands of the Ijoths , after the
fall of the W. Empire. The Lombards here founded a duchy las in Bene-
ventnm) in 570, the first holders of which were I-'uroald and Ai-iolf. After
the fall of the Carlovingians ijii/do of Spoleto even attained the dignity of
Emperor, as well as his son J.atiU'rrt , who perished while hunting in S98.
Innocent IJI. and Gregory IV. incorporated Spoleto with the States of the
Church about 1220. The Castle of Spoleto, erected by Theodnrie the Great,
restored by Narses, and strengthened Oy 4 towers by Cardinal Albornoz, now
a prison, fell into the hands of the Piedmonteso Sept. 18th, 1860, after a
gallant defence by Major O'lleilly, an Irishman.

The town is built on the slope of a hill, the summit of which
is occupied by the old castle. Vscoiding from the principal street
in the lower part of the town, where the hotels are situated, the
traveller first reaches a gateway of the lioman period, termed
Porta tfAnnibale, or Porta delta h'ttya, in allusion to the above-
mentioned occurrence. Beyond it the Piazza is crossed; then an
ascent to the 1. to the Palazzo F'ubbliro , containing several in-
scriptions, and a *Madonna with saints by Lo Spagna. The street
to the 1. leads to the loftily situated

Cathedral of S. Maria Assunta, erected by Duke Theodelapius
in 617, but frequently restored; on the facade (13th cent.)
5 arches with antique columns, a frieze with griffins and arabes-
ques, at each extremity a stone pulpit; above the entrance a
large mosaic, by Solsermis (l'207j of Christ with Mary and John.
Interior renovated in 11344. In the choir :,:freseoes by Fra Filippo
IJppi , completed after his death by Fra Diamante in 1470,
Annunciation, Birth of Christ, and Death of Mary; in the cupola
her Coronation ami Assumption (unfortunately damaged). The
winter-choir is embellished with carving by Pramante and paint-
ings by Lo Spagna. At the entrance to the chapel, on the 1. of
the choir, is the tomb of Fil. IJppi, who died here in 1469 of
poison administered by the family of Lucrezia Buti, a noble Flo-
rentine. Although o monk he had succeeded in gaining the

to Rome. SPOLETO. c? Route. 61

affections of this lady and abducting her from a convent. The
monument was erected by Lorenzo de Medieis; the epitaph is by
Poliziano. Opposite is the monument of an Orsini. The Baptistery
contains frescoes in the stvle of (,'iulio Romano; on the Hunt of tra-
vertine, sculptures from the life of Christ. In the adjacent chapel
are the remains of some frescoes by 1'hituricchio. — The Piazza is
believed to ha\e been the site of the palace of the Lombard dukes.

The other churches are of inferior interest. >s\ Ijomenico (dis-
used) contains a copy of Raphael's Transfiguration . attributed to
Cfiulio Romano. *£. J'ittin, outside the Roman gate, is a Norman
edifice ; facade adorned with sculptures.

Some of the churches contain relics of ancient temples; thus
in that del Croce/isso, outsile the town, fragments of a temple of
Concordia (V); columns etc. in <S. Andre i and N (fuidaiw; rem-
nants of a theatre; a ruin st\ led 'Palace of Thcodoric", etc. None
of these, however, claim special attention.

No one should omit to visit the Fortress, or the opposite Monte
Luco, for the sake of the view. The fortress being a prison and
somewhat unattractive, the visitor will probably prefer the latter.
A short distance before the entrance to the prison is reached,
the path ascends to the r. , issuing by a gate which here forms
air entrance to the town, where to the 1. polygonal foundations,
remnants of the ancient castle-wall, are perceived. Outside the
wall is a profound ravine, spanned by the imposing "Aqueduct
iltlle Tony, which serves as a bridge, uniting the town with Monte
Luco: a brick structure resting on 10 arches, 200 ft. in height,
aird '2'M. jds. in length. Its construction is attributed to Theode-
lapius, ord duke of Spoleto (004). A window midway affords a
view. To the 1. on the height is perceived the monastery of <S.
liiitliano; beneath, <S. I'ietro, above which the Capuchin monastery,
shaded by beautiful trees. Moiitc Luco is densely wooded, and
possesses a number of hermitages, roost of which are converted
into country-residencrs. The road ascends rapidly near the aque-
duct. After 1(1 min. a nioie unbroken prospect is obtained,
embracing the fortress and town, and the spacious valley. — The
summit is attained alter a fatiguing ascent of I-/2 ur- Towards
the 1. is a lofty cross, whence an unimpeded panorama is obtained
to the N. and E., of the valley of the Clitumnus with Trevi, Fo-
ligno, Spello , and Assisi ; then Perugia and the Central Apen-
nines near Citta di Ca-iello and (Jubhio. In the other directions
the view is intercepted by the mountains in the vicinity. To-
wards the \'\. these are overtopped by the rocky peak of the Si-
billa, snow-clad until late in the summer-, l.'oturning to the r.
the traveller passes the poor Capuchin monastery of iS. Maria
delle (iruzie, an ancient resort of pilgrims. The monks (at pre-
sent 1'2 iir number), who live in great poverty, are extremely
courteous to strangers , but accept no donations.

62 Route 8. TERNI. From Florence

Quitting Spoleto , the train ascends during 1 lir. on the slopes
of Monte Somma (4023 ft. J to the culminating point of the line
(2230 ft.), passes through a long tunnel, and reaches the fertile
valley of the Nera. To the 1. lies

Terni (Kuropa; Angleterre; *Tre Colonne), the ancient In-
terimina , 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
i >f the episcopal palace, Roman inscriptions in the Palazzo Pub-
blico, palaces of the Umbrian nobility, etc. are objects of interest.
Agreeable promenade on the ramparts, whence the beautiful Nera
Valley is surveyed ; 1. Collescipoli, r. Cesi, opposite the spectator
Narni.

From Terni a walk of l1/'2 hr. to the celebrated ** Waterfalls
(Le Cascate, or La Caduta delle Marmore); one horse carr. 3 — 4,
two-horse 5 — 6 fr., and according to circumstances an additional
gratuity. The traveller should not fail to be provided with an
abundant supply of the copper-coin of the country. At the different
points of view contributions are levied by the custodians (not above
3 — 4 sous); then gates require opening (1 — 2 sous), in addition
to which a host of beggars and guides sorely try the patience. The
pedestrian is cautioned against engaging a guide before Papigno
is reached, to which point the high-road is followed.

Descending from the Piazza by the Strada Garibaldi, the tra-
veller soon reaches the gate and crosses the Nera. The high-road
to Rieti , traversing gardens and olive-plantations , is followed for
3/4 hr. , the valley of the Nera attained , and a road on the 1.
entered. The highest eminence above the river is crowned by
the ruins of an old castle. The road affords fine views of the
mountain-group of Terni, M. Somma, and the rocky heights of the
Nera Valley. Papigno stands on an isolated rock, surrounded by
ravines , in a remarkably picturesque situation on the 1. bank of
the Nera. The carriage-road leading round Papigno is followed;
at the gate the stranger is subjected to the importunities of guides
and donkey-drivers. The services of a guide are by no means
necessary, but may be accepted as a protection against farther
molestation. Guide '/2 — 1 fr. ; donkey about the same ; bargain-
ing , however , necessary. The carriage-road is followed , but its
windings may occasionally be cut off by footpaths; then through
the ravine and across the Nera. Beyond the bridge, the garden
of the Villa Oraziani (Castelli) is entered immediately to the r.,
and an avenue of lemon and orange-trees traversed; the farther
end of the garden is shaded by cypresses. Lofty rocks rise above
the narrow valley, forming a striking contrast to the luxuriant
vegetation of the garden (gardener 10—15 c). The path skirts
the verge of the impetuous Nera, shaded by evergreen oaks. After
about 10 mill., the broader path terminates, and the moistness of

to Rome. TERNI. S. Route. 63

the atmosphere betokens the proximity ol' the fall. A narrow
footpath is followed in a straight direction, finally ascending rapidly.
Where it divides, a few pares to the r. lead to a projecting rock,
whence the lower fall is surveyed. The ascent to the 1. leads to
a small arbour, where the finest view of the central fall is obtain-
ed (fee 20 c).

The Velino, which here discharges itself into the Nera, is so
strongly impregnated with lime that its deposit continually raises
its bed. In consequence of this the plain of Rieti (1390 ft. )
is frequently exposed to the danger of inundation. Tn ancient
times Marcus Curius Dentatus endeavoured to counteract the evil
by the construction of a channel (B. C. 271), which, although
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 subsequently excavated, the Cava Beatina
or Qregoriana in 1417, and the Cava Paolina by Paul III. in 1546;
these, however, proving unserviceable, Clement VIII. reopened the
original 'emissarius' of Dentatus in 1598. In 1787 a new cutting
was required, and another has at the present day become necessary.
The regulation of the Velino-fall has long formed the subject of
vehement discussions between Rieti and Terni, as the unrestrained
descent of the water in rainy seasons threatens the valley of
Terni with inundation. The height of the upper fall (1274 ft.
above the sea-level) is 50 ft., that of the central or principal fall
is stated at 5 — 600 ft., that of the lower, down to its junction
with the Nera, 250 ft. ; total height 8 — 900 ft. ; according to other
measurements, however, only 5 — 600 ft. in all. In volume of
water and beauty of adjuncts these falls cannot easily be sur-
passed. The footpath continues in the valley of the Nera. Re-
tracing their steps, visitors enter the first path to the 1., cross-
ing the Nera by a natural bridge, beneath which the water has
hollowed its own channel. Where the path divides , the gradual
ascent to the 1. is to be selected. The surrounding rocks (in
which there is a quarry) have been formed by the incrustations
of the Velino. The channel on the r. (Cava Paolina) is full in
winter only. The division of the cascade is here surveyed ; the
central fall , in the spray of which beautiful rainbows are occa-
sionally formed, may be approached more nearly. A farther ascent
leads to a small pavilion of stone on a projecting rock (fee
10 — 20 c), whence a beautiful view of the principal fall and the
valley of the Nera. Another point of view is the garden of the
first cottage which is reached (20 c. ; flowers and petrifactions of
the Velino offered, 10 — 20 c. more); view of Terni. The traveller
should now descend immediately to the high-road (having pre-
viously ordered his carriage to meet him here), instead of return-
ing to Papigno as the drivers prefer. The entire excursion occu-
pies at least 3 — 4 hrs.

64 Route 8. NARNI. From Florence

If time permit, the excursion may be extended (3 M.) to the
beautiful Lake of I'iedilugo. The Velino is crossed, and the lake
attained in '/-2 !"'• 5 its indentations are skirted, and the village
of Piedilut/o, with its ruined castle reached in '/•> lir. more. Boats
may be hired at the *inn; the opposite bank, where a fine
echo may be awakened, is most frequently visited by water.

Cesi, loftily situated, 4% M. to the N. of Terni , possesses
remnants of ancient polygonal walls and interestinjr subterranean
grottoes of considerable extent, from which a current of cool air
in summer, and of warm in winter issues.

From Terni a pleasant route by Rieti, Aquila, Popoli , and Solmona
leads to jYaples. To Kicti 23 M., diligence every alternate day. From Rieti
to III line by the ancient Via Snlara, diligence three times weekly in 10 hrs.
(9 fr.) This route, is, however, inferior in interest to the following, and is
seldom selected by tourists.

From Terni to Narni 8 M., one-horse carr. 5 fr.

The railway intersects the rich valley of the Nera. To the
r on the hill Cesi (see above), 1. Collescipoli, then

Narni (*Posta), the ancient Umbrian Narnia (originally JVe-
qiimuni) , birthplace of the Emperor Nerva , Pope John XIII.
(90;) — 72), and of Erasmus of Narni, surnamed (fattauielata, the
well-known 'condottiere' of the ifith cent. It is picturesquely
situated on a lofty rock on the A'tir, now iXira (whence its name),
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 of Narni, dedicated to tit. Juvenilis the first
bishop (369), erected in the 13th cent., is architecturally inter-
esting. The Monaxtcri) of iht ZwcoUtnti contains the * Coronation
of Mary by Lo Sjmyna, one of that master's finest paintings, and
long believed to be the work of Raphael.

From Narni fo Perugia by Todi see p. 54.

From Narni 0 31. to the ancient and beautifully situated Umbrian moun-
tain-town ot Amelia, Lat. Amelia (inu outside the gate), mentioned by Ci-
cero, with admirably preserved ; walls in the Cvrlopean style and other an-
tiquities. The road, hleniical with the Via Flaminia, now traverses a well-
tLiltiva.ted district.

7 M. Otricoli, a village near tin- site of the ancient Dliiculum, the
frontier-town of Umbria, where numerous antiquities, among others the ce-
lebrated bust of Jupiter in the Valiran, have been discovered. In descend-
ing from Otricoli the geologist will observe in (he direction of the Tiber
the lir.-it traces of the volcanic deposits which recur so frequently in the
Cainpagna. The towering summit of Soracle becomes visible to the 1.

The road passes the small episcopal town of Mmjliano , said to derive
its name from ManJius Torquatus, now belonging to tiie Sabina , and leads
to the 1. to the Tiber, whirl, is crossed by the handsome, f'oittc Mice, con-
structed by Augustus, restored in loN'J by Pope Si\l us V. , formerly the
approach from Umbria to Ktruria.

A small steamboat runs twice weekly from this point (or from Porta della
Rosa, 15 M. farther down, when the river is low) to Pome in 8 — .10 hrs.,
affording the traveller a convenient, although not very comfortable oppor-
tunity of becoming acquainted with the banks of the. river, which will be
found interesting.

The train quits Narni on the r. bank of the iS'era and ill a
lew minutes reaches the * P-rithic of Augvttus lor the Via Fla-

to Rome. ORTE. 8. Route. 65

minia (p. 75), which led hence to Bevagna (p. 59). The arch
on the 1. bank is 64 ft. in height ; of the other two the buttresses
alone remain.

It may be best surveyed from the new bridge which crosses the river
a little higher up. Beneath the remaining arch a fine glimpse is obtained
of the monastery of <S. Casciano. By the carriage-road from Narni to the
bridge is a drive of 'J* hr. ; the far more picturesque route is on foot, de-
scending by the somewhat precipitous bridle-path in */« hr.

The road continues to follow the magnificent valley of the
Nera , with its singularly beautiful plantations of evergreen oaks,
passes through two tunnels, and then by a chain- bridge (not far
from the influx of the Nera) crosses the Tiber, which was for-
merly the boundary here between the Kingdom of Italy and the
States of the Church.

Stat. Orte, the ancient Horta, loftily situated on the bank of
the Tiber , contains nothing of interest beyond its picturesque
situation. This will be the junction of the line now described
with that from Florence by Siena and Orvieto.

The line descends the valley of the Tiber on the r. bank,
affording pleasing glimpses of both banks. To the r. the lofty
and indented ridge of Soracte (p. 67) becomes visible. On the 1.,
on the other side of the river , lie S. Vito and Otricoli (see
above). To the r. stat. Galese; farther on, high on the 1. bank,
Maglia.no. The next stat. Borghetto is commanded by a ruined
castle on the height to the r. The Tiber is crossed here by the
handsome Ponte Felice (see above) which formerly served as a
link of communication between Rome and the N. E. provinces.
From Borghetto via Civita Castellana by the old high-road to Rome
see p. 66.

Beyond Borghetto Civita Castellana becomes visible for a short
time. The line crosses to the 1. bank of the Tiber. Stat. Sti-
migliano and the following stat. Montorso are situated in the
mountainous district of the Sabina, which produces abundant sup-
plies of oil. The country is here extremely attractive, but cannot
conveniently be visited by the traveller without letters of intro-
duction, on account of the paucity and poverty of the inns (toler-
able at Poggio Mirieto only). To the r. the Soracte is seen.

Next stat. Passo di Correse. The name is a corruption of
Cures, the ancient Sabine town, birthplace of Numa Pompilius,
the ruins of which are in the vicinity.

The train continues its route on the 1. bank of the Tiber to
stat. Monte Rotondo ; the town, 2^3 M. higher, possesses a castle
of the Orsini , now the property of the Piombino family, com-
manding beautiful views of the Sabine Mts. The village was
attacked by Garibaldi on the 26th Oct. 1857; 2 M. distant is
Mentana (p. 268), where he was defeated by the Papal and
French troops, and compelled to retreat.

B>edekek. Italy II. 3rd Edition. 5

66 Route 8. CIVITA CASTELLANA. From Florence

The line follows the direction of the ancient Via Salara
(p. 64; to the r. on the hill the site of the ancient Antemnae)
and crosses the Anio (p. 268); to the 1. the Sabine and Alban
Mts. ; Rome with the dome of St. Peter's becomes visible. A
wide circuit round the city is described , near Porta Maggiore
(p. 141) the so-called temple ol Minerva Medica (p. 141) is passed,
and the central-station entered near the Thermae of Diocletian
(PI. I, 25). Arrival in Rome see p. 83.

From Borghetto to Rome by Civita Castellana

and Rignano.
From Borghetto (p. 65) the road ascends (42/3 M.) to the
picturesquely situated Civita Castellana (Posta ; Speranza, in the
market-place), which may best be visited from this station. Here
lay Falerii or Falerium Vetus, the town of the Falisci, conquered
by Camillus B. C. 396; Etruscan and Roman antiquities in the
environs. A lofty bridge, erected in 1712, carries the road across
a ravine, 120 ft. in depth, into the town. The bridge was over-
thrown by an earthquake a few years ago , and has not yet been
completely restored. This necessitates a circuit of 41/-2 M. The
ravine may, however, be crossed on foot by the robust pedestrian
(not recommended to ladies). — The Cathedral of S. Maria dates
from 1210; the Citadel, erected by Alexander VI. in 1500 from
a design by Sangallo , enlarged by Julius II. and Leo X. , was
last employed as a state-prison. Civita Castellana contains nothing
to arrest the traveller except its picturesque situation. The deep
ravines by which it is enclosed testify to vast volcanic convulsions.
They contain scanty remnants of ancient walls and numerous
Etruscan tombs hewn in the rock, especially near the citadel.

Interesting excursion to the ruins of Falerii (pronounced Falleri) , 3 M.
distant.

Near the citadel the Ponte del Terreno is crossed to the 1., where tombs
honeycomb the rocks on all sides, this being the more direct route to Fa-
lerium Novum or Colonia Junonia, founded by the Romans about 240, situated
in the plain, 3 M. to the N. of Civita Castellana. Etruscan and Roman tombs
are here seen side by side. The town was nearly in the form of a triangle;
the walls are well preserved, protected by strong square towers and pene-
trated by gates , one of which on the W. (Porta di Giove) is still in good
condition. Another gate towards the S.E., the Pjrta del Bove, is also worthy
of a visit; near it the theatre of Roman construction. Also the piscina and
what is regarded as the forum, in the rear of the theatre.

At the Porta di Giove, within the walls, is the " Abbadia di S. Marin
of the 12th cent. In the nave antique columns ; in 1829 the roof fell in,
but the damage has been repaired. The adjoining building contains in-
scriptions, statues , etc. , the result of excavations made here. An amphi-
theatre has also been recently discovered. One of the men at the farm-
buildings may be requested to act as guide. Picturesque views from the
walls.

Rome can be reached in one day from Civita Castellana.

to Rome. RIGNANO. 8. Route. 67

This route, corresponding to the ancient Via Flaminia, is 33 M. in
length, but nearly 5 M. shorter, and moreover less hilly, than that by Nepi.
At the same time it affords a convenient opportunity for visiting Soracte
(3 — 4 hrs. suffice). Those who travel with a vetturino alight 2 M. before
Eignano is reached, where the> horses may be fed. Travellers in the oppo-
site direction order the carriage to meet them 2 M. beyond Rignano. One-
horse carr. from Rignano to Civita (9 M.) 6—7 fr. ; guides offer their services
for the ascent of Soracte, but may well be dispensed with.

The road descends at the E. end of Civita Castellana to the
deep valley of the Treja , which it gradually again quits. 2 M.
from Rignano (7 Irom Civita) the road ascends to the 1. to the
Soracte; pedestrians may alight here, whilst those who prefer it
continue their route to Rignano and there obtain horses, donkeys,
or a light conveyance (in which half the distance only can be
performed) for the ascent. 1 M. farther is the church de' Santi
Martiri, with Christian catacombs.

Rignano (* Posta), a small place which boasts of a few Roman
relics. Here Cesare and Lucrezia Borgia and their brothers and
sisters, children of Cardinal Roderigo Borgia (Alexander VI.) were
born. The environs are in many respects interesting to the anti-
quarian and naturalist.

Soracte, mentioned by Horace (Carm. I. 9 : Vides ut alta stet
nive candidum Soracte) and Virgil (^En. 7, 785: Summi deum
sancti custos Soractis Apollo), is now termed Monte di S. Oreste.
the word Soracte having been erroneously written S. Oracte, and
thence corrupted to S. Oreste. It is a limestone-ridge, descend-
ing precipitously on both sides, extending 3—4 M. from N. W.
to S. E., and culminating in several peaks of different heights.
On the central and highest summit (2230 ft.) stands the church
of S. Silvestro. On the slope which gradually descends towards
the S. E. the village of S. Oreste is situated. Thus far the road
is practicable for carriages, but walking or riding is far preferable.
Leaving the miserable village to the r., the path ascends gradually
to the 1., and in ^2 nr- tne monastery of S. Silvestro is reached,
founded in 746 by Charleman, son of Charles Martel and brother
of Pepin. The monks live in a very humble style; refreshments
should be brought for the excursion if required. The summit,
with the church and a small disused monastery, may now be
attained in a few minutes. In ancient times a celebrated Temple
of Apollo occupied this site.

The **view, uninterrupted in every direction, embraces: E. the
valley of the Tiber, the Sabina, in the background several snow-
clad peaks of the Central Apennines, among them the Leonessa ;
S. the Volscian and Alban Mts., then the broad Campagna, Rome,
the sea; N. the mountains of Tolfa, the Lake of Bracciano, the
Ciminian forest, the crater of Baccano, and numerous villages.

Pedestrians , returning from the monastery, may descend by
a direct path, which, although somewhat precipitous, is consider-
ably shorter than that by S. Oreste.

68 Route 8. NEPI.

Beyond Rignano the road ascends slightly. After 4 M. the
dome of St. Peter's becomes -visible. Midway between CivitSt
Castellana and Rome is the osteria of Castel Nuovo , where the
vetturini usually halt for a few hours to rest their horses , if no
stay has been made at Rignano. As the district and the neigh-
bouring village of Castel Nuovo are unattractive, a halt at Rignano
is in every respect preferable. Beyond Castel Nuovo the road
gradually descends to the valley of the Tiber. Remains of pave-
ment and a few tombs indicate the course of the ancient road.
About 16 M. beyond Castel Nuovo, 7 M. from Rome, the road
descends to Prima Porta, where the ruins of the imperial Villa
of Livia or ad Oallinas is situated. Here in 1863 the beautiful
statue of Divus Augustus (in the Vatican) was found. The ex-
cavations have since then been continued. One of the rooms
with * mural paintings merits a visit. Near Prima Porta lies Saxa
Rubra, a station on the ancient road ; in the plain, on the bank
of the river, the defeat of Maxentius took place, A. D. 312. The
road hence , remaining in the vicinity of the Tiber, is extremely
picturesque. On the opposite bank lies Castel Giubileo, the an-
cient Fidenae. The road soon crosses the Valchetta , the ancient
Cremera , which descends from Veii and was the scene of the
well-known defeat of the Fabii. 3 M. from Prima Porta is situat-
ed a remarkable rock-tomb of the family of the ISasones. 2 M.
farther Ponte Molle is reached , where the Via Flaminia and Via
Cassia unite, see p. 41.

From Civita Castellana to Rome by Nepi. Travellers are
occasionally compelled to take this longer route, when that above described
is under repair. This is in fact the regular post-road , which at Monteroii
unites with that from Siena, Orvieto, and Viterbo.

From Civita to Nepi , partly through forest , 8 M. A shorter route, for
pedestrians or riders only , leads by the interesting Castel S. Elia , a resort
of pilgrims.

Nepi, the ancient Etruscan Nepete or Nepet, subsequently Colonial
pensis, is a picturesquely situated little town, residence of a bishop, sur-
rounded by mediaeval walls and towers. Venerable Cathedral ; Town Hall
with Roman sculptures and inscriptions. In ancient times it was a place of
importance, but is now in a decaying condition , principally owing to its
destruction by the French in 1799. Falerii is 6 M., Sutri 7 M. distant from
Nepi.

The road now traverses a bleak volcanic district , and a short distance
before Monlerosi is reached unites (42|3 M.) with the road from Siena to
Rome. From Jlonterosi to Rome see p. 40.

9. From Bologna to Rome by Ancona (Falconara)
and Foligno.

An express train runs daily from Bologna to Rome in 17 hrs., halting
for l'|2 hr. at Falconara- Ancona. The other trains are also convenient.
Fares 56 fr. 40 , 42 fr. 55 , 30 fr. 35 c. From Bologna to Ancona 4 trains
daily in 5-7 hrs. ; fares 22 fr. 45, 18 fr., 13 fr. 50 c.

From the railway-station on the N. side of the city , outside
the Porta Galliera , the line runs parallel with the high-road in

FORLI. 9. Route. 69

the direction of the ancient Via jEmilia, and as far as Forli
traverses fertile plains in nearly a straight direction ; in the dis-
tance to the r. the spurs of the Apennines. Stat. Mirandola and
Quaderna. Stat. Castel S. Pietro , on the Sillaro , with a castle
•erected by the Bolognese in the 13th cent.

Imola (S. Marco) , on the Santerno , the Koman Forum Cor-
nelii, an ancient town with 10,916 inhab. and seat of a bishop
(since 422), incorporated with the States of the Church in 1509,
was the birthplace of St. Petrus Chrysologus , Archbishop of Ra-
venna (d. 449). His tomb is in the cathedral of S. Cassiano,
where the remains of the saint of that name also repose.

The line crosses the Santerno and soon reaches stat. Castel
Bolognese, an ancient stionghold of the Bolognese, constructed in
1380. Branch-line hence to Ravenna. Then across the river Senio,
the ancient Sinnus, to

Faeuza (Corona; Posta), a town with 17,486 inhab., on the
Lamone (ancient Anemo) , the Faventia of the Boii, celebrated for
its pottery (whence the term ' fayence,~) , and containing consider-
able silk and weaving manufactories. Among the churches the
cathedral of S. Costanzo deserves mention; it contains a *Holy
Family by Innocenzo da Imola , and bas-reliefs by Benedetto da
Majano. The Capuchin Monastery , outside the town , possesses
an admirable picture by Guido Reni, a * Madonna and St. John.
In S. Maglorio a * Madonna , attributed to Oiorgione , more pro-
bably by Girolamo da Treviso. By the latter a fresco (1533),
Madonna with saints , in the Commenda (in the Borgo) , where
there is also a Collection of Pictures by native masters , such as
Bertucci etc.

The *Palazzo Comunale was in the 15th cent, the scene of
the murder of Galeotto Manfred; by his jealous wife Francesca
Bentivoglio; the grated window in the centre, where the deed
was perpetrated, is still shown.

In 1782 the Canale Zanelli was constructed from Faenza to the Po di
Primaro near <S. Alberto, in order to connect the town with the Adriatic.

A good road leads from Faenza to Ravenna (diligence 3 times weekly),
and another by Marradi and Borgo S. Lorenzo to Florence (corriere daily;
diligence 3 times weekly in 12 hrs. ; office, Corso 68).

The line intersects the plain in a straight direction; the La-
mone is crossed ; then the Montone, which falls into the Adriatic
not far from Ravenna.

Forli (Posta), the ancient Forum Livii, a well-built town with
17,723 inhab., was till 1848 the seat of the cardinal-legate.

The * Cathedral of S. Croce contains a chapel of the Madonna
del Fuoco ; in the dome * frescoes by Carlo Cignani : Assumption
of the Virgin. A Ciborium from a design by Michael Angelo , a
casket of relics of the 13th cent., and the sculptures of the prin-
cipal door of the 15th cent, are worthy of notice.

S. Girolamo contains a * Madonna with angels, by Guido Reni;

70 Route 9. RIMINI. From Bologna

in the 1st chapel to the r. frescoes by Melozzo and Palmezzano.
— iS. Mercuriale possesses a * painting by Innocenzo da Imola,
sculptures of 1536, and several good pictures by Marco Palmez-
zano , an artist of this town. On a house adjacent to the
'spezeria', or shop of the druggist Morandi, are remains of fine
frescoes by Melozzo da Forli (about 1470). The Pinacoteca con-
tains good pictures by Marco Palmezzano, Fra Angelico , Lorenzo
di Credi, etc. The * Piazza with the Palazzo Comunale and other
edifices deserves a visit. The Citadel, constructed in 1361, now
serves as a prison.

A road leads from Forli on the 1. bank of the Ronco to Ravenna (about
15 M.). Another through the Apennines by Rocca S. Casciano and S. Bene-
detto to Florence; diligence 3 times weekly, corriere daily at noon.

The line to Rimini crosses the .Ronco and passes stat. Forlim-
popoli, the ancient Forum Popilii ; to the r. on the hill Bertinoro
with its productive vineyards ; then via Polenta and across the
Savio (Sapis) to the town of

Cesena (*Posta or Leone Bianco), with 8000 inhab., charm-
ingly situated. In the Piazza is the handsome * Palazzo Pubblko
with a statue of Pius VI., who was born at Cesena in 1717. In
the interior a * Madonna with saints, by Francesco Francia. The
Capuchin Church possesses a line picture by Guercino. The "Library,
founded in 1452 by Domenico Malatesta Novello, contains 4000MSS.

On an eminence , */2 M. distant, stands the handsome church
of *8. Maria del Monte, a work of Bramante, and a Benedictine
monastery. Productive sulphur-mines in the vicinity, towards the S.

The line crosses the stream Pisciatello, which bears the name
of Vrgone in its upper course and is here identical with the cele-
brated Rubicon crossed by Caesar in his march against Rome. On
the road between Cesena and Savignano stands a column bearing a
decree of the Roman senate , threatening to punish those who
should unbidden venture to cross the Rubicon. Montesquieu re-
garded this as genuine, but it is doubtless of modern origin.

Before Rimini is reached, the five-arched *Bridge of Augustus,
one of the finest existing ancient works of this description, crosses
the Marecchia, the ancient Ariminus. Here the Via ^Emilia united
with the Via Flaminia which led to Rome.

Rimini (* Tre Re) , the ancient Ariminum , a town of the
I'mbri and a Roman colony , belonged during the exarchate to
the Pentapolis Maritima. It is situated on the estuary of the
Marecchia and Ausa, possesses 17,000 inhab., fisheries, and silk-
manufactories, and has recently come into notice as a tea-bathing
place. The * Porta Romana , of travertine, and adorned with
sculptures, erected, as the inscription records, to commemorate
the completion of the road by the Emp. Augustus, deserves parti-
cular attention. Near the Cappuccini are the supposed remains of
an amphitheatre. From the stone Basement in the market-place
Caesar is said to have harangued the army after the passage of

to Rome. PESAEO. 9. Route. 71

the Rubicon. The old harbour of Rimini at the mouth of the
Marecchia, now filled with sand, is employed by numerous fishing-
boats only. The following churches are interesting:

*S. Francesco (Duomo, Tempio dei Malatesta), of the 14th
cent., in the Ital. Gothic style, restored in 1420 from designs
by Leo Battista Alberti. The chapels contain several fine sculptures
and frescoes.

S. Giuliano, with altar-piece by Paolo Veronese, and an ancient
picture by Lattanzio della Marca. — <S. Girolamo, with *picture
of the saint by Guercino. — The Palazzo del Comune possesses
an altar-piece by Domenico del Ghirlandajo, and a Pieta by Gio-
vanni Bellini (about 1470). The Palazzo Diottoleri also contains
several fine pictures. The Library, founded in 1617 by the
jurist Gambalunga, contains 23,000 vols, and MSS. The dilapi-
dated Castle of the Malatesta , now the citadel , still bears traces
of the roses and elephants of the family escutcheon. From the
history of the Malatestas Dante derived the episode of 'Fran-
cesco da Rimini' in the 5th canto of the Inferno.

In the Castello di S. Leo , 18 51. to the W. of Rimini , the notorious
Cagliostro (Giuseppe Balsamo) died in confinement in 1794. From S. Leo
a bridle-path, much frequented by fishermen, leads to Florence by Camal-
doli and Vallombrosa, traversing picturesque ravines.

A somewhat shorter excursion may be made to the ancient republic
of San Marino, the smallest in the world, said to have been founded in
an inaccessible wilderness by St. Marinus at the time of the persecutions
of the Christians under Diocletian. This diminutive state braved all the
storms of mediseval warfare, and even the ambition of Napoleon. 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 (1000 inhab.) is situated is reached by one road only from Rimini.
The village of Sorgo at the base is the residence of the wealthier inhabitants.
A cavern, through which a perpetual current of cold air passes, is an ob-
ject of curiosity. The celebrated epigraphist and numismatist Bartolommeo
Borghesi, born at Savignano in 1781, was from 1821 until his death in 1860,
a resident at S. Marino , where he arranged and described his admirable
collections, and received visits from foreign savants.

Beyond Rimini the line skirts the coast, passes 8. Martina
and S. Lorenzo . crosses the streams Marano and Conca (the
Crustumium Rapax of Lucan) , and reaches stat. La Cattolica,
so called from having been the residence of the Rom. Catholic
bishops during the Council held at Rimini in 359. The line
crosses the Tavollo and passes the Villa Vittoria, situated on the
1. side of the road to Rimini, once occupied by Queen Caroline
of England when Princess of Wales. Crossing the Foglia , the
ancient Isaurus or Pisaurus, the train now reaches

Pesaro (Leone d'Oro; Italia; Caffe Nazionale, and della Piazza),
the ancient Pisaurum (19,900 inhab. J, capital of the united pro-
vinces of Pesaro and Urbino, and formerly appertaining to the
Pentapolis Maritima. It was a Roman colony as early as B. C. 184,
was destroyed by Totilas, and rebuilt by Belisarius. It was sub-
sequently ruled over by the Malatesta family, then by the Sforza,

72 Route 9. URBINO. From Bologna

and later by the della Rovere , dukes of Urbino , under whom,
especially through the influence of Lucrezia d'Este , it became a
great centre of art and literature , and was Tisited by Bernardo
and Torquato Tasso. In 1621 the town was annexed to the States
of the Church.

Pesaro was the birthplace of the celebrated composer Gioacchino
Rossini (b. 1789. d. at Paris 1868), the 'swan of Pesaro'. A
bronze statue (on the traveller's r. as he quits the station) was
erected to him in 1864 by two admiring friends. Baron Salamanca
of Madrid, and M. Delahaute of Paris. The monument is also
visible from the railway.

The ancient palace of the Dukes of Urbino , with a magni-
ficent hall, is now the seat of the authorities. In front of it are
marble statues of Rossini and Perticari.

The Foglia is crossed by a Bridge of Roman origin.

Among the churches may be mentioned: S. Francesco, with a
* Coronation of the Virgin by Giovanni Bellini ; S. Cassiano, with
a St. Barbara by Simone da Pesaro ; S. Giovanni de' Riformati,
with a badly restored altar-piece by Guercino.

The Biblioteca Olivieri contains 13,000 vols, and 600 MSS.
Adjacent to it is a small Museum of Antiquities. The Ospizio
degli Incurabili possesses an attractive collection of majolica-
vases ; in the Palazzo Astico are the Marmora Pisaurensia , de-
scribed by Giordani in 1738. The treasures of art of which
Pesaro formerly boasted have long since been transferred to Rome
and Paris.

Near Pesaro is Monte S. Bartolo, where the Roman dramatist L. Attius
is said to have been born and to be interred. Beyond it lies L'Imperiale,
once a favourite villa of the dukes , erected by Leonora Gonzaga , praised
by Tasso, and adorned with frescoes by Raffaele del Colle, but abandoned
to decay since the 18th cent. In the vicinity is the church of the Girolami-
lani, with an unfortunately damaged picture of St. Jerome by Giovanni
Santi. One of the finest prospects in the environs is obtained from an
eminence behind the monastery.

An excursion to Urbino may most easily be accomplished from Pesaro.
Diligence daily at 7 a. m. from Urbino to Pesaro in 5 — 6 hrs. , returning
on the arrival of the afternoon trains (fare 2 — 3 fr.). The road leads through
the valley of the Foglia, which falls into the sea at Pesaro, to Montecchio,
and then gradually ascends by the brook which falls into the Foglia.

TJrbino (Italia) , the ancient Urbinum iletaurense , deriving its name
from the neighbouring Metaurus , lies on an abrupt cliff , surrounded by
barren mountains. The town (8000 inhab.) boasts of a university with as
many professors as students. Its monuments and historical associations are
interesting.

In the 13th cent, the town came into the possession of the Afontefeltro
family, and under Federigo Montefeltro and his son Guidobaldo in the 15th
cent, attained to such prosperity as entirely to eclipse the neighbouring
courts of the Malatestas at Rimini and the Sforzas at Pesaro. Federigo
Montefeltro, who distinguished himself as a condottiere in the feuds of the
loth cent., in 1474 married his daughter to Giovanni della Rovere, a nephew
of Si.xtus IV., and was in consequence created Duke of TJrbino. In this
capacity he acquired a well-merited reputation as a patron of science and
art, and Urbino was styled the 'Italian Athens'. His example was followed
ty his son Guidobaldo I. , zealously seconded by his duchess , the beautiful

to Rome. URBINO. 9. Route. 73

and accomplished Elizabeta Gonzaga. Guidobaldo was in 1497 expelled by
Caesar Borgia, but after the death of Alexander VI. returned in triumph to
Urbino , where he was visited during three festive days by his relative
Julius II. (who now became Pope 1503—13), while on his route to Bo-
logna. On this occasion the latter became acquainted with the youthful
Raphael Santi , who (born March 28th, 1483, at Urbino) at tirst studied
under the guidance of his lather, the master Giovanni Santi, subsequently
under the celebrated Pietro Vannucci (Perugino) at Perugia, and in 1504 went
to Florence to perfect himself by the study of the works of Leonardo da
Vinci and Michael Angela Buonarotti. On the death of Duke Guidobaldo in
1508, Julius II. summoned Raphael to Rome to decorate the Stanza della
Segnatura with frescoes. Under Julius and his successor Leo X. Raphael
acquired the reputation of the greatest painter of the day, and died April
6th, 1520. For the development of his genius, however, "he was in a great
measure indebted to the munificent patronage of the court of Urbino. Here
Count Balthasar Castiglione wrote his 'Cortegiano', the ideal of a courtier;
here, also, the erudite Polydorus Vergilius resided , and the artist Federigo
Baroccio , who distinguished himself at Rome as a successful imitator of
Raphael, was a native o! Urbino (b. 1553) , where he died in 1612. In
1626 the duchy wes incorporated with the States of the Church, when
Urban VIII. persuaded the last and childless Duke Francesco Maria II. to
abdicate.

The town still contains much that recals its pristine splendour. The
"Ducal Palace, erected by Luziono di Lauranna in 1468 by order of Federigo
Montefeltro, was at that period regarded as the finest structure of the de-
scription in Italy , and is still a most interesting example of the early Re-
naissance, remarkable for its symmetrical proportions and the rich decoration
of its halls, windows, buttresses, chimney pieces (by Francesco di Giorgio and
Ambrogio Baroccio, ancestor of the painter of that name), etc. On the stair
tLe statue of Duke Frederick. The library of the palace and other collections
were transferred to Rome. The corridors contain a considerable collection
of well-arranged inscriptions from Rome and the Umbrian municipia, estab-
lished by the epigraphist Fabretti.

The " Cathedral possesses good pictures, by Federigo Baroccio, of St. Se-
bastian and the Eucharist, by Timoteo della Vile of St. Martin and Thomas
a Becket, with a portrait of the duke.

S. Francesco contains pictures by Giovanni Santi, a Madonna with St. John
the Baptist, St. Sebastian, St. Jerome, and St. Francis, with three kneeling
figures of the donors, members of the Ruffi family (not of the family of
Raphael, as was formerly believed); St. Rochus and Tobias by Timoteo della
Vtie: also monuments of the princes of Urbino.

S. Francesco di Paola, with two pictures of Titian , the Resurrection and
Eucharist. — S. Giuseppe with a "Madonna, by Timoteo della Yite , and (in
the oratario) a copy of Raphael's Sposalizio", by Andrea Vrbani. — The
Oratorio of the Confraternity di S. Giovanni is covered with paintings by
Lorenzo da S. Severino and his brother, of the school of Giotto , History of
the Virgin and John the Baptist. — The college near S. Agata contains an
interesting picture by Justus van Ghent, a pupil of Van Eyck, of 1474. —
In the church of ' S. Bernardino , 3;4 M. from the town , are the tombs of
the Dukes Federigo and Guidobaldo; in the sacristy 13 painted panels, by
Antonio di Ferrieri (1435), and the Dead Christ by Giovanni Santi.

Raphael's House is indicated by an inscription over the door. On one
of the walls is seen a Madonna with sleeping Child , long regarded as an
early production of Raphael, but ascertained to have been executed by his
father Giovanni Santi. It is proposed to erect in his native town a monu-
ment worthy of the great master, for which purpose a committee has for
some years existed.

In the Theatre, formerly celebrated for its decorations by Girolamo
Genga, the first Italian comedy was performed. This was the Calandra of
Cardinal Bibbiena (or rather Bernardo Divizio of Bibbiena in the Casentino,
b. 1470, d. at Rome 1520), the friend of Pope Leo X. and patron of Raphael.

From the height of the Fortezza an interesting - survey of the sterile
chain of the Apennines may be made.

74 Route 9. SINIGAGLIA. From Bologna

From Urbino to Fossombrone (p. 75) diligence daily in 3 hrs.

From Pesaro to Ancona the line skirts the coast, occasionally
approaching within a few paces of the sea , of which a pleasant
view is afforded.

Fano (*Il Moro ; Tre Re), the Fanum Fortunae of antiquity,
a cheerful little town , surrounded by ancient walls and deep
fosse, as a watering-place more unpretending than Rimini.

The principal curiosity is the * Triumphal Arch of Augustus,
embellished with columns by Constantine. The harbour, once
celebrated, is now insignificant.

Churches : * Cathedral of 8. Fortunato , the four recumbent
lions in front of which formerly supported the pjllars of the
portico. In the interior the chapel of S. Girolamo (the 2nd to
the 1.) contains a monument of the Rainalducci family; nearly
opposite (4th to the r.) is a chapel adorned with 16 frescoes by
Domenichino , once admirable , now disfigured by restoration. In
the chapel of the sacristy a Madonna with two saints, by Lodovico
Caracci. — S. Maria Nuova possesses two fine paintings by
Pietro Perugino. — «S. Paterniano , with the Espousals of the
Virgin by Ouercino. — S. Pietro, with frescoes by Viviani; in
the chapel of the Gabrielli the Annunciation by Ouido Reni.

The Collegio Folfi contains David with the head of Goliath
by Domenichino, and copies of his frescoes in the cathedral.

From Fano to Gubbio and F o 1 i g n o see below.

Beyond Fano the line crosses the river Metaurus, celebrated
as tl.e scene of Hasdrubal's defeat (B. C. 207); then, a short
distance before stat. Marotto, it crosses the Cessano, and reaches

Sinigaglia (Locanda della Formica), the Sena Gallica of the
ancients, with 10,500 inhab. The town was destroyed by Pompey
during the Social War between Marius and Sulla, and also suffer-
ed frequent devastation during the middle-ages , so that it now
presents quite a modern appearance. Pope Pius IX. (Conte Mastai-
Ferretti) was born here (May 13th, 1792); also the celebrated
singer Angelica Catalani (1784, d. at Paris July 13th, 1849). A
fair which has been established for 600 years, is held here from
July 30th to August 8th annually.

Stat. Case Bruciate. The train crosses the Esino and reaches
stat. Falconara, where the line branches off to Rome and Ancona.
For the description of the town and continuation of the journey
see R. 11.

From Fano to Foligno and Rome via Gubbio.

The high-road which connects Rome with the Valley of the Po traverses
the Vmbrian plains of Terni and Spoleto, and then ascends the valley of
the Topino and the Chiascio , until it reaches its culminating point on the
Apennines. Descending on the E. side of that range it follows the course
of the Metaurus to its mouth at Fano , after which it skirts the coast and
leads >>T. to Bologna and the valley of the Po. It is identical with the an-
cient Via Fl a mi met, constructed E. C. 220 by the Censor C. Flaminius

to Rome. FOSSOMBRONE. 9. Route. 75

(who subsequently fell at the Battle of the Trasimene Lake , see p. 50) , in
order to secure the possession of the district of the Po which had been at
that time wrested from the Gauls. This road is still one of the most im-
portant channels of local traffic in Central Italy, but since the completion
of the Apennine Railway from Bologna to Florence, and the recently opened
line from Ancona to Rome (R. 11) , has been little frequented by tourists.
It is , however , replete with natural attractions , and affords the traveller
an opportunity of becoming acquainted with several towns which merit a
visit on account of their monuments and historical associations. The most
interesting points are Urbino , Gubbio , and the route across the Apennines
from Fossombrone to La Schieggia.

From Bologna to Fano railway in 33jt hrs. ; fares 17 fr. 30, 13 fr. 85,
10 fr. 40 c. From Fano to Fossalo (54 M.) corriere daily in about 10 hrs.
From Fossalo to Foligno railway in 2 hrs. ; fares 4 fr. 60, 3 fr. 20, 2 fr. 30 c.
From Foligno to Rome railway in 7—8 hrs. ; fares 19 fr. 65, 12 fr. 50, 9 fr.
70 c. — From Fano diligence twice weekly to Perugia by Schieggia and
Gubbio ; thence diligence twice daily to Foligno (see p. 58).

The road to Foligno , the ancient Via Flaminia , leads on the
N. bank of the Metaurus , the fertile valley of which is well
cultivated, to Fossombrone, 17 M. distant. About 1 M. from the
latter, near the church of S. Martino al Piano, was once situated
the Roman colony ot' Forum Sempronii, of which but scanty remains
now exist. After its destruction by the Goths and Lombards, it
was superseded by

Fossombrone iPosta), long under the dominion of the Mala-
testa family, until under Sixtus IV. it accrued to the States of
the Church. It is now a prosperous little town with 4500 inhab.
and silk-factories , charmingly situated in the valley , which here
contracts , and commanded by a castle on the height above. An-
cient inscriptions on the cathedral , in the Seminary etc. may be
inspected. From Fossombrone to Urbino see p. 74; the road di-
verges to the r. at Calmazzo, 2 M. from Fossombrone. The Via
Flaminia here crosses the Metaurus, which descends from the
valley near S. Angelo in Vado from the N., and follows the 1.
bank of the Candigliano , which at this point empties itself into
the Metaurus. The valley soon contracts; to the r. rises the hill of
Pietralata, occasionally named Monte d'Asdrubale. Here according
to the popular tradition , the memorable Battle of the Metaxirus
was fought, 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 Rome. The valley now becomes still more confined.
At the narrowest portion, where the rocky walls approach so near
each other as to leave space for the river only, is the celebrated
*FurloPass (Furlo from forulus = passage, the ancient petra in-
tercisa), a tunnel 19 ft. broad. 16 ft. high and 40 yds. in length.
The originator of the work was the Emp. Vespasian , as the in-
scription preserved at the N. entrance records (Imp. Caesar. Au-
gustus. Vespasianus. pont. max. trib. pot. VII. imp. XXVIII.
cos. VIII. censor, faciund. curavit.). A short distance beyond it

76 Route 9. CAGLI.

stands the small church Badia del Furlo. 9 M. from Fossom-
brone, at the confluence of the Candigliano and Burano, is situated
the village of Acqualagna. The road crosses the Candigliano and
thenceforward follows the 1. bank of the Burano. From this point
to the lofty Cagli about 6 M. At the foot of the hill on which
the latter is situated, an antique bridge, consisting of huge masses
of rock, crosses a tributary book.

Cagli (Posta , in the Piazza , charges according to bargain),
a small town with about 3000 inhab. , occupies the site of the
ancient borough of Cales or Calle. S. Domenico contains one of
the greatest works of Giovanni Santi, Raphael's father, a Madonna
with, saints, al fresco. The angel on the r. of the Madonna is
said to be a portrait of the young Raphael. There is also a Pieta
with St. Jerome and Bonaventura, by the same master. S. Fran-
cesco and S. Angelo Minore also possess good pictures.

From Cagli to Cantiano 6 M. ; in the church della Collegiata
a Holy Family by Perugino.

Hence to La Schieggia 8 M. The road ascends considerably;
culminating point iipwards of 2400 ft. Schieggia is an insigni-
ficant place , deriving its sole importance from the roads which
here converge. On Monte Petrara, in the vicinity, stand the
ruins of the celebrated temple of Jupiter Apenninus , whose
worship was peculiar to the Umbrians. Several bronzes and in-
scriptions have been discovered in the environs. The strange-
looking Ponte a Botte (a cylinder above an arch), which here
crosses a ravine, was constructed in 1805. Picturesque oak-
plantations in the neighbourhood.

At La Schieggia the road divides : the ancient Via Flaminia
descends to Foligno , another to Gubbio and Perugia. Descent
from Schieggia to Gubbio 8 M. ; from Gubbio a route of 13 M.
back to the Via Flaminia (2 M. above Gualdo Tadino , p. 81),
so that the digression by Gubbio ior those proceeding to Foligno
does not amount to more than 6 — 7 M. Another road leads (8 M.)
from Schieggia to Fossato (p. 81). A single traveller without
luggage may obtain a seat in the post-conveyance from Schieggia
to Gubbio.

Gubbio (Locanda di Spernichia) is situated at the base of
Monte Calvo, in a valley surrounded by mountains. The town
('6000 inhab.) presents an entirely mediaeval aspect, and the
proximity of the Apennines imparts to it a more severe character
than that of most Italian towns.

The ancient Iguvium , mentioned by Cicero and Caesar , ex-
tended farther towards the plain. It was destroyed bj» the Goths,
was in 1155 besieged by the Emp. Frederick I., became an in-
dependent state , subsequently belonged to the duchy of Urbino,
and with it finally accrued to the States of the Church. A branch
of the Umbrian school of painting flourished here, of which the

GUBBIO. 9. Route. 11

principal representatives were Sinibaldo lbi, Ottaviano and Tom-
maso Xelli , and Nucci. Majolica-painting also attained a high
degree of perfection here.

The * Palazzo del Comune, an imposing edifice erected in
1332 — 1340 by Mntteo di Giooantlli of Gubbio, surnamed Gatta-
pone, is at present disused. *View from the tower.

The * Ducal Palace, by Luciano Lauranna , the architect of
the palace at Urbino, is constructed in a similar style.

The * Cathedral of 8. Mariano e Jacopo Martire contains fine
pictures and carving; a Madonna with !■>. Ubaldo and S. Sebastian
by Sinibaldo lbi.

S. Maria Novella , with a Madonna by Ottaviano Nelli and
frescoes by Gentile da Fabriano. The other churches (S. Pietro,
8. Francesco, S. Domenico) also contain valuable pictures.

The collections of the Marchese Rangiasci-Brancaleoni in his
palace in the upper part of the town, comprising pictures, anti-
quities, etc., merit a visit.

Outside the town are numerous ruins, among which a theatre,
excavated a few years ago , appears to date from the republican
period. Amidst its ruins the * Eugubian Tables, now preserved
in the Palazzo Municipale, were found in 1440. They are of
bronze and bear inscriptions, 4 in Umbrian, 2 in Latin, and 1 in
Latin and Umbrian , which have long baffled the investigation of
the learned. Their language as well as contents have given rise
to the most conflicting doubts , which according to the works of
Maffei, Lanzi, Lepsius, Aufrecht, and Kirchhoff have not yet been
solved. The characters are read from r. to 1.

The celebrated miniature-painter Oderisi, termed by Dante in
his Purgatorio (11,80) Tonor d'Agobbio', was a native of Gubbio
(d. about 1300).

The road to Perugia (23 M.) first traverses the plain of Gubbio
and then a bleak , uninteresting , hilly district , until it reaches
the valley of the Tiber at Busco. It then crosses the Tiber near
Felcino, and ascends to Perugia, which i enters by the Porta del
^ole. Perugia, and from Perugia to Foligno, see p. 49.

The direct route from Schieggia ;o Foligno follows the grassy
valley of the Chiascio as far as the small town of Sigillo. Sta-
lactite-cavern in the vicinity. 3 M. farther is Fossato, a station
on the Rome and Ancona line. Hence to Foligno see p. 81 ; from
Foligno to Rome p. 59.

10. From Trieste to Ancona.

Steamboats of the Austrian Lloyd (Office in the Tergesteo, Via
del Teatro) once weekly (Tuesdays at 4 p. m.) on their route to Greece
and the Levant; average passage to Ancona 15 hrs. Fares 1st cl. 17,
2nd cl. 12 florins Austr. currency (1 fl. = 2>l2 fr.); food extra (D. exc'
W. 1 fl.). The vessels are clean and well fitted up, the service regular.
Embarcation without additional expense at the Molo S. Carlo. — Italian

78 Route 10. TRIESTE.

vessels of the Societa Peirano Damovaro e Comp. leave every Monday at 10
a. m. via Venice (where they stop l'|2 day) for Ancona, arriving there early
on Thursday.

Trieste. Hotels. Hotel de la Ville, formerly Hotel Kational,
R. lif2 fl., L. 40, B. 70, A. 40 kr. (10 kreuzers = 2'j2 d. Engl.); "Grand
Hotel; Victoria Hotel; Hotel de l'Aigle Noir; Hotel de
France, good restaurant, beer; Albergo Daniel (Eliseo), tolerable
restaurant, beer.

Cafes. Hotel de la Ville (see above); Specchi, Piazza Grande;
Caffe al Vecchio Tommaso, near the Hotel de la Ville.

Restaurants, see above; also Toni, Zum Tiroler, both in the old
town. Solder's Garden below the fort, beautiful view of the town and
sea, music 2—3 times weekly.

Carriage from the station to the town, one-horse 50 kr., two-horse 1 fl.,
at night 20 kr. more ; in the town '|4 hr. 30—45 kr. , >|z hr. 50-80 kr.,
3|4 hr. 75 kr. or 1 fl. 10 kr., 1 hr. 1 fl. or 1 fl. 30 kr., every additional i|4 hr.
20 — 30 kr. ; luggage 20 kr. ; drive in the town for 1—2 pers. usually 30 kr.

Description of the town and its objects of interest see Part I.
of this Handbook (Northern Italy).

As the harbour is quitted a retrospect of the charming situation
of Trieste is obtained. To the N. appears the chateau of Miramax,
once the property of the ill-fated Emp. Maximilian of Mexico.
To the S.E. the undulating, olive-clad coast of Istria; in the bay
Capo d'Istria with an extensive house of correction. On an
eminence the church of Pirano , supported by arches ; the town
(9000 inhab.) with its saltworks is picturesquely situated in a
bay. Here the Venetians conquered the fleet of Frederick I. and
took his son Otho prisoner.

The following points now become visible in succession: the
lighthouse of Salvore ; Vmago ; the chateau of Daila, property of
the Counts of Grisoni ; Cittanova ; Parenzo , with remarkable ca-
thedral, a basilica of 961 , a town where 600 years ago the cru-
saders generally made their first halt; on an island the watch-
tower and deserted monastery of S. Niccol'o ; Orsera , once an
episcopal residence, situated on an eminence. In the distance to
the E. rises Monte Maggiore (4672 ft.). The vessel gradually
leaves the coast behind; Rovigno, a place of some importance, is
the last point which is faintly distinguished.

Early on the following morning the Italian coast is approached;
on the spurs of the Apennines the towns of Pesaro , Fano , and
Sinigaglia become visible ; the vessel soon enters the harbour of
Ancona (see below). Landing or embarcation 1 fr. for each person
with luggage.

11. From Ancona to Rome.

Railwav in 13'|4 hrs. ; fares 33 fr. 95, 24 fr. 65, 16 fr. 85 c. ; to Foligno
(14 fr. 20, 9 fr. 95, and 7 fr. 10 c.) in 5 hrs., where a halt of '|2 hr. is made.
Ancona (La Pace, near the harbour, table d'hote 3'ls fr., omnibus
1 fr. , facchino 50 c. ; Vittoria, Strada Calamo , with 'trattoria, R. and
L. 2, A. i(2 fr. ; Caffe del Commercio, near the theatre, 1st floor;
Caffe Dorico, opp. the Exchange; 'Birraria e Caffe Glaenzer, in

' ,j^ A? :,r v JZd .Wagner, Dorm
..Tit alii OTie della-F^rrt

ANCONA. 11. Route. 79

the Corso Vittorio Emanuele ; Austr. Lloyd Office , Contrada del Porto 30 ;
Post Office , Str. Calamo ; Fiacre from the station i fr. , incl. luggage , at
night l'|» fr.), the Ancon of the Greeks, i. e. 'elbow', from the
form of the promontory, whence to the present day an elbow
forms part of the armorial bearings of the town , is beautifully
situated between the promontories of Monte Ciriaco and Monte
Conero , or M. Guasco , and possesses an excellent harbour. It
is the residence of a military commandant, and has a population
of 46,000, of whom 6000 are Jews. As Ancona is a free harbour,
luggage is examined at the gates on departure from the town.
Ancona is celebrated for the beauty of its women.

Ancona was founded by Doric Greeks from Syracuse , whence it was
termed Dorica Ancon by Juvenal (Sat. IV. 40). Subsequently a Roman colo-
ny, it was furnished by Trajan with an enlarged quay. In the middle ages
it repeatedly recovered from the ravages of the Goths and others, and in
1532 came into the possession of Pope Clement VII. through the instrumenta-
lity of Gonzaga. Ancona is also frequently mentioned as a fortress in the
annals of modern warfare. Thus in 1796 it was surrendered to the French,
in 1799 to the Austrians, in 1805 to the French again ; in 1815 it was ceded
to the pope , to whom it belonged till 1860. In 1832 — 38 the citadel was
garrisoned by the French (under the Perier ministry) , in order to keep in
check the Austrians, who were in possession of Bologna and the surround-
ing provinces. In 1849 the town was the scene of many excesses , and on
June 18th was re-captured by the Austrians. On Sept. 20th, 1860, after the
Battle of Castelfidardo, it was finally occupied by the Italians.

On the old quay the marble * Triumphal Arch, erected A. D.
112 by the Roman senate in honour of Trajan on the completion
of the new wharf, as the inscription records, is still standing. It
is perhaps the finest ancient work of this description which is
preserved to us. Traces of the bronze decorations with which it
was once embellished are still distinguished.

The new quay, constructed by Pope Clement XII., also boasts
of a triumphal arch , from designs by Vanvitelli , but far inferior
to the above-mentioned. The harbour is defended by several forts.

The * Cathedral of S. Ciriaco, dedicated to the first bishop of
Ancona , stands on a lofty site , once occupied by the Temple of
Venus mentioned by Catullu3 (36 , 13) and Juvenal (IV. 40),
and contains the magnificent columns which once appertained to
the ancient temple. The structure was begun in the 10th cent.,
the facade is of the 13th. The foremost columns of the beautiful
Gothic portico rest on red lions. The octagonal dome is reputed
the oldest in Italy. A crypt in the r. transept contains the * Sar-
cophagus of Titus Gorgonius, Praetor of Ancona, and some Christ-
ian Antiquities ; in the other transepts are the tombs of St. Cyria-
cus, Marcellinus, and Liberius. Within a house in the vicinity, scan-
ty remains of a Roman amphitheatre. The churches of S. Francesco
and S. Agostino possess Gothic vestibules , and that of S. Maria
delta Piazza, built in the Romanesque style, is also well worth
notice. The Loggia de' Mercanti (Exchange), designed by Tibaldi,
has a Moorish aspect. The Palazzo del Governo contains a smali
picture-gallery. In the Piazza di S. Domenko stands a marble

80 Routt 11. FABRIANO. From Ancona

statue of Pope Clement XII. (Corsini, 1730 — 40), the especial
benefactor of the town.

From the piazza of the theatre the new and well paved Corso
Vittorio Emanuele ascends E. to the spacious Piazza Cavour, in
the centre of which rises a colossal statue of the count, erected
in 1868.

The train runs on the rails of the Ancona and Bologna line,
which with the old high-road skirts the coast (r. a beautiful re-
trospect of the town and harbour), as far as stat. Falconara , si-
tuated on an eminence to the 1. Here it diverges S. "W. into the
valley of the Esino (Lat. JEsis), which it soon crosses at, stat.
Chiaravalle, a small town with 3500 inhab. The following stat. is

Jesi, now one of the most prosperous manufacturing towns of
the province, the ancient ALsis , where the Emp. Frederick II.,
the illustrious son of Henry VI. and Constantia of Sicily, and
grandson of Frederick Barbarossa, was born on Dec. 26th, 1194.
The cathedral is dedicated to the martyr S. Septimius, who was
the first bishop of the place in 308. Jesi was also the birthplace
of the composer O. Spontini (b. 1778, d. 1851).

The valley gradually contracts ; the line crosses the river twice.
Stat. Castel Planio. Beyond stat. Serra S. Quirico , near Monte
Rosso , the mountains approach so nearly together as barely to
leave room for the road, which here passes through a wild ravine,
freqi.ently endangered by falling rocks. The railway penetrates
Monto Rosso by a long tunnel , crosses the river repeatedly, and
at length reaches the pleasant valley of

Fabriano (Leon d' Oro ; Campana) , a prosperous town with
7500 inhab., remarkable for its paper-manufactories, and situat-
ed in the vicinity of the ancient Tuficum and Attidium, towns long
since destroyed. The Town Hall contains ancient inscriptions; the
Campanile opposite bears an absurdly extravagant inscription with
regard to the unity of Italy. The churches of S. Niccolb, S.Bene-
detto, S. Agostino , and S. Lucia, as well as the private houses
Casa Morichi and Fornari, contain pictures of the school of paint-
ing which flourished here. Gentile da Fabriano, the greatest master
of the school , is remarkable for the softness and delicacy of his
style. The Marchese Possenti possesses a collection of objects in
ivory, which well merits a visit.

From Fabriano 10 M. to Matelica, a town with 4000 inhab. ; the church
of S. Francesco contains an altar-piece by Melozzo da Forli , and the Pal.
Piersanti a small picture-gallery. From Matelica to Caraerino 3 M., to San
Severino 12 M.

From Fabriano a good mountain-road (9 M.) leads by the picturesque
La Oenga to the lofty Sassoferrato, situated in a fertile valley, consisting
of the upper and lower town , with 2000 inhab. , and possessing interesting
churches and pictures. Giambattisla Salvi , surnamed Sassoferrato , wm
born here in 1605. He afterwards became celebrated as an historical pain-
ter under the guidance of Doiuenichino and Guido Reni at Rome, and was
especially noted for the beauty of his Madonnas. He died at Rome in 1685.
His works show that he had carefully studied the older masters, especially

to Rome. MACERATA. 11. Route. 81

Raphael. S. Pielro contains a Madonna by him. In the vicinity are the ru-
ins of the ancient Senlinum, where, B. C. 296, the great decisive battle took
place between the Romans and the allied Samnites , Gauls , Umbrians , and
Etruscans , on which occasion the consul Decius heroically sacrificed him-
self. The Roman supremacy over the whole of Italy was thus established.

Beyond Fabriano the line skirts the brook Giano , leads by a
long tunnel through the central chain of the Apennines to Fossato
(routes to Schieggia and Urbino see p. 76), and enters the broad
■valley of the Chiascio. To the 1. on the height the -village of
Palazzolo, r. Pellegrino; farther on, 1. Talazzo, S. Facondino, and
stat. Gualdo Tadino (to Gubbio see p. 76), a small town with
7000 inhab., near which, about 2 M. from the railway, lie the
insignificant ruins of the ancient Tadinum. Here in 552 Narses
defeated and slew the Ostrogothic king Totilas, in consequence of
which he soon afterwards gained possession of Rome. The church
of S. Francesco contains an altar-piece by Niccolb da Foligno, of
1481. The cathedral possesses a fine rose-window; in the sacristy
pictures by Niccolb da Foligno.

The line now gradually descends to stat. Nocera, an episcopal
town, occupying the site of the ancient Nuceria , a city of the
XJrnbri. In the vicinity are mineral springs, known since 1510.
The narrow Val Topina is then entered, the brook crossed several
times, a tunnel passed through, and the train descends by Ponte
(entesimo to

Foligno, see p. 58; hence to Rome see p. 59.

Before the completion of the Ancona and Rome line, the mails were
forwarded by the Ancona and Brindisi line as far as Civitanuova (in l'la hr. ;
4 fr. 75, 3 fr. 35, 2 fr. 40 c.) ; thence by corriere to Foligno in about 10 hrs.

As far as Recanali see Part I. of this Handbook. The line crosses
the Potenza. Stat. Potenza Picena, named after a Roman colony the ruins
of which have disappeared. On the hill, 4 M. distant, lies Montesanto.

Stat. Porto Civitanuova is at the mouth of the Chienti; the town lies
1 31. inland.

The railway is here quitted. The road ascends the fertile valley of the
Chienti, affording views of the rocky summits of the Central Apennines,
snow clad until late in summer. The Sibilla (7100 ft.) group first becomes
visible.

Macerata (Pace; Posta), a flourishing town with about 20,000 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 Perugino. In *S. Giovanni an Assumption of the Virgin by Lanfranco.'

The Palazzo Municipale and the Pal. CompagnoM contain inscriptions
and antiquities from Helvia Ricina, a Rom. colony, situated on the 1. bank
of the Potenza , 3 M. distant. — Macerata also possesses a triumphal arch,
the Porta Pia.

Outside the gate, on the road to Fermo, is a handsome building for the
national game of the pallone ; 3|4 ji. farther the church of the Madonna
della Vergine, designed by Bramante.

The learned Giovanni Crescimbeni , founder of the Roman academy of
Arcadians, was born here in 1663 (d. at Rome in 1728); likewise in 1552
the zealous missionary Matteo Ricci (d. at Pekin in 1609).

A good road leads from Macerata to Fermo (about 6 M.), crossing
the Chienti and Tenna, and skirting the base of Mont" Olmo, birthplace (in

BiEDEKEB. Italy II. 3rd Edition. g

82 Route 11. TOLENTINO.

1732) of Luigi Lanzi, the erudite archaeologist and connoisseur of art, who in
1807 was elected president of the Accad. della Crusca at Florence (d. 1810).

6 M. from Macerata (3 M. from Tolentino) is the village of Vrbisaglia
the Roman Urbs Salvia, with extensive ruins, amphitheatre, walls, baths, etc.

The Rom. road continues to traverse a fertile tract on the bank of the
Chienti, on both sides of which , not far from Tolentino , Joachim Murat
King of Naples , was defeated by the Austrians under Bianchi , May 3rd
1815. '

(12 M.) Tolentino ("Corona), the ancient Tolentinurn Picetmm, on the
Chienti, with 4000 inhab., possesses a remarkable Gothic gateway, and was
formerly strongly fortified. The town-hall in the Piazza contains a few an-
tiquities. The cathedral of -S. Niccolb di Tolentino is entered by a Gothic
vestibule. In the interior rich carving on the ceiling and frescoes from the
life of St. Nicholas, by Lorenzo and Jacopo da San Severino. The chapel of
the saint contains two paintings, the conflagration of St. Mark's at Venice,
and the Plague in Sicily, ascribed to Tintoretto and Paolo Veronese respec-
tively. The environs are picturesque, and command fine views of the
mountains.

Here the learned Francis Philelphus, one of the first scholars who studied
and promoted the dissemination of classical literature, was born in 1388.
On Feb. 19th, 1797, a treaty between General Buonaparte and the ambassa-
dor of Pope Pius VI. was signed , by which the latter ceded the Bomagna
with Ancona and Avignon, with the reservation of the legations of Bologna
and Ferrara, to the French, as well as a number of works of art andMSS.,
which were partly restored in 1815.

From Tolentino to San Severino 6 M.; the road traverses the
chain of hills which separate the valley of the Chienti from that of the
Potenza. San Severino, which arose after the destruction of the ancient
Septempeda , contains 4000 inhab. In the church del Caslello frescoes bj
Diotisalvi d Angeluzzo, and altar-piece by Aiccold da Foligno (1468); in the
sacristy of the Duomo Nuovo a Madonna by Pinluricchio. S. Lorenzo standi
on the site of an ancient temple. Inscriptions and antiquities in the town-
hall, and at the residence of the Conte Servanze-C'ollio.

From San Severino 10 M. to Camerino (diligence daily, 1 fr.), the an-
cient Camerinum Umbrorum, situated on an eminence at the base of the
Apennines. It was once the capital of the Umbrian Camertes , who during
the Samnite wars allied themselves with Rome against the Etruscans. It ii
now the chief town of the province, with 5000 inhab., a university, andfas
early as 252) an episcopal residence. The cathedral of S. Sovino occupies
the site of a temple of Jupiter; in front of it stands the bronze "Statue of
Pope Sixtus V., of 1587. The painter Carlo Maratta, the last of the once
celebrated Roman school, was born here in 1625 (d. at Rome in 1713).

From Camerino 6 M. to La Muccia on the Roman road; other roads
lead to the small town of Matelica and to Fabriano.

The Roman road proceeds from Tolentino on the 1. bank of the Chienti,
through a pleasant district and numerous plantations of oaks, to Belforti,
the post-stations Valcimara and Ponte della Trave , and (18 M. from Tolen-
tino)

La Muccia (Leone), the usual halting-place of the vetturini. The moun-
tain slopes are studded with small villages on both sides. At Gelagno the
road begins to ascend, the district becomes barren and bleak (the vetturini
here procure the aid of oxen). The passage of the Apennines from La
Muccia to Foligno occupies about 6 hrs. by carriage. Serravalle lies in i
narrow ravine; above it rise the ruins of an old castle, l'fe M. farther are
the sources of the Chienti (p. SI). The road now ascends to the grassy
table-land of Colfiorilo (Locanda di Bonelli), 2884 ft. above the sea-level,
skirts a small lake, traverses a grove of oaks, and descends ,'omewhat abruptly
by Case Nuove and Pale to Foligno. Above Pale towers the lofty Sasso di
Pule, one of the last spurs of the Apennines. In descending, the road affords
a beautiful 'view of Foligno and the charming valley of the Clitunno. The
road follows the course of the brook, and »|a M. from Foligno reaches the
Via Flaminia, which leads to Fano by the Furlo Pass. From Foligno to
Rome see p. 59.

12. Rome.

Arrival. Carriages with one horse for 1 — 2 pers. 80 c, for 3 pers. 1 fr. ;
after dark 20 c. additional. Small articles of luggage free , trunk 50 c. ;
facchino 25—40 c. — Police-office (Questura) Piazza di S. Silvestro in
Capite (PI. I. 16).

Embassies and Consulates. There are two classes of diplomatic agents
at Rome, those accredited to the Italian government, and those accredited
to the Papal court. The offices of two of the former class alone need here
he mentioned : English Consulate, Palazzo Poli , in the Piazza Poli
(PI. I, 19); American, Via di Capo le Case 52.

Honey. In Rome, as in the other parts of the kingdom of Italy, francs
(lire), soldi, and centesimi (1 lira = 20 soldi = 100 c.) are current; but in
ordinary traffic accounts are kept in soldi, to which the traveller should
accustom himself. The exchange value of banknotes (papal as well
as Italian) and is somewhat below their nominal value ; but in ordinary
business they are received at their full nominal value. Travellers, there-
fore, who are provided with gold, may advantageously change it for paper
at a banker's, or money-changer's. Besides these new coins, the old silver
pieces of 1 scudo (generally Spanish pieces of 20 reals) are still in circula-
tion: 1 scudo = 5 fr. 20 c. = 104 soldi. Half- scudo pieces are more
common. Two-paolo pieces (papetti), = 20 bajocchi = 2H|2 soldi, are
now rare. The old copper pieces of '(2, 1, 2 papal, and 4 bajocchi have
been called in since the annexation.

Bankers. Spada Flamini & Co., Torlonia's Successors , Via Con-
dotti, Palazzo Torlonia; A. and R. Wedekind, Palazzo Chigi, Piazza
Colonna; Schmitt, Nast and Co., Piazza S. Luigi de' Francesi 34;
Theoph. Linder, 9 Via Condotti. Money-changers: Corso 204, Via Con-
dotti 19a, 92, etc.

Hotels. The best are in the Strangers* Quarter , between the Porta del
Popolo and the Piazza di Spagna: "Isole Br itanniche (Pl.a) in the Via
Babuino, Piazza del Popolo; Albergo di Russia (PI. b) in the Via Ba-
buino: Albergo di Londra (PI. c), a large establishment in the Piazza
di Spagna; A lber go di E urop a (PI. d) in the Piazza di Spagna; Albergo
di Brighton (PI. e), Via S. Sebastiano, below the Pincio; "Albergo
d'Inghilterr a (PI. f), Via Bocca di Leone; 'Albergo d'America
(PI. g), Via Babuino; Albergo di Washington (PL h), corner of the
Via Carozza and the Via Bocca di Leone; "Albergo di Roma (PI. i),
Corso 128; Albergo d'Allemagna (PI. k) , Via Condotti 87, 88;
"Albergo Costanzi, Via S. Uiccold da Tolentino, new and expensive;
Albergo della Citta, Via Babuino 196. In all the above the charges
are about the same: R. 3 fr. and upwards, table d'hote 4—6 fr., B. (comp.
p. 85) l'|2, A. 1 fr. — Less pretending: Albergo di Vittoria (PI. 1);
Albergo e Pensinne dell'Uni verso, Via Capo le Case 56; Albergo
di Minerva (PI. m) , formerly Palazzo Conti; Albergo di Cesari
(PI. n), Via della Pietra , rooms only, no food or refreshments provided in
the house, bargaining necessary. For travellers of moderate requirements:
Albergo degli Tre Re, Via S. Marco; del Sole, Piazza del Panteone.
When a prolonged stay is made , an agreement with regard to charges had
better be previously made with the landlord. Breakfast and dinner often
better and always less expensive at a cafe or restaurant. At the follg.
'pensions' 10—12 fr. a day is charged for board and lodging: Pensione
del Globo (PI. r), Via S. Niccolo da Tolentino 50; di Suez, same street
So. 21; Albergo Anglo-Americano, Via Frattina 127; Albergo
della Pace, Via Felice 8. Mme. Tellenbach , Piazza di Spagna 51,
pension from 9 fr. ; Miss Smith, same Piazza No. 93. — French spoken at
all the hotels.

Private Apartments. The best are in the vicinity of the Piazza di
Spagna and the Corso. /. P Shea, Piazza di Spagna, and Karl Pochalsky,
Via del Corso 455, can be recommended for making arrangements. The
most expensive, and often the least sunny, are those in the Corso, the Piazza
di Spagna, and the Via del Babuino. A northern aspect should be stu-

84 Route 1-2. ROME. Restaurants.

diuusly avoided, and a stipulation made for stove, carpet, and service
(stufa , tapeti, servizio). llent of two well-furnished rooms in a good loca-
lity 70—150 fr. per month; for a suite of 3 — 5 rooms 100—300 fr. Artists
generally reside in the V. Felice, Quattro Fontane, and that neighbourhood.
In the Forum of Trajan, the Via di Kupe Tarpeja, and the Via delle tre Pile,
apartments with a sunny aspect may be obtained, conveniently situated
with regard to the old part of the town. Rooms may be procured in al-
most every street in the strangers' quarter, where notices and placards are
frequently observed. Those who engage apartments in the Corso should
come to an understanding with regard to the windows for the Carnival. —
Firewood at Ficchelli's, P. di Spagna 87, 11—12 fr. per mezzo passo.—
Rome does not yet possess a directory ; an unknown address may be ascer-
tained at the*1 police- office. — The Gazette des Etraugers is a useful journal
published at Home, staples and Florence. The Roman Times (published
every Saturday , single number 20 c.) contains a list of the principal at-
tractions , adresses of artists , names of visitors;, and other information.
The Journal de Rome (5 c.) is also intended for the use of visitors.

Restaurants (Trattorie). Handsomely fitted up: Nazzari, P. di
Spagna 81, 82; "Spillmann, V. Condotti, 10 and 12; "Alia Sal a delle
Colonne, Corso 116 (table d'hote with half-bottle of wine 3'la fr.). Good
French cuisine: Bedeau, Via della Croce; Dufour, V. della Mercede35;
Sauvan, Via S. Sebastianello, on the Pincio, 16; Rock, Piazza di Spagna
27 ; these establishments also supply families with dinners at their own
apartments, for 2 pers. 4—6, 3 pers. 6— 8fr. — The Cafe Roma (see below)
is also a good restaurant. — Less pretending, but well spoken of, Falcone,
Piazza di S. Eustachio 58, near the Pantheon (Ital. cuisine); Trattoria
Piemontese, Via Cesarini 20, in the Piazza Gesii (excellent cuisine); A 1 i -
bert, in the Vicolo of that name, not far from the Piazza di Spagna; Lepre,
Via Condotti 80; 'Carlin, Via Felice 1; (ienio, Via dueMacelli; Gab-
bio ne, Via del Lavatore 40, by the Fontana Trevi ; Tre Ladroni, Via de'
tre Ladroni 47 (off the Corso, between Nos. 248 and 249); Tre Re, Via S.
Marco; Torre tta_, Via della Torretta 1, near the Palazzo Borghese. The
waiter of a restaurant is called cameriere, in an osteria bottega. Attempts
at imposition may be frustrated by asking for a written account. The best
restaurants contain a lista or bill of fare ; generally, however, the waiter
enumerates the viands verbally. The following are a few of the average
charges: Zuppa 4—6 soldi, maccaroni 10 s., fritto (also half-portions) 10 I.,
pork (cinghiale, majale), beefsteaks (bistecca), roast beef (costata di manzo),
etc., 'in umido' (with sauce) 12 s., pudding (dolce, paste) 5 — 10 s., wine
4 — 5 soldi per x|2 foglietta. The waiter receives a donation of 2— 4 s.

The Osterie (wine-houses, comp. Introd.), where good wine of the
country (6—10 s. per foglietta) and occasionally other refreshments (osteria
con cucisa) may he procured, are numerous, but of a very unpretending
description. They may, however, be visited by those who desire an insight
into tlie character of the lower classes. The most popular are those out-
side the gates, on Monte Testaccio (p. 187) etc., which attract a most motley
assemblage of customers on Sundays and holidays. A few of those in the
city may be mentioned: Via Monte Catino 16; Gen zano, Via di Pietra67;
Caccia Bove, Via di Caccia Bove 9, near Piazza Colonna; Campanella,
in the Marcellus Theatre (No. 35); Palombella, Via della Palonibella 2,
near the Pantheon. Wine of Orvieto 18 s. , Montefiascone ('Est est', comp.
p. 35) 30 s., Aleatico 25 s. Foreign wines in the first-class restaurants, and
at the following establishments: Morin, Piazza die Spagna 42; French
wines, Via Frattina 116; Aragno, in the Corso and Piazza Sciarra;
Corso 207, 194, etc., etc.

Beer (birra), generally brewed and sold by Germans : Via de' dueMa-
celli 74, Via di S. Giuseppe 23 etc. Vienna beer sold at the cafe's; also by
the liquoristi , and at the depots Vicolo dei Greci 29 , Via Bocca di Leone
60, Via della Carozza 30, etc.

Cafes. The best are: Cafe di Roma, Corso 120; Cafe Greco,
V. Condotti 86; Cafe d'ltalia, Corso 154; Cafe Parlamento, Corso 203;
Venezia, Piazza Venezia; Cafe Nazionale, corner of Corso and Via delle

Cafes. ROME. 12. Route. 85

Convertite. Other cafe's in almost every street ; coffee generally good ; sent, if
desired, lo private apartments. *-Cafi forte\ which is usually placed before
the stranger, is distinguished from that usually drunk by being served in
better porcelain, and charged for at double the ordinary price. Charges : coffee
without milk (caffe nero), with little milk (ombra di latte), or much milk
(molto latte) 3 — 4 s. ; mischio and aura (coffee with chocolate) 3 s. ; chocolate
6 s. Breakfast at a cafe' 6 -8 s. ; at an hotel 20 — 30 s. Bread and butter (pane
al burro) 4 s., egg 3 s.; ices (gelato) or 'granita' (granulated ice), >ja portion
5, whole portion 10 s. Cool beverages : Limonata and Amarena. — English
Baker, Via del Babuino 100; German, Via Belsiana 57.

Gratuities. As the demands made on strangers in this respect are gene-
rally exorbitant, the following averages should be noticed. In the galleries
for 1 pers. 10 soldi, for 2—3 pers. 15 s., for 4 pers. 1 fr. ; regular frequen-
ters 5 soldi. To servants and others who open doors of houses, churches,
gardens, etc. 5 s. ; if other services are rendered (guidance, explanations,
providing light, etc.), l\2 — 1 fr- — At the restaurants the usual fee to the
waiter is 2 s. ; at the osterie and cafes 1—2 s.

Baths at the hotels. Also in the Via Belsiana 64, Via Babuino 96, Via
Ripetta 116. Bath 2 fr., gratuity 5 s.

Physicians. Those who are attacked with fever, or other malady occa-
sioned by local causes, are recommended to call in the aid of a skilful Ita-
lian medical man. 31. Nardini, Pal. Doria in the P. Venezia (hour for
consultation 3 — 4) is most successful in all cases of fever. Dr. Erhardt,
Mario de' Fiori 16; Dr. Taussig, Via del Babuino 144; Dr. Hoyer, Via
Babuino 35; Dr. Valentiner (in Rome from Nov. 1st. to Apr. 30th), Via
Sistina 46; Dr. Dan tone (oculist), Via dell' Angelo Custode46; Dr. Held
(homoeopathist) , Palazzo Poli. — Surgeons: Foliciani, S. Carlo al Corso
433; Mazzoni (accoucheur and operator) Mario de' Fiori 89. Well known
American dentist: Dr. Bur ridge, Piazza di Spagna 93.

Chemists: Sinimberghi, Via Condotti 64— 66 ; Borioni, Via del
Babuino 98; Cesanelli, Via del Marforio 87.

Booksellers. Loescher & Co., Corso 346, 347, corner of Piazza
Colonna; Spithoever, 84 and 85 Piazza di Spagna; Monaldini, Piazza
di Spagna 79, 80; Pi ale, corner of the P. di Spagna and the Via del
Babuino ; English, as well as other books may be obtained of these four.
Fratelli Bocca, Corso 117, largest stock of Italian books; Gallarini,
Piazza di Monte Citorio 19, Italian literature and second-hand books. Reli-
gious works and music , Via di Propaganda Fide 6. Rare old works may
be purchased at Gallarini's, or at Ferretti's, Via Celsa 10, in the
Piazza Gesii, where extensive book-auctions also take place.

English Reading-Room atPiale's and Monaldini' s (see above).
Books may be consulted or read in many of the public and private libraries,
but are not lent out. Scientific books may be obtained at the Archaeological
Institute (p. 167); permission to use them maybe procured of the secretaries,
Prof. Henzen and Dr. Helbig. Bookbinders: Schmidt, Via Marroniti 10;
Olivieri, Via Frattina 1. — Newspapers very numerous, 5c. per number.
The Opinione and Liberia are the government organs, the Capitate radical,
the Osservatore Romano (10 c), Voce delta Verita, etc. clerical. Newspapers
for visitors, see above.

Teachers of Italian: Barghilione, Vicolo del Mancino 270, upper
floor; Ambrosi (speaks French and a little German), to be enquired for
at the Archa;ological Institute on the Capitol; Sprega, Via Cestari, 13.
For ladies; Mile. Losser, Via Calabraga22; Mile. Mastrozzi Tauber
Via Frattina 99 (speaks French). Terms 2 fr. per hour and upwards. —
Information as to numerous others may be obtained at the principal book-
sellers. Teachers of archaeology, ancient languages, etc., may be heard of at
the booksellers' or at the Archaeological Institute. — Teachers of Piano : M.
Bretschneider, Corso 437. Singing: Mme Par isotti-Ciceroni (noted
alto), Via della Carozza 28; M. Mustafa (of the Sixtine Chapel), Via S
Lucia della Tinta 29; Burghi, Banchi Vecchi 58. Violin, Ramacciotti
Palazzo Pamfili, Piazza Venezia; Pinelli, Piazza del Popolo 3. '

Studios. Sculptors: Achtermann, Via de' Cappuccini 1- Amici
Vicolo del Fiume 6 c. ; Brandt, Ripetta 39: Galetti, Quattro Fontane

86 Route 12. ROME. Studios.

107; C4alli, Piazza Pia 89; Gerhard, Passeggiata della Ripetta 33; Gia-
cometti, Piazza Barerini 41; Jerichau, Piazza del Popolo 3; Kopf,
Vicolo degli Incurabili 9; Matthiae, Vicolo del Vantaggio 1; M tiller,
Pass, della Ripetta 17; Pettrich, Via Basilio 74; S chub ert, Vic. del
Fiume 67; Schulze, Via Puriflcazione 14; Steinhauser, P. Barberini
12; Story, Via S. Niccolo da Tolentino 1; Wolff, Quattro Fontane 151.

Painters: Alvarez, Via Flaminia fuori Porta del Popolo 18 ; Consoni,
Palazzo Campanari , Ripetta; Corrodi (water-colours), Via dell' Angelo
Custode 30; Corrodi Brothers, Vicolo dei Greci 32; Dreber (land-
scape), Passeggiata della Ripetta 35; Gunk el, Vigna del Papa Giulio,
outside the Porta del Popolo ; Lindemann-Frommel (landscape) , Via
del Babuino 39; Martens, Quattro Fontane 53; M filler (water-colours)
Piazza Barberini 60; Overbeck's Studio (C. Hofmann) Via 20 Settembre
43 (Sundays 11— 1); Podesti, Via di S. Claudio 86 ; Riedel, Via Margutta
56; Romako, Palazzo Venezia;' Rossi, Via S. Niccolo da Tolentino;
Seitz, Via Cappuccini 1 ; L. Seitz, Via di S. Basilio 20; Siraonetti, Pal.
Altemps ;Vanutelli, Passeggiata della Ripetta 28; Vertunni (landscape),
Via Margutta; Valles, Villa Malta; Wider, Via del Babuino 39.

Those who are desirous of studying, drawing, or copying in Roman
museums or private collections must procure a Permesso, for which appli-
cation must be made through the traveller's ambassador or consul. For the
papal museums the necessary permission is granted by Monsgr. Pacca
(maggiordomo of the pope) at his office in the Vatican (in the court of
the loggia, under the arcades to the 1., 9 — 1 o'cl.), the written application
having been left there a day or two previously (separate permessi re-
quired for the museums of the Vatican and Lateran , the Vatican picture-
allery , and Raphael's Loggie ; each permesso at present available gfor
4 months). In the case of private galleries application must be made to
the proprietor (in French, if the applicant prefer), stating at the same time
precisely which picture it is intended to copy , as well as the size and
description of the copy. In some collections copies of the original size may
not be made. Respecting this and similar regulations , information should
be previously obtained from the custodian. The following is a formula of
application to the Monsgr. Maggiordomo, and which may be also employed
in framing a similar application to a prineipe or marchese, the address being
made conformable to lay instead of clerical rank.

Eccellenza Revma, (

11 sottoscritto che si trattiene a Roma con lo scopo di proseguire in questa
capitate i suoi studj artistici (storici etc.) si prende la liberta di rivolgeni
con questa a Vra Eccellenza Reviha pregando La perche voglia accordargli il
grazioso permesso di far degli studj (dei disegni, delle notizie, etc.) nel Museo
(nella Galleria) Vaticano. „_

Sperando di essere favorito da Via Eccelenza Revma e pregando la di
gradire anticipatamente i piu sinceri suoi ringraziamenli, ha fonore di pro-
teslarsi col piu profondo rispetto

di Vra Eccellenza Revma
Roma li . . . . _ Vmmo Obbmo Servitore

A Sua Eccellenza Revma N. N.

Monsignor Pacca

Maggiordomo di Sua Santita.

The export of works of art, modern or ancient, is liable to super-
vision , to regulate which a new law is contemplated. Sign. Pietro Rosa,
President of the commission for the supervision of antiques, is said to pro-
pose the entire prohibition of the export of ancient works of art. Smaller
objects, however, which are packed with the traveller's ordinary luggage,
usually escape notice.

Shops. Photographs (of statues, pictures, architecture, etc.): Loescher
(p. 85) ; S p i t h oe v e r (p. 85); M o n a 1 d i n i (p. 85) ; C u c c i o n i, Piazza di
Spaga 43: Condotti 18; Robert Macpherson, Vicolo d'Alibert 12;
Ninci, Piazza di Spagna 29. Less expensive, but occasionally not inferior:
Bencini, Ripetta 185. Photographs from drawings, Christian antiquities,

Theatres. ROME. 12. Route. 87

ornaments, etc. : Simel li, Via di S. Sebastiano 6. Portraits: Alessandri,
Corso 12; Le Lieure, Piazza Mignanelli ; Falcetti, Piazza di Spagna 9;
Rux, Via Felice 114; Sommer & Behlesfsee above). — Engravings: at
the Stamperia Camerale, Via della Stamperia6, near theFontana Trevi :
M a g g i, Corso 329. — Colours and Drawing-materials : Dovizielli, Via
del Babuino 136; Cuccioni, Piazza di Spagna 43; C.hiaparelli, Via del
Babuino 92. — Paper: Eicci, Corso 211, Piazza Colonna; Ajntonelli,
Corso 229, Piazza Sciarra. — Casts: Leopoldo and Alessandro Malpieri,
Corso 54 and 51. — Engraver: Odelli, Via della Stamperia Camerale 67.
— Antiquities: Castellani, Piazza di Trevi 86; L. Depoletti, Via del
Leoncino 14; Martinetti, Via della Fontanella Borghese 36; Guidi,
opp. the Thermse of Caracalla , Via di P. S. Sebastiano. — Imitations of
ancient bronzes: Hopfgarten, Via due Macelli 77; smaller works, Ron-
rich, Via Sistina 105. — Gold ornaments: the celebrated Castellani,
Piazza di Trevi 86, who also possesses an interesting collection of an cient
golden trinkets, and executes imitations from Greek, Etruscan , and By-
zantine models; Ansorge, Via Condotti 2. — Cameos: Saulini, Via
del Babuino 96. — Mosaics: Francescangeli, Via del Babuino 133;
Gallandt, Piazza di Spagna 7; Barberi, Piazza di Spagna 98; Corra-
d i n i , Piazza di Spagna 92. Jewellery, cameos, mosaics, etc. may also be
purchased at moderate prices in the Stabilimento Piazza Borghese 106. —
Roman pearls: Rey, Via del Babuino 122; Bartolini, Vicolo d'Ascanio 26,
2nd floor.

Clothing. Materials formerly dear and bad, but great improvement
has taken place of late owing to increased competition. Gentlemen's Clothing:
Guastala e Todros, Corso 335; Magazzino Livornese Corso 318,
(moderate). — Tailors: Schraider, Piazza di Spagna 29 ; Evert, Piazza
Borghese 77; Brassini, Corso 137. — Hatter: Miller, Via Condotti 16. —
Dress-mater : V. Nanni, Via S. Isidore 26. — Shoemakers : Brugner,
P. Barberini60; Ziegler, Capo le Case 46; J esi, Corso 129; Miinster,
Corso 162. — Milliners: Clarisse, Corso 166 (the best); Borsini Du-
pres, Corso 172. Less pretending: Pica- relli, Corso 316; Quattrini,
Via Frattina 91 (straw-hat-warehouse). — Ladies' Dress: Bos si, Corso 64;
Panseri, Corso 155; Massoni, Corso 307 (Pal. Simonetti). — Roman
Shawls: Bianchi, P. della Minerva 82 (also other Rom. silk wares);;
Amadori, Via Con- dotti 72. — Gloves: P. di S. Lorenzo in Lucina 4 A.',
Via della Vite 10. — Opticians: Ansiglioni, Corso 150; Suseipi, Corso
182; G e r b o 1 a, Corso 420. — Watchmakers : Reiffenstein (from Geneva),
Corso 233 (Piazza Sciarra). — Small Wares etc.: Cagiati, Corso 250. —
Lamps etc.: Fauci 11 on. Via di Propaganda 25. — Cigars. Travellers
crossing the Italian frontier are allowed 100 cigars free of duty. The
Italian zigari forli (1 s.) and zigari scelti (l1^ s.) are hardly smokable.
The Spaccio Normale , the government depot , Piazza Mignanelli 22 , is the
best shop, where good foreign cigars may also be purchased.

Music etc. Instruments: H. Spithcever, in the Monastery of S. Carlo
al Corso (437), who also keeps an extensive musical lending-library; Stabil-
mento Musical e, Via Frattina 121; Marc h i sio, Via Frattina 135. Ita-
lian musical lending-library, Corso 140 and 80. —Strings: Serafini,
Via Tor Argentina 32 and Piazza Capranica.

Theatres. The largest is the Teatro Apollo, near the Ponte S.
Angelo. Teatro Argentina, Via di Tor Argentina , and Teatro Valle,
in the Sapienza, for operas and dramas. The smaller T. Capranica,
Piazza Capranica, Metastasio, near the Via Scrofa in the Via d'Ascanio,
and Vail et to (near the Teatro Valle) are for operettas and comedies.
Summer-performances (about 5 p. m.) in the Mausoleum of Augustus,
Via de' Pontefici, in the Ripetta (dramas, comedies) ; also in the Pol i team a
in Trastevere (comedies and singing). Three different companies : the first
(luring the months of autumn and winter till Christmas, the second till Lent,
the third after Lent. Boxes are generally let permanently, and visits paid
and received there. Ladies frequent the boxes only, gentlemen the pit
(plaiea). Particulars about prices etc. are published in the hand-bills.

88 Route 12. ROME. Church Festivals.

, Church-Festivals. Details are contained in the Diario di Roma (60 c.)
and V Annie Liturgique (4 fr.), published annually. The best work on the
ceremonies of the Holy Week and their signification is the Mawu.aU delle
cerimonie che hanno luogo nella settimana santa e nelV ottava di pasqua al
Vaticano (1 fr., also a French edition). Admission to the Sixtine Chapel, as
well as to St. Peter's on great occasions (to the reserved part), is accorded
only to gentlemen in uniform or evening- dress, to ladies in black dresses,
and black veils or black caps. Gentlemen stand ; seats are reserved for
ladies , but are only to be obtained by card during the Easter festivities,
and on account of the great demand should be secured some time previ-
ously by application to a consul or banker. Overcoats are deposited in
the cloak - room of the Sixtine Chapel (i|2 fr.). The concourse at Easter
is generally immense. The Pope officiates in person three times annually:
on Christmas-day, Easter -day, and the Festival of St. Peter and St. Paul
(June 29th) ; four times annually he imparts his benediction : on Holy
Thursday and Easter-day from the balcony of St. Peter's, on Ascension-
day from the Lateran, and on Aug. 15th, the anniversary of the 'Assump-
tion of the Virgin', from S. Maria Maggiore. The most sumptuous cere-
monies are those of the Holy Week, from Palm Sunday to Easter -day, the
most important of which take place in the Sixtine Chapel , accompanied
by the music ('lamentations' etc.) of Palestrina and other old masters. The
Pope is also present at a number of other festivals, on which occasions the
papal band (cappella papule) performs. The following are the principal festivals:
January 1. Cappella Papale in the Sixtine, 10 a. m.

— 5. Cappella Papale in the Sixtine, 3 p. m.

— 6. Epiphany. Cappella Papale in the Sixtine, 10 a. m. ; at 4 p. m.

procession in Araceli.

— 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.
February 2. Candlemas. Cap. Papale in St. Peter's, 9 a. m. — Illumination
of the lower church of S. Clemente (p. 198).
On Ash- Wednesday and every Sunday during Lent , Cappella Papale in
the Sixtine at 10 a. m. The Lent sermons in Gesii (PI. II, 16) , S. Maria
sopra Minerva (PI. II, 16), and other churches are celebrated. Others are
preached in the streets towards evening and in the Colosseum (on Fridays).
March. Every Friday at 12 the Pope repairs to St. Peter's to pray du-

ring the confession.

— 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.

— 25. Annunciation. Cap. Papale in S. Maria sopra Minerva (PI. II, 16)

Holy Week.

Palm -Sunday. Cappella Papale in St. Peter's, 9 a. m. Consecration of
palms and procession, then mass. At 2 p. m. confession in the
Lateran (PI. II, 30).

Wednesday. Cappella Papale in the Sixtine, 3 p. m., Tenebrse and Mi-
serere. The music does not commence till about 1 hr. before
sunset.

Holy Thursday. Cappella Papale in the Sixtine, 10 a. m. Towards noon
the benediction 'Urbi' from the loggia of St. Peter's. Then
washing of feet in St. Peter's , immediatelv after a dinner to
twelve pilgrims in the loggia of St. Peter's. Cappella Papale
in the Sixtine, 3 p. m. Tenebrse and Miserere.

Good Friday. Cappella Papale in the Sixtine, 9 a. m. (music by Pales-
trina). At 3 p. m. Tenebrse and Miserere.

Saturday. Cappella Papale in the Sixtine, 9 a. m. (Missa di Papa Mar-
cello, by Palestrina). Baptism of converted infidels and Jews
in the Lateran.

Church Festivals.

ROME 12. Route. 89

Easter-Sunday. Cappella Papale in St. Peter's, 9 a. ni. The pope ap-
pears in the church at 10 o'clock and reads mass. The eleva-
vation of the host (about 11) is accompanied by the blast of
trumpets from the dome. The pope is then carried in proces-
sion from the church, and about noon imparts the great bene-
diction 'Urbi et Orbi' from the loggia of St. Peters. After
sunset illumination of the dome of St. Peter's , 1 hr. later
torches are substituted for the lamps (comp. p. 219).

Easter- Monday. Cappella Papale in the Sixtine, 9 a. m. About 8 p. m.
'girandola' on the Pincio.

Easter-Tuesday. Cappella Papale in the Sixtine, 9 a. m.

Saturday in A lb is. Cappella Papale in the Sixtine, 9 a. m.

April 25. Procession of the clergy from S. Marco (PI. II, 16) to St. Peter's
at 7. 30 a. m.

Mav 26. S. Filippo Neri. Cappella Papale in the ( :hiesa Nuova, 10 a. m.

Ascension. Cappella Papale in the Lateran. Gre:-t benediction from the
loggia.

Whitsunday. Cappella Papale in the Sixtine, 10 a. in.

Trinity. Cappella Papale in the Sixtine, 10 a. m.

Corpus Domini (Fete de Dieu). Procession of the Pope and clergy round
the piazza of St. Peter's, 8 a. m.

June 1, 17, 21. Cappella Papale in the Sixtine in commemoration of Gre-
gory XVI., and the accession and coronation of Pius IX.

— 24. John the Baptist. Cappella Papale in the Lateran, 10 a. m.

— 28. Eve of St. Peter and St. Paul. Cappella Papale in St. Peter's,

6 p. m.

— 29. Dav of St. Peter and St. Paul. — Forenoon, Cappella Papale in

St." Peter's. Evening, girandola on the Pincio.
July 14. S. Bonaventura, in S. S. Apostoli.

— " 31. S. Ignazio, in Gesii.

Au». 1. St. Peter in Vinculis, in S. Pietro in Vincoli (PI. II, 23).

— ' 5. S. Maria della Neve, in S. Maria Maggiore (PI. II, 25).

_ 15. Assumption of the Virgin. Cappella Papale in S. Maria Mag-
giore (PI. II, 25), 9 a. m.; great benediction from the loggia.
Sept. 8. Nativity of the Virgin. Cappella Papale in S. Maria del Popolo
(PI. I,' 18), 10 a. m.

— 14. Elevation of the Cross, in S. Marcello (PI. II, 16).
Oct 7. S. Marco, in the church of that saint (PI. II, 16).

— 18 S. Luca, in the church of that saint (PI. II, 20).

Nov. 1. All Saints' Day, Cappella Papale in the Sixtine , 10 a. m. and
3 pm. .

— 2. All Souls' Dav. Cappella Papale in the bixtine, 10 a. m.

— 3. Requiem for' former popes. Cappella Papale in the Sixtine,

10 a. m.
4. S. Carlo Borromeo. Cappella Papale in S. Carlo, 10 a. m.

— 5. Requiem for deceased cardinals in the Sixtine.

— 7. Requiem for deceased singers of the Cappella papale in the

Chiesa Nuova (PI. II, 10).

On the 4 Sundays of Advent, Cappella Papale in the bixtine,

10 a. m.

— 22. St. Cecilia. Cappella Papale in S. Cecilia in Trastevere (p. 230).

Illumination of the Catacombs of Calixtus (p. 256).
23. Illumination of the lower church of S. Clemente (p. 198).
Dec. 8. Conception. Cappella Papale in the Sixtine, 3 p. m. Proces-
sion from Araceli (PI. II, 20).

— 24. Christmas Eve. Cappella Papale in the Sixtine ,8 p.m. To-

wards midnight, solemnities in Araceli, about 3 a. m. in S.
Maria Maggiore (PI. II, 25).

— 25. Christmas Day. Cappella Papale in St. Peter's, 9 a. m.; eleva-

tion of the host announced by trumpets in the dome.

— 26. St. Stephen's Day. Cappella Papale in the Sixtine, 10 a. m.

— 27. St. John the Evang. Cappella Papale in the Sixtine, 10 a. m.

— 31. Cappella Papale in the Sixtine; after which, about 4 p. m.,

crand Te Deum in Gesii (PI. II, 16).

90 Route 12. ROME. Popular Festivals.

Popular Festivals (which have lost much of their former interest):

Epiphany (Jan. 6), celebrated in the evening near S. Eustachio (PI. II
13) : array of booths and prodigious din of toy-trumpets.

The Carnival extends from the 2nd Saturday before Ash-Wednesday
to Shrove-Tuesday, and consists in a daily (Sundays and Fridays excepted)
procession in the Corto, accompanied by the throwing of bouquets and
comfits, and concluding with a horse-race. The last evening is the Moccoli-
(taper) evening, the tapers being lighted immediately after sunset. A win-
dow in the Corso is the best point of view; most animated scene between
Piazza Colonna and S. Carlo ; balconies there are in great request and dear
(as high as 600 fr.); single places are let on the balconies fitted up for the
occasion.

The October Festival , formerly celebrated , now comparatively insigni-
ficant, takes place during the vintage-season, and consists in singing , dan-
cing , and carousals at the osterie at the gates (e. g. on the Testaccio); at
the Villa Borghese tombola and dancing.

Street Scenes. The 'Spanish Staircase' (PI. I, >20) is the focus of fa-
vourite artists' models, most of whom are Neapolitans. Their costumes are
a well-known subject of photographs and pictures.

The C'ampagnuoli are among the most singular apparitions in the streets
of Rome , but are less frequently seen than formerly. They pass a great
part of their lives on horseback , whilst tending their herds of oxen , hor-
ses, etc. Their equipment usually consists of a low felt-hat, wide, grey
mantle, leathern leggings, and spurs; and they carry 'il pungolo', or an
iron -pointed goad, for driving their cattle. The peasants of remote moun-
tain-districts, wearing sandals (whence termed ciocciari), and with swathed
feet and ankles , also present a most grotesque appearance. The favourite
haunts of the country - people are in front of the Pantheon (PI. II, 16) and
the Piazza Montanara (PI. II, 17) below the Capitol; but the formerly so
characteristic street-scenes have become much rarer under the new regime.
The pifferari (bag - pipers) of the Abruzzi, attired in faded brown cloaks,
pointed hats, and sandals, who used to become most conspicuous towards
Christmas , and wander from morning to night in pairs , from one image
of the Madonna to another, the elder with the bag -pipes, the younger
with a species of clarinet or red-pipe, have recently been prohibited from
playing before the Madonnas.

Promenades. The most frequented is Monte Pincio (PI. I, 18), where
a military band plays on Sundays and Thursdays, two hours before sunset.
Of the villas the most popular is the Borghese, to the r. outside the Porta
del Popolo. With regard to the other villas , information is contained in
the paragraph on that head. Within the walls the space from the forum
to the Porta S. Sebastiano and on the other side as far as the Lateran and
S. Croce. Monte Testaccio (PI. Ill, 13). Environs (see R. 13). Points of
view on the 1. bank : Villa Medici (PI. I, 18), Basilica of Constantine (PI. II,
30), Monte Testaccio (PI. Ill, 13) ; on the r. bank ; S. Pietro in MoDtorio
(PI. II, 13), Acqua Paola (PL II, 12), S. Onofrio (PI. II, 7). Fine views are
in fact commanded by almost every elevated spot.

Fiacres and Omnibuses. Comfortable one-horse conveyances are to be
found in every piazza. Tariff: drive in the town for 1—2 pers. 16 s., for
3 pers. 1 fr. ; per hour (1—3 pers.) 1 fr. 70 c. ; after sunset per drive,
1—2 pers. 1 fr., 3 pers. 1 fr. 20 c. ; per hour (1—3 pers.) 2 fr. 20 c. Two-
horse : drive in the town for 1 — 5 pers. 1 fr. 50 c. ; per hour (1 — 5 pers.)
2 fr. 20 c. ; after sunset per drive. 1 — 5 pers. 1 fr. 70 c. ; per hour 2 fr. 70 c.
Small articles of luggage free , box 50 c. For a drive within 3 M. of the
gates one-horse carr. 2 fr. 20 c. per hour, after sunset 2 fr. 70 c. Two-horse
carr. 2 fr. 70 c. per hour , after sunset 3 fr. 20 c. For longer distances no
tariff, bargain with driver necessary; the charges by time within the walls
serve, however, as a standard. The charge for a drive on the Corso, in a
two-horse carr., during the afternoons of the carnival-week is not fixed by
tariff. Each vehicle is provided with a tariffa in Italian and French. Om-
nibuses: from the Piazza del Popolo (PI. I. 18), from S. Maria Maggiore
(PI. II, 25), and from S. Giovanni in Laterano (PI. II, 30), to the Piazza
Gesii (PI. II, 16), and thence to the Vatican (PI. I, 4). Also from the Piazza

Steamboats. ROME. 12. Route. 91

del Popolo to S. Pantaleone (near Pal. Braschi, PI. II, 13), and thence to
S. Francesco a Ripa in Trastevere (PI. III. 15). These vehicles run pretty
regularly every 10 min. ; fare for the whole trip 4, lor half 2 soldi. Other
lines are proposed (e. g. from the Piazza Gesii through the Longara to the
Vatican). From the P. di Venezia omnibus every 1/2 hr. to S. Paolo fuori
le Mura (p. 190), fare 6 s. On Sundays and holidays, after 2 p. m., omni-
bus every 1 (2 hr. between Ponte Molle and P. di Popolo (p. 106), and from
the Piazza di Termini to S. Agnese fuori le Mura; fare 6 s.

English Church Service performed by a resident chaplain. Church on
the 1., outside the Porto del Popolo.

Post and Telegraph Offices. Post Office (Piazza Colonna, in the former
Military Casino, p. 114)) open daily from 8 a. m. to 9 p. m. ; rates of post-
age, see Introd. , p. XXIX. Letter-boxes in the town cleared four times
daily (last time at 8 p. m.). Letters must be posted before 5 p. m. in order
to be in time for the evening mails. Poste restante letters are obtained
(after 12 o'clock) at the section indicated by the initial letter of the ad-
dressee's name, which should be written in large and distinct characters.

Telegraph Office (open day and night) , Piazza di Monte Citorio 127.
Charge for a single telegram (20 words) within a distance of 100 kilometres
(62i|2 M.) 1 fr. 20, to more distant parts of the kingdom 2 fr. 40 c. — To
France 4 fr., N. Germany 6 fr., S. Germany 4 fr. 50 c, to Switzerland 2 fr.
or 3 fr. (when over 100 kilometres), to England 9 fr.

Vetturini, in the Piazza della Stelletta and Via dell' Orso, in the Cam-
pana, Via della Campana 20, all in the Via Scrofa ; also Monte Citorio 124,
whence omnibuses run daily to Tivoli and Subiaco. Written contract neces-
sary for tours of several days (comp. Introd.).

Railways. Lines at present in use to Civita Vecchia (R. 2), Naples,
Frascati (R. 13), and Foligno and Ancona (R. 11). Time-tables (Orario,
50 c.) at the otfice, Piazza di Monte Citorio 128 (PI. I, 16), where every
information may be obtained, and at the booksellers'.

Steamboats. The small vessels which ply on the Tiber cannot be relied
on for punctuality on account of the frequent variations in the state of the
river. Inquiries should be made in the post-office buildings, at the entrance
of the Piazza Madama, immediately to the 1. on the ground-floor.

Steamers from Civita -Vecchia to Naples , Leghorn , and Genoa. Those
of the Messitgeries Maritimes have ceased to ply since the Franco-Prussian
war. The other companies are the Italian Compagnia Florio, the French
firm Valery Freres et [Co. (office for both: Rosati, Via Condotti 91); and
the French firm of Fraissinet (Sebasti , P. Nicosia 43). Information as to
the other Italian steamboat lines may be obtained of M. Freeborn, Via
Bocca di Leone 79. Goods-agents: Caldani, P. di Pietra 38; Tombini,
Piazza S. Luigi dei Francesi. Goods' agency, Corso 185.

Principal Attractions, which should be visited by those whose
time is limited.

Churches: St. Peter's (214), S. Giovanni in Laterano (p. 199), S. Maria
Maggiore (p. 137), S. Lorenzo fuori le Mura (p. 139), S. Paolo fuori le
Mura (p. 190), Sixtine Chapel (p. 232), S. Agostino (p. 148), S. Clemente
(p. 197), S. Croce in Gerusalemme (p. 142), S. Maria degli Angeli (p. 135),
S. Maria in Araceli (p. 165). S. Maria sopra Minerva (p. 152), S. Maria della
Pace (p. 155), S. Maria del Popolo (p. 107), S. Maria in Trastevere (p. 229),
S. Onofrio (p. 220), S. Pietro in Vincoli (p. 143), S. Prassede (p. 138), S.
Trinita de' Monti (p. 110).

Palaces: Palazzo della Cancelleria (p. 158), Farnese (p. 158), Giraud
(p. 212), di Venezia (p. 120).

Ruins: Forum (p. 168), Colosseum (p. 173), Imperial Palaces (pp. 180,
182), Cloaca Maxima (p. 183), Therms of Titus and Caracalla (pp. 176, 192),
Pantheon (p. 150), Theatre of Marcellus (p. 164), Forum of Trajan (p. 179),
the so-called Temple of Neptune (p. 115), Pyramid of Cestius (p. 187). —
Catacombs of S. Calisto (p. 256).

Museums of the Vatican (p. 239), Capitol (p. 205), Lateran (p. 201),
Villa Ludovisi (p. 125), Albani (p. 126), Borghese (p. 123), Palazzo Spada
(p. 160).

92 Route 12. ROME. Collections.

Pictures: Raphael's Loggie and Stanze (p. 234), the Farnesina (p. 221),
galleries of the Vatican (p. 249) and Capitol (p. 207), of the Palazzo Borghese
(p. 145), Barherini (p. 129), Doria (p. 117), and Sciarra (p. 115).

Promenades: Monte Pincio (p. 108), Villa Borghese (p. 123), Pamfili
(p. 226), Via Appia (p. 191). Views from the Belvedere of the Villa Medici
(p. 109) and from S. Pietro in Montorio (p. 224).

With regard to the visits which may best be combined the plan should
be studied and the annexed lists consulted.

Coll'ections, Villas, etc.

X. B. Those within angular brackets in the following were temporarily
closed in January, 1872. Intending visitors should make enquiry as to the
possibility of access.
*Albani, Villa (p. 126), antiquities and pictures, Tuesdays, with

permission, obtained at the Palazzo Torlonia (p. 120).

* Borghese, Palazzo (p. 145), picture-gallery, Mondays, Wednes-

days, and Fridays 9 — 23/4 o'clock.

* Borghese, Villa (p. 123), garden daily, except Mondays; statues

in the casino Saturdays, in winter 1 — 4, in summer 4 — 7 o'clock.
*Barberini, Palazzo (p. 129), picture-gallery, Mondays. Tuesdays,
and Wednesdays 12 — 5, Thursdays 2 — 5, Fridays and Satur-
days 10 — 5 o'clock, closed at dusk in winter.

* Capitoline Museum (p. 207), daily 10—3 (fee).

* Colonna, Palazzo (p. 119), picture-gallery daily, Mondays. Thurs-

days, and Saturdays 11 — 3 o'clock.
Conservatori, Palace of the (p. 205), picture-gallery only, same
time as Capitoline Museum, see above.

* Corsini , Palazzo (p. 222). picture-gallery. Mondays, Thursdays,

and Saturdays 9 — 3 o'clock.

* Doria, Palazzo (p. 117). picture-gallery, Tuesdays and Fridays

10— 27-2 o'clock.
Farnese , Palazzo (p. 158), frescoes by Ann. Caracci, Fridays
12 — 2 o'clock, but admission not always granted.

* Farnesina, Villa (p. 221), on the 1st and 15th of each month,

10-3 o'clock.
Kircheriano, Museo (p. 116. ladies not admitted), collection of

antiquities. Sundays 10 — 11 o'clock.
Lateran, Collections of the (p. 201), daily 9 — -4 o'clock.
S. Luca, Accademia di (p. 178), daily 9 — 3 o'clock.
*Ludovisi, Villa (p. 125), collection of ancient sculptures, Thurs-
days, in- winter only, with permission obtained through am-
bassador or consul.
[Massimo, Villa (p. 204), frescoes, at present not accessible.]
[Massimi alle Colonne, Palazzo (p. 156), best time 9 — 11 a. m.]
Medici, Villa (p. 109), collection of casts, daily, except Satur-
day, 8 — 12 o'clock, and afternoon till dusk.]

* Palatine, Excavations of the Imperial Palaces (p. 180),, Thurs-

days and Sundays.

* Pamfili, Villa Doria (p. 226), garden, Mondays and Fridays,

two-horse carriages also admitted.

Diary. ROME. 12. Route. 9

[Quirinale, Palazzo Apostolico al (p. 130), has not been accessible
since the Italian occupation.]

Bospigliosi, Palazzo (p. 131), picture-gallery in the casino, Wed-
nesdays and Saturdays li — 3 o'clock.
* Sciarra - Colonna , Palazzo (p. 115), picture-gallery, Saturday
11 — 3 o'clock. Not always accessible.

[Spada alia Regola , Palazzo (p. 160), antiquities and picture-
gallery, Mondays, Wednesdays, and Saturdays 10 — 3 o'clock.]
** Vatican Collections (p. 239) accessible daily, but since the Italian
occupation not without a permesso obtained through an ambas-
sador or consul. Besides the permessi mentioned at p. 86
for artists and scholars, there are two classes of permessi for
ordinary visitors: 1. For Raphael's Stanze and Loggie, the pic-
ture gallery, and the Cappella Sistina (accesible 8 — 11 and
'2 — 4 o'clock) , admitting a party of 4 persons. 2. For the
Sculptures (accessible at the hours just mentioned, but closed
on Mondays and Thursdays 2 — 4) , also admitting 4 persons.
In the latter case visitors enter the palace on the W. side, to
reach which they must go round the whole of St. Peter's, and
then pass between the Vatican gardens and the Vatican to the
gate under the Sala della Eiga (PI. 17; see p. '245).

Diary.

(To be compared with the preceding alphabetical list).

Daily, except Sunday: Vatican Collections 8 — 11 and 2 — 4.
Capitoline Museum (p. 207) and Palace of the Conservatori
(p. 205) 10—3. Collections of the Lateran (p. 201) 9—3.
Academy of S. Luca (p. 178) 10 — 3. Galleria Colonna (p. 119) 11—3.
GalleriaBarberini(p.l29)Mon., Tues.. and Wed. 11 — 5, Thurs.2— 5.
Frid. and Sat. 10 — 5. — Villa Borghiese (p. 123), except Mondays.

Mondays : Galleria Borghese (p. 145) 9—3. Villa Pamfil: (p. 226).
[Galleria Spada (p. 160) 10—3.] Galleria Corsini (p. 222) 9—3.

Tuesdays: GalleriaDoria (p. 117)10— 12i/2. Villa Albani(p.l26).

Wednesdays : Casino Rospigliosi (p. 131) 12 — 3. Villa Torlonia
p. 133). [Villa Wolkonsky (p. 160). Galleria Spada (p. 205)
10—3.] Galleria Borghese (p. 145) 9—3.

Thursdays: Imperial palaces on the Palatine (p. 180). Villa
Ludovisi (p. 125). Galleria Corsini (p. 222) 9—3.

Fridays : Galleria Doria (p. 117) 10 — 2y2- Pal. Farnese (p. 159)
12—2. Villa Pamrili (p. 226). Galleria Borghese) p. 145) 9—3.

Saturdays: Galleria Sciarra (p. 115) 12 — 3 (in winter). Casino
Rospigliosi (p. 131). Antiquities in the Casino of the Villa
Borghese (p. 123) , in the forenoon. [Villa Wolkonsky (p. 205).
Galleria Spada (p. 160) 10—3.] Galleria Corsini (p. 222) 9—3.

Sundays: Farnesina (p. 221) 10 — 3. Museo Kircheriano
(p. 116) 10—11. Catacombs of S. Calisto (p. 256) and S. Agnese
etc. (p. 257). Overbeck's studio 2—4 (p. 86).

94 Route 12. ROME. History.

Preliminary Drive. The stranger should engage a vehicle
for 2—3 hrs. (tariff, p. 90) and drive down the Corso as far
as the Piazza di Venezia, through the Via di Marforio to the
Forum , past the Colosseum , through the Via di S. Giovanni
in Laterano to the Piazza in front of the church, commanding a
fine view of the Alban Mts. ; then through the Via in Merulana,
passing S. Maria Maggiore, through the Via di S. Maria Maggiore,
Via di S. Lorenzo in Paneperna, Via Magnanapoli, across the
Forum of Trajan through the Via di S. Marco, Via delle Botteghe
Oscure, across the Piazza Mattei with handsome fountain, through
the Via de' Falegnami, Piazza S. Carlo, Via de' Pettinari, by Ponte
Sisto to Trastevere , through the Longara to the Piazza di S.
Pietro, then through Borgo Nuovo across the Piazza Pia, past the
Castle of S. Angelo, over the Ponte S. Angelo, through the Via
Tordinone etc. in a straight direction back to the Corso.

History of the City of Borne f.

As the more remote history of Italy is involved in much obscurity, so
also the origin of the city of Rome is to a great extent a matter of mere
conjecture. It was not till a comparatively late period that the well known
legend of Romulus and Remus was framed, and the year B. C. 753 fixed as
the date of the foundation. In all probability, however , Rome may lay
claim to far greater antiquity. We are led to this conclusion , not oniy 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. Here Romulus is
said to have founded his city, the Roma Quadrata of which Tacitus (Ann.
12, 24) states the supposed extent. Modern excavations have brought to
light portions of its wall , as well as a gateway and the street of Victoria
which pertained to the most ancient settlement (see pp. 180, 182, 185). After
the town of Romulus on the Palatine, a second, inhabited by Sabines, sprang
up on the Quirinal , and the two were subsequently united into one com-
munity. Whilst each retained its peculiar temples and sanctuaries, the Fo-

t Works on the history and topography of Rome , especially of the an-
cient city, are extremely numerous. On the revival of science many scho-
lars devoted themselves with the utmost zeal to antiquarian research; thus
Poggio (1440), Flavio Biondo, Lucio Fauno. The most important of the ear-
lier works is that of Nardini ('Roma antica', 1660 ; 4th ed. by Nibby, 1818),
The following are the most eminent Roman writers on the subject of the
present centurv : C. Fea , 'Nuova Descrizione di Roma Antica e Moderna',
1820 ; Canina, ' 'Indicazione Topografica', 3rd ed. 1841 ; also Nibby, 'Roma
nell' anno 1S38\ 3 vols. , 1843. — The most exhaustive German work on
the subject, and one which has generally formed the basis of all subsequent
investigations , is that commenced under Niebuhr's auspices , and con-
tributed to by Platner, Bunsen, Gerhard, Rostell, and Urlichs (3 vols., Tu-
bingen 1830—42). Subsequent discoveries have been made by W. A. Becker
('Topographie', Leipzig 1843), L. Preller and other learned archaeologists.
The article on 'Ancient Rome' in Smith's Diet, of Greek and Roman Geo-
graphy (also pub. separately , 1864) affords a clear and intelligent view of
the subject. — Mediaeval Rome has been treated of far less frequently-
The standard works on the subject are perhaps those of Gregorovius (6 vols.,
Stuttgart, 1S58 — 65) and Reumont (3 vols. Berlin, 1S67). both extensive
works of great merit.

History. ROME. 12. Route. 95

rum, situated between them, and commanded by the castle and the temple
of Jupiter on the Capitol , formed the common 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 attributed to its situation , the most central in the penin-
sula , 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 accipiantur, mare vicinum ad commoditates nee expo-
situm nimia propinquitate ad pericula classium externarum , regionum Ita-
liae medium , ad incrementum urbis natum unice locum'. The Tiber was
navigable for sea-going ships, as far as Rome, whilst its tributaries, such as
the Anio, Nera, Chiana, and Topino, contained sufficient water for the river
vessels , which maintained a busy traffic between Rome and the interior of
the peninsula. The state of these rivers has , however , in the course of
ages undergone a complete revolution , chiefly due to the gradual levelling
of the forests on the mountains, and at the present day the lower part only
of the Tiber, from Orte downwards, is navigable.

Whilst the origin of the capital of the world is referred to Romulus,
its extension is attributed with something more of certainty to Servius Tul-
lius. Around the twin settlements on the Palatine and Quirinal, extensive
suburbs on the Esquiline and Cselius , as well as on the lower ground be-
tween 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 transplanted thi-
ther. Out of these heterogeneous elements a new civic community was or-
ganised towards the close of the period of the kings , and its constitution
commemorated by the erection of the Servian wall, considerable remains of
which are still extant. This structure, which was strengthened by a moat
externally and a rampart within , is of great solidity. It enclosed the
Aventine (p. 185), the Cselius, Esquiline, Viminal, Quirinal (p. 130), and Ca-
pitol and is computed to have been about 7 M. in circumference. Whilst
care was taken thus to protect the city externally, the kings were not less
solicitous to embellish the interior with handsome buildings. To that pe-
riod belongs the Circus in the valley between the Palatine and the Aven-
tine (p. 185), and above all the Cloaca Maxima (p. 183), destined to drain the
swampy site of the Forum , and still admired tor its massive construction.
This vigorous and brilliant development of the city under the kings of the
Tarquinian family in the 6th cent. B. C. came to a close with the expulsion
of the last king Tarquinius Superbus (509).

During the first century of the republic the united efforts of the citi-
zens were directed to the task of establishing themselves more securely in
the enjoyment of their new acquisitions ; and in this they succeeded, although
not without serious difficulty. It was a hard and bitter period of probation
that the nation had to undergo in the first enjoyment of its new liberty,
and it was not till the decline of the Etruscan power that Rome began to
breathe freely again. After protracted struggles she succeeded in conquering
and destroying her formidable rival Veii (369), a victory by which the Ro-
man supremacy was established over the south of Etruria as far as the Ci-
minian Forest. Shortly afterwards (390) the city, with the exception of the
Capitol , was taken and entirely destroyed by the Gauls. Although this ca-
tastrophe occasioned only a transient loss of the prestige of Rome , it pro-
duced 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 till the time of
Augustus, Rome was far from being a handsome city. Her steadily increa-
sing power, however, could not fail in some degree to influence her archi-
tecture. During the contests for the supremacy over Italy, the first aque-
duct and the first high road were constructed at Rome by Appius Claudius
in 312 (Aqua and Via Appia, p. 191); in 272 a second aqueduct (AnioVetus)
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

96 Route 12. ROME. History.

had constituted her_ mistress of the world, the city rapidly increased. The
wall was almost everywhere demolished to make room tor new buildings,
so that even at 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.
Speculation in houses was extensively carried on, and it was by this means
that the Triumvir Crassus, among others, amassed his 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
domus, or palaces of the wealthy, which were fitted up with the utmost
magnificence and luxury. Thus, for example, the tribune Clodius, the well-
known opponent of Cicero , purchased his house for the sum of 14,800,600
sesterces (i. e. about 130,525 I.). During the last century B. C. the city
began to assume an aspect more worthy of its proud dignity as capital of
the civilised world. The streets , hitherto unpaved , were now converted
into the massive lava -causeways which are still extant on many of the an-
cient roads (e. g. Via Appia). The highest ambition of the opulent nobles
was to perpetuate their names by the erection of sumptuous public buil-
dings. Thus in 184 M. Porcius Cato erected the first court of judicature
(Basilica Porcia) in the Forum, and others followed his example. Pompey
was the founder of the first theatre in stone (p. 161). Generally, however,
the structures of the republic were far inferior to those of the imperial
epoch , and owing to this circumstance but few of the former have been
preserved (Tabularium of B. C. 78, p. 167; tombs of Bibulus, p. 121, and of
Csecilia Metella, p. 263).

The transformation of the republic into a military despotism involved
the introduction of a new architectural period also. Usurpers are generally
wont to direct their energies to the construction of new building^ , with a
view to obscure the lustre of the older edifices ; and to obliterate the asso-
ciations connected with them. Csesar himself had formed the most exten-
sive 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 Avigustus occupy by far the highest rank, both in number and importance.
The points especially worthy of note are the Campus Martius with the
Pantheon and the Thermfe of Agrippa (p. 150) , the Theatre of Jlarcellus
(p. 164) and the Mausoleum (p. 144), the Basilica Julia (p. 170), and the
Forum of Augustus with the Temple of Mars (p. 178). 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
transformed Kome from a town of brick into a city of marble. During the
republican period the ordinary volcanic stone of the neighbourhood was the
usual building material, but the marble from the quarries of Carrara
(discovered about 100 B. C, but not extensively worked till the time of
Augustus) and the beautiful travertine from the vicinity of Tivoli were
now employed. The administration and police-system of the city were also
re-organised by Augustus , who divided Rome into 14 quarters (regiones),
adapted to its increased extent. A corps of watchmen (vigiles) , who also
served as firemen , was appointed to guard the city by night. These and
otherwise institutions, 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 edifices , each
striving to surpass his predecessors. In this respect Nero (54— 68 displayed
the most unbridled ambition. The conflagration of the year 64, which
reduced the greater part of Rome to ashes , having been ignited , it is said,
at the emperor's instigation, afforded him an opportunity of rebuilding the
whole city in the most modern style and according to a regular plan. For
his own use he erected the 'golden house', a sumptuous palace with gar-
dens, lakes, and pleasure-grounds of every description, occupying an ex-
orbitant area, extending from the Palatine across the valley of the Colosseum,
and far up the Esquiline (p. 173). These and other works were destroyed
by his successors , and well merited their fate ; the fragments which still
bear the name of Kero at Rome are but insignificant.

The Flavian dynasty, which followed the Julian, has on the other hand
perpetuated its memory by a number of most imposing works, above all the

History. HOME. 12. Route. 97

Colosseum , which has ever been regarded as the symbol of the power and
greatness of Rome , the Baths of Titus on the Esquiline (p. 176) , and the
Triumphal Arch (p. 172) erected after the destruction of Jerusalem. Under
Trajan, 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 , with the column and the reliefs , afterwards employed to decorate
Constantine's arch, bear the most eloquent testimony. Under Trajan, indeed,
the culminating point both of art and of political greatness was attained.
Thenceforward the greatness of the empire began gradually, but steadily
to decline. Although under the next emperor Hadrian this downward ten-
dency was apparently arrested, yet the monuments of his reign, such as the
temple of Venus and Roma (p. 173) and the castle of S. Angelo (p. 211), be-
"gin to exhibit traces of degeneracy. The same remark applies also to the
time of the Antonines. They were remarkable for their excellent qualities
as sovereigns , and their peaceful reign has frequently been regarded as the
period during which mankind in general enjoyed the highest degree of pro-
sperity. Tradition even still associates the hope of the return of the good
old times with the equestrian statue of the good Marcus Aurelius. 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 century civil wars, incursions of barba-
rians , famine , and pestilence succeeded 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 1'|2 million, had dwindled to one-half by the time
of Diocletian. A constant decline in architectural taste is still observed;
hut, as building always constituted an important feature in the policy of
the emperors, the number and extent of the ruins of a late period is con-
siderable. To this epoch belong the column of Marcus Aurelius (p. 114),
the triumphal arch of 8eptimius Severus (p. 169), the sumptuous Baths of
Caracalla (p. 19'2), the Temple of the Sun of Aurelian (p. 119), and the
extensive Thermse of Diocletian (p. 135).

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 fortilication.
Under the Emperor Aurelian, 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 Constantine the Great, viz. the Basilica (p. 171), Baths (pp. 120,
130), and Triumphal Arch (p. 176). The two former were, however, erected
by his rival Maxentius. Constantine manifested little partiality for Rome
and ancient traditions ; the transference of the seat of empire to Byzantium
(in 330) marks a decided turning-point in the history of the city, as well
as in that of the whole empire. Rome indeed was still great on account of
the glorious past and its magnificent monuments, but in many respects it
had sunk to the level of a mere provincial town. No new works were
henceforth undertaken, whilst the old gradually fell to decay. According to
the statistics of this period Rome possessed 37 gates, from which 28 high
roads diverged, 19 aqueducts, 3 bridges across the Tiber. There were 423
streets, 1790 palaces, and 46,602 dwelling-houses. Among the public struc-
tures are mentioned 11 Thermae, 856 bath-rooms, 1352 fountains in the
streets, 423 temples, 36 triumphal arches, 10 basilicas, etc. When the gran-
deur and magnificence suggested by these numbers is considered, it may
appear a matter of surprise that comparatively so few relics now remain ;
but it must be borne in mind that the work of destruction progressed
steadily during nearly a thousand years, and was not arrested till the era
of the Renaissance, but for which even the monuments still extant would
ere now have been consigned to oblivion.

The introduction of Christianity was unfavourable for the preservation
of heathen temples and statues, and the inroads of the Goths (410) and
Vandals (455) were totally subversive of the wealth and taste necessary for
the maintenance of these monuments. The Roman bishops largely employed

98 Route 12. ROME. History.

the columns of ancient temples in the construction of their churches ; and,
as their pontifical power increased, these buildings were either greatly
altered, or entirely superseded by more sumptuous ediiices. S. Pudenziana,
the erection of which is attributed to Pius I., is believed to be the oldest
church at Rome. S. Maria and S. Cecilia in Trastevere are said to have
been founded by Calixtus I., shortly after which S. Alessio and S. Prisca
were erected on the Aventine. The large basilicas of the Vatican and La-
teran, S. Paolo and S. Lorenzo fuori le Mura, S. Croce in Gerusalemmc,
S. Agnese outside the Porta Pia, and S. Pietro e Marcellino near the La-
teran are all ascribed, most of them probably erroneously, to Constantine,
subsequently to whose reign innumerable churches and monasteries sprang
up. Although the city had suffered severely from the contests of the Greeks
and the Goths, during which Vitiges demolished the aqueducts, the Greeks
hurled the statues of Hadrian's Mausoleum upon the advancing Goths, and
Totilas partially overthrew the walls, yet the following centuries, the 7th
and 8th, proved still more destructive, when famine and pestilence, con-
flagrations and inundations involved both Rome and its inhabitants in utter
ruin. Leo IV. encircled the 'Leonine city' with, a wall, and erected other
useful structures, which indicate a renewed period of prosperity ; but the
ravages of the Saracens in the city and its environs soon prevented farther
progress. When at length these barbarians were finally subdued by John
X., the city was repeatedly besieged and captured by German armies during
the contest for the imperial crown; and subsequently, in consequence of
incessant, civic feuds, the entire 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. The temporary re-establishment of
peace was invariably followed by new scenes of devastation, as when the
Senator Brancaleone dismantled no fewer than 150 of the strongholds of
the warlike nobles. The constantly increasing civic and national dissensions
at length compelled Clement V. in 1309 to transfer the seat of the pontifical
government to Avignon, where it remained till 1377, whilst Rome was
successively governed by Guelphs and Ghibellines, Neapolitans and Germans,
Orsini's and Colonna's, and for a brief period (1347) Cola di Rienzi even
succeeded in restoring the ancient republican form of Government. This
was an epoch of the utmost misery, when poverty, war, and disease had
reduced the population to less than 20,000 souls ; but a more happy era
was inaugurated by the return of Gregory IX. to the city. 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 V., Julius II., Leo X., and others. In 1527 the city
was fearfully devastated by the troops of Charles of Bourbon; but it gra-
dually recovered from the blow, its population again increased, and many
churches and palaces were restored or newly erected by the popes, their
cardinals and favourites. 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 the previous year, but on April 12th, 1850,
Pius IX. was restored by the French. The city was then garrisoned by
15,000 French troops, who were withdrawn in December 18GG, in accordance
with the convention of Sept. 15th, 1864; but were recalled after the Gari-
baldian hostilities of 1807, and were quartered in the environs until the
breaking out of the Franco-Prussian war of 1870. On Sept. 20th of that
ye;ir the Italian troops marched into the city, after a bombardment of five
hours. The States of the Church are now incorporated with the kingdom
nf Italy, of which Rome is now once more the capital.

History.

ROME. 1-2. Route. 99

CHRONOLOGICAL TABLE.

B.C.

Rom. Emp.

1'opes t.

A.l).

Rom. Emp.

Popes.

Julius Casar

238

Gordian III.

murdered.

244

Philip the

Cifcsar Octa-

Arabian.

vianus Au-

249

Decius.

A. 1).

gustus.

251

Gallus and

Cornelius, 251.

Tiberius.

Volusianus.

Caligula.

252

Lucius I., 252.

Claudius.

St. Peter, 42.

253

yEmilian.

Stephen I., 254.

Nero.

Valerian.

Martyrdom of

257

Sixtus II., 257.

St. Peter.

259

Dionysius, 259.

Galba.

Linus. — Cle

263

Galienus.

Otlio.

ment, 07.

26S

Claudius II.

Vitullius.

269

Felix I., 209.

Vespasian.

270

Aurelian.

Cletus, 73.

275

Tacitus.

Titus.

Anacletus, 95.

275

Florian.

Eutychianus,275.

Domitian.

276

Probus.

282

Cams.

Nerva.

282

Carinus and

Trajan.

Numerian.

100

Evaristus, 95.

283

Cajus, 283.

109

Alexander I. ,109.

284

Diocletian.

117

Hadrian.

290

Marcellinus, 295

rf9

Sixtus I, 117.

305

Constantius

iys

Telesphonis, 127.

Chlorus and

138

AntoninusPius

Maximianus

139

Hyginus, 138.

Galerius.

142

Pius I., 142.

307

Constantino

101

Marcus Au-

Amicetus, 150.

the Great.

relius

308

Maximin II.

Marcellus I., 304

108

Sotcr, 102.

Licinus.

177

Eleutlierus, 171.

Maxentius.

180

Coinmodus.

310

Eusebius, 310.

190

Victor I., 185.

311

Alelchiades, 310.

193

Pertinax.

314

Sylvester I., 314

Didius Ju

330

Marcus.

lianus.

337

Constantine U .

Julius 1.

193

Septimius
Severus.

Constantius.
Constnns.

198

Caracalla

352

Liberius.

(Geta).

361

Julian.

202

Zepliyriiiiiss, 198.

363

Jovian.

217

Maori tins.

\'£ 9"

218

Heliogabalus.

Calixlus I., 217.

364

Valenti- ° ■?
man 1. \ z p

222

Alexander

Severus.

and f.Sw

223

Urban I., 222.

Valens. I.j; .-„

230

Pontianus, 230.

235

Maximinus.

Anterus, 235.

366

Damascus 1.

230

Fabianus, 230.

367

Gratian.

238

Gordian I.

375

Valentinian II.

and II.

379

Tbeodosius.

Maximus

383

Arcadius.

and

385

Siricius.

lialliina.

393

Ilonorius

f The dates of the popes down to Constanline are uncertain, havi
been handed down by vague tradition only.

100 H„uu 13.

ROME.

History.

\.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp

Popes.

397

Anastasius I.

685

Justinian II.

John V.

401

Innocent 1.

686

Conon.

402

Theodoaius II.

687

St. Sergius I.

417

Zosimus.

701

John VI.

418

Boniface I.

705

John VII.

421

Constantius 11.

708

Philippieus

Sisinnius.

422

Coclestinus I.

Bardanes 711.

425

Valentinianlll

Anastas. 11.713.

Constantinus.

432

Sixtus III.

715

Leo the I sau-

St, Gregory 11.

440

Leo 1. the Gnat.

rian 718.

450

Marcian.

731

St. Gregory III.

455

Avitas.

741

Constantinus

457

Leo and Majo-

Copronymus.

St. Zacharias.

rianus.

752

Stephen 11.

461

Lib. Severus.

Hilaritis.

757

St. Paul I.

467

Anthemhis.

Simplicity.

768

Stephen III.

472

Olybrius.

772

Hadrian I.

173

Glycerins.

795

Charlemagne.

St. Leo III.

474

Zeno.

814

Louis the

475

Romulus Au-

Pious.

gustulus.

816

Stephen IV.

433

Felix II.

817

St. Paschalis I.

402

Gelasius.

821

Eugene 11.

496

Anastasius 11.

827

Valentimis.

498

Symmachus.

Gregory IV.

514

Hermisdas.

843

Lothaire.

523

John I.

844

Sergius II.

526

Felix III.

847

St. Leo IV.

530

Justinian I.

Boniface II t-

855

Louis 11.

Benedict 111.

|528 -565).

858

St. Nicholas J.

532

John II.

867

Hadrian II.

535

St. Agapitus 1.

872

John VIII.

536

St. Silverius.

876

Charles the

538

Vigilius.

Bald.

555

Pelagius I.

882

Martin II.

560

John III.

884

Charles the

Hadrian III.

574

Benedict I.

Fat.

578

Pelagius 11.

885

Stephen V.

590

St. Gregory I. the

887

Arnulf.

Great.

891

Formosus.

604

Phocas 602.

Sabinianus.

896

Boniface VI.

607

Heraclius 610.

Boniface III.

Stephen VI.

608

S. Boniface IV.

897

Romanus I.

615

Deusdeditus.

898

Theodoras II.

619

J'.oniface V.

John IX.

625

Honorius I.

900

Louis the

Benedict IV.

640

Severinus.

Child.

John IV.

903

Leo V.

642

Constans II.

Theodoras I.

Christophorus..

649

St. Martin I.

904

Sergius HI.

655

St. Eugene I.

911

Anastasius III.

657

Constantino III

St. Vitilianus.

912

Conrad I.

(d. 668).

913

Landonius.

672

Adeodatus.

914

John X.

676

Donus I.

919

Henry I. the

678

St. Agathus.

Fowler.

682

St. Leo II.

928

Leo VI.

684

St. Benedict II.

929

Stephen VII.

•f Thus far all the preceding popes have been canonised.

History.

ROME.

12. Route. 101

A.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp.

Popes.

931

John XI.

1187

Clement III.

936

Otho 1.

Leo VII.

1190

Henry VI.

939

Stephen VIII.

1191

Coelestine III.

942

Martin III.

1197

Otho IV.

946

Agapetus II.

1198

Innocent III.

906

John XII.

1215

Frederick II.

964

Leo VIII.

1216

Ilonorius III.

Benedict V.

1227

Gregory IX.

955

John XIII.

1241

Coelestine IV.

972

Benedict VI.

1243

Innocent IV.

974

Otho II.

Donus II.

1250

Interregnum.

975

Benedict VII.

1254

Alexander IV.

9S3

Otho III.

John XIV.

1261

Urban IV.

985

John XV.

1265

Clement IV.

996

Gregory V.

1271

Gregory X.

999

Sylvester II.

1273

Rudolph of

1002

Henry II.

Hapsburg.

1003

John XVII.
John XVIII.

1276

Innocent V.
Hadrian V.

1009

Sergius IV.

John XX.

1012

Benedict VIII.

or XXI.

1024

Conrad 11.

John XIX.

1277

Nicholas III.

1033

Benedict IX.

1281

Martin IV.

1039

Henry III.

1285

Ilonorius IV.

1046

Gregory VI.

1288

Nicholas IV.

Clement. II.

1290

Albert I. and

1048

l>amasus II.

Adolph of

1049

St. Leo IX.

Nassau.

1055

Victor II.

1294

St. Crelestine V

1056

Henry IV

1294

Boniface VIII.

1057

Stephen IX.

1303

Benedict XL

1058

Nicholas 11.

1305

Clement V.

10GI

Alexander II.

1309

Henry VII. of

1073

Gregory VII.

Luxembourg .

Hildebrand.

1313

Louis of Ba-

1086

Victor III.

varia and

1088

Urban II.

Frederick of

1099

Paschalis II.

Austria.

1106

Henry V.

1316

John XXII.

1118

Oelasius 11.

1334

Benedict XII.

1119

Calixtus 11.

1342

Clement VI.

1124

Ilonorius II.

1346

Charles IV. of

1125

Lothairc of

Luxembourg.

Saxony.

1352

Innocent VI.

1130

Innocent II.

1362

Urban V.

1137

Conrad III.

1370

Gregory XI.

of Hohen-

1378

Wenzel.

Urban UI.

staufen.

1389

Boniface IX.

1143

Co'.lestine II.

1400

Rupert of the

1144

Lucius II.

Palatinate.

1.145

Kugenc III.

1404

Innocent VII.

1152

Frederick I.

1406

Gregory XII.

Barbarossa.

1409

Alexander V.

1153

Anastasius IV.

1410

Sigismund.

John XXIII.

1154

Hadrian IV.

1417

Martin V.

1159

Alexander III.

1431

Eugene IV.

1181

Lucius III.

1437

Albert. II.

1185

Urban III.

1440

Frederick III.

1187

Gregory VIII.

1447

Nicholas V

102 Routt 1 1>

ROME.

History.

A.D.

Rom. Emp.

Popes.

A.D.

Rotn. Emp.

Popes.

1455

Galixtus III.

1502

Clement VIII.

1458

I'ius II. (iEncas
Sylvius, Siena).

(Hippoiyt. Ahlo-
brandini of

14G4

Paul II.

Florence).

1471

Sixtus IV.
(Francis de
Rovere of

1G05

Leo XI. (Alexan-
der Medici).
Paul V. (Camillo

Savona).

1G12

Matthias.

Borghese).

(484

Innocent VIII.

1G10

Ferdinand 11.

(.Toann. B. Cibo

1021

Gregory XV.

of Genoa).

(Alexander Lu-

1402

Alexander VI.

dovisi).

(Roder. Borgia).

1G23

Urban VIII. (Mat

1493

Maximilian I.

l'eo Barberini).

1503

Pius III. (Fran-

1G37

Ferdinand III.

cis Piccolomini

1644

Innocent X.

of Siena).

(Giambattista

1503

Julius II. (Julian

Pamfili).

della Roverc).

1G55

Alexander VII.

1513

Leo X. (John dc'
Medici).

(Fabio Chigi of
Siena).

1510

Charles V.

1G58

Leopold 1 .

1522

Hadrian VI.

(of Utrecht).

1G67

Clement IX.
(Giul. Rospig-

1523

Clement VII.

liosi).

(Julius Medici).

1G70

Clement X.

1534

Paul III. (Alex-

(Emilio Alticri).

ander Farncsc).

1076

Innocent XI.

1550

Julius III. (Joan.
Maria de Monte).

(Benedetto
Odescalchi).

1555

Marcellus II.
Paul IV. (Gian
Pietro Caraffa

1680

Alexander XIII.
(Pietro Otto-
buoni).

of Naples).

1690

Joseph 1.

1558

Ferdinand I.

1 1691

Innocent XII.

1550

Pius IV. (Joan.
Angelus Medici

(Ant. Pigna-
telli).

of Milan).

1700

Clement XI.

15(14

Maximilian II.

(Giov. Franc.

1565

St. Pius V.

Albani).

(Ghislieri of

1711

Charles VI.

Piedmont).

1721

Innocent XIII.

1572

Gregory XIII.
(Ugo Buon-

(Mich. Ang. (to
(Conti).

compagiii of

1724

Benedict XIII

Bologna).

(Vine. Maria

157(1

Riirtuljm II

Orsini).

J 585

Sixtus V. (Felix
Peretti).

1730

Clement XII.
(Lorenzo Cm

1500

Urban VII.

sini).

(Giambattista

1740

Benedict XIV.

Castagna of

(Prosp. Lam-

Rome).

bertini).

1500

Gregory XIV.
(Nic. Sfondrati

1741

Charles VII.
of Ba.varia.

of Milan).

1745

Francis I.

1501

Innocent IX.
(Giannantonio

1758

Clement XIII.
(Carlo Rezzo-

Facchinetti of

nico of Venice).

Bolojjna).

Ulfi&LLuscph II.

Topography .

ROMK.

tl>. Route. 103

A.D.

Rom. Emp.

Popes.

A.D.

Iiom. Emp.

Popes.

17G9

•

Clement XIV.
(Giov. Ant. C.;i n-
ganelli of Ei-
mini).

1829

Pius VIII.
(Franc. Xav.
Castiglione of
Cingoli).

1770

Pius VI. (Giov.
Ang. Braschi).

1831

Gregory XVI.
(MauroCapellari

1790

Leopold 11.

of Helluno).

17!t>

Francis 11.

184G

Pius IX. (Gio-

1800

Pius VII. (Grc-
gorio Barnaba
Chiaramonti of
Cesena).

vanni Maria
Mastai - Ferctti
of Sinigaglia,
born 13. May,

1823

LeoXII.(Annit).
dclla Genga of
Spoleto).

1792, Cardinal
1839, Pope 16.
June 1846).

Rome is situated (41° 5' 54" N. lat., 12° 29" E. longit.,
meridian of Greenwich) in an undulating volcanic plain , which
extends from Capo Linaro , S. of Civita Vecchia, to the Promon-
torio Circeo , a distance of about 85 M. , and between the Apen-
nines and the sea, a width of 25 M. The city is built on both
sides of the Tiber , the largest river in the Italian peninsula,
14 M. from its influx into the Mediterranean. The prospect from
one of the hills of Rome — and no city is more replete with
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, occupying an isolated position in the plain, and sepa-
rated by the Tiber from the principal range of the Apennines.
Farther E., and still more distant, is the Leonessa group, which
approaches the Central Apennines. Considerably nearer lies the
range of the Sabine Mts. The summit at the angle which they
form by their abutment on the Campagna is M. Gennaro , the
Lucretilis of Horace; the village at the base is Monticelli. Farther
off, on the slope of the hill, lies Tivoli, recognised by its villas
and olive-gardens. More towards the S., on the last visible spur
of the Sabine Mts., Palestrina, the Prameste of antiquity, is
situated. A depression, 4 M. in width only, separates the Apen-
nines from the volcanic Alban Mts., above which a few peaks of
the distant Volscian Mts. appear. On the E. spur of the Alban
Mts. lies the village of Colonna. The following villages are Rocca
Priora and Monte Porzio ; then the town of Frascati below the
ancient Tusculum. The highest peak of the Alban Mts. is M.
Cavo, once surmounted by a temple of the Alban Jupiter, now
by a Passionist monastery. On it lies the village of Rocca di
Papa , loftily and picturesquely situated , beneath which , towards
the plain, is the town of Marino. The village, with the castle
farther to the W. on the hill , is Castol Gandolfo ; the mountain

104 Route 1:>. ROME. Topography.

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, a volcanic chain of hills approaching
close to the river, beyond which the horizon is bounded by moun-
tains also of volcanic formation: towards the sea, to the 1. , the
mountains of Tolfa, then the heights around the lake of Bracciano
with the peak of Rocca Romana, the Ciminian Forest (now usually
termed the mountains of Viterbo); the nearest point to the r. is
the crater of Baccano, with the wooded height of M. Musino. The
plain, enclosed by this spacious amphitheatre of mountains, and
intersected by the Tiber and the Anio , which descends from Ti-
voli and falls into the former l!/2 M. 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 extensive ruins covering it in every direction.

The wall by which Rome of the present day is surrounded is
about 12 M. in length, constructed of brick, and on the exterior
about 50 ft. in height. The greater portion of it dates from
271 — 274, having been begun by the Emp. Aurelian , com-
pleted by Probus, and subsequently restored by Honorius, Theo-
doric, Belisarius, and several popes. The city is entered by 12 gates
(several of earlier date are now walled up). Of these the most
important is the Porta del Popolo, whence the grand route to N.
and E. Italy issues and crosses the Tiber by the Ponte Molle,
J ]/2 M. from the city. Receding from the river, follow: Porta
Salara, Porta Pia, Porta S. Lorenzo (road to Tivoli), Porta Maggiore
(to Palestrina), Porta S. Giovanni (to Frascati and Albano), Porta
S. Sebastiano (Via Appia), Porta S. Paolo (to Ostia). Then upon
the r. bank of the Tiber : Porta Portese (to Porto), Porta S. Pan-
crazio, Porta Cavaleggieri, and Porta Angelica.

The Tiber reaches Romes after a course of about 220 M., and
intersects the city from N. to S. The water is turbid (the 'flavus
Tiberis' of Horace) and rises fo a considerable height after con-
tinued rain. 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 Tiber enters the city not
far from the base of M. Pincio and describes three curves within
its precincts: the first towards the S. W. , skirting the quarter
of the Vatican, the second to the S. E. , bounding the Campus
Martius and terminating at the island and the Capitol , and the
third to the S. W., quitting the city by the Aventine.

On the r. bank of the Tiber lies the more modern and smaller
portion of the city. This part is divided into two halves: on the
N. the Borgo around the Vatican and St. Peter's , encircled with
a wall by Leo IV. in 851 and constituted a separate town; on
the S., lying on the river and the slopes of the Janiculus, Tras-

Topography. KUMK. li'. Route. 105

tevere , which from a very remote period has formed a tete-de-
pont of Rome against Etruria, and was under Augustus a densely
populated suburb. These two portions are connected by the long
Via della Longara , constructed by Sixtus V. The banks of the
Tiber are connected by means of 5 bridges : Ponte S. Angelo
near the castle of that name , below which the new suspension-
bridge Ponte Leonino crosses from the Longara ; then from
Trastevere the Ponte Sisto ; another traverses the island , the
portion from Trastevere to the island being termed Ponte S. Bar-
tolommeo , thence to the 1. bank the Ponte de' Quattro Capi ;
finally, below the island, the Ponte Rotto.

The more ancient portion of the city, properly so called , lies
on the 1. bank, partly in the plain which extends along the river,
the ancient Campus Martius, and partly on the surrounding hills.
Modern Rome is principally confined to the plain , whilst the
heights on which the ancient city stood are now to a great ex-
tent uninhabited. These are the far-famed Seven Hills of Rome.
The least extensive, but historically most important, is the Capi-
toline, 161 ft. above the sea-level, in the vicinity of the Tiber
and the island; at the present day it forms in some degree the
barrier between ancient and modern Rome. It consists of a nar-
row ridge extending from S.W. to N.E. , culminating in two
summits, separated by a depression: on the S.W. point, towards
the river, stands the Palazzo Caffarelli, on that to the N.E., to-
wards the Quirinal , the church of S. Maria in Araceli. Conti-
guous to the Capitoline, in a N.E. direction, and separated from
it by a depression which the structures of Trajan considerably
widened, extends the long Quirinal (157 ft.). On the N. a valley,
in which the Piazza Barberini is situated, separates the Quirinal
?rom the Pincio (175 ft.), which, as its ancient appellation 'collis
liortorum' indicates , was occupied by gardens , and not regarded
is a portion of the city. E. of the Quirinal , but considerably
less extensive , rises the Viminal (170 ft.). Both of these may-
be regarded as buttresses of the third and more important height,
the Esquiline (188 ft.), which, forming the common basis of
;hese two, extends from the Pincio on the N. to the Cselius.
Its distinguishing feature with regard to modern Rome is the con-
spicuous church of S. Maria Maggiore; with regard to ancient
tome, S. Pietro in Vincoli and the ruins of the Thermae of Titus,
vhere it approaches the Quirinal, Palatine, and Cffilius. S. E. of
the Capitoline, in the form of an irregular quadrangle , rises the
solated Palatine (170 ft.) , with the ruins of the palaces of the
:mperors , and on the low ground between these hills lies the
indent Forum. Farther S. , close to the river, separated from
he Palatine by the depression in which the Circus Maximus ex-
ended, is the Aventine (155 ft.), with the churches of S. Sabiua,
v Balbina, etc. Finally, E. of the latter, the long-extended Cae-

106 Route 11>. ROME. Topography.

lius, with S. Gregorio and S. Stefano Rotondo, in tlie low ground
between the Cselius, Palatine, and Esquilinc is situated the Colos-
seum; farther E., by the city-wall, between the Cffilius and Es-
quiline, the Lateran.

By far the greater portion of the area enclosed by the walls,
inhabited during the imperial period by l1/^ — 2 millions of souls,
is now untenanted. On the Palatine , Aventine , Caelius , Esqui-
linc, and the entire region immediately within the walls, once
densely-peopled streets are now superseded by the bleak walls of
vineyards. The modern city is divided into two halves by tie
Corso or principal street, which runs from N. to S., from the
Porta del Popolo to the Piazza di Venezia in the vicinity of the
Capitoline. The E. half, at the base and on the ridge of the
Pincio and Quirinal , presents a modern aspect , and is the prin-
cipal resort of strangers. The W. half, on the bank of the Tiber,
consists of narrow and dirty streets, occupied by the humbler
classes.

According to the Annuario Pontiflco (Rom. government-almanac)
of Easter, 1867, the population of Rome amounted to 215,5Sli
souls , of whom 6227 were clergymen , 494f) nuns , 4(150 Jews,
457 Protestants and 7360 soldiers. To these numbers must be
added the numerous and ever-varying influx of visitors, of whom
upwards of 25,000 congregate in the city at Easter.

An intimate acquaintance with the most interesting points in
Home cannot bo acquired during a brief visit. The appended
description is, however, so arranged as to enable even those
whose stay does not exceed a week or a fortnight to visit the
most celebrated places in the most convenient manner possible.
Rome is especially adapted for a winter-residence (October to May),
on account of the mildness of the climate , while the Carnival
in spring forms an additional attraction. In summer the heat
and malaria banish great numbers of the inhabitants , whilst in
winter thousands of visitors from all countries flock to the city.
The Artists' Association (German), to which non-professional men
arc also admitted (in the building adjoining the Fontana Trevi;
entrance , Via della Slamperia 4 ; subscription 8 fr. per month,
or 32 fr. per annum), is a favourite rallying-point for artists.
With the exception of the theatres, Rome affords little oppor-
tunity for modern gaieties, a deficiency for which, however, its
monuments of antiquity and treasures of art, ancient and mo-
dem, abundantly compensate.

/. Str angers' Quarter and Corso.

From the N., not far from the Tiber, th» city is entered by
the Porta del Popolo, constructed in 1561 by Viynola, the inner

Piazza del Popolo. ROME. 12. Route. 107

portion embellished by Bernini on the occasion of the entry of
Queen Christina of Sweden, and deriving its appellation from the
neighbouring church of that name. At the gate is the handsome
*Piazza del Popolo (PI. 1, 18), in the centre of which rises an
Obelisk between four water-spouting lionesses, which, after the
defeat of Antony, Augustus caused to be brought from Heliopolis,
placed in the Circus Maximus (p. 185) and dedicated to the Sun.
It was removed to its present position by order of Sixtus V. To
the r. of the gate is the church of S. Maria del Popolo (sec
below), opposite to it the former Barracks of theOendarmi Pontifici.
Towards the W. the Piazza is bounded by an arched wall with Nep-
tune and Tritons , opposite to which is a similar structure with
Minerva and river-gods. On each side of the latter is an approach
to the Pincio (p. 108); adjacent to it on the r. is the hotel Isole
Britanniche. Three streets diverge from the piazza on the S. :
to the r. the Via di Ilipetta, parallel with the river, prolonged by
the Via Scrofa which leads direct to the post-oflice (p. 150); in
the centre the Corso (p. 112); to the 1. the Via del Babui.no,
leading to the Piazza di Spayna (p. 111). Between the two
latter streets stands the church of S. Maria in Monte Santo, to the
r. adjoining it, that of S. Maria de' Miracoli , both dating from
the latter half of the 17th cent. , with domes and vestibules,
designed by Kinaldi, completed by Bernini and Fontana. Outside
the gate, to the r. is the Villa Borghese (p. 122), to the 1.
the English Church, a yellowish grey building with three doors
sheltered by roofs.

*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 Domitii,
the burial-place of Nero which was haunted by evil spirits, was
under Sixtus IV. in 1477 re-erected by Baccio Pintelli , the in-
terior subsequently decorated by Bernini in the baroque style.
It consists of nave, aisles, transept, and octagonal dome, and con-
tains numerous works of art , especially handsome monuments of
the 15th cent.

The 1st Chapel in the r. aisle, formerly delta Rovere, now Venuti, was
painted l>y Pinturicchio; 'altar-piece, Adoration of the Infant Christ; in the
lunrltes, life of St. Jerome; 1. tomb of Cardinal della Rovere, r. that of
Cardinal di Castro. In the 2nd Chapel: Assumption of Mary, allar-piece by
C Maralia. 3rd Chapel, painted by Pinturicchio: above the altar, Madonna
with four angels, 1. Assumption of the Virgin, in the lunettes, scenes from
the life of Mary, in the predellc representations of martyrs in grisaille; r.
tomb of Giov. della Rovere (d. 14S3) ; 1. recumbent bronze figure of a bishop.
In the 4th Chapel marble-sculptures of the end of the 15th cent, above the
altar: St. Catharine between St. Antony of Padua and St. Vincent; r. tomb
of Marcantonio Albertoni (d. 1485), 1. that of the Cardinal of Lisbon (d. 1508).
In the r. transept, on the r., tomb of Cardinal Podocatharus of Cyprus.
Near 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 Siencse school) and two beau-
tiful tombs, 1. that of Archbishop Rocca (d. 1482), r. of Bishop Gomiel. —
In the 1st Chapel in the 1. aisle, 1. and r. of the altar, two ciboria of the

108 Pincio. ROME. The View.

15th cent., 1. tomb of Card. Ant. Pallavicini (erected 1507). By a pillar
near it the baroque monument of a Princess Chigi, by Post (1771). The 2nd
Chapel was constructed under the direction of Raphael by Agostino Chigi
in honour of St. Mary of Loreto; on the vaulting of the dome eight "mo-
saics by Aloisio delta Pace (1516), from Raphael's cartoons, the Creation of
the heavenly bodies : the sun, the moon, Mercury, Venus, Mars, Jupiter,
Saturn, who, conducted by angels, perform the circuit of the universe; in
the lantern an emblem of God the Father, surrounded by angels; altar-
piece, Nativity of the Virgin, by Sebastiano del Piombo, the other pictures
by Sah'iati. Bronze relief at the altar, Christ and the Samaritan woman,
by Lorenzetto; in the niches 4 statues of prophets: at the altar, 1. Jonah,
r. Habakuk ; at the entrance, 1. Daniel, r. Elijah. Beneath are -Jonah by
Raphael, and Elijah by Lorenzetto, designed by Raphael; the others by Bernini.
In the 1. transept the tomb of Cardinal Bernardino Lonati (15th cent). In tile
choir (not accessible during service; sacristan usually shows it and opens
the chapels; >|-2 fr.) "ceiling- frescoes by Pinturicchio : Madonna, the 4 Evan-
gelists, and the 4 Fathers of the church, Gregory, Ambrose, Jerome, and
Augustine. Beneath are the * tombs of the cardinals Girolamo Basso and
Ascanio Sforza by Andrea Sansovino, erected by order of Julius II. The
same pope is said to have caused the two line stained glass windows to be
executed by Claudius and William of Marseilles.

The church gives a title to a cardinal. In the adjacent Au-
gustine monastery Luther resided during his visit to Rome.

Ascending the *Pincio (PI. I, 18) the visitor encounters in
the lirst circular space two columns (columnae rostratae), adorned
with the prows of ships, from the temple of Venus and Roma
(p. 173); in the niches 3 marble statues, and above them captive
Dacians, imitations of antiques. Beyond these, farther up, a
large relief.

The projecting terrace at the summit commands a magnificent ,! Vie*
of modern Home. Beyond the Piazza del Popolo with the buildings above
described, on the opposite bank of the Tiber, rises the huge pile of St. Pe-
ter's, contiguous to which is the Vatican to the r., in the vicinity the city-
wall. Of the chain of hills which here bound the horizon, the point planted
with cypresses to the r., where the Villa Mellini is situated, is Monte Maiio.
To the 1. of St. Peter's, close to the Tiber, which, however, is not visible
from this point, is the round castle of S. Angelo, so called from the bronze
angel by which it is surmounted. The pine-grove on the height to the 1.
of the castle belongs to the Villa Doria-Pamfili. Farther to the 1. , on the
height, the facade of the Acqua Paola, decorated with a cross. Between the
spectator and the river a labyrinth of houses and churches. The following
points will serve as landmarks. The two nearest churches are: that with
the two towers to the r., S. Giacomo in the Corso, that with the dome to
the 1., S. Carlo in the Corso ; between the two appears the flat dome ol
the Pantheon, beyond which a part of the Campagna is visible. To the 1.
of this, on the height in the extreme distance, rises the long, underrated
side of a church, behind which a tower appears: the church is S. Maria
in Araceli, and the tower belongs to the senatorial palace on the Capi
toline. On the r. side of the Capitoline lies the Palazzo Caffavelli (res'
dence of the Prussian ambassador), in front of which the upper portion
of the column of M. Aurelius in the Piazza Colonna is visible. Adjaceil
to the Capitoline on the 1. is the bright-looking Villa Mills (now belonginf
to a nunnery), shaded by cypresses , on the Palatine. Farther 1. a low
brick-built tower on the Quirinal, the so called Torre di Nerone. To tb«
extreme 1. and less distant, the extensive palace on the (^uirinal.

The Pincio, the collis hortorum, 'hill of gardens', of the ancients,
probably derived its name of Mons Pineius from the estates of the
Piucii situated here in the latest period of the empire. Here
were once the celebrated gardens of Luruilus and at a late date

Villa Medici. ROME. Belvedere. 109

Messalina, the wife of Claudius, celebrated her orgies here. It
is now a favourite promenade , where a military band plays on
Sundays and Thursdays, two hours before sunset, attracting a
considerable audience of all classes in carriages and on foot. The
walks are shaded by plantations and groups of trees, and adorned
with busts of celebrated Italians. To the r. , at the foot of the
lofty wall which serves to support the hill, lies the Villa Borghese
(p. 122), with its extensive and shady grounds. The dilapidated
grey building on Monte Mario, below the Villa Mellini, is the Vila
Madama. On the E. side a large portion of the city-wall is visible.
Adjoining the public grounds is the garden of the Villa Medici.

Following the carriage-road, and passing a large antique granite
basin, the visitor reaches an obelisk, which Hadrian erected to
the memory of Antinous in Egypt. It was subsequently brought
to Rome, and erected here in 1822. Proceeding in this direction,
the footpath (above) and the carriage-road (below) command an
ever-varying *prospect. The public grounds are closed by a gate.
before reaching which the visitor will observe to the 1. the white
Villa Medici with its two corner-turrets, now the seat of the
Acade'mie Francaise; in front of it is a fountain, shaded by ever-
green-oaks, whence a celebrated view of St. Peter's is obtained,
especially striking towards evening or by moonlight.

The Villa Medici (PI. I, IS), erected in 1540 by Annibale Lippi
for Cardinal Ricci da Monlepulciano, next (about 1600) came into
possession of Cardinal Alessandro de' Medici, and subsequently into
that of the grand-dukes of Tuscany. In 1801 the French transfer-
red thither the seat of their academy of art, founded by Louis XIV.
Entrance to the garden, to which visitors are readily admitted,
by the gate to the r., or by the staircase to the r. in the house. On
the tastefully decorated garden side of the villa ancient reliefs
have been built into the walls. The r. wing contains a collection
of casts (open daily, except Sundays, 8 — 12, and in the after-
noon till near sunset) , comprising many from statues etc. not
preserved at Rome, e. g. from the Parthenon of Athens, museum
t)f the Louvre, etc. , which are valuable in the history of art.
Adjoining the wing is a terrace, by the front-wall of which stand
■asts of the Niobides; entrance by the side-door, opposite the
nuseum of casts, which if closed will be opened by the porter
5 s.). Skirting the balustrade , and traversing the oak-grove in
c, straight direction, the visitor ascends 60 steps to the *Belvedere,
.jvhence a charming *panorama is enjoyed. To the 1. of the villa
Jiie grounds with pleasant, shady walks. Most of the statues with
which they are embellished are modern.

■' The avenue ends in the Piazza Trinita ; to the 1. rises the
Ijhurch of SS. Trinita de' Monti. The obelisk in front of it, a con-
spicuous object from many points, is an ancient imitation of that in
le Piazza del Popolo, and once adorned the gardens of Sallust.

lit* SS. Trinita de Monti. w.nun. • .im Zuccari.

SS. Trinita de' Monti (PI. I, 20), erected by Charles VIII.
of France in 1495, plundered during the French Revolution, was
restored by Louis XVIII in 1817.

Left, 1st Chape] : Cast of the Descent from the Cross, by Achtermann.
2nd Chapel : on the 1. an altar-piece al fresco, Descent from the Cross,
by Daniel da Volterra, master-piece of the artist. 3rd Chapel : Madonna,
uit.ar-picce by Veil. 4th Chapel : St. Joseph by Lanrjlois. 6th Chapel : Christ,
the Wise and Foolish Virgins, and Return of the Prodigal, an altar-piece
by tfeitz. — Right, 3rd Chapel : Assumption of the Virgin, Dan. da Volterra.
5th Chapel : Presentation in the Temple, Adoration of the Magi, Adoration
of the Shepherds, a work of the school of Raphael. Gtb Chapel: Resur-
rection, Ascension, Descent of the Holy Ghost, school of Perugino. — In
the transept, which is supported by Gothic arches, paintings by Perino del
Vaija and F. Zuccaro.

The church is open on Sundays before 9 a. m., and in the
evening during Vespers ('/2 nr- before Ave Maria), when the
nuns usually perform choral service with organ-accompaniment.
When the church is closed , visitors ascend the side-staircase on
the 1., and ring at a door protected by a roof.

The convent connected with the church has since 1827 been
tenanted by the Dames du Sacre Cceur (instructresses of girls).

The piazza is quitted to the I. by the broad Via Sistina, pro-
longed by the Via Felice and Via delle Quattro Fontane, by which
the traveller descends in 5 ruin, to the Piazza Barberini (p. 127),
traverses the Quirinal and Viminal, and in 20 min. more reaches S.
Maria Maggiore on the Esquiiine (p. 137). To the r. is the small
Via Gregoriana, leading to the transverse Via Capo le Case. Be-
tween the Via Sistina and Via Gregoriana is situated the Casa
Zuccari , once the property of the family of the artists of that
name (on the ground-floor paintings by Federigo Zuccaro). At
the beginning of the present century the house was occupied
by the Prussian consul Bartholdy (whence ' Casa Bartholdy'), who
caused one of the apartments to be adorned with *frescoes from
the history of Joseph by the most celebrated German artists then
at Rome. (At present accessible on Sundays 11 — 12 o'clock.
The house being a private dwelling, the hour is liable to varia-
tion. Porter 1/2— 1 fr.)

On the long window-wall: 1. Joseph sold, Overbeck; r. Joseph and
I'otiphar's wife, Veil. On the short window-wall : Ueei ignition of the brethren,
('ornelius. In the lunette above: the Seven lean Years, Overbeck. On the
second long wall : 1. Joseph's interpretation of the dreams in prison; r.
the Brethren bringing Jacob the bloody coat, both by W. Schadom. On
the second short wall : Joseph's interpretation of Pharaoh's dream, Cornelius;
in the lunette above, the Seven Years of Plenty, Veil.

The long 'Spanish Staircase' (PI. I, 20) descends from S. Tri-
nita by 125 steps. It was constructed by Specchi and de Sanctis
in 1721—25, and was until within the last few years a favourite
resort of beggars, who are now more equally distributed throughout
the city. The members of the fraternity with their picturesque
costumes who still frequent this locality especially towards eve-
ning, afford favourite models for artist-

Piazza di Spagntt. ROME. S. Andrea dille FratU. Ill

The long Piazza di Spagna (PL I, 17), the central point of
the strangers' quarter, is surrounded by hotels and attractive
shops.

In the centre of the piazza is La Barcaccia (barque), a tasteless
fountain by Bernini. To the 1. is the Column of the Immacolata
PI. 1, 20, i), erected by Pius IX. in commemoration of the
loctrine of the immaculate conception of the Virgin, promulgated
tor the first time in lSo-i; on the summit of the cipolline column
stands the bronze statue of Mary; beneath are Moses, David,
Isaiah, and Ezekiel.

Beyond is the Collegio di Propaganda Fide (PI. 1, 19, 1(1),
founded in 1(562 by Gregory XV., and extended by his successor
Urban VIII. (whence 'Collegium Urhanum'), an establishment for
the propagation of the Rom. Catholic faith, in which 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. A public festivity is celebrated
here at the beginning of every year, when short speeches in the
lifferent languages taught are delivered by the pupils ; permessi
jhtained through an ambassador or consul, or on personal application.
Adjacent, to the 1., is the Piazza Mignanelli, where (No. 22) the
Spaccio Normale is situated; to the r. is the palace of the
Spanish ambassador, whence the piazza derives its name.

Immediately opposite the Spanish Stairs is the Via de' Condolli,
containing numerous emporiums of jewellery, mosaics, antiquities,
photographs, etc. It terminates in the Oorso, opposite the spacious
Palazzo Ruspoli (p. 113).

From the Piazza di Spagna the Via del Babuino leads N. to
lie Piazza del Popolo (p. 107), opposite to which street, to the
. of the Propaganda, is the Via de' due Macelli, and to the r. the
Via di Propaganda. If the latter be followed , the church of
5. Andrea delle Fratte (PI. I, 19) is reached at the corner of
;he next transverse street, the Via di Capo le Case. It was erected
mder Leo X. by La Guerra, the unsightly' dome and campanile
}y Borromini; the facade was added in 1826 by Valadier in con-
sequence of a bequest by Cardinal Consalvi.

The pictures of the interior are mediocre works of the 17th cent. ; the
wo angels by the tribune , by llcrnini , were originally destined for the
iridge of S. Angelo. In the 2nd Chapel on the r. is (on the r. side) the
uonument of Lady Falconet by Miss Hosmer ; cm the last pillar to the
'., in front of the aisle, the monument of the artist It. Schadow by E.
Volff. In the 3rd Chapel to the 1., by the r. wall, is the tomb of the accom-
'lished Swiss artist Angelica Kaiill'mann. The eminent nrchreologist Zoi;ga
s erroneously said to be interred in this church.

, At the extremity of the Via di S. Andrea delle Fratte the
larrow Via di Nazareno is entered to the 1. On the 1. is the
'ollegio Nazareno (in the court several ancient statues), founded

112 Fontana di Treri. KUMK. Corso.

by Card. Tonti (1622) for the education of destitute boys. Oppo-
site is the Pal. del Bufalo. Then to the 1. the Via delV Angelo
Custode (in which, immediately to the r., is the small church of
SS. Angeli Custodi) and Via del Tritone lead direct to the Piazza
Barberini (p. 124).

To the r. is the Via della Stamperia, so called from the ex-
papal Printing- Office situated in it (r.). Adjacent to the latter
is the extensive royal Engraving Institute with warehouse, where
the office of the minister of commerce is also now established,
No. 4 is the entrance to the German Artiste Association (p. 106).

The visitor now reaches the * Fontana di Trevi (PI. I, 19)
(derived from 'trivio' , there having been three outlets for the
water), which vies in magnificence with Acqua Paola. The an-
cient Aqua Virgo, now Acqua Vergine, repaired by Nicholas V. in
1450, and subsequently by Pius TV., Pius V., and Gregory XIII.,
which issues here, was conducted by M. Agrippa, B. C. 27, to
supply his baths at the Pantheon (p. 151) from the Campagna,
chiefly by a subterranean channel 14 M. in length. It enters
the city by the Pincio, not far from the Porta del Popolo. Tra-
dition ascribes the name to the fact of a girl having pointed out
the spring to a thirsty soldier. The Fontana Trevi in its present
form, erected near the Palazzo Poli, was completed from a design
by Niccolb Salri; in the central niche Neptune by Pietro Bracd,
at the sides Health (1.) and Fertility (r.) ; in Iront of these the
large stone basin. 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. Opposite is the
church SS. Vincenzo ed Anastasio , erected in its present form,
with an unsightly facade, by the well-known Card. Mazzarini.

The Via di S. Vincenzo terminates in the Via della Dataria
(1.), which leads to the Quirinal (p. 130). From the Fontana
Trevi the busy Via delle Muratte leads to the 1. to the Corso.

The Corso.
The Corso, which once connected the Capitol with the Vk
Flaminia, leads from the Piazza del Popolo , which it quits be-
tween the Via di Ripetta and Via del Babuino, to the Piazza di
Venezia , and is now the principal street of Rome , with nu-
merous shops and enlivened, especially towards evening, hy
crowds of carriages and pedestrians. The Carnival is celebrated
here, and the street throughout its entire length is thickly strewn
with sand for the horse-races. From the Piazza del Popolo to
the Via Condotti is a distance of 750 yds., thence to the Piazza
Colonna (p. 114) 520, and thence to the Piazza di Venezia 610
yds., i. e. a total distance of 1880 yds., or upwards of a mile.
From either side diverge numerous streets and lanes , which to

i!?. Carlo al Corso. ROME. S. Lorenzo in Purina. Ho

the r. lead to the crowded purlieus on the bank of the Tiber,
and to the 1. to the now partially uninhabited hills of the city.

The first part of the street as far as the Piazza S. Carlo is
less frequented than the other portions. On the r. between the
first and second transverse streets is the Pal. Rondinini (PI. ],
17, IS); in the court an unfinished Pieta by Michael Anyelo.
On the r. , beyond the third transverse street, stands the church
of <S. (liaronii) in Augusta, or degli Incurabili, with facade by C.
Maderno. It belongs to the adjoining surgical hospital , which
extends as far as the Via Kipetta and accommodates 340 patients
(founded IHHS, enlarged 1000). Nearly opposite, on the 1., is the
small Augustine church of f/t.su e Maria, with facade by Rinaldi.
In the Via do' Pontettci , the third transverse street from this
point to the r., is situated the Mausoleum of Augustus (p. 144).
The Piazza ft. Carlo is next reached. Here to the r. is S. Carlo
al Corso, the national church of the Lombards; and the resort
of the fashionable world , with a tasteless facade. It was con-
structed in the 1 7th cent, by Lonylii and Pietro da Cortona. The
ceiling-paintings of the interior are by (jiacinto Brandi. At the
high-altar is one of the finest works of Oirfo Maratta : the Virgin
recommending S. Carlo Borromeo to Christ (the heart of the saint
is preserved under the altar).

On the opposite side, the Cafe and Alberya di Roma. Im-
mediately beyond, the Via de' (.'ondolli diverges to the 1. to the
Piazza di Spagna (p. 111); its prolongation to the r. , the Via
delta, Fontanetla, leads to the Palazzo Borghese (p. 14.r)) and the
bridge of S. Angelo (p. 211). On the r. is the spacious Palazzo
Ruspoli (PI. I, 19), built in 1586 by Amanati.

To the 1. the Via Boryoynona and Via Frattina diverge to the
P. di Spagna. Opposite the latter street is the Piazza, di S. Lo-
renza in Lucina (PI. I, 16) with (1.) S. Lorenzo in Lucina, an
ancient but frequently restored church. The campanile, with new
roof, is now the sole remnant of the original structure. The
church, with the adjoining monastery, has since 1 600 belonged
to the Minorites, who have given it its present form. The portico
is supported by lour columns; at the door two half-immured me-
diaeval lions. In the interior by the 2nd pillar to the r., the
tomb of Nic. Poussin (d. 1600), erected by Chateaubriand; above
the high-altar a Crucifixion by (htido Reni.

Farther on, to the r., somewhat removed from the street and
concealed by other houses , is the uncompleted Pal. Fiano. In
front of it in the Corso (see inscription on opposite house , No.
167, which records that Alex. VII. levelled and widened the
Corso in order to afford space for the horse-races) a triumphal
arch of M.^ Aurelius stood until 1665 ; some of the reliefs are
now preserved in the palace of the Conservatori (p. 205).

R/Edukku. Italy II. 3rd Edilion. g

114 Pal. Chigi. ROME. Piazza Colonna.

li. Pal. Teodoli (385) ; oppSsite to it the Via delle Convertile
leads to the Piazza di S. Silvestro with the old church of S.
Silvestro in Capile.

R. Pal. Verospi (374) ; then , at the corner of the Piazza
Colonna, the extensive Pal. Chigi (PI. I, 16), commenced in 1526
by Oiac. della Porta, completed by C. Maderno.

On the first floor are a few antiquities (Venus by Menophantus, Mer-
cury with new head, Apollo) and a small picture-gallery of no great value,
comprising a few works of Garofalo, Caracci, Domenichino, Albani, Dosso
Dossi (St. Bartholomew with the apostle John and others in a landscape),
and two ascribed to Titian. An ante-chamber contains a fine marble vase
with a relief: Eros tormenting Psyche. In the study of the prince (not
always accessible) , a relief in palombino : Victory of Alexander the Great
over Darius at Arbela. — The Bibliotheca Chisiana contains valuable MSS.,
access to which is obtained by permission of the Duca di Campagnano
(Palazzo Chigi, ground-floor). The applicant must be provided with a re-
commendation from his consul or ambassador.

The handsome * Piazza Colonna (PL I, 16) is bounded on the
r. by the Pal. Chigi, opposite to which is the Pal. Terrajwli
(with the Cafe Colonna) ; in the Corso is situated the Pal. Piom-
bino ; opposite the Corso the Post- Office (the former papal Guard-
house and Military Casino). The ancient Ionic columns adorning
the facade of the latter were found at Veii (p. 295). In the centre
of the piazza stands the *Column of Marcus Aurelius, embellished
like that of Trajan, with reliefs from the wars of the emperor against
the Marcomanni and other German tribes on the Danube. It con-
sists of 26 blocks , besides the basement and capital , and is ap-
proached by steps. Sixtus V. caused it to be restored in 1589,
and ascribed it, according to the then prevalent opinion, to Anto-
ninus Pius , by whose name it is still frequently designated. On
the summit a statue of St. Paul. The four large candelabra were
presented by the city on the occasion of the illumination on April
20th 1870, the twentieth anniversary of the restoration of Pins IX.

Adjacent to the Piazza Colonna (to the r. , beyond the
post-office) is the Piazza di Monte Citorio , on the r. side of
which stands the spacious House of Deputies (PI. I, 16, 14),
formerly the Police-Office. The design of the building by Ber-
nini was afterwards modified by C. Fontana. On the first
floor, in a niche in front of the staircase, is a group represent-
ing Apollo and Marsyas, of the 16th cent. On the opposite side
of the Piazza the Railway, and to the 1. on the S. side the Tele-
graph offices. The Obelisk in the centre of the Piazza was brought
by Augustus, like that in the P. del Popolo (p. 107), to Rome,
where it served as the indicator of a sun-dial. It stood till the
9th cent., was afterwards overthrown, and under Pius VI. res-
tored and erected here. The elevation of the Piazza towards
the N. is due to the unexcavated ruins of a vast ancient edi-
fice, perhaps the amphitheatre of Statilius Taurus, erected under
Augustus.

Dogana di Terra. ROME. Pal. Sciarra. 115

The next lateral street to the r., the Via di Pietra (descend-
ing from Monte Citorio and turning to the 1.), leads from the
Corso by the Locanda Cesari to the Piazza di Pietra. Here is
situated the * Dogana di Terra; immured in the facade are 11
Corinthian columns of a temple , which once possessed 15 in its
length and 8 in its breadth. The style is mediocre , not earlier
than the 2nd cent. The edifice is sometimes, but without suffi-
cient authority, termed a Temple of Neptune.

The traveller next reaches the oblong Piazza Sciarra, with
the * Palazzo Sciarra-Colouna (PI. I, 16), the handsomest palace
in the Corso, erected in the 17th cent, by Flaminio Ponzio, with
a portal of more recent date. It contains a small but choice
^Picture Gallery (on the ground-floor, entrance from the court by
the first door on the 1.) , inherited to a great extent from the
Barberini collection (open in winter on Saturdays 12 — 3 o'clock;
Y2 f'r.)- Catalogues provided for the use of visitors.

1st Room : chiefly landscapes, some of them very unfavourably lighted.
2. Locatelli, Landscape; 5. Botti, Sunset; 12, 13. Brill, Landscapes; 24. Gau-
denzio Ferrari, Allegory termed the 'Old and New Testament', but probably
a vision of the heavenly Jerusalem; 26. Botti, Waterfall; 27. A. Sacchi
(figures) and Gagliardi (architecture) , Festival in the church of Gesii ; '30.
Claude Lorrain, Landscape with sunset; 47. Brill (?) Landscape; 51. l)ome-
nichino , Diana and nymphs (a copy). Among the freely restored antiques
in this room the following merit inspection: Wounded Amazone (entrance-
wall), sarcophagus with Muses (window-wall), archaic ivory statue (window-
niche on the r.). — 2nd Room, containing the most valuable works: 3.
Raphael , The Fornarina , a copy by Giulio Romano ; 5. Fra Bartolommeo
and Marietlo (recognised by his device of two entwined rings with a cross
at the lower corner on the 1.), Holy Family; 6. Guido Reni, Moses with
the Tables of the Law; *7. Titian, Portrait, the so-called 'Bella di Tiidano';
,;8. Raphael, 'Violin-player', 1518; 9. Perugino, St. Sebastian; 20. Guer-
cino, St. Jerome; '"11. Lucas Cranach, Holy Family and angels, 1504 (some-
times shifted); 13. Ag. C'aracci, 'Conjugal love'; 14. A. Bronzino, Female
portrait ; 16. Pordenone (not Giorgione), llerodias with the head of John the
Baptist; 21. Innocenzo da Imola, Holy Family; 24. Elisabetta Sirani, Cari-
tas; '25. Titian, Madonna; "26. School of Michael Angelo, Madonna; °29. Old
Netherlands School, Death of Mary ; 30. School of Perugino, Madonna with
SS. Lawrence and John; 32. Titian, Family portrait; 38. Schidone, 'Et in
Arcadia ego' ; 39, 4S. Guido Reni, Magdalene ; "40. Caravaggio, The gam-
blers, one of the master's finest works; "43. Luini (not Leonardo), Vanity
and Modesty; 46. Can. d'Arpino, Ecce Homo; 47. Pietro da Cortona, St. Bar-
bara. On the window-wall, without number: Raphael, Transfiguration, a
copj by Carlo Saraceni. This room also contains some mediocre antiques.

The Via del Caravita , the first side-street on the r. , leads
to the Piazza di S. lynazio , on the principal side of which is
the Jesuit church of S. Ignazio (PI. II , 1(3) , with facade by
Algardi (1685). Interior overladen; paintings on the vaulting,
dome, and tribune, and the picture over the high-altar by the Padre
J'ozzi, by whom the chapel of St. Lod. Gonzaga, in the aisle to
the r. , 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.) Adjacent is the Collegio Romano (PI. II, 16)

116 Alusto KircherUmo. KUMK. S. Marcello.

(from >S. Ignazio the Via di S. Ignazio to the 1. , or from the
Gorso the side-street to the r., leads to the Piazza del Coll. Ro-
mano , in which is the principal entrance) , formerly a much-
frequented Jesuit establishment , where the higher branches of
classics, mathematics, philosophy, etc. were taught, and degrees
conferred. The building, erected by B. Avianati , now contains
the Liceo Ennio Quirino Visconti, to which the principal entrance
leads , the apartments of the few Jesuits who are still suffered
to remain, and the Museo Kircheriano , founded by the erudite
Athanasius Kirclur, born 1601, in 1618 a Jesuit and teacher at
Wiirzburg, subsequently professor of mathematics in the Coll. Ro-
mano , celebrated for his mathematical and scientific discoveries
(d. 1680). The museum, accessible (not to ladies) on Sundays,
10 — 11 o'clock (director Padre Tongiorgi), is interesting to archaeo-
logists only. Entrance in the Via dell Collegio Romano 216,
by the door facing the visitor, and then to the 1. by a stair to
the 2nd floor; a spiral stair at the end of the corridor to the 1.
must then be ascended.

A small room opposite the entrance contains Christian antiquities, in-
scriptions, lamps, vases, copies of pictures from the catacombs, etc. At the
beginning walls of the corridor , the mosaic pavement of which is an imi-
tation of the ancient style , is an ancient bronze seat inlaid with silver.
On the walls are terracottas, reliefs, and small statues. The cabinets con-
tain lamps, vases, statuettes, bronzes, etc. To the 1. at the end of the cor-
ridor is a tablet in a black frame with a caricature of the Christians scrat-
ched upon it: a man with the head of an ass affixed to a cross, with two
men at the side, and the words iAtiufiivof w/Jctc i)to>' (Alexamcnos wor-
ships God) , found on the Palatine. On the r. at the end of the corridor
is the room which contains the principal treasures of the museum. The
glass cases in the middle of this room contain a valuable "collection
of ancient Rinnan coins (cast), some of them unstamped ('ics rude'). In a
glass-case in front of the window of the shorter wall, the ,:,l<'icoronian Cista
(so called from the former proprietor), discovered near Palestrina in 1774:
a cylindrical vessel (toilet-casket) with admirably engraved designs (arrival
of the Argonauts in Bithynia, victory of Polideuces over king Amycus).
The feet and figures on the lid are of inferior workmanship; on the latter
the inscriptions: 'Novios Plautios Romai med (Romse me) feeid', and 'Din-
dia Malcolnia med flliai dedit'. It dates from the 5th cent, of the city.
The silver goblets in the cabinet by the 1. wall arc also interesting (1. by
the window) ; they were found at the mineral spring of Vicarello (Logo di
J-tracci ano) , and bear a description of the stations on the route from Cadiz
to Eome. The cabinets on the r. contain a great number of ancient
bronzes and mirrors; in those on the 1., by the entrance- wall, are wea-
pons of Hint etc.

In the Corso, beyond the Piazza Sciarra, to the r. is the
Palazzo Simonelti, in which the bank is established. Opposite is
the church of S. Marcello (PI. II, 16), in the small Piazza diS,
Marcello, mentioned as early as 499. The interior of the present
structure was designed by Jacopo Sansovino , the poor facade by
Carlo Fontana.

The 4th Chapel cent; ins paintings by Prrino del Vaga, completed after
his death by Dan. da Volterra. and Pelletjriuo da Modena, and the monu-
ment (by Rinaldi) of the celebrated Card. Consalvi , minister of Pius VII,
whose memoirs, written with great fidelity, have lately been published.

S. Maria in Via Lata. ROMR Pal. Doria. 117

Paintings of the tribune li.v Oioe. Batiista da Novara, those of the 2nd Cha-
pel to the 1. by Fed. Zucchero.

The church and the adjoining monastery are the property of
the Servi di Maria, or Servites.

On the r. is the small church of S. Maria in Via Lata, men-
tioned as early as the 7th cent. , but in its present form dating
from the 17th; facade by Pieiro da Cortona; from the vestibule
a stair ascends to an ancient chamber in which tradition alleges
St. Paul and St. Luke to have taught.

Adjoining this church is the

*Palazzo Doria (PI. II, 16) ("formerly Pamfdi), an extensive
pile of buildings, and one of the most magnificent palaces in
Rome; facade towards the Corso by Valvasori, that towards the
Coll. Romano by P. da Cortona, and another towards the Piazza
di Venezia, by /'. Amati. The handsome court, surrounded by
arcades, is entered from the Corso (No. 305). To the 1. is the
approach to the stair ascending to the * Picture Gallery on the
1st floor (entrance p. il'2; catalogues in each room; fee '/j ft'-)-
This, the most extensive of the Roman collections, comprises
many admirable, as well as numerous mediocre works.

1st Room, also copying-room, to which the finest pictures in the col-
li ition arc frequently brought. Antiquities: four Sarcophagi with the
hunt of Mrleagcr, history of Marsyas, Diana ami Endymion, and procession
of B:,cehus. Two fine circular altars, duplicate of the so-called Diana of
Calm in the Louvre, archaic statue of the bearded Dionysus, and a number
of statuettes. Pictures: 23, 35. Landscapes by imitators of Poussin; on
the wall of the entrance, "Madonna, Marioito Albertinelli. — 2nd R. : an-
cients busts , a centaur of pietradura and rosso antico (modernised); 5.
Circumcision , (lior. Bellini (/) ; 7. Madonna with saints , Basaiti; 15. St.
Antony, School of ifantetjna; 35. Birth of Mary, Pisanello; 21. Sposalizio,
I'ixanetlo; 23. St. Silvester before Maximin II., Peselino; "28. Annunciation,
l-'il. Lippi; 29. Leo IV. appeasing a dragon, Peselino; 33. St. Agnes, Guer-
rino; 37. Magdalene, copy from Titian (original in the Pitti at Florence) •,
3D. Hoy playing with lion, Titian. — 3rd R. (sleeping -apartment);: 9. Ma-
donna, Sassoferralo. — 4th R. : '!1G, 32. Landscapes, Brill; 34. St. John,
i'aravaggio. Antique bron/.es etc. in frames. Near the window a bronze
jar with curious chasing (comparatively late): a recumbent river-god, of
pietradura. — 5th II.. 17. Money-changers disputing, Qnintin Messys; 25.
St. Joseph, Onercino; 27. Landscape, Domenichino; 31. Landscape, Poussin.
In the centre: Jacob wrestling with the Angel, marble group of the
school of Bernini. — Cth R. : 5. Holy Family, S. Botticelli (?)[; 13. Ma
donna, Maralla; 30. Portrait of a boy, Spanish School. The contiguous
raised passage - cabinet contains several small Dutch pictures and female
portrait- busts by Algardi. -— 7th R. : 3, 8. Landscapes, Salv. Rosa; 19.
Slaughter of the Innocents, Jfazzolino. — 8th R. : 17. Madonna, hod. Ca-
T'lrri ; oo gt_ Sebastian, by the same. In the corner :;'marble head of Se
rupis. — 9 th R. : several interesting ancient portraits. — 10th R. : Still life
etc. — The galleries are now entered: to the 1. is the — 1st Gallery
3. Magdalene, An. Cararci ; 8. Heads, Qnintin Messys; 9. Holy Family, Sasso-
/,-rrato; 14. Portrait, Titian; 15. Holy Family, A. del Sarlo; 16. Creation
of the animals etc., /Ireinjhel ; 20. The three Periods of Life, a copy ot the
original at London, Titian; '25. Landscape with the flight to Egypt, 01.
I.nmiin; '26. Mary visiting Klisabeth, Qarofalo ; 32. Repose during the flight
into l'-gypt, Saruceni; 38. Copy of the Aldobrandine Nuptials (p. 252), Poussin;
50. Holy Family, a copy from Raphael by (I. Romano. — 2nd Gallery
(chiefly remarkable for the admirable portraits it contains): 3. Faun, Rem-

118 SS. Apostoli. KOME. Pal. Colonna.

brand!,; !6. Madonna, Fr. Francia; 13. Christ in the Temple, Mazzolino; '-14.
'Bartolus and Baldus', more correctly Navagero and Beazzano, portraits hv
Raphael; :17. Portrait, Titian; 19. Portrait, Rubens ; 21 . Portrait, Van Dyck(?j.
Oopposite, hetween the windows, '-25. G. Bellini, Madonna; on the 1. 24.
Heads, Giorgione; 26. Sacrifice of Isaac, 6-VrJromd van der Eckhoul (erroneously
attributed to Titian); ::,40. Herodias with the head of the Baptist, Porderwne;
50. Portrait of a monk, Rubens; 51. Portrait, Giorgione; *53. Johanna of
Arragon, after Raphael, Flemish school; 61. Adoration of the Child, Garo-
falo; '69. 'Unfinished allegorical painting, Correggio; 78. Holy Familv
older Dutch School; beneath it a female ''portrait, ascribed to Holbein; 80.'
Portraits, Titian. The adjacent room (generally closed) contains a number
of 'seicento' works. — 3rd Gallery: 1, 6, 28, 34. Landscapes wilh
historical accessories by An. Carracci; 5. Landscape with Mercury's theft
of the cattle, Claude Lorrain; 11. Portrait of Macchiavelli , Bronzitw;
"12. 'The Mill', CI. Lorrain; '23. Landscape with temple of Apollo, by
the same (two most admirable landscapes of this master); beside No. 18
two small pictures of the old Hutch school; 26. Portrait, Mazzolino; "27.
Portrait, Giorgione; 31. Holy Family, Fra Bartolommeo ; 33. Landscape with
Diana hunting, CI. Lorrain. Adjacent is a small Corner-cabinet: 1,
Portrait, Lucas v. Leyden (?); ~2. Portrait of Andrea Doria, Seb. del Piombo;
3. Clianetto Doria, Bronzino; "'5. Innocent X., Velasquez; "6. Entombment,
Rogier v. d. Weyden. The 4th Gallery contains statues of no great value,
most ofethern greatly modernised.

On the 1. side of the Corso, opposite the Pal. Doria, is the
Pal. Salviati , the side-street bounding which , as well as the
preceding and the following, lead to the Piazza di SS. Apostoli,
with the church of that name, where to the r. the Pal. Colonna
is situated ; on the narrow side is the adjoining Pal. Valentini
with a few antiquities (the pictures it formerly contained have
been sold, and are now in England). On the other longer side of
the piazza is the Pal. Buffo to the 1., and the Pal. Odescalchi;
facade of the latter by Bernini.

*SS. Apostoli (PI. II, 19), originally founded by Pelagius I.
in honour of St. Philip and St. James , was re-erected under
Clement XI. in 1702, and is now undergoing repair. The vestibule
by Baccio Pintelli, which is all that remains of earlier date, con-
tains (on the 1.) the monument of the engraver Giov. Volpato
by Canova (1807). and (on the r.) an ancient * eagle with chaplet
of oak-leaves, from the Forum of Trajan.

In the r. aisle, 3rd Chapel: St. Antony by Luti. In the 1. aisle,
2nd Chapel : Descent from the Cross by Franc. JUanno. At the extremity,
to the 1. over the entrance into the sacristy : "'Monument of Clement XIV.
by Canoea, on the pedestal Charity and Temperance. In the tribune, with
altar -piece by Murutori (said to be the largest in Rome), are the monu-
ments erected by Sixtus IV. to his two nephews , the Cardinals Eiario,
that of Pietro (d. 1474) on the 1. and that of Alexander behind the
altar and partially concealed by the organ. On the vaulted ceiling of the
tribune, Fall of the Angels, a fresco by Giov. Odassi, in the baroque style.
but of striking effect. The former church was decorated by Melozzo da
Forli; a fine fragment of these frescoes is now in the Quirinal (p. 131),
others in the sacristy of St. Peter's (p. 218).

In the adjoining monastery (now the War Office), the pas-
sage adjacent to the church contains a monument by Mich. Angelo
and the tomb of Card. Bessarion.

*Palazzo Colonna (PI. II, 19), commenced by Martin V.,
subsequently greatly extended and altered, is now almost entirely

Pal. Colonna. ROME. Garden. 1 19

occupied by the French ambassador; a number of rooms on the
ground floor, containing interesting frescoes, are therefore inacces-
sible. In the 1. wing is the approach to the *Picture Gallery, sit-
uated on the first floor (daily 11—3, except Sundays and holi-
days). Opposite the entrance is a painted cast of a colossal Me-
dusa head. A large hall containing family-portraits is first entered,
and thence three ante-rooms adorned with Gobelins, in the second
of which are four ancient draped statues; in the third a small
ancient statue, belonging to a group of playing girls. In the gal-
lery itself the pictures are not numbered, but are furnished with
the names of the artists.

1st Room: On the wall of the entrance: Madonna, Fil. Lippi; same
by LucaLonghi and S. Botticelli. L. wall: Sladonna (much damaged), Luini;
Portrait, Oiov. Sanli (father of Raphael); Crucifixion, Jacopo d'Avanzo; two
Landscapes, Albano; Madonna, Giulio Romano; same, Gentile da Fabriano (t).
Wall of the egress: Holy Family, Parmeggianino; same, Innoc. da Imola;
::two Madonnas surrounded hy smaller circular pictures (eroneously attrib.
to Van Eyck), of the later Dutch school. — 2nd R: Throne-room with fine
old carpet. — 3rd R. : Ceiling- painting hy Battoni and Luti (in honour of
Martin V.). Entrance-wall: St. Bernhard, Giov. Bellini; Onuphrius Panvi-
nius, Titian; Holy Family, Bronzino; Poggio Bracciolini, Girolamo Trevi-
sani. L. wall: "S. Jerome, Spagna; Rape of Europa, Albano; Madonna,
Domenico Pulego; Bean-eater, Ann. Caracci; "St. Jerome, Spagna; Madonna
with saints, Paris Bordone. Wall of the outlet: Lor. Colonna, Holbein (?);
Portrait of a man, P. Veronese; Holy Family, Bordone. Window- wall :
Cain and Abel, F. Mola; Madonna, Sassoferrato; St. Agnes, Guido Rent. —
4 th R. : 'Eleven landscapes by 67. Poussin, some of that artist's finest works,
all well worthy of careful examination , although not all favourably hung.
Entrance-wall : Architectural picture, Canaletto ; Landscape, Crescenzo d'Ono-
frio. Opp. the windows: Huntsman, Berghem; Landscape, Claude Lorrain(t);
Chase and cavalry skirmish, Wouvermatu (f); Metamorphosis of Daphne,
Jf. Poussin; a large cabinet with ivory carving by Franc, and Bom. Rein-
hard. — V. Gallery with ceiling -paintings by Coli and Gherardi (Battle of
Lepanto , Oct. 8th , 1571 , which Marcantonio Colonna at the head of the
papal army assisted in gaining). On the walls mirrors painted with flowers
(by Mario de' Fiori) and genii (by ('. Maratla). Statues here of no great
value, most of them modernised" Reliefs built into the wall under the
windows (r.) : Head of Minerva ; Wounded man, borne away by his friends ;
Selene in the chariot (archaic style). L. wall : Assumption of the Virgin,
Rubens; "Fed. Colonna, Sustermanns ; Christ in hell, Crist. Allori; Adam
and Eve, Salviati; "Don Carlo Colonna, equestrian portrait, Van Dyck;
Martyrdom of Emmerentia, Guercino; Family - portrait of the Colonnas, S.
Gaetano. R. wall: Double portrait, Tintoretto; Pastoral scene, N. Poussin;
Madonna rescuing a child from a demon, Niccolb Alunno. — VI. In the
raised room, from 1. to r. : Card. Pomp. Colonna, Lor. Lotto; Portrait,
Moroni ; Narcissus , Tintoretto ; "Madonna with St. Peter and the donor,
Palma Vecchio , Rape of the Sabine women, and opposite to it the Recon-
ciliation, Ghirlandajo ; Madonna with saints, Bonifazio; Lucrezia Colonna,
Van Dyck; Temptation of St. Antony, Hieron. Bosch; "Angels in glory,
with four busts, Tintoretto; Portrait, Moroni da Brescia; Pompeo Colonna,
Ag. Caracci; Giac. Sciarra Colonna, Giorgione; Franc. Colonna, Pourbus.
In the centre a column of red marble with representations from a cam-
paign in relief (Renaissance).

The beautiful * Garden of this palace (entered through the
palace , or from Monte Cavallo , Via del Quirinale 12) contains
several antiquities, fragments of a colossal architrave, said to have
belonged to Aurelian's temple of the sun , and considerable por-

120 Pal di Venezia KOME. 8. Marco.

tions of (he brick-walls of the Thermae of Constantine which once
extended over the entire Piazza of Monte Cavallo. The terrace
commands a good survey of the city.

At the extremity of the Corso, on the r., with portal towards
the Piazza di Venezia, is the Pal. Bonaparte, formerly Rinuccini,
erected by de' Rossi , where Madame Latitia, mother of Napoleon,
died , Feb. 2nd 1806. The Corso terminates with the Piazza di
Venezia, which derives its appellation from the * Palazzo di
Venezia (PI. II. 16), one of the most imposing of modern Rome
It was built by (Uuliano da Majano for the Borgias in 14l>5,
presented in 1560 by Pins IV. to the Republic of Venice, with
which it subsequently came into the possession of Austria , and
is now the residence of the Austrian ambassador. The extensive
court with arcades is, with the exception of a small portion,
uncompleted ; so also a second court to the 1. of the other.

Opposite the side-entrance of the above is the Pal. Torlonia,
formerly Boloynelti, erected about 1650 by C. Fontana, occupying
the block as far as the Piazza SS. Apostoli, and the property of the
banker Prince Torlonia, Duke of Bracciano. It is lavishly decorated,
and contains among other works of art Canova's Raving Hercules,
but is not accessible to the public. Permessi for the Villa Al-
bani may be procured on the ground-floor, to the 1.

From the Piazza Venezia the visitor proceeds in a straight
direction through the narrow Ripresa dei Barberi, so named be-
cause the 'Barbary' horses formerly employed in the races of
the Carnival were stopped here. On the 1. (No. 174) is the
Pal. Nipoti, inhabited by the dowager Queen of Naples until
her death. The first transverse street to the 1. leads to the Fo-
rum of Trajan (p. 179). To the r. the Via S. Marco, passing
under an arch of the passage which leads from the Pal. di Ve-
nezia to S. Maria in Araceli , brings the visitor to the Piazza di
San Marco. Here to the r. is S. Marco (PI. II. 16), incorporated
with the Pal. di Venezia, a church of very ancient origin (said
to date from the Emp. Constantine), re-erecied in S33 by Gre-
gory IV. , adorned in 1455 by Bernardo di Lorenzo witli fine
vestibule and probably witli the ceiling of the nave, and finally
embellished according to modern taste in 1714 by Card. Quirini.

Roman and ancient Christian sarcophagi and inscriptions are built inlo
the walls of the vestibule. 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
portions have been disfigured by restorations. The tribune with handsome
pavement (opus Alexandrinum) lies a few steps higher than the front part
of the church. The mosaics (in the centre Christ, 1. the saints Mark, Aga-
petus, and Agnes, r. Felicianus and Mark escorting Cregory IV.) date from
the period of the greatest decline of this art (about 833j. In the r. aisle,
1st Chapel : altar -piece by Pahita (iiorine , the It'Surrei-lion. 3rd Chapel:
Adoration of the Magi, iVuialln. At the extremity by the tribune: fPope

Pal. Altieri. ROME. Genii. 121

Mark, an admirable ancient picture, perhaps by Carlo Crivclli. In the 1.
aisle, 2nd Chapel: altar relief, Greg. Barbadigo distributing alms, by Ant.
d'Este. 4t.h Chapel : St. Michael, Mold.

In the Piazza, to the 1. in front of the church, is the so-
called Madonna Lurreziu, the mutilated marble bust of a colossal
female statue (priestess of Isis) which carried on conversations
with the Abate Luigi near the Pal. Vidoni (p. 156), similar to
those of Pasquin with the Marforio.

The Via di S. Marco terminates in the Via Araceli, which to
the 1. leads to the Piazza Araceli (p. 164) and the Capitol , and
to the r. to the Piazza del Gesu (see below).

From the Piazza Venezia the Ripresa de' Barberi and its con-
tinuation the Via di Marforio lead by the N. E. slope of the
Capitoline to the Forum and the Arch of Severus (p. 1(51)"). The
name is derived from Forum Martis (otherwise Forum of Augus-
tus). The celebrated statue of Marforio which formerly stood in
this street, opposite the C.ircer Mamertinus, is now in the Capi-
t.oline museum (p. '207). Beyond the second transverse street,
the Via delta Pedacchia , which connects the Piazza Araceli with
the Forum of Trajan, is situated on the 1. the (long since built
over) Monument of C. Publicius Bibulus , 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 inscription records), dating from the latter years of the
republic. This point must accordingly have lain outside the walls
of Servius, which extended immediately beneath the Capitol.

From the Piazza Venezia the broad Via del Gesu leads to the
r., past the Pal. di Venezia: on the r. are Pal. Bonaparte (p. 120),
Doria (p. 117), and Grazioli. Then Pal. Altieri with extensive
facade, erected in 1670, bounding the N. side of the small Piazza
del Gesu. The Via del Gesii ascends past this palace to the Piazza
della Minerva (p. 15!?.), a walk of 5 min. Opposite the church,
adjoining which is the cloister of the Jesuits where their general
resides, the busy Via de' Cesarini leads to the r. to S. Andrea
della Valle (p. 156) and to the bridge of ,K. Angelo (Via Papale).

*Gesu (PI. II, 16), the principal church of the Jesuits, is one of
the most sumptuous in Rome. It was built by Vignola and Giac.
della Porta by order of Card. Alessandro Farnese, 1568—70.

In the nave 'ceiling- painting by Jiaciccio , by whom the dome and tri-
bune were also painted, one of the best and most life-like of the baroque
works of that period. The walls were covered with valuable marble at
the cost of the Principe Aless. Torlonia in 180IO. On the high -altar with
its 4 columns of giallu antico : Christ in the Temple, by Capalti; on the
1. the monument of Card. Bellarmino with figures of Religion and Faith,
in relief; on the r. the monum. of P. Pignatelli, with Love and Hope. In
the transept to the 1. : "Altar of St. Ignatius with a picture by Pozzi , be-
neath which a silvered relief of St. Ignatius is said to be concealed. The
silver statue of the saint, by Le O'ros, which was formerly here, is said to
have been removed on the suppression of the order in the previous cen

122 Villa Borghese. ROME. Casino.

tury. The columns are of lapis lazuli and gilded buonze ; on the archi-
trave above are two statues : God the Father, by B. Ludovisi, and Christ
by L. Ottoni, 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 r.
and 1. are groups in marble; on the r. the Christian Religion, at the sight
of which heretics shrink, by L. Gros; on the 1. Faith with the Cup and
Host, which a heathen king is in the act of adoring, by ThioAon. Opposite
in the transept, on the r. the altar of St. Francis Xavier.

The church presents the most imposing spectacle during the
'Quarant'ore' (two last days of the Carnival), when it is brilliantly
illuminated in the evening. During Advent and Lent (generally
at other seasons also) sermons are preached here at 11 a. m.
often by the most talented members of the order.

Following the Via di Araceli, to the 1. of the Piazza di Gesi,
and passing the cloister, the visitor reaches (in 5 min.) the
Piazza di Araceli, in front of the Capitol (p. 164).

Villa Borghese.

The *Villa Borghese (PI. I, 21), immediately to the r. out-
side the Porta del Popolo , founded by Card. Scipio Borghese,
nephew of Pius V. , subsequently enlarged by the Giustiniam
gardens and £he so-called villa of Raphael (which with a large
portion of the plantations was destroyed during the siege of 1849),
is accessible daily , Mondays excepted ; the Casino with the col-
lection of antiquities on Saturdays only, 1 — 4 o'clock in winter,
4 — 7 in summer. The beautiful and extensive grounds are justly
in high repute as a promenade, and are in October the scene of
popular festivities, the Tombola, races, etc. The gardens contain
a number of ancient statues and inscriptions.

On entering , the visitor should select the footpath which skirts the
carriage-road on the r., and leads to an Egyptian gateway (8 min.); thence
in a straight direction, passing a grotto with antique fragments (1.); then
to the 1., either in a straight direction, in which case the closed private
gardens of the prince lie on the 1., as far as an artificial ruin of a temple,
and then to the r. ; or the first footpath to the r. may be selected, leading
by an avenue of evergreen oaks to a small temple, and thence to the 1.,
by a similar avenue, to a circular space with a fountain (10 min.). From
this point the carriage-road leads to the Casino, which is also connected
with the same spot by beautiful, shady footpaths.

If from the Egyptian gate, instead of the path to the 1., a straight
direction be pursued, the remains of Raphael's villa will be reached (on
the 1.) in 3 min., and in 3 min. more an arch with a statue of Apollo,
whence the road turns to the 1. and leads to the Casino.

The Casino formerly contained one of the most valuable pri-
vate collections in existence, which at the instance of Napoleon I.
was transferred to the Louvre. In consequence, however, of re-
cent excavations , especially near Monte Calvi in the Sabina,
Prince Borghese has again established a Museum which contains
several objects of great interest. Visitors are provided with cata-
logues by the custodians (!/•> fr.)

Villa Borghese. UOMK. Antiquities. 1 2o

I. Vestibule: Two candelabra; on tin' narrow walls two reliefs
from the triumphal arch of Claudius in the Corso near the Pal. Sciarra,
which was removed in 1527. Several sarcophagi; to the 1. by the wall of
the egress, one with a harbour, lighthouse, and ships. — II. Saloon with
ceiling-painting by Mario Rossi. On the floor mosaics, discovered in 1835
near the Tenuta di Torre Nuova, with gladiator and wild beast combats.
L. wall: 3. Colossal head of Isis ; 4. Dancing Faun, beneath it a Bacchan.
relief; 5. Colossal head of a Muse (?). I.ong wall: 7. Tiberius; 8. Meleager;

9. Augustus; above, a raised relief of a galloping rider (M. Curtius?);
* 10. Priestess; 11. Bacchus and Ampclus. B. wall: 14. Hadrian; 16. Anton.
Pius; colossal busts. Entrance-wall: 18. Diana. — III. (1st Room to the r.) :
in the centre, * Juno Pronuba, found near Monte Calvi. Left wall : 4. Ceres;

5. Venus Genetrix. Opp. the entrance: 8. Belief: Sacrificial prayer (of
HesiodV) to Eros; 11. Belief of the Bape of Cassandra. B. wall: 16. Statue
with drapery. Entrance-wall : 20. Greek relief from a tomb. — IV. In the
centre : Amazon on horseback contending with a warrior. Entrance-wall :

2. Pan ; 4. (and 17., opp.) Sarcophagus with the achievements of Hercules ;
on the cover : Reception of the Amazons by Priam ; 6. Head of Hercules ;

7. Pygmsea. L. wall : 9. Statue of Hercules. Wall of the egress : 15 Her-
cules in female attire. Window-wall: 21. Venus; 23. Three-sided ara with
Mercury, Venus, and Bacchus. — V. Room: In the centre, Apollo. L. wall:

3. Scipio Africanus ; 4. Daphne metamorphosed into a laurel. Following
wall: 7. Head of a Mainade; 8. Melpomene; 9. Genre-group; 10. Clio. E.
wall: * 13. Statue of Anacreon in a sitting posture, perhaps a copy from a
celebrated work of Cresilas at Athens ; 14. Lucilla, wife of L. Verus. En-
trance-wall : 16. Terpsichore ; 18. Polyhymnia. — VI. R. : Gallery with modern
busts of emperors in porphyry. In the centre a porphyry bath, said to have
appertained to the mausoleum of Hadrian; 3. Diana, restored as a Muse;

8. Diana ; 22. Bacchus ; '■' 29. Statue of a Satyr in basalt ; 32. Bronze statue
of a boy. (By the second door of the entrance-wall the upper story is
reached.) — VII. B., with columns of giallo antico and porphyry, on the
floor ancient mosaics. L. wall: "2. Boy with bird; 3. Bacchus; *4. Captive
boy. Wall of the egress : 7. Recumbent Hermaphrodite ; 9. Sappho (doubt-
ful); 10. Tiberius. Entrance-wall: "13. Roman portrait-bust (said to be
Domitius Corbulo); * 14. Head of a youth ; 15. Boy with Hydria; 16. Female
bust. — VII. B. : In the centre: ''Portrait statue of a Greek poet, perhaps
Alcseus. L. wall: 2. Athene; 4. Apollo (archaic style). Following wall:

6. Figure from a tomb; 7. Candelabrum with Hecate. R. wall: 8. Nymph;

10. Leda; 15. jEsculapius and Telesphorus. — IX. R. : In the centre: 'Satyr
on a dolphin, a fountain-figure; 3. Isis; 4. Paris; 8. Female statue, im-
properly restored as Ceres ; 10. Gipsy woman ; 13. Venus; 14. Female figure
(archaic); ,! 16. Bacchante; 18. Satyr; 19. Hadrian; 20. Satyr. — X. R. :
:: 1. Dancing Satyr, erroneously restored (he originally played on the flute);
2. Ceres; 3. Mercury with a lyre; 4. Dancing Satyr; 3. Satyr reposing,
after Praxiteles; 9. Pluto with Cerberus; 14. Periander; 19. Dionysius
enthroned. The beautifm ceiling-paintings in this room by Conca should
not fail to be inspected.

On the upper floor a large saloon (fee 'j-i fr.) contains three early works
of Bernini: .ffineas carrying Anchises; Apollo and Daphne; David with the
sling. The ceiling-paintings are by Lmtfranco, the 5 '"Landscapes on the
1. wall by Phil. Jlackert. In one of the following rooms the recumbent
statue of Pauline Boiyhcse, sister of Napoleon I., as Venus, by Canoea.
other apartments contain modern sculptures and numerous pictures, which
with a few exceptions (e. g. Portrait of Paul V. by Cariivaggio in the 2nd
room) are of little value. The balcony commands a fine view of the gar-
dens and the citv.

124

II. The Hills of Rome.

Quirinal. Viminal. Esquiline.

The following description comprises the E. part of Rome, which
extends over the three long, parallel hills of the Quirinal, Vimi-
nal, and Esquiline, and adjoins the Corso and Strangers' Quarter,
but is almost entirely occupied by vineyards and gardens, especially
towards the walls.

From the Piazza della Trinita on the Pincio, running in a S.
E. direction as far as the church (visible thence) of S. Maria
Maggiore on the Esquiline, a street, 1 M. in length, bearing the
different names of Via Sistina, Via Felice, and Via delle Qualtro
Fontane , intersects this quarter of the city. It is termed Via
Sistina as far as the first transverse street (Via di Porta Pinciana),
Via Felice thence to the Piazza Barberini, and Via delle Quattro
Fontane in the remaining portion. From the Pincio to the Piazza
Barberini is a descent of Q4 M., and thence an ascent of iji M.
to the summit of the Quirinal, where this line of streets is inter-
sected by a street (Via del Quirinale and Via di 20. Settembre,
formerly di Porta Pia) which extends in a straight direction along
almost, the entire ridge from the Piazza di Monte Cavallo to the
Porta Pia. From the Quirinal the street then descends, traverses
the Viminal , and finally ascends the Esquiline near S. Maria
Maggiore.

After the Piazza della Trinita is quitted, the first transverse
street reached is the Via di Capo le Case, which descends; its
prolongation to the 1. is the Via di Porta Pinciana, which ascends
to the gate of that name (closed 1803), and in which (1.) the Vil-
la Malta, once the property of King Louis I. of Bavaria, is situated.

The Via Felice now descends, passing »S. Francesca on the 1.
and S. Ildefonso on the r. , to the extensive Piazza Barberini.
In the centre the *Fontana del Trilone , by Bernini, a Triton
blowing on a conch. On the r. one side of the Palazzo Barbe-
rini (p. 129) adjoins the Piazza. As the Piazza is ascended the
Via di S. Nkcolb di Tolentino leads to the r. , under the name
Via di S. Susanna, to the Fontana and Piazza di Termini (p. 133);
to the 1. the Via di S. Basilic leads to the Villa Ludovisi (t> min.);
and through the Porta Salara to the Villa Albani (1 M.).

The avenue to the 1. at the extremity of the Piazza ascends
to (on the r.) S. Maria della Concezione (PL I, 23), or del Cap-
pw'cini , which , with the contiguous cloister, belongs to the Ca-
puchins. It was founded in Ki24 by Card. Barberini.

In the interior, over tlie door, a copy of Giotto's Navicella (in Hie ves-
tibule of St. Peter's, p. 215) liy Jlcvetla. In the 1st Chapel (r.) "St. Michael,
a. celebrated picture by (/«<</" Ti.-ni; in the 3rd, mutilated frescoes by Do-
me iiirhi 110. At the high-altar a copy of an Ascension by Lavfraiieo , vtm
destroyed. Beneath a stone in front of (lie steps to the choir reposes the
lounder of the church, Card. Barberini t'hic jacet pulvis cinis et nihil'); o"
Ibe 1. (he tomb ol Alex. Sobhsky, son of John III. of Poland, who died in

S. Isidorn. ROME. Villa Ludovisi. 125

1714. The hist chapel contains (1.) an altar-piece by Sacchi; in the tirst,
one by Piefro da Curtona.

Beneath the church are four mortuary-chapels (shown by one
of the monks, if desired), decorated in a ghastly manner with
the bones of about 4000 Capuchins whose remains are deposited
here. Each of these contains a tomb with earth from Jerusalem.
In case of a new interment the bones which have longest remained
undisturbed , are employed in the manner alluded to. On All
Souls' Day (Nov. 2nd) these \auli.s are lighted up , and visited
by numbers of people.

The Via di S. lsidoro ascends hence to the church of S. Isi-
doro, founded in 1<>'2'2.

If the Via di S. Jiasilio be ascended in a straight direction
for b mil), (the first part only is inhabited), it will lead the visi-
tor to the entrance, on the r., of the

**Villa Ludovisi (I'l. I, L'liJ, erected during the first half of
the 17th cent, by Card. Ludovisi, nephew of Gregory XV., and
subsequently inherited by the princes of Piombino (accessible on
Thursdays in winter ; permessi obtained through ambassador or
consul). The grounds were laid out by Le Notre.

From the gateway (!) — 10 s. on leaving) the visitor proceeds
to the r. to the first Casino, containing valuable ancient sculptures.
Catalogues may be purchased of the custodian (1/2 >r-)-

1st linuiu: 1, 3, 7, 42, 40, 48. Statues; by the en trance- wall, to the r.
20. Head of Juno, very ancient ; IS. Candelabrum in the form of a twisted
tree; 15. Sitting: statue of a Roman, by Zenon; ?f). Female draped limine;
31. Tragic mask, mouth of a fountain in rosso antico. — ■ 2nd R. : :; 28.
Group of a barbaiian, who, having killed his wife, plunges the sword into
his own breast fr. arm improperly restored), Pergamenian school (the 'Dy-
ing Gaul1 in the Capitol also belongs to this group). R. of the entrance:
:55. "Warrior reposing (Mars V), probably destined originally to decorate the
approach to a dnur; 51. Statue of Athene from Antioch; 47. Cast of the
slalue of jEscbines at Naples; 46. ISust, name unknown; above it "45 Head
of a Medusa, of the noblest type; 43. Rape of Proserpine, by Rernini ; above
it, 42. Judgment of Paris, the r. side restored according to Raphael's plan;
::41. 'Juno Ludovisi', the most celebrated and one of the most beautiful
heads id' Juno; 30. Mercury, in the same position as the so-called Germani-
cus in Paris. L. of the entrance : cl Mars reposing, of the school of Lysip-
pus ; :7. Theseus and ;Ethra (or Telemachus and Penelope, commonly call-
ed Orestes and Electra), by SlemUtos, pupil of Stephanos; "9. Youthful
Satyr; 14. Dionysus with a satyr; 15. Head of Juno; 21. Bronze head of
Marcus Aurelius.

To the 1. of the gateway a path leads by a wall with a hedge,
and then past a mound with pavilion, in 4 min. to the second
Casino (dell' Aurora) (fee 5 s.), which on the ground-floor contains
a ceiling-fresco of *Aurora by (luercino, on (he first floor a *Fama
by the same. The staircase (containing among other curiosities an
interesting ancient relief of two Cupids dragging a quiver) ascends
hence to the upper balconies, whence a magnificent *view of Home
and the mountains is enjoyed.

Several paths lead from the Casino to the city-wall , which is
skirted by beautiful avenues of cypresses and other evergreens.
Ancient sculptures are distributed ip tu Kciinds; e. g. by the

126 Oar/lens of Sallust. ku:vii.. Villa Albani.

city-wall a large sarcophagus with representation of a battle, pos
sibly that of Alex. Severus against Artaxerxes, A. D. 232.

From the Villa Ludovisi the Via di Porta Salara (PI. I, 27
leads between the walls of the villa on the 1. and vineyards o)
the r. in 8 min. to the Porta Salara. Here in ancient times la;
the magnificent Gardens of Sallust, the historian, subsequent]
the property of the emperors. They also comprised a circus, oc
cupying the hollow between the Pincio and Quirinal , which an
united farther up near the gate. Where the view is uninterceptei
to the r., considerable remains of the enclosing walls are observe!
on the Quirinal opposite.

The Porta Salara, seriously injured by the bombardment of Sept. 20tli
1870 , is undergoing restoration. The removal of its two gates brought t<
light a well preserved ancient monument , resembling that of Bibului
(p. 121) in style. On a pedestal consisting of two layers of peperine blocks.
43|4 ft. in height, rises a cube about 15 ft. in height and 12 ft. in width!
Its walls consist of peperine blocks with immured pillars of very hard tra-
vertine resembling marble , resting on a plinth of slate. The interior is
formed of concrete. In front was the inscription on a tablet now removed.
To the r. of this monument are the foundations of a second of similar cha-
racter. Between the two is the pedestal of a tomb-cippus of travertine
(now in the Capitoline Museum, see p. 207).

The Via Salara leads from the gate, skirting the Tiber within a
short distance of its bank , to the Sabina. 8 min. walk beyond
the gate lies (on the r.) the

*Villa Albani (see map p. 258; Tuesdays, with permission
obtained by sending visiting-card with opplication to the office, Pal.
Torlonia, Piazza Venezia 135, p. 120, ground-floor 1.), founded in
1760 by Card. Aless. Albani and decorated with admirable works
of art; the building by C. Marchionne. Napoleon I. transferred
294 of the finest statues to Paris , which on their restoration in
1815 were sold there by Card. Giuseppe Albani, in order to avoid
the onerous expenses of transport. In 1834 the Counts of Castel-
barco became proprietors of the villa, and caused the arrangement
of the statues to be altered. The villa has recently been pur-
chased by Prince Torlonia, who has transferred several of the best
antiques to his (piivate) museum in the Longara. Some of them
have been re- placed by casts.

Three paths bounded by hedges diverge from the entrance;
that in the centre leads first to a circular space with column in
the middle , then to a fountain whence a comprehensive view is
obtained: 1. the Casino with the galleries on either side ; opposite
is a small building with cypresses on one side, the so-called
Billiard-room; on the r. in the crescent is the 'Cafe'. The finest
*view from the terrace is obtained near the side-stair-case, farther
to the r., whence, to the r. of the cypresses, S. Agnese and S. Cos-
tanza appear in the centre, above which rises Monte Gennaro, with
Monticelli at its base. (Most favourable light towards evening-)
1. Casino. Vestibule. In the 0 niches: Tiberius (V), L. Verus, Tra-
jan, M. Aurelius, Antoninus I'ius, Hadrian ; in the centre a female portrait
stalue silling (Faustina); circular Aia with Bacchus, Ceres, Proserpine, am

Villa Albani. ROMK. Casino. 127

3 Horse, another with female torch-bearer and the Seasons; sitting female
figure (perhaps the elder Agrippina). By the pillars on the 1. and r. are
statues : on the 1st to the r. Hermes ; 5th 1. female , r. male double statue ;
7th r. Euripides. Now to the 1. : a. The small Atrio della Cariatide,
containing two canephori, found between Frascati and Monte Porzio (bas-
kets new). In the centre a Caryatide , by the Athenians Criton and Mco-
laus (the names engraved on the back), found in 1766 near the Csecilia Me-
tella; on the pedestal a so-called 'Capaneus struck by lightning, b. Gal-
lery (to the 1.), containing statues: the third to the r. Scipio Africanus, the
third to the 1. Epicurus.

In the small central space in the corridor is the approach to the
Staircase on the ].; in front of the stairs, 1. Eoma sitting on trophies
(in relief). In a room behind the stair a relief of a butcher's shop. On
the staircase reliefs: on the first landing, r. Death of the Children of Niobe,

I. beneath, Philoctetes in Lemnos (?) ; on the third landing, above, two dan-
cing Bacchantes. Upper floor (when closed, visitors ling, ija fr.): I. Room:
In the centre Apollo on the tripod, with his feet upon the omphalos. L. of
the door : Statue of a youth by Stephanos, pupil of Pasiteles. Opposite :
Cupid bending his bow, probably a copy from Lysippus. — On the r. is the

II. Saloon: (on the ceiling Apollo, Mnemosyne, and the Muses painted by
Raph. Mengs). In the niches of the entrance-wall ::'Pallas and Zeus. Re-
liefs (over the door) : Apollo, Diana, Leto in front of the temple of Delphi
(ancient victory- relief). Then to the r., youth with his horse, from a tomb
near Tivoli; 1. Anton. Pius with Pax and Roma. The eight fragments of
mosaic at the sides of this door, and that of the balcony, and in the 4 cor-
ners are nearly all ancient. By the 1. wall : 1. Two women sacrificing, r.
Dancing Bacchantes. By the window-wall : Hercules and the Hesperides ;
Daedalus and Icarus. From the balcony a beautiful view of the Alban and
Sabine Mts. — III. In the first room to the r. of the saloon, over the chim-
ney-piece : -Mercury conducting Eurydice back from the infernal regions.
By the entrance-wall, Theophrastus ; window-wall, 1. Hippocrates ; wall of
the egress, Socrates. — IV. 2nd R. : Pictures: On the wall of the en-
trance , on the r. : Pinturicchio (?) , Madonna with SS. Laurence and Se-
bastian on the 1., St. James and the donor on the r. ; 1. of the entrance, a
lunette by Cotignola : Dead Christ with mourning angels. R. wall : Mccolb
Alunno, Altar-piece : Madonna and Saints (of 1475). On the wall of the
egress : "Picture in 6 compartments by Pietro Perugino : Joseph and Mary
adoring the Infant Christ, Crucifixion, Annunciation , Saints (of 1491). — V.
3rd R. : Wall of the entrance, on the r. : Van der Werff, Descent from the
Cross. R. wall: Van Dyck , Christ. Opp. the entrance - wall : Salaino , Ma-
donna, adjacent to a small copy of Raphael's Transfiguration. — VI. First
room to the 1. of the saloon; over the chimney-piece the celebrated '-Relief
of Antinous, from the Villa of Hadrian , the only object in the collection
which was brought back from Paris. — VII. 2nd Room from the entrance
on the 1.: flute-playing Pan; ancient Greek relief from a tomb. L. wall:
'Greek relief in the best style, a group of combatants , found in 1764 near
S. Vita. Beneath it: Procession of Hermes, Athene, Apollo, and Artemis
(archaic style). By the window to the 1. ancient statue of Pallas, found near
Orta ; on the r. ancient Venus. Wall of the egress, on the 1. : Greek tomb-
relief (greatly modernised). — VIII. 3rd (corner) Room. Entrance - wall , to
the 1. : Holbein , Portrait, 1527; Raphael, Fornarina, a copy; "Oiulio Romano,
;oloured designs (in oils on paper) for the frescoes from the myth of Psyche
n the Pal. del Tc at Mantua. The cartoons of Domenkhino , and several
ither pictures formerly here, have been removed to a room on the lower
loor, which is at present closed. — IX. 4th R. : In front of the window:
Esop, perhaps after Lysippus, the head of beautiful workmanship. In the
nche in the entrance- wall, Apollo Sauroctonus, after Praxiteles. Opposite
^arnese Hercules in bronze. Window wall on the r., a small statue of Dio-
;enes. Wall of the egress, 1., a small 'relief representing the Apotheosis

lif Hercules; on the pillars at the sides a record of his exploits is inscribed
(resembling the Tabula Iliaca in the Capitol, see p. 206). — X A room
;vith pictures of inferior value. - XI. Room with Gobelins. - Returning to
,.he circular saloon the visitor now descends to the lower corridor. Here at

128 Villa Albani. ROME. Biyliardo.

the extremity t.<> the 1., corresponding to the Alrio delta Cariatide, is the
I. A trio delta Giunone, containing two canephori , as in the corre
spending room. In the centre a figure said to represent Juno. II. Gallery,
In the tirst niche a "Bacchante with Nebris, in the second a Satyr with
the young Bacchus. Some of the statues by the pillars are line , but arbi-
trarily named. — In a straight direction: III. Stanza della Colonna
(antique columns of variegated alabaster, found at the Marmorata). On the

1. a 'sarcophagus with the Nuptials of Peleus and Thetis. Above four sar-
cophagus-reliefs: on the 1. Ilippolytus and I'hailra. Over the egress: Rape
of Proserpine. On the r. Bacchanalian processiuu. Over the entrance:
Heath of Alccstis. — IV. Small room: I'.eardcd Bacchus. — V. Stanza
(telle Terracotte. By the 1. wall, close to the entrance, 146. Greek tomb-
relief; 147. Greek votive relief. Beyond the door: 157. Love-sick Polyphe-
mus and Cupid ; 1GI . Diogenes and Alexander. Opp. the entrance, 164. Da>
dalus and Icarus, in rosso antico. Beneath, 16o. Ancient landscape -picture.
On the r. wall, 171. Mask of a river-god ; 1. IGO. Bacchus pardoning the
captive Indians; to the r. of the mask, and on the entrance- wall , several
line reliefs in terracotta. — VI. R. : In Hie centre, Leda with the swan.
VII. R. : Above the entrance-door, Bacchanalian procession of children, from
Hadrian's Villa; 1. statue of a recumbent river-god; r. Theseus with the
Minotaur, found near Genzano in 1740. — VIII. R. : Belief in the first
window to the 1. : The god of sleep.

Hence by an avenue of oaks, with columns from tombs (cippi), to the

2. Biyliardo (generally closed; if desired, the wife of the custodian,
to t>e found here, or at the cafe, opens it; 1\>2 IV.), containing a few unim-
portant antiques. In a niche in the vestibule, a cast of a Greek relief:
probably Hercules, Theseus, and Peirithous in the lower regions.

3. Caji'. In the semi circular hall : I. statue of Alcibiades (a cast);!

2. Statue of Mars; b. Statue of Clirvsippus; 3. Apollo reposing; 5. Caryatidc.
In the centre an Anteroom is entered lo Hie 1. Here in the section
to the r. : in front of ttie middle-window, Iris; 1. Theseus with ilithra, a
sarcophagus -relief. In the section to the 1.: In front of the middle-
window Marsyas bound to tile tree; on the 1. a relief of Venus and Cupid.
Also several statues of comic actors. In Hie Saloon , in the niche to the
I. of the door, Libera with a, fawn. Beneath, mosaic with meeting of 7
physicians. Corresponding to the latter, to the r. of the door, mosaic of
the liberation of Ilesione by Hercules. R. of the balcony-door, Ibis of rosso
antico; Atlas, bearer of the universe; 1. boy with comic mask; colossal
bead of Serapis, in green basalt. The balcony commands a pleasing view.
Visitors now return to the semicircular hall. Here to the 1. on the first
pillar which stands alone, a statuette of Neptune. Near it a Caryatide, r.
on the 3rd pillar a mask of Poseidon. Nearly opp., to the 1., the 6th figure,
ancient Greek * Portrait-head (styled Pericles, perhaps rather Pisistratus);
1. 4. Statue (called Sappho, possibly Ceres); r., the last small statue,
Isoerates.

Before the hall of the Cafe is entered, a stair to the 1. descends to a
lower part of the garden. On the basement of the building several fragments
of sculpture are walled in, and a few Egyptian statues arranged in a hall.
In the centre: Ptolenueus Philadelphia, of grey granite; r. the lion-headeil
goddess Pascht; 1. statue of a king, in Mack granite; several sphynxes. On
a fountain in front of the hall : reclining Amphitrite ; 1. and r. two colossal
Tritons.

Numerous antique statues are distributed throughout the gar-
den, among which the colossal busts of Titus on the 1. and Trajan
on the r. , below the terrace in front of the Casino, deserve
mention.

The visitor may now return by the avenue of evergreen oaks,
which is entered by an arch at the extremity of the 1. gallery ot
the Casino. In the centre of the avenue a colossal bust of the
(ierman savant Winckelmann, the intimate friend of Card. Albani,
the founder of the villa, by E. Wolff.

Pal. Barberini.

ROME. S. Andrea. 129

As the Via delle Quattro Fontane is ascended fTom the Piazza
Barberini, on the 1. is situated the

♦Palazzo Barberini (PI. I, 22), begun by Maderno under
Urban VIII. , completed by Bernini. The principal staircase is
to the 1. under the arcades; built into it is a Greek * tomb-
relief; on the landing of the first floor, a *lion in high-relief,
from Tivoli. A number of mediocre ancient sculptures are distri-
buted throughout the courts and other parts of the building. At
the r. extremity of the arcades a winding staircase ascends to
the picture-gallery (Mon. , Tues., Wed. 12V2— 5 , Thurs. 2—5,
Frid., Sat. 10 — 5 o'clock; in winter closed at dusk). Catalogues
for the use of visitors.

1st Room: 9. Pieta, Caravaggio; 15. Magdalene, Pomarancio; 19. Betro-
thal of St. Catharine, Parmeggianino. — 2nd R. . 30. Madonna, after
Raphael; 35. A Cardinal, Titian {.'!) ; 48. Madonna, with St. Jerome,
Francia (?); 49. Madonna, Innoc. dalmola; *58 Madonna, Qiov. Bellini; 63.
Portrait of his daughter , Mengs. — 3rd R. . 73. Portrait, Titian (?) ; 76.
Castel Gandolfo , CI. Lorrain; 78. Portrait, Bronzino; "79. Chiist among
the doctors, painted at Venice in 5 days in 1506, hy DUrer ; *82. Portrait
of the so-called Fornarina, so frequently copied, unfortunately marred by
restoration, Raphael; 83. Lucrezia Cenci, stepmother of I'eatrice, Gaetani;
84. Anna Colonna, Spanish School; *85. Beatrice Cenci, Quido Reni; 86.
Death of Germanicus, N. Poussin; 88. Wharf, Claude Lorrain; 90. Holy Fa-
mily, And. del Sarto; 93 Annunciation, S. Botticelli.

The winding staircase leads to the principal saloon of the pa-
lace on the next floor, embellished with frescoes by Pietro da
Cortona. A door to the r. leads hence into the saloon of the
sculptures, containing (among a number of unimportant ancient
and modern works) an admirable *statue by a Greek master, near
the wall opp. the em ranee, representing a woman with one arm
akimbo. It was formerly supposed to be a nymph, a Dido, or a
Laodamia; but according to the most recent explanation, it re-
presents a supplicant for protection at an altar. A twig formerly
grasped by the r. hand has been broken off.

The Library of the palace (Thursdays 9 — 2 o'clock) contains
7000 MSS., among which are those of numerous Greek and Latin
authors, of Dante, etc., and a number of ancient bronze cistas.
Librarian, the Abbe' Pieralesi.

The Via delle Quattro Fontane now leads to the summit of
the Quirinal , on which a street nearly 1 M. in length extends
from the Piazza di Monte Cavallo to the Porta Pia. At the four
comers formed by the intersection "of these two main-streets, are
four fountains erected by Sixtus V., who caused the construction
of the former street, whence its appellation.

The Via del Quirinnle is now entered to the r. At the corner
on the 1. is the small and unattractive church of S. Carlo. Farther
on, to the 1. 8. Andrea, by Bernini, with the Noviciate of the
Jesuits. To the r. some buildings connected with the royal palace
are passed, and in 4 mln. the visitor reaches the Piazza di Monts

ByKDEKEE Italy II. 3rd Edition. <)

130 Piazza di Monte Cavallo. HOME. Quir'mah

Cavallo (PI. II, I'd) (named fiom the two statues), with the Obelisk
which once stood in front of the mausoleum of Augustus and was
erected here in 1787, a Fountain with ancient granite basin, and
the two admirable colossal **Horse Tamers in marble, once an
ornament of the Thermae of Constantine in the vicinity. They are
frequently mentioned in history, and have never been covered or
required excavation. The inscriptions on the pedestals, Opus
Phidiae and Opus Praxitelis (which during the dark ages were
believed to be the names of two philosophers, who, having divined
the thoughts of Tiberius, were honoured by the erection of these
statues in recognition of their wisdom) , are purely apocryphal,
the groups being works of the imperial age, copied from originals
of the school of Lysippus.

Opposite the Royal Palace stands the Pal. of the Consulth,
erected under Clement XII. by del Fuga, where the tribunal of
that name, charged with the internal administration of (lie Papal
Sates, was formerly established, at present occupied by the For-
eign Ministry. Farther on, to the 1., is the Pal. Iiospigliosi (p. 131).
The gate on the r. enters the garden oi the Pal. Colonna (p. 114).

The piazza commands a fine view. In consequence of the
construction of new streets at the railway-station the piazza has
been extended, the houses in some places removed for the con-
venience of carriages, and steps constructed for foot-passengers.
The new Via delta Dalaria passes the Pal. delta Dataria, erected
by Paul V., on the r. . and descends in a straight direction to
the Corso, while the first transverse street to the 1. (Via di
8. Vincenzo) leads to the Fontana Trevi (p. 112).

During recent excavations extensive fragments of the walls of
the Thermae of Constantine were discovered , and beneath them
older walls of solid blocks, which appear to have belonged to those
of Servius Tullius.

The *Palazzo Apostolico al Quirinale (PI. 1, 19), begun un-
der Gregory XIII. by Flaminio Ponzio, continued under Sixtns \ •
and Clement VIII. by Fontana, and completed under Paul V. by
Maderno, has frequently been occupied by the popes in summer
on account of its lofty and salubrious situation (Pius IX. resides
in summer at the Castel Gandolfo in the Alban Mts.). Here the
last conclaves of the cardinals were held , and the name of the
newly elected pope proclaimed from the balcony of the facade
towards Monte Cavallo. Pius VII. expired here in 1823. On
Sept. 20th, 1870, the palace was taken possession of by the
Italian government, and is now the residence of the king and
the crown-prince. It is therefore not at present accessible to
the public.

In the court , to the r. under the arcades , the staircase

Quirinal. ROME. Pal. Rospigliosi. 131

ascends; on the landing is immured: *Christ with angels, fresco
by Melozzo da Forli , transferred hither in 1711 fiom the old
church of SS. Apostoli. The stair then ascends to the r. to the
Sala Regia, decorated with frescoes by Lanfranco and Saraceni,
where the custodian is generally to be found.

Adjacent is the Cappella Paolina, erected by Carlo Waderno, not at pre-
sent shown. It is decorated with gilded cornicings and copies (in grisaille)
of liaphael's Apostles in S. Vincen/.o ed Anastasio alle tre Funtane. On the
r. are situated, a suite of the pope's piivate apartments. In the 4th a
JMadiinna, by Lor. Lotto, and a Last Supper by F. Baroccio. The 5th, 8th,
and 9th contain interesting Gobelins. In the 10th, mosaics on the lluor from
Hadrian's villa. In the 14th, a Ceiling- painting by F. Overbeck (1859), to
commemorate the llight of Pius IX. in 1848: Christ eluding the pursuit of
the Jews who endeavoured to cast him over a precipice (Luke IV. 28, 29). In
the 15th views from the Vatican. Towards the garden the Royal Guesl-
c/i<tmber, which has been occupied by Napoleon I., Francis I. of Austria,
and in 1801 by Francis II. of Naples. In the 17th apartment, pictures. On
the r. wall : Peter (said to have been completed by Raphael) and * Paul,
Fra Bartolommeo; St. George, Pordenone ; window-wall: St. Bernhard, JSeb.
del Piombo; St. Cecilia, Vanni. In the Audience-saloon (19th apartment)
the frieze consists of a cast of the '"Triumphal Procession of Alex, the Great,
a work by T/iorivaldsen, ordered by Napoleon I. for the decoration of this
saloon. After 1815 the original became the property of the ^Marchese Som-
mariva, and is now in the Villa Carlotta near Cadenabbia on the Lake
of Como, formerly a residence of that nobleman. Another chamber con-
tains: John in the wilderness, a copy from Raphael. In the small chapel
dell' Annunziafa an '"Annunciation, altar-piece by Guido Reni. In the apart-
ment adjoining the Sala del Consistorio, "Views of the interior of the ancient
basilicas uf St. Peter, St. Paul, S. Maria Maggiore, and S. Giovanni in La-
terano. In the Sala itself: Madonna, a colossal figure by C. Maratta; "Ma-
donna with St. Peter and St. Paul, surrounded by cardinals, by an unknown
master of the 15th cent.

The garden was tastefully laid out by C. Maderno. The long
passage to the r. in the court in front of the staircase is entered,
and access obtained by the first door to the 1. ('/2 fr-)- The terrace
by the palace affords a pleasant view. At the opposite extremity
a hot -house and an aviary, containing many rare and beautiful
plants and trees. The walls are adorned with a few antiques.

*j?alazzo Rospigliosi (PI. II, 19), begun in 1603 by Card.
Scipio Borghese, nephew of Paul V., on the ruins of the Thermae
i of Constantine, afterwards became the property of the princes Ros-
pigliosi of Pistoja, relations of Clement JX. Here are preserved
frescoes from the Tlicrmai. a beautiful CI. Lorrain (temple of Venus)
and other treasures of ait, accessible only by special permission
of the prince. The Casino, however, is open on Wednesdays and
.Saturdays, 10—3 o'clock (i/2 fr.). Under the arcades on the 1.
adjoining the palace the visitor turns to the 1. and knocks at the
door which is approached by steps (5 s.). Several small statues
in the garden. By the external wall of the casino are placed
ancient sarcophagus-reliefs (Hunt of Melflager, Rape of Proserpine,
etc.). By the door to the r. the visitor enters the

Hall. Ceiling-painting by Guido Reni: Aurora strewing flowers before
the chariot of the god of the sun, who is surrounded by dancing Horse, the
master's finest work. Opp. the entrance is placed a mirror, in which the

132 5. Silvestro. ROME. S. Bernardo.

painting may be conveniently inspected. On the frieze landscapes by Paul
Brill, and on the narrow sides, Triumph of Fauna and Cupid (from Pe-
trarch's poems), by Tempesta. R. wall : Statue of Athene Tritogeneia with
a Triton ; "Portrait, Van Dyck. In the centre a bronze steed from the Thermic
of Constantine.

In the room to the r., opp. the entrance, the Fall of man, Domenichirw.
On the 1. wall : ;'Vanita, Lorenzo Lotto (name at the foot, on the r.). On the
r. wall: "Portrait, Dutch School; Venus and Cupid, Domenichino; "Holy Fa-
mily, Luca Signorelli. On the entrance-wall : Samson, L. Caracci (?). In the
room to thel.. entrance-wall, over the door: Pieta, Passignani; Andromeda,
Guido Reni; Portrait of N. Poussin (at the age of 56), a copy of the original
in the Louvre ; 1. wall : Bearing the Cross, Dan. da Volterra. In the corner
a bronze bust of Sept. Severus. On these two and the following wall:
Christ and the Apostles, 13 pictures, attributed to Rubens, probably only
partially by him ; Domenichino, Triumph of David.

A short distance farther in the Via del Quirinale , to the r.,
is the church of S. Silvestro a Monte Cavallo (PI. II, 19), erected
at the close of the 16th cent. , and possessed with the adjacent
monastery by of the fraternity of St. Vincent of Paula since 1770.

In the dome four oval frescoes by Domenichino: David dancing before
the Ark, Solomon and the Queen of Sheba, Judith , Esther and Ahasuerus.
In the second chapel to the 1., two landscapes by Polidoro Caravaggio and
his assistant Maturino: 'Betrothal of the Infant Christ with St. Catharine',
and Christ appearing as the gardener to Mary Magdalene.

Beyond this the Vicolo delle tre Cannelle diverges to the r.,
and a short distance farther the Via Magnanapoli descends r. to
the Forum of Trajan.

At the corner of the Via Magnanapoli and the Via del Quirinale
is the Palace of Card. Antonelli. — Opposite is the small church
of S: Caterina di Siena of the 17th cent. Behind it, in the ad-
joining monastery, rises the Torre delle Milfcie , erected about
1200 by the sons of Petrus Alexius , commonly called Torre di
Nerone, because Nero is said to have witnessed the conflagration
of Rome from this point. Another similar and contemporaneous
tower is the Torre dei Conti, near the Forum of Augustus, to
which the Via del Grillo directly descends (p. 178). It was erected
under Innocent III. (Conti) by Marchionne of Arezzo, but a con-
siderable portion was removed in the 17th cent.

Turning to the 1. from the Via del Quirinale the visitor reaches
S. Maria Maggiore (p. 137).

From the Quattro Fontane the Via di 20 Settembre (formerly
di Porta Pia) leads to the Porta Pia (3/4 M.). The corner house
on the r. is Pal. Albani, erected by Domen. Fontana, subse-
quently the property of Card. Albani, now that of Queen Christina
of Spain.

In the Via di Porta Pia on the r. are the two uninteresting
churches of 8. Teresa and 8. Cajo. About l/t M. farther, on the
r., somewhat removed from the street, is S. Bernardo (PI. I, 22),
a circular edifice which originally formed one of the corners of
the Therms of Diocletian, converted by Catherine Sforza, Countess
of S. Fiora, into a church. The vaulting is ancient, but like the

Piazza di Termini. ROME. Villa Torlonia. 133

Pantheon was once open. In the subterranean chambers under
this building a large quantity of lead was found.

On the opposite side (1.) of the street is the ancient church
of 8. Susanna, modified to its present form in 1600 by (\ Maderno
at the instance of Card, liusticucci. Paintings on the lateral walls
from the history of Susanna, by Baldassare Croce ; those of the
tribune by Cesare Neblia.

To the r. extends the Piazza di Termini (PL I, 25) with the
railway - station and the Therma; of Diocletian (p. 135). At the
corner is the Fontanone deli Acqua Felice, erected by Domen.
Fontana under Sixtus V., with a badly-executed copy of the Moses
of Michael Angelo by Prospero Bresciano, who is said to have died
of vexation on account of his failure ; at the sides Aaron and
Gideon by Giov. Batt. della Porta and Flam. Vacca; in front
four modern lions. The Acqua Felice was conducted hither in
1583 from Colonna in the Alban Mts., a distance of 22 M., by
order of Sixtus V.

To the 1. the Via di S. Susanna descends to the Via di
S. Nicolb di Tolentino, which leads to the Piazza Barberini.

At the corner to the 1. stands the church of S. Maria della
Vittoria (PI. I, 23), so called from an image of the Virgin,
believed to have been instrumental in gaining the victory for the
imperial troops at the battle of the 'White Mountain' near Prague,
afterwards deposited here, and in 1833 burned. With the exception
of the facade, the church was designed by C. Maderno.

In the 2nd Chap, on the r. , an altar-piece (Mary giving the Infant Christ
to St. Francis) and frescoes by Domenichino. In the 1. transept the notorious
^roup of St. Theresa by Bernini. In the 3rd Chapel on the 1. , the Trinity
by Quercino, and a Crucifixion attributed to Guido Reni.

The street now becomes deserted; about 5 min. before the gate
is reached a street to the 1. diverges to the Porta Salara and the
Via del Macao to the' r. , terminating near the Tailway-station.
Farther on, to the 1. is the Villa Bonaparte, r. Villa Torlonia.

The Porta Pia , memorable in the events of 1870, was de-
signed by Michael Angelo in 1564, and commenced by Pius IV.
It subsequently fell to decay , but was restored by Pius IX. in
1861—69. On Sept. 20th, 1870, the Italians directed their
Dombardnient chiefly against this gate , and soon succeeded in
making a breach on the 1. side of it, through which they entered
the city. The damage done on that occasion has since been
repaired. On the external sides are 2 statues , St. Agnes and
St. Alexander by Amatori. To the r. of the gate is the old
Vorta Nomentana, closed since 1564, which led to Nomentum.

From the gate an unimpeded view is obtained to the 1. of
the Villa Albani and the Sabine Mts. To the r. is the entrance
,o the Villa Patrizi , with pleasant garden and beautiful view
finest from the steps of the small summer-house and from the
neadow. Permessi obtained by sending an application with a

.134 S. Agnese fuorile Mura. ROME. S. Costama,

visiting-card to the Pal. Patrizi . Piaz. 8. Luigi de' Francesi
p. 150). 1/4 M. farther, on the r., the Villa Torlonia (see map
p. 258; accessible on Wednesdays 11 — 4 o'clock, except in sum-
mer when the prince resides here; permessi obtained at the Pal.
Torlonia, Piazza di Venezia), with pleasant gardens and artificial
ruins. This road, the ancient Via Nomentana , commanding un-
interrupted views from various points, leads to (l'/4 M. from the
gate) *S. Agnese fuori le Mura, on the 1. , which still presents
many of the characteristics of an early Christian basilica. Con-
stantine founded a church here over the tomb of St. Afjnes,
which Honorius I. (625 — 38) re -erected. It was altered in
1490 by Innocent VIII., and restored by Pius IX. in 185G.

The gate leads into a court, where through the large window
to the r. a view is obtained of the fresco, which was painted in
commemoration of the escape of Pius IX. on April 15th, 1855.
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 beneath , but fortunately was extricated unhurt. On
the farther side of the court, on the r., is the entrance to the
church, to which a staircase with 45 marble steps descends (on
the walls of the stair are numerous ancient Christian inscriptions
from the catacombs).

The church is divided into nave and aisles by 16 columns of breccia,
porta santa, and pavonazetto, which support arches; above these a gallery
with smaller columns. The Tabernacle of 1614 is borne by 4 fine column!
of porphyry; beneath is the statue of St. Agnes, of alabaster; on the high-
allar a restored antique. In the tribune "mosaics of the 7th cent. (St. Agnes
between the Popes Honorius I. and Symniachus) and an ancient episcopal
choir. To the r. in the 2nd Chapel a beautiful altar, inlaid with mosaic;
above it a * relief of St. Stephen and St. Lawrence, of 1490. In the 1. aisle
is an entrance to the catacombs (p. 257). Over the altar of the chapel a
fine old fresco: Madonna and Child.

Beneath the gateway which is entered from the street, on the
r., is the approach to the apartments of the canons (visitors ring
when the porter is not at hand; 5 s.). In the passage of the
first floor are remains of frescoes of 1344 , among them an
* Annunciation. An apartment fitted up for the reception of the
Pope contains a head of Christ in marble, formerly in the church,
a mediocre work of the 16th cent. , erroneously attributed to
Michael Angelo. The same porter keeps the keys of the neigh-
bouring church C/2 fr.) of

S. Costanza, originally erected as a monument by Constantine
to his daughter Constantia, re-erected in 1256. The dome is
supported by 24 clustered columns in granite. In the vaulting
of the entrance are ancient * mosaics of the 4th cent, with genii
gathering grapes. The porphyry sarcophagus of the saint, which
formerly stood in one of the niches (now in the museum of the
Vatican , Sala a Croce Greca) is similarly adorned ; the mosaics of
the niches are of later date.

Thermic of Diocletian. ROME. S. Maria degli Anytli. 135

Witli regard to the catacombs which may be visited here, see
p. 253. — Route from >S. Agncse to the Campagna see p. 268.

We now return to the Piazza di Termini. To the 1. by the
Fontana is an establishment for poor children, and an asylum for the
deaf and dumb. Opposite is the Railway Station, whence a
new street is now being constructed to the Via delle (Juattro Fon-
■taiie, in consequence of which the piazza will be considerably
enlarged. Opposite the station are the Thermce of Diocletian
(PI. I, 25), once the most extensive in Rome, constructed by
Maximian and Diocletian' at the commencement of the 4th cent.,
by means, it is said, of the compulsory services of Christians,
who imprinted the sign of the cross on the bricks.

Within these is situated the church of *S. Maria degli Angeli,
converted from a large vaulted hall into a church by Michael Angelo,
at the desire of Pius IV. The present transept was then the
nave, the principal portal was in the narrow end on the r., and
the high-altar placed on the 1. In 1749 Vanvitelli entirely dis-
figured the church by these inconsistent alterations.

A small rotunda is first entered. The first tomb on the r. is that of
the painter Carlo Maratta (d. 1713). In tin* Chapel Angels of Peace and
Justice , by l\'ilvidi. The first tomb on the 1. is that of Salvator Rosa
(d. 1673). In the Chapel, Christ appearing to Mary Magdalene, altar-piece
hy Arrigo Flamingo.

The great transept is now entered. The niche on the r. in the passage
contains St. Bruno , a colossal statue by Jloudon ; in the chapel on the 1.
the "Delivery of the Keys, altar-piece by Mnziaiio. The transept (formerly
nave) is 30S ft. long, 90 ft. high, and 95 ft. wide. Of the 16 columns 8 are
of oriental granite. — 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 r. half (on the pavement the meridian of Rome, laid down in 1703):
on the r., Crucifixion of St. Peter by Ricciolini ; Fall of Simon Magus, after
F. Vanni (original in St. Peter's); on the 1., " St. Jerome among the hermits,
Muziano (landscape by Brill); Miracles of St. Peter, Buglioni. On the narrow
end: chapel of IS. Niccolo Alhcrgati. In the 1. half: on the 1., Mass of
St. Basil with the Emperor Valens, Subleyras; Fall of Simon Magus, Pomp.
Baltoni; on the r., Immaculate Conception, P. Biatic/ri; Resuscitation of Ta-
bifha, P. I'ostanzi. At the narrow end: chapel of St. Bruno.

In the tribune (one of the monks may be requested to act as guide
here and in the monastery) : r. Mary's first visit to the Temple, Eomanelli;
Martyrdom of St. Sebastian (fresco), Domenichino; 1. Death of Ananias
and Sapphira, Pomarancio ; Baptism of Christ, Maratta. The choir con-
tains two monuments (1. Pius IV., r. Ant. Serbelloni) by Michael Angela.

A door to the r. leads hence into the first court of the ad-
jacent Carthusian Monastery, from which the * second court,
embellished with 100 columns (white-washed in 1870), and de-
signed by Mich. Anyelo, is entered. The beautiful cypresses in
the centre are also said to have been planted by the great master.
Permission to inspect the other chambers »f the Theruia:, which
are employed as military magazines, must be obtained from the
commandant, in the Piazza Colonna. They contain nothing to inter-
est the traveller, and were moreover greatly damaged by a Are in
1864. The most interesting portions, to the summit of which the

136 Wall of Servius. ROME. 8. Pudenziana.

■visitor may ascend (comprehensive survey) , belong to the mon-
astery. The principal structure of the Therma; was enclosed by
a wall, which is partially concealed in adjoining buildings, as in
the prison at the corner of the V. Strozzi and Piazza di Termini,
and partially exposed to -view, as in the garden of the monastery
of S. Bernardo. The corners on this side consisted of two circular
buildings, one of which, the present church of S. Bernardo (p. 132),
still exists. The other belongs to the prison.

Within the precincts of the railway-station the Wall of Servius , inter-
sected by the railway , may be seen. A 'lasciapassare' should be procured
from the inspector of the station (capostazione); best time 9 — 11 a. m.
Other antiquities are also preserved here. Above is a sitting statue of
Roma, beneath which lie several small ancient chambers.

In a line with the railway-station the Via Strozzi descends to
the r. in'o the Via delle Quattro Fontane, not far from S. Puden-
ziana (see below).

Ascending by the station to the 1., the road to the r. leads to
the Porta S. Lorenzo (J/2 hr.). Proceeding thence in a straight
direction between two pines, and then through a gateway, the
traveller reaches (in 10 min.) the Campo di Macao, or Campo
Militare, the camp ol the Pra:torians of imperial Rome. It was
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. On the narrow end to the 1. and the long
side, traces of gates are still distinguished ; the wall was skirted
by a passage, beneath which small chambers are situated. It has
again been devoted to military purposes , and the large , newly-
erected barracks impart unwonted life to the place. Popular
recreations, horse-races, etc. occasionally take place here.

Prom the Quattro Fontane to S. Maria Maggiore is a walk of
10 min. The Quirinal is first descended ; to the 1. is a newly
constructed street to the railway-station. The Virninal, hereof
insignificant height , is now traversed. In the valley between
the Viminal and Esquiline, in the street to the r., is situated

S. Pudenziana (PI. II, 25; open till 9 a. m. ; custodian to
be found in the adjacent monastery, Via Quattro Fontane 81),
traditionally the most ancient church in Rome, erected on the spot
where S. Pudens, who with his daughiers Praxedis and Pudentiana
entertained St. Peter, is said to have lived. The church is
first mentioned in 499, and has since been frequently renewed;
the last complete restoration was in 1598. The portal supported
by columns on the facade is ancient.

In the pillars of the aisle in the interior the marble columns which
originally supported the waB' are still to be seen. The mosaics in the tri-
bune (4th cent.), Christ with S. Praxedis and S. Pudentiana and the Apostles,
above them the emblems of the Evangelists on either side of the cross, are
regarded as the oldest Christian remains in Home , but have been greatly
modernised. The dome above the high-altar was painted by Pomarancio.

S. Lorenzo in Paneperna HOME. S. Maria Mayyiore. 137

The aisles contain remnants of an ancient mosaic pavement. In the 1. aisle
is the Cappella Gaetani, on the altar of which is an Adoration of the
Magi, marble-relief by Olivieri. At the extremity of this aisle is an altar with
relics of the table at which Peter is said first to have read mass. Above it
Christ and Peter, a group in marble by G. B. delta Porta.

Beneath the church are ancient vaults in a good style of
architecture, to which the custodian conducts visitors if desired.

The Esquiline is now ascended, whence the back of S. Maria
Maggiore is visible ; a second main street intersecting the hills
here diverges. From the Forum of Trajan it ascends the Quirinal
under the name of Via Magnanapoli; to the 1. diverges the
Via del Quirinale (p. 129); in a straight direction the church of
S. Domenico e Sisto, erected about 1640, is passed on the r., and
theVilla Aldobrandini, which after belonging to numerous different
proprietors is now in possession of Prince Borghese, on the 1. (access
seldom granted ; beautiful grounds and a few ancient sculptures).
In the Via Mazzarina, the next lateral street to the 1., is situated
on the r., opposite the Villa Aldobrandini, the church of S. Agaia
alia Suburra, originally erected in the 5th cent., now remarkable
only as containing the tomb of Johannes Lascaris , .author of the
first modern Greek grammar. In a straight direction the Via di
S. Lorenzo in Paneperna ascends the Viminal , the elevation of
which between the Quirinal and Esquiline is here most marked.
On the highest point, on the 1., stands the church of S. Lorenzo
in Paneperna (PI. II, 22), the spot where St. Lawrence is said
to have suffered martyrdom. It is ancient, but greatly restored.
The street then again descends, and ascends the Esquiline under
the name of Via di 8. Maria Maggiore.

In front of the choir of the church, which is now approached,
stands one of the two Obelisks from the mausoleum of Augustus ;
the other is on Monte Cavallo (p. 130). The piazza in front of
the church is embellished with a handsome Column from the basi-
lica of Constantine, placed here and furnished with a bronze figure
of the Virgin by Paul V.

**S. Maria Maggiore (PL II, 25) is also termed Basilica Li-
beriana, and S. Maria ad Nives, because, according to the legend,
it was erected by Pope Liberius (352 — 366) in consequence of
simultaneous dreams of the Pope and the Roman Patrician Johannes,
on the spot where on the following day (Aug. 5th) they found a
miraculous deposit of snow. In 432 it was entirely altered by
Sixtus III., enlarged by Nicholas IV. in 1292 by the addition of
the tribune with its mosaics, and restored by Gregory XIII. in
1575 according to the taste of that period; the campanile was
renewed in 1376. The dimensions of the interior are 120 yds.
in length, and 50 yds. in width.

The five arches of the Facade by Fuga (1743) correspond
to the five entrances of the church , the last of which to the 1.
(Porta Santa) is closed. The vestibule contains the statue of

138 8. Antonio Abbate HOME. 8. Prassede.

Philip IV. of Spain on the r. ; on the 1. is the approach to the
loggia with the mosaics of the original facade of the 13th cent.
(The door is opened by a verger.) Above in the centre Christ'
on the 1. the Virgin, St. Paul, and St. James; on the r. John,
Peter, and Andrew. Beneath, on the 1., the dream of Pope Liberi-
us and the Patrician Johannes; on the i\, the meeting of the two
and tracing of the site of the church on the newly-fallen snow.

The interior is a basilica with nave and two aisles. The architrave
adorned with mosaic, is supported by two Ionic columns, aliove which, and
on the triumphal arch, are mosaics of the 5tli cent, (restored in 1825), those
on the arch representing "New Testament events, those on the walls events
from the history of the patriarchs and prophets. In front of the triumphal
arch is the high-altar, consisting of an ancient sarcophagus id' porphyry, said
to have been the tomb of the Patrician Johannes, and containing the re-
mains of St. Matthew and other relies ; the canopy is borne by four columns
of porphyry. In the apse of the tribune are * mosaics by Jacopo da Turrita
(I '295): Coronation of the Virgin, with saints, near whom are Pope Nicholas IV.
ami Card. Jac. Colonna.

At, the beginning of the nave are the tombs of Nicholas IV. (d. 1292)
on the 1. , and Clement IV. (16G9) on the r. , erected by Sixtus V. and Cle-
ment X. respectively. First chapel in the r. aisle: Baptistery with fine
ancient font of porphyry. Farther on is the Cap. del Crocefisso with 10 co-
lumns of porphyry, containing live hoards from the manger (whence termed
i'lipjH'tltt del Present') of the Infant Christ. In the r. transept is the sumptu-
ous ■' Xij'tene Chapel (undergoing restoration) , constructed by Fontana ; the
altar in the r. niche is an ancient Christian ;;; sarcophagus ; opp. to it, on the
1., an altar-piece (St. Jerome), Ribera\ on the r. the monument of Sixtus V.,
the statue of the Pope by Valsotdo ; on the 1. Pius V. by Leonardo dn Hava-
na na; in the 'Confessio' in front of the altar a statue of S. Gaetano, tiy
Bernini, and an altar-relief of the Holy Family, by Cere/tiiw da PUtrasanta
( U80). At the extremity of the r. aisle the Gothic monument of Card, (,'im-
salvi (Gunsalvus, d. 1229) by Giov. Cosmos. In the 1. aisle, 1st Chapel (of
the Cesi) : Martyrdom of St. Catharine, altar-piece by Girol. da Sermoneta;
on the r. and 1. two bronze statues to the memory of cardinals of the family.
2nd Chapel (of the Pallavicini-Sforza), said to have been designed by Mich.
Angelo : Assumption of Mary, altar-piece by G'ir. Scrmoncta. In the 1. tran-
sept, opp. the Sixtine Chapel, is the Horijhese Chapel, constructed by Fia-
minio Ponzio in 1611 , and also furnished with a dome. Over the altar,
which is sumptuously decorated with lapis lazuli and agate, an ancient and
miraculous picture of the Virgin, painted (almost black) according to tra-
dition by St. Luke, which was carried by Gregory I. as early as 500 in
solemn procession through the city, and again by the clergy in I he war of
1860. The frescoes in the large arches are by Outdo Rrni, Lavfranco, &■
i/oli, etc. The monuments of the Popes (1.) Paul V. (Camilla Borghese, d.
1621) and (r.) Clement VIII. ( Aldobrandini, d. 1605) are by pupils of Bernini.
The crypt contains tombs of the Borghese family.

To the 1. in the Piazza di S. Maria Maggiore is the chuicli
of <S. Antonio Abbate, with portal of the 13th cent. The interior
is uninteresting. S. Antonio is the tutelary saint of animals, and
in front of the church from Jan. 17th to Jan. 23rd domestic
animals of every description are blessed and sprinkled with holy
water. On January 23rd the Pope and many persons of the higher
classes send their horses here for that purpose.

To the r. in the Tiazza is a side-entrance to

*S. Prassede (PI. I, 25), dedicated in 882 by Paschalis I. to
St. Praxedis, daughter of St. Pudens with whom Peter lodged at
Rome, and sister of S. Pudentiana. It was restored by Nicholas V.

Porta S. Lorenzo. ROME. .S. Lorenzo fuori. 139

about l-i.'tO, again in ls;VJ, ami finally in ISGO. The church is
generally entered by the side-door.

The nave is separated from tin- two aisles by 16 columns of granite.

The mosaics (Olli tent..) deserve s] ial inspection. On the triumphal

arch Hie new Jerusalem guarded liy angels, Christ in the centre, towards
whom the saved are hastening; on the arch of the tribune the Lamb , at
the sides the 7 candlesticks and the symbols of the evangelists ; lower down
the '."t elders (interesting as showing the mode in which the art was obliged
to accnnimodale itself to the spaces allotted to it; thus, in order to follow
the curve of the arch, the amis of the foremost elders in the middle and
upper rows gradually increase in length); on the vaulting Christ surrounded
with saints (among them Peter. Paul. Praxedis, and Pudentiana). On either
side of the tribune are galleries. The 3rd chapel in the r. aisle is the
Chapel of the Column, (ladies admitted on the Sundays of Lent only; the
sacristan opens the door when desired). At the entrance are two columns
of black granite with ancient entablature. The interior is entirely covered
Willi mosaics on gold ground (about the Kith cent.), whence the chapel is
sometimes termed Or/u del I'aradiso. 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 r. in a niche, the column at
which Christ is said to have been scourged. The 4th chapel contains the
lomb of Card. Cetti (d. 1474). At the extremity of the r. aisle the Cap. del
Crnri fi.txo contains the tomb of a French cardinal (d. 1286). In the 1. aisle
by the entrance-wall is a stone-slab, on which St. Praxedis is said to have
slept. The Cap. di 8. Carlo liorromeo (the 2nd) contains a chair and table
used by the saint. Cap. Agittti (3rd) 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.

The Confossio (keys kept liy the sacristan) contains ancient sarcophagi
with the bones of the sister saints Praxedis and Pudentiana on the r. , and
those of martyrs on the 1. The altar is decorated with fine mosaic of the
13th cent. Above it an ancient fresco of the Madonna between the sisters.
The entrance to the catacombs was formerly here. The sacristy contains
a Scourging by Chtlio Romano.

Several streets run E. and S.E. towards the walls from the
Tiaz/.a 8. Maria Magg ore. That to the 1. passing S. Antonio
soon divides again, and leads to the 1. in 10 min. to the

Porta di S. Lorenzo (PI. II, 32), constructed by Honorius
against an arch , over which according to the inscription the
three aqueducts Mania, Tepula, and Julia passed. The arch
stands on its original site, while the gateway occupies con-
siderably higher ground. It derives its appellation from the
basilica situated outside the gate, and stands on the site of
the ancient Porta Tiburtina , which led to Tivoli. The road
(Via Tiburtina) is bounded by walls, and does not afford views
of the Sabine Mts. until the church is reached, 3/4 M. from the gate.

*S. Lorenzo fuori le Mura (see map, p. 258) occupies the
spot where Constantine first founded a church, which however soon
fell to decay, on the burial-place of St. Lawrence and St. Cyriaca.
In [)7S Pelagius II. again found the remains of St. Lawrence,
and erected a church, which Honorius III. restored. Under NicholasV.
and Innocent X., and finally under Pius IX. in 1864 — 70, the
church has undergone extensive alterations, and is now at least
partially freed from the patchwork by which it was formerly dis-
figured. In the piazza in front of the church is a column with

140 S. Lorenzo fuori. ROME. Arch of Gallienus.

a bronze statue of St. Lawrence. The front has been recently
embellished with paintings resembling mosaic, representing the
founders and patrons of the church: Pelagius II., the Emp. Con-
stantine, Honorius III., Pius IX., Sixtus III. and Hadrian I. The
vestibule is supported by 6 ancient columns, above which is an archi-
trave with mosaics (S. Lorenzo and Honorius 111.) , and contains
retouched frescoes of the 13th cent., two tombs in the form of temp-
les, and two rude christian sarcophagi. The door-posts rest on lions.

The interior consists of two parts. The first and more modern , which
to a great extent dates from Honorius 111., consists of nave and two aisles,
separated by 22 antique columns of granite and cipolline of unequal thick-
ness, and plain entablature, above which rise a gaudily painted wall and
open roof. On the capital of the 8th column on the r. are a frog and a
lizard, supposed on doubtful grounds to have been brought from the colon-
nade of the Octavia, where two sculptors Batrachos (frog) and Sauros (lizard)
are said to have adopted this method of perpetuating their names. The
pavement, opus Alexandrinum, dates from the 12th cent. Under a mediaeval
canopy to the r. of the entrance is an ancient ,; sarcophagus with 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
'■' anibos , that to the r. for the gospel , near which is a wreathed cande-
labrum for the Easter candle, that to the 1. for the epistle (12th cent.). On
the triumphal arch are modern paintings (resembling mosaics) of the Ma-
donna and saints. At the extremity of the 1. aisle a staircase descends to a
chapel and the catacombs. By the Confessio 7 steps descend into the second
part of the church, the structure of Pelagius II., the pavement of which is
considerably lower than that of the upper church. The entrance was form-
erly on the opposite side. 12 magnificent fluted columns of pavouazetto 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 bears a gallery with graceful smaller co-
lumns. On the triumphal arch, of which this is the original front, are
restored mosaics of the time of Pelagius II. : Christ, r. St. Peter, St. Law-
rence, St. Pelagius; 1. St. Paul, St. Stephen, Hippolytus. The canopy with
modern dome dates from 1148. By the farther wall is the handsome epi-
scopal throne. — The space below, containing nothing of interest, was
formed in the course of the restoration of 1864.

The handsome old * Court of the Monastery (usually closed ;
application may be made to one of the monks in the church)
contains numerous fragments of sculptures and inscriptions immured
in its walls ; in the corner to the r. of the principal entrance is
the lid of a sarcophagus adorned with the triumphal procession
of Oybele. The church is adjoined by an extensive churchyard,
consecrated in 1837, and considerably enlarged in 1854, from the
upper part of which there is a beautiful view of the mountains
and Campagna. A handsome Monument, with a group of St. Peter
and a kneeling knight, was erected here in 1870 to commemorate
the Battle of Mentana.

Where the "Via di Porta S. Lorenzo diverges to the 1., the
Via di Eusebio proceeds in a straight direction. Immediately to
the r. it is joined by the Via di S. Vito, where the church of
that name lies (PI. II, 23), and the Arch, erected in 2C2 in
honour of the Emp. Gallienus by a certain M. Aurelius Victor,

Minerva Medira. ROME. Porta Maggiore. 1-11

'on account of his bravery, surpassed only by his piety', is
also situated. The architecture is simple, and in the degraded
style of the age.

Farther on in the principal street, on the r., is S. Oiuliano ;
on the 1., standing back from the street, the church of .S\
Eusebio (PI. II, 28), re-erected in the last century, 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 by Bald. Croce.

The street now divides; to the 1. diverges the Via di S. Bibiana,
to the r. the Via di S. Croce, between which the Via di Porta
Maggiore pursues a straight direction. Between the first and last
of these are seen considerable remains of a water-tower of the
Aqua Julia or Claudia, in the niches of which the so-called
trophies of Marius , now on the balustrade of the Capitol, were
formerly placed (p. 166). The ruin is termed Trofei di Mario.

To the 1. in 5 min. the traveller reaches S. Bibiana (PI. II, 31),
consecrated as early as 470, re-constructed in 1625 by Bernini;
to the 1. by the entrance is the stump of a column, at which the
saint is said to have been scourged to death. The church is
open to the public on Dec. 2nd, the anniversary of the Saint.

The interior contains eight antique columns; above these an- frescoes
from the life of the saint, on the r. by Ciampelli, 1. hy Pietro da Corlona,
now defaced. The statue of St. Bibiana at the high-altar is by Bernini.

Opposite to the church , to the r. in the Vigna Magnani is
the so-called Temple of Minerva Medica (PI. II, 32), the pic-
turesque ruin of an unknown ancient edifice, a decagon with deep
niches in the walls , formerly covered with marble beneath and
stucco above. It must have appertained to some sumptuous
establishment, as a number of ancient statues have been found
in the vicinity. One of these, the Minerva Giustiniani of the
Braccio Nuovo in the Vatican (p. 240), has given rise to the
otherwise unfounded appellation of 'Temple of Minerva'. In the
middle ages the ruin was termed Le Terme di Oalluccio, a name
conjectured, without the slightest historical authority, to be a
corruption of 'Gaius and Lucius Csesar'. But the vaulting did not
fall in till 1828.

The Via di Porta Maggiore leads in 18 min. from the church
of S. Maria to the *Porta Maggiore (PI. II, 35), formed by two
arches of the Aqua Claudia, over which the Anio Novus flowed
through a second conduit. The inscriptions record the construc-
tion of the aqueduct, 45 M. in length, by the Emp. Claudius,
A. D. 50, and its restoration by Vespasian and Titus. The gate
derives its appellation from its imposing dimensions. Two roads
diverged hence: to the 1. through the now closed arch the Via
Labicana, to the r. the Via Praenesiina. Between the two, in
front of the gate, the * Monument of the Baker Eurysaces, erected
in the form of a baker's oven towards the close of the rrpublic,

142 SI. Croce in Gerusulemme. ROME. AmphUlt. Castrensc.

was discovered in 1838, during the removal of the more recent
fortifications of Honorius. Hence to the Campagna see p. 267.

From the Porta Maggiore a road leads to (5 min.) S. Croce,
passing under the arch of the Claudian aqueduct, and skirting the
wall on the inside. From S. Maria Maggiore to this church by
the Via di S. Croce is a walk of 20 min.

*S. Croce in Gerusalemme (PI. II, 36), once termed Basilica
Sessoriana, because the Sessorium, probably an ancient court of
judicature, once stood here, is said to have been erected by St.
Helena in honour of the cross found by her. As early as 433 it
served as a place of meeting for a council, it was re-constructed
under Lucius II. in 1144, and under Benedict XIV. in 1743
entirely modernised. (Facade by Oregorini^)

The nave of the church was originally borne by 12 .antique columns
of granite, of which 8 only are now visible. An ancient sarcophagus ol'
basalt beneath the high-altar contains the relics of St. Anastasius and Cue-
sari us. In the tribune are modernised 'frescoes by Pintnricchio, the Finding
of the Cross. The church contains numerous relics , among them the 'In-
scriptions on the Cross'.

To the 1. of the tribune a stair descends to the lower church, where
on the 1. is an altar adorned with a relief in marble (Pietii) ; at the sides
are statues of Peter and Paul of the 12lh cent. On the r. the chapel of
St. Helena. On the vaulting are mosaics attributed tu Bald. Peruzzi, repre-
senting the 4 evangelists. In the centre Christ. In the arch over the en-
trance, on the 1. St. Helena, r. St. Sylvester; over the altar, on the 1. St.
Peter, on Ihc r. St. Paul. The altar-statue of St. Helena is <m exact copy
of the Barberini Juno in the Sala Kotonda of the Vatican (p. 245), with the
exception that a cross has been substituted for the sceptre [in the right hand,
and a nail of the cross for the vase in the left. (A monk may be requested
to open the door of the chapel.)

The monastery belongs to the Cistercians. The Library,
although despoiled of some of its treasures, is still of great value,
and possesses many MSS. of the Fathers of the Church. Visitors
readily admitted. The monks are obliging.

Adjacent to S. Croce in the direction of the Lateran , in the
vineyard of the monastery, is situated the *Amphitheatrum Castrense
(PI. II, 36), of which a portion of 16 arches only, now incorpora-
ted with the city-wall, still exists. The structure is of brick, of
which the Corinth iancapitals and other decorations are also compos-
ed. Date of erection uncertain. — On the other side of S. Croce is
an apse with arched windows and the beginning of the contiguous
walls, which are conjectured to have formed part of a Temple of
Venus and Cupid , or a Nymphaeum of Alexander Severus , or a
Se8sorium or hall of assize.

From S. Croce to the Lateran is a walk of 5 mi».

From S. Maria Maggiore the Via in Merulana leads to the r.
to the Lateran (in */4 nr-)- 1'he first transverse street to the r.
is the Via di <S'. 1'rassede (with the church of that name, see p. 138),
which under different names leads through a comparatively well-
peopled quarter to the Forum. The Via di S. Vito to the 1.
leads to the arch of Gallierms (p. 140J.

8. Mtirtinn ai Monti. HOME S. Pietro in Vincoli. 14.5

The second side-street to the r. leads to

S. Martino ai Monti (Pi. II, 26), also termed 88. Silvestro
e Martino, erected by Symmachus about 500, renewed by Sergiusll.
in 847, and by Leo IV., and modernised in 1770.

The interior (a basilica with roof of straight beams) contains 24 antique
columns, the r. aisle six ''frescoes with representations from the life of
.Elijah by 0. Poussin. In the 1. aisle six smaller '"frescoes. Also two
pictures. representing the interior of the old Lateran and Church of St. Peter.
The presbj teriuni is 11 steps higher; beneath it the lower church. From
the latter a large, ancient vault is entered, probably once belonging to Thermse,
but at an.early period converted into a church. The vaulting bears traces
of very ancient painting.

The Via di S. Pietro in Vincoli is now reached , leading to
the r. to the church of that name , while its prolongation , the
17a delle Sette Sale skirts the vineyards of the Esquiline and
terminates near N. Clemente (p. 197).

If the latter be selected, the entrance to the so-called Sette
Sale (I'l. II, 26) is reached immediately to the r., in the Vigna,
No. 10. These seven, or rather nine chambers, running parallel
with each other, appear to have served as reservoirs lor the
Thermaj of Titus. The celebrated group of the Laocoon (p 242)
was found in the vicinity. Other and still more imposing ruins
in the vigna probably formed part of the same bathestab-
lishment.

*S. Pietro in Vincoli (PI. II, 23), not far from the Thermse
of Titus (open before 11 a. m. and after 3 p. m. ; when closed,
visitors ring at the door to the r. adjoining the church) , was
founded by Eudoxia, wife of Valentinian III., about 442, whence
also termed Basilica Eudoxiana, as a receptacle for the chains of
St. Peter which had been presented by her to Pope Leo I.,
and was restored by Pelagius 1. and Hadrian I. Vestibule sub-
sequently added by Baccio Pintelli; the whole now modernised.

The nave and aisles arc separated by 20 antique Doric columns. To
the 1. of. the high-altar is Ihe monument of Pietro and Antonio Pollajuolo
(d. 14!)!S). The 1. aisle contains the monument of the erudite Card. Nicola us
Cusanus (from Cues on the Moselle, d. 1465). Above it a relief: Peter with
keys and chains, on the 1. the donor (Nic. Cusanus), r. an angel. On the
2nd altar to the 1. a mosaic of the 7th cent, witli St. Sebastian. At the ex-
tremity of the r. aisle the monument of Pope Julius II. with the 'Statue
of Moses, by Michael Angeto, one of his most famous works. The monument
was originally destined for St. Peter's, and intended to be a most, imposing
work, consisting of upwards of 30 statues. (The Uflizi at Florence contain
M. Angelo's designs for this work , drawn by his own hand,) Owing to
various adverse circumstances the portion here preserved was alone comple-
ted. (Two statues destined for this monument are at the Louvre.) The
statues of Moses, Kachel , and Leah (as symbols, on the 1. of meditative, on
the r. of active life) alone are the work of the great master; the grouping
only of the remainder was from his design. The figure of the pope (who
is not interred here) by Maso del Bosco is a failure ; the prophet and the
sibyl at the side are by Raf. da Montelupo.

Adjacent is the entrance to the sacristy. A cabinet here with * bionze

doors (by the Pollajuoli, 1477) contains the chains of St. Peter, which are

exhibited to the pious on Aug. 1st. The Speranza by Outdo Reni which

was formerly here, was sold and sent to England some years ago. The

court of the adjacent cloister of the canonici regolari, planted with pome-

144 Via di Ripetta. ROME. Mausoleum of Augustus.

granate-trees , and adorned with a fountain by Antonio da San Gallo, was
constructed by Giuliano da San Gallo.

The piazza in front of the church is adorned by a handsome
palm-tree. To the 1. (then , where the street divides , to the 1.
again) the Thermal of Titus (p. 176) are reached in 5 min. The
street in a straight direction descends to the Basilica of Constan-
stine (p. 171), whence the above church is usually visited. On
the r. lies the church of 8. Francesco di Paola with the monastery.
In front of it a picturesque view is obtained.

III. Rome on the Tiber.

That portion of the city which extends W. from the Corso
as far as the river, uninhabited in the most ancient times, and sub-
sequently converted into magnificent grounds by the emperors
(Campus Martins), is now densely peopled. The character of this
quarter is essentially mediaeval : it consists of a network of narrow
and dirty streets and lanes , enlivened by the busy traffic of the
lower classes , and rarely intersected by great thoroughfares.
Although the topography of these purlieus is occasionally puzzling,
and their aspect unattractive , they are replete with highly inter-
esting churches and palaces , and are strongly recommended to
the notice of those who desire an acquaintance with medieval
Rome, and an insight into the characteristics of the citizens. The
following description commences with the N. side.

From the Piazza del Popolo the broad Via di Ripetta skirts
the bank of the river and the small harbour , where its name is
changed to Via delta Scrofa, and in 16 min. leads to the Piazza
S. Luigi de' France^ (where the post-office is situated), near
which on the r. the Piazza Navona, and on the 1. the piazza of
the Pantheon are situated.

After 4 min. a modern building with numerous windows is
seen on the r. It was erected by Gregory XVI., and contains a
number of studios and a collection of casts belonging to the
academy of St. Luca (p. 178). The gate of this edifice leads
to a quiet quay, planted with trees, where the barges and
steamboats which ascend the river lie. Pleasing view of the
opposite bank.

Proceeding hence to the 1. , the traveller reaches in the 3rd
transverse street, the Via de' Pontefici 57 (r.), the entrance to the

Mausoleum of Augustus (PI. I, 17; fee J/2 Ir-)> 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 envi-
roned with a park. In the middle ages it was employed by the
Colonnas as a fortress. At the present day a small day-theatre,

SS. Bocco e murunv. HOME. Palazzo Borghese. 145

occasionally also used as a circus , is fitted up within the pre-
cincts of the structure. A few only of the tomb-chambers are
still preserved.

To the 1. in the Via di Ripetta the traveller next reaches the
church of SS. Bocco e Murtino (PI. I, 14), erected in 1657 by
dc Bossi, the facade with its two pairs of Corinthian columns in
I8!!4. Immediately beyond it, on the r. , is the Harbour of the
Bipetta, constructed**^ jCAement XI. in 1707. The height attained
by the water during inundations is indicated on the two columns
on the arched wall. Ferry 1 soldo. Bathing-establishment on the
opp. bank in summer. On the 1. the small church of S. Giro-
lamo dtyli Schiavoni (PI. I, 15). Farther on, to the 1., a bath-
establishment, not recommended.

The Via della Scrofa , as the street is now termed , is soon
intersected (about 9 min. from the Piazza del Popolo) by a main
street, which quitting the Corso opposite the Via Condotti leads
(o the Ponte S. Angelo under different names, and forms the
most direct communication between the strangers' quarter (Piazza
di Spagna) and the Vatican. The church of S. Trinity de' Monti
is \isible*flti'e"' greater part of the way, forming the termination of
the street. From the Corso to the Piazza Borghese with the
celebrated palace of that name (4 min.) it is termed Via della
Fontanella Borghese; thence to the Via della Scrofa, Via del
Clementino, on the 1. side of which are the Vaserma de' Vigili, or
guard-house of the firemen , and the adjacent back-buildings of
the Palazzo di Firenze , formerly the residence of the Tuscan
amb^sgadoj;, now that of the Minister of Justice.

The *Palazzo Borghese (PI. I, 16), begun by order of Card.
Deza in 1590 by the architect Mart. Longhi the Elder, came
through Paul V., who caused it to be completed by Flam. Ponzio,
into the possession of the Borghese family. The principal facade
(with respect to the construction of the court) towards the street
bears the inscription : Bonitatern et disciplinam et scientiam do-
WiflfnT) ; the more imposing lateral facade is towards the Piazza
Borghese. The * Court is on the basement and first floor sur-
rounded by arcades, consisting of arches resting on clustered
columns. Beneath these are three ancient colossal statues (a Muse,
an Apollo Musagetes , and a portrait-statue); at the extremity of
the r. passage a fragment of the statue of an Amazon , in the
centre of that to the 1. the entrance to the ** Picture Gallery
(open Mondays, Wednesdays, and Fridays 9 — 23/4 o'clock; fee !/2fr.).
It is arranged according to the schools, and contains many admi-
rable works. Catalogues in each room. The apartments are
artistically decorated.

1st Room: works principally of the school of Leonardo. "Decorations,
in grisaille and gold, by Carlo Villain. "\. Madonna, Sandro Botticelli;
2. Madonna, Lorenzo di Credi; 8. Vanita, Sen. of Leonardo ; s17. BcceHomo,

BjsDEKiiK. Italy II. 3rd Edition. jQ

146 Palazzo Borghese. ROME. Picture Gallery.

same ; 26. Madonna , same ; 27, 28. Lauraand Petrarch ; 30. Ecce Homo, Peru
gino (?) ; 32. St. Agatha, Sch. of Leonardo ; * 33. Christ when a boy, Sch. o
Leonardo; 34. Madonna, Perugino (a copy); -35. Raphael when a boy, b"
Timoteo della Vile (according to Passavant ; by Ridolfo Ghirlandajo, accordin|
to Crowe and Cavalcaselle) ; 43. Madonna, Fr. Francia (?) ; 45. St. Catharine
after Raphael; 48. St. Sebastian, Perugino; 49, 57. History of Joseph, Pin
turicchio ; "54. Holy Family, one of the finest works of Lorenzo di C'redi ; 56
Leda and the swan, copy of the celebrated picture , Leonardo; 61. St. Antony
Fr. Francia (?) ; ~ 65. Madonna, Sch. of Leonardo ; 67. Adoration of the Child
Orlolano; *69. Holy Family, Pollajuolo. — 2 n d B| : numerous pictures b>
Garofalo, of which the finest only are enumerated. 4. Portrait, copy froii
Perugino; 16. Madonna with St. Joseph and St. Michael, Garofalo ; 7. Madonn;
with two saints, Fr. Francia; "9. Christ mourned over by his friends, Garo
falo; "18. Portrait of Julius II., an admirable copy from Raphael; '21
Portrait of a cardinal , Raphael ; - 24. Madonna with St. Joseph and St. Eliza
beth (Mad. col divino amore), Raphael (original at Naples) ; " 26. Portrait ol
Ciesar Borgia (?) , Raphael; 35. Madonna, Andrea delSarlo; ""38. Entomb-
ment (1507), Raphael, his last work before going to Rome, ordered by Ata-
lanta Baglioni for her chapel in S. Francesco de Conventuali at Perugia, after-
wards purchased by Paul V. The predella which belongs to it (Faith,
Hope, and Charity) is in the Vatican Gallery. 39. Madonna di Casa d'Alba,
an old copy, Raphael; 40. Holy Family, Fra Bartolommeo ; 43. Madonna,
Fr. Francia; 44. Madonna, Sodoma; *51. St. Stephen, Fr. Francia; 58.
Adoration of the Magi, Mazzolino; "65. Portrait of the so-called Fornarina,
a good copy of the original of Raphael in the Pal. Barberini , perhaps by
Sassoferralo; 68. John in the wilderness, after Raphael. — StiE" : 1- Christ
bearing the Cross, Andrea Solario; "2. Portrait, Parmeggianmo ; 5. Christ
risen, Aless. Allori, attrib. to Mich. Angela; 11. The Sorceress Circe (?),
Dosso Dossi; 13. Mater Dolorosa, Solario (?); 15. Madonna, Scarcellino; 22.
Holy Family, Sch. of Raphael; 24. Madonna with angels, Andrea delSarlo;
~28. Madonna, by the same; 35. Venus with two Cupids, And. del Sarlo(>);
37. Portrait, unknown ; '*:' 40. Danae , one of the finest easel-pieces of Cor-
reggio; 42. Portrait of Cosmo de' Medici, Bronzino; 46. Mary Magdalene,
alter Correggio's original at Dresden; 47. Holy Family, Pomarancio; "48.
Scourging of Christ , Sebasl. del Piombo (the same piece is in Pietro in
Montorio as a fresco); 49. Mary Magdalene, And. del Sarto. — J,th B.: this
and the following rooms principally contain works of the Bolognese1 'school
(that of the Caracci) and the 'naturalists' (Caravaggio etc.). 1. Entombment,
Ann. Caracci; "2. Cumsean Sibyl, Domenichino; 4. Head, Lod. Caracci; 10.
Rape of Europa, Cav. d'Arpino; 14. Entombment, Sch. of the Caracci; "16.
Sibyl, Guido Cagnacci; 18. St. Francis, Cigoli; 20. St. Joseph, Guido Kent;
29. St. Dominicus, Ann. Caracci ; 33. Martyrdom of St. Ignatius, Luca Gior-
dano; 36. Madonna, Carlo Dolce; 37. Mater Dolorosa, by the same; 38,41.
Annunciation, Furino; 39. Neptune, Ribera; 40. St. Jerome, by the same;
42. Head of Christ, Carlo Dolce; 43. Madonna, Sassoferralo. — jjjj^h}
*11, 12, 13, 14. Four Seasons, landscapes with mythological accessoTOl,
Franc. Albani; '15. Diana and her Nymphs practising with their bows, Do-
menichino; 21. Liberation of Peter, Francesco Mola; 22. Psyche borne aloft
by nymphs, copy from a picture in the Farnesina; 25. Christ bewailed by
angels, Fed. Zuccari; 26. Madonna with St. Anna and the Child Jesus, Cara-
vaggio; 27. Venus, Varotari (il Padovanino); 20. Battle, Cav. d'Arpino;
29. Landscape, Sch. of Poussin. — 6th. R. : Mater Dolorosa, Guercino; 2.
Female half-figure, by the same; :3. Portrait of Orazio Giustiniani, Andrea
Sacchi; 5. Return of the Prodigal, Guercino; 7. Portrait of Gius. Ghislieri,
Piet. da Cortona; 10. St. Stanislaus with the Child Jesus, Ribera; 12. Joseph
interpreting the dreams in prison, Valentin; *13. Three periods of lifei
Titian, a copy by Sassoferralo from the original in London ; 16 , IT. Iai"i
scapes, Franc. Grimaldi; 18. Madonna, Sassoferralo; 22. Flight of M&m
from Troy, Baroccio; 24, 25. Landscapes in the style of Poussin. — 7 th Ey
the lower part of the wall is principally decorated with mirrors , on which
Cupids (by Ciroferi) and wreaths of flowers (by Mario de' Fiori) are pTfintal
The niches in the upper part of the walls are occupied by 16 ancient portrait
busts, some of them greatly restored. In the centre is a table of irregular

Palazzo Borghese. ROME. Picture Qallery. 147

mosaic composed of stones of every variety , some of them extremely rare.
— 8th R. : containing a number of small objects of art and curiosities.
Entrance-wall: 96. Orpheus with the animals in a landscape, Brill (?); '::90.
Female head, a drawing of the Sch. of Leonardo ; 86. Mater Dolorosa, Mar-
cello Provenzali. Window-wall : By this and the wall of the egress are 12
small bronze antiques, among them two Minervas, two Dianas , Juno , Her-
cules, and Harpocrates. 38. Landscape, Franc. Viola. Wall opp. window :
4 Madonna, Giulio C'lodi; 91. The Graces, Vanni; s88. View of the Villa
Borghese in the 17th cent. Opposite the door of egress the visitor obtains
a view of the banks of the Tiber beyond the fountain below. To the 1. a
passage adorned with landscape-frescoes leads to the 9th R. , where several
frescoes are collected which have been removed from their original sit-
uations. The most important are * three from the so-called Villa of iia-
phael , which formerly stood within the grounds of the Villa Borghese
and was removed in 1849 (p. 122) : 1. Nuptials of Alexander and Roxana
from an extant drawing by Raphael, which was based on the description of
a work of yEtion (Lucian , Herod. 5). A similar picture by Sodoma is in
the Famesina. 2. Nuptials of Vertumnus and Pomona. 3. The so-called
'iiersaglio de' Dei' (shooting contest of the gods) , from a drawing in the
Brera at Milan bearing the name of Mich. Angelo. These three were pro-
bably executed by Raphael's pupils. Some of the other paintings are from
the Villa Lante. The balcony reached from this room affords a pleasing
view of the Tiber and its banks as far as Monte Mario. Returning to the
mirror-room and selecting the door to the 1. in the opp. wall, thu visitor
enters the 10 th R. , principally containing, like the following room, works
of the Venetian school: 1. 'Portrait, Moroni; *2. Cupid equipped by Venus
(erroneously called 'the Graces'), Titian; 4. Judith, said to have the features
of Titian's wife, Sch. of Titian or Giorgione; 6. Cupid and Psyche, Sch. of
Ferrara; *9. Portrait, Pordenone; "13. David with the head of Goliath,
I'ietro delta Vecchia ; 14. John the Baptist preaching repentance, Paolo Vero-
nese; "16. St. Dominicus, Titian; 19. Portrait, Giac. Bassano; *-21. 'Amor
sagro e prufano' (earthly and heavenly love) , one of the greatest works of
Titian; 22. Concert, Laonello Spada; 34. St. Cosmas and St. Damianus,
Venet. Sch.; 35. Family scene, probably the nativity of the Virgin, Venet.
Sch. ; * 36. Madonna, an early work of Giov. Bellini. — 1 1 1 h R. : 1. Madonna
with Adam and St. Augustine , Lor. Lotto (1508) ; 2. St. Antony about to
preach to the lish, Paolo Veronese (?) ; 3. Madonna, Titian (?); 9. Portrait,
Moroni; 11. Venus and Cupid on dolphins (unfinished), Luc. Vambiaso; 14.
Last Supper, And. Schiavone ; 15. Christ among his disciples and the sons of
Zebedee with their mother, Bonifazio; 16. Return of the Prodigal, by the
same; 17. Samson, Titian; 18. Christ and the adulteress, Bonifazio; 19. Ma-
donna with saints etc. , Palma Vecchio (?) ; 20. Venus and Cupid , Paolo
Veronese^'); 23. Portrait, Pordenone; 24. Madonna, Schidone ; 25. Portrait of
himself, Titian (3 copy); '27. Portrait, Giov. Bellini (or Antonello da Messina);
31. Madonna ami St. Peter, by the same; "32. Holy Family, Palma Vecchio;
33. Family-portrait, Licinio da Pordenone ; 39. Portrait, Giov. Bellini. — 1 2 th R.:
Dutch and German masters. 1. Crucilixion, Van Dyck (?); "7. Entombment,
by the same; "8. Genre picture, D. Tenters; 9. Genre picture, A. Brouwer;
15. Mary's visit to Elisabeth, Brabant Sch. ; 19. Portrait (said to be of Louis VL
of Bavaria), Dttrer (?) ; 20. Portrait, Holbein; 21. Landscape and accessories,
Wouverman (?); 22. Cattle-piece, Potter (?); 23. tjuay, Backhuyzen; 26. Cross-
ing the ice, in different shades of brown, perhaps by Berchem; 24. Portrait,
Holbein (?); Portrait, Van Dyck; -'35. Portrait of himself, Perugino; 37. Por-
trait of Pirkheiiner (?) , Durer ; 41. Lot and his daughters, Gherardo delle
Nolti; 44. Venus and Cupid, Lucas Cranach. In a small cabinet (which the
custodian does not open unless desired), are a number of less important
Italian pictures of the 14th and 15th cent.

From the Via della Scrofa to the Ponte S. Angelo is a walk
of 10 min. by a street separated from the river by a single row
of houses only, and of which the name frequently changes.

It soon reaches the Piazza Nicosia , where in the corner fa

in*

148 Palazzo Oalizin. HUMifi. S. Agostino.

the 1. the recently erected Pal. Oalizin, built to some extent on
the plan of the Pal. Giraud near St. Peter's (p. 212), is situated.
Farther on in the Via della Tinta, on the 1., is the small church
of S. Lucia, mentioned as early as the 9th cent. In the Via di
Monte Brianzo , dell' Orso, and dell' Arco di Parma there are no
buildings worthy of note.

From the last mentioned the Vicolo of the same name di-
verges, in which the Pal. Lancelotti, erected under Sixtus V. by
Franc, da Volterra, subsequently by C. Maderno, is situated. The
portal was designed by Domenichino. The court contains ancient
statues and reliefs.

The Via di Tordinone, or Tor di Nona , so termed from the
prison-tower once situated here , is now followed. To the 1. the
Vicolo de' Marchegiani diverges to the church of S. Salvatore in
Lauro, erected by Ursini in 1450 , entirely reconstructed under
Pius IX. in 1832, with the adjacent court of a monastery. At
the extremity of the Via Tordinone , on the r. , is the Theatre
of Apollo (p. 87), restored by Valladier in 1830.

The street terminates in the Piazza di Ponte S. Angelo,
whence three others diverge. The Via in Panico leads with its
prolongations to the Piazza Navona (p. lo3), the Via del Banco
di S. Spirito in the centre to the Piazza Farnese (p. 158) and
the Via Paola to the Ponte Leonino and to the Via Giulia which
skirts the bank of the Tiber. The place of execution, now near
the Ponte Rotto (p. 228), was formerly here.

If the Via della Scrofa be followed, passing the Pal. Galizin
on the r. , the 4th transverse street on the r. (at the 1. corner,
Via della Scrofa 70, is the palace of the general-vicar, where
permessi for the catacombs are obtained, 11 — 12 a. m.) leads to
the Piazza di 8. Agostino.

*S. Agostino (PI. I, 13), erected by Baccio Pintelli in 1483
at the instance of Card. d'Estouteville, protector of the Augustine
order , on the site of a former oratorium , was the first Roman
church with a dome. The facade and spacious staircase are said
to have been constructed of stones from the Colosseum. The
interior , in the form of a Latin cross , was lately restored and
adorned with frescoes by Ougliardi.

On the entrance -wall a Madonna and Child, by Jacopo Tutti, pupil of
Sansovino, surrounded by numerous votive offerings. In the 1st Chapel on
the r. St. Catharine by Vmusti; in the 2nd Nucci's (free) copy of the lost
Madonna della Rosa ot Raphael ; in the 4th *Christ delivering the keys to
Peter , group by C'otignola. By the 5th Chapel is the monument (the second
to the 1.) of the erudite Onofrio Panvinio (d. 1568). The r. transept con-
tains the chapel of St. Augustine with an altar-piece by Guercino: St. Au-
gustine between John the Baptist and Paul the Hermit. High-altar decorated
by Bernini; the image of the Madonna is said to have been brought iron1
the church of St. Sophia at Constantinople and painted by St. Luke. In"16

8. Apollinare. ROME. 8. Luigi de' Francesi. 149

chapel on the 1. of this , the remains of St. Monica , mother of Augustine,
are preserved ; altar-piece by Oottardi.

The 2nd Chapel in the 1. aisle contains a 'group in marble (St. Anna,
Mary, and Jesus) by Andrea Hansovino (1512). In the 4th, St. Apollonia,
altar-piece by Muziuno. In the nave, on the 3rd pillar to the 1., ''Raphael's
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
injured. In the execution of this work the great master is said to have
been influenced by that of M. Angelo in the Sixtine Chapel.

The neighbouring monastery, at present occupied by the Marine
Minister, contains the Bibliotheea Angelica (entrance on the r. of
the church), comprising 90,000 vols, and 30.000 MSS. , of which
complete catalogues have been formed. Admission daily, Thurdays
and holidays excepted, 7'^ — H3/« »■ m.

Proceeding from the Piazza di S. Agostino in a straight
direction under the archway , the traveller reaches the Piazza S.
Apollinare, then the Piazza Tor Sanguigna and Via de' Coronari
(continuing to follow the narrow street in a straight direction),
leading to the Via in Panico and the Ponte S. Angelo (8 min.).
This is the nearest way from the Piazza Colonna to the Vatican.

In the Piazza S. Apollinare is situated the Seminario Romano
(PI. I, 13), a species of grammar-school, with the church of
8. Apollinare , the present form of which was imparted to it by
Fuga under Benedict XIV. To the 1. over the altar in the inner
vestibule is a Madonna by Perugirto. Opposite the church is the
Pal. Altemps of the 16th cent. , possessing a handsome double court
with arcades , the lateral colonnades of which are closed with
masonry, and containing a few ancient statues and other relics.

Prom the Piazza S. Apollinare the Via Agonale leads S. to
the Piazza Navona (p. 153); from Tor Sanguigna, S. Maria dell'
Anima (p. 148) and della Pace (p. 155) are readied to the 1.

In the direction of the Vatican (3 min.) the Pal. Lancelotti
(p. 148) lies on the r. ; a short distance farther is the side-
entrance to S. Salvatore in Lauro (p. 148).

The Via della Scrofa leads to the small, but much frequented
and busy Piazza di S. Luigi de' Francesi. Here on the r. is
situated S. Luigi de' Francesi (PI. II, 13), consecrated in 1589,
having superseded a succession of earlier churches. Facade by
Giac. della Porta. It is one of the better structures of its period ;
the interior also is decorated with taste and judgment. Some of
the pictures badly lighted.

R. aisle, 1st Chapel: St. John, altar-piece by G. B. Naldini. 2nd Cha-
pel: "frescoes from the life of St. Cecilia, one of the most admirable works
of Domenichino; on the r. the saint distributes clothing to the poor, in the
lunette above she and her betrothed are crowned by an angel ; on the I. the
saint sutlers martyrdom with the blessing of the Pope, above she is urged
to participate in a heathen sacrifice ; on the ceiling, admission of the saint
inlo heaven; altar-piece, a copy of Raphael's St. Cecilia (in Bologna) by
Outdo Reni. 4th Chapel, of St. Remigius: altar-piece The Oath of Clovis,
by Giac. del Vonte; frescoes on the r. , Campaign of Clovis, by Girolamo
Sicciolante (da Sermoneta); on the 1., Baptism of Clovis, by Pellegrino da
Bologna. 5th Chapel, del CrocirJsso: on the 1. the monument of the painter
Guerin, on the r. that of Aeincnnrt tq tm^i "-= writer on art.

150 Vniversith della Sapienza. ROME. Pantheon.

Over the high-altar : "Assumption of Mary, by Franc. Bassano. L. aisle
1 st Chapel : St. Sebastian , altar-piece by Massei ; on the r. and 1. modern
frescoes ; by the first pillar on the r. the monument of Claude Lorrain
erected in 1836. 3rd Chapel of St. Louis: altar-piece by Plantilla Bricci
who is said to have designed the architecture also; picture on the 1. by
(iimignani. 5th Chapel, of St. Matthew : altar-piece and pictures on r. and
1. by Caravaggio, 1. the evangelist's vocation to the apostleship, r. his death.

Opposite the church is the Palazzo Patrizi (PI. II, 13), where
permission to -visit the Villa Patrizi (p. 133) is obtained, adjoining
which at the extremity of the piazza is situated the Senate House
(formerly the post-office) in the Pal. Madama (PI. II, 13), with its
principal facade towards the piazza of that name (p. 153).

The Via delle Poste descends in a straight direction past the
senate-house. Opposite the latter, to the 1., in the small Piazza
S. Eustachio, is the Palazzo Giustiniani (PI. II, 13), erected by
Giov. Fontana. It formerly contained a valuable collection of pic-
tures and sculptures ; most of the former are now in Berlin, the
latter partly in the Vatican and partly in possession of Prince
Torlonia ; the reliefs immured in the court and passages of the
ground-floor alone remain. On the opposite side is the Pal.
Maccarini, designed by Giul. Romano, on the r. is the back
of the

University della Sapienza (PL II, 13, 25), founded in 1303
by Boniface VIII., and after a rapid decline re-established by
Eugene IV. (Entrance Via della Sapienza 71.) It attained to
its greatest prosperity under Leo X., in whose honour mass used
to be celebrated on the Friday of the Carnival, and a panegyric
pronounced in the church. Additional grants were accorded to the
university by Leo XII. and Gregory XVI. , and it now possesses
live faculties (theology, philosophy, law, medicine, philology) and
a staff of 42 professors and lecturers. The present edifice was de-
signed by Oiac. della Porta, the church (S. Ivo) by Borromini in
the form of a bee , in honour of Urban VIII., in whose armorial
bearings that insect figures , and provided with a baroque spiral
tower.

The street to the 1., like the two preceding cross-lanes, leads
to the Piazza della Rotonda (PI. II, 16). Above the large foun-
tain erected by Lunghi under Gregory XIII. , Clement XI. caused
the upper extremity of a broken obelisk to be placed. This
piazza generally presents a busy scene , and affords the stranger
opportunities of observing the characteristics of the peasantry.

Here is situated the church of S. Maria Rotonda , or the
** Pantheon (PI. II, 16), the only entirely preserved ancient
edifice in Eome. The statues, however, and architectural deco-
rations have been added by modern taste, notwithstanding which
the huge circular structure with its vast colonnade presents a
strikingly imposing aspect. The walls , constructed of admirable
buck work , were originally covered with marble and stucco. The

Pantheon. ROME. Tltermae of Agrippa. 151

ground in the vicinity has gradually been so much raised that
the pavement of the temple , which was formerly approached by
an ascent of Ave steps , now lies below the level of the piazza.
The portico consists of 16 Corinthian columns of granite, upwards
of 38 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 , terminating in niches , in which the colossal statues of
Augustus and his son-in-law M. Agrippa stood. The latter,
according to the inscription on the frieze (M. Agrippa L. F. Cos.
tertium fecit) , caused the edifice to be erected B. C. 27. The
central colonnade leads to the entrance, still closed by an ancient
door strongly secured by bronze plates , in order to diminish the
weight of which the upper portion is replaced by a railing. The
interior , illuminated solely by the aperture in the centre of the*
dome, produces so beautiful an effect that even in ancient times-
it gave rise to the belief that the temple derived its appellation
of Pantheon (to this day not satisfactorily explained) from its
resemblance to the vault of heaven. The seven large niches iu
the interior contained statues of Mars , Venus , C;esar, etc. The
fretted ceiling of the vault , which consists of concrete , was
decorated with stucco; the entire roof was fevered with gilded
bronze tiles, which the Emp. Constans II. caused to be removed
to Constantinople in 655; under Gregory III. they were replaced
by lead.

The temple was connected with the Thermae of Agrippa, the
ruins of which lie in the rear, and was once believed to have
originally appertained to them , and to have been converted into
a temple at a subsequent period. The name Pantheum was how-
ever used as early as the year 59 A. D. It was restored by
Domitian , Trajan, Septim. Severus, and Caracalla; the names of
the two last are inscribed on the architrave of the portico.

In 610 the Pantheon was consecrated by Pope Boniface IV.
as a Christian church, under the name of S. Maria ad Martyres.
In commemoration of this event the festival of All Saints was
instituted and celebrated on May 13th, subsequently on Nov. 1st.
A. palace , a cathedral-chapter, and a cardinal's title were after-
wards attached to the church of S. Maria Rotonda, or La Eotonda
as it is commonly termed. Under Urban VIII. (Barberini) the
two campanili were erected by Bernini, the 'ass's ears' of the
architect as they have been derisively named. The same pope
removed the brazen tubes , on which the roof rested , from the
portico , and caused them to be converted into columns for the
canopy of the high-altar, and cannons for the defence of the castle
of S. Angelo. This Vandalism gave rise to the complaint of
Pasquin : 'Quod non fecerunt barbari, fecerunt Barberini'. Pius IX.
has caused the church to be judiciously restored.

152 Raphael's Tomb. ROME. S. Maria sopra Minerva.

In the first Chap. 1. by the high -altar stands the simple monument of
Card. Consalvi (1757 — 1824), state-secretary of Pius VII., by Thorwaldsen.

On the 3rd altar on the 1. is Raphael's Tomb (b. Apr. 6th, 1483; d. Apr.
6th, 1520). The inscription on the wall with the graceful epigram:
Jlle hie est Raphael, timuit quo sospite vinci
Rerum magna parens, et moriente mori.
s by Card. Bembo.

A lengthy inscription beside it announces that Raphael's remains were
placed in a new sarcophagus in 1833. Statue of the Madonna on the altar
here by Lorenzetto.

The Pantheon is also the last resting-place of other celebrated artists:
Ann. Caracci, Tadd. Zucchero, Bald. Peruzzi, Perino del Vaga, and Giov.
da Udine.

A visit to the interior by moonlight should on no account be
omitted, hut the sacristan must be informed some time previously;
admittance is then obtained in the evening by the door at the
back of the sacristy, Via della Palombella 10.

From the Piazza of the Pantheon the Via de' Pastini leads
to the Piazza di Pietra (p. 115); or the ascent to the 1. at the
beginning of the street, leading to the Piazza Capmnka, with
the small theatre of that name, and Monte Citorio (p. 114), may
be preferred. The Via del Seminario leads to S. Ignazio (p. 115).

Descending to the 1. by the Pantheon, the Via della Minerva
leads to the Piazza della Minerva, where the church of S. Murk
sopra Minerva lies^on the 1., and the Hotel de la Minerve (p. 83)
opposite the traveller. In the centre stands an elephant in marble;
on its back a small obelisk has been placed fby Bernini], which,
with that in the Piazza della Rotonda (p. 150), is said once to
have been erected in front of a temple of Isis formerly situated
here.

S. Maria sopra Minerva (PI. II, 16), erected on the ruins
of a temple of Minerva founded by Pompey, is the only Gothic
church at Rome , and was probably begun about 1280 by the
builders of >S. Maria Novella at Florence. In 1848—1855 it was
restored and re-decorated, and contains valuable works of art.

By the entrance- wall , on the r. , the tomb of the Florentine knight
Diotisalvi (d. 1:82); in the 1. aisle, on the 1., that of the Florentine Franc.
Tornabuoni, by Miiio da Fiesole (?); above it the monument of Card. Giac.
Tebaldi (d. 1466). To the r. of the altar in the 3rd Chapel , *St. Sebastian,
by Mino da Fiesole. On the altar: head of Christ, by Perugino. In the
5th Chapel is (r.) the monument of the Princess Lante, by Tenerani. In the
r. aisle, by the pillar between the 3rd and 4th chapels is an outlet with at
ancient Greek sarcophagus (Hercules taming the lion). In the 4th Chapel, the
'Annunciation, a picture on a golden ground (in the foreground Card. Giov.
a Torrecremata recommends to the Virgin three poor girls), painted to coin-
memorate the foundation of the charitable institution of S. Annunziata,
erroneously attrib. to Fiesole; on the 1. the tomb, of Urban VII. (d. 1590),
by Ambrogio Buonvicino. The 6th Chapel (Aldobrandini) contains paintings
by Alberti, over the altar the Last Supper by Baroccio ; monuments of the
parents of Clement VIII. by Oiar. della Porta. In the transept a small
chapel on the r. is first observed , containing a wooden crucifix attrih. to
Giotto; then the " Caraffa Chapel (with handsome balustrade) , painted by
Filippino Lippi ; on the r. Thomas Aquinas, surrounded by allegorical
figures; on the wall at the back the Assumption of the Virgin; altar-fresco,
the Annunciation with a portrait of the donor Card. Cnraffa; sibyls on the

Palazzo Madonna. ROME. Piazza Navona. 153

vaulting by Rafaellino del Oarbo; on the 1. the monument of Paul IV.,
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 Giov. Cosma. The first chapel by the choir
contains an altar-piece hy 0. Maratia. The second is the Cappella del tlo-
sario ; altar-piece groundlessly attributed to Fiesole ; on the r. the tomb of Card.
Capranica (about 147(1). The choir contains the large monuments of the two
Medicis, (1.) I.eo X. and (r.) Clement VII., designed by Ant. da San Gallo;
that of Leo executed by Raf. da Monte Lupo, that of Clement by Giov. di
Baccio Bi(jio; on the pavement the tombstone of the celebrated scholar Pietro
Bembo (d. 1547). In front of the high-altar is Mich. Anyelo's ""'Christ with
the Cross (1527), unfortunately marred by bronze drapery. On the 1. by the
choir is a passage to the Via S. lgua/.io; on the wall the tombstone (first
on the 1.) of Fra Beato Angelico da Fiesole, who died in the neighbouring
monastery in 1455, with his portrait and the inscription : Hie jacet Venera-
hilis pictor Frater Johannes de Florentia Ordinis praedieatoruni 14 LV. In
thel. transept is the Chapel of S. Domenico, with 8 black columns, and
he monument of Benedict XIII. by P. Bracci. Adjacent, to the r. , is the
entrance to the sacristy and the library.

The adjoining Dominican monastery, at present occupied by the
Minister of Finance, contains the Bibliotheca Casanatensis (entrance
to the 1- by the church , first door to the r. beyond the court),
the most extensive in Rome after that of the Vatican , com-
prising 120,000 vols, and 4500 MSS., accessible daily 8— 11 and
It/., — "i^l'i o'clock. (The afternoon hours vary according to the
time of sunset. J

From the Piazza della Minerva , passing to the 1. by the
church, the Via del Pit di Marino leads in a straight direction to
the Piazza del Coll. Romano (p. 116); from the Pie di Marmo the
Via del Gesti diverges to the r. , leading in 3 M. to the Piazza
del Gesii p. 121).

From the Piazza S. Luigi de' Francesi (PI. II, 13) a short
street between the church and the post-office (or the traveller
may pass through the buildings of the latter and turn to the r.)
leads to the Piazza Madama, where to the 1. rises the facade of the
Palazzo Madama (PI. II, 13), so called from Margaret of Parma,
(laughter of Charles V. , by whom it was once occupied. Pre-
viously and subsequently it was in possession of the Medicis,
afterwards Grand-dukes of Tuscany, who in 1642 caused it to be
altered (by Marocelli) to its present form. The Italian Senate
now holds its sessions here; one entrance is from the Piazza
di S. Luigi, the other from the Piazza Madama. On the balcony
facing the latter the winning numbers of the Lotto are drawn
on Saturdays at noon, a proceeding which attracts a crowd of
spectators. A short sidestreet leads hence to the

*Piazza Navona (PL II, 13), the largest in Rome after that of
St. Peter , where , as its form still indicates, the Circus or Sta-
dium of Domitian was formerly situated. The appellation is said
to be derived from the contests, agones (corrupted to Navone,

154 S. Agnese. ROME. S. Maria dell' Anima.

Navona), which took place here. Of the throe Fountains that on
the N. is unattractive ; not far from it is a trough consisting of
a large ancient basin of Pentelic marble ; the largest in the centre
was erected by Bernini under Innocent X.; at the corners of the
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,
formerly in the Circus of Maxentius , and originally erected in
honour of Domitian. The other fountain is adorned with masks,
Tritons , and the statue of a Moor by Bernini. The piazza was
employed as a market-place from 1447 to 1871, and was resorted
to by a busy concourse of peasants, market-women, hawkers, etc.;
but the vegetable market is now held in the Campo di Fiori. The
singular custom formerly prevailed of laying this piazza under
water for the amusement of the people (annually in August), by
preventing the escape of the water from the fountains.

On the W. side stands the church of S. Agnese (PI. II, 13),
the interior of which is in the form of a Greek cross ; campanile
by C. Rinaldi, facade by Borromini. In order not to be distressed
by the aspect of the latter , the Nile on the great fountain veils
his head, as Bernini used to maintain.

Over the principal door is the monument of Innocent X. by Maini;
to the 1., in the chapel of the transept, is a statue of St. Sebastian, into
which an ancient statue has been converted by Maini. Beneath the dome
are eight columns of 'cognatello'. The old church was in the side -vaults
of the Circus where the saint suffered martyrdom. Two chapels with an-
cient vaulting still remain.

To the 1. by the church is the Pal. Pamflli (PI. II, 13), also
erected by Rinaldi , now the property of Prince Doria. Opposite
to it is the dilapidated national church of the Spaniards, S. Gia-
como dei Spagnuoli, of the 15th cent.

The Via di S. Agnese, to the r. by the church, leads to the
Via delV Anima on the r., where on the 1. side *S. Maria dell'
Anima (PI. II, 13) is situated (open till 8'/2 a. m., on holidays
till noon ; when closed , visitors go round the church by the
Vicolo della Pace on the r. and ring at the first large door on
the 1., the entrance to the German Hospice. Immediately oppo-
site to this is S. Maria della Pace). The name is derived from
a small marble-group in the tympannm of the portal : a Madonna
invoked by two souls in purgatory. This is the German national
church, connected with the Hospice, and was completed in 1514.
Facade by Oiuliano da Sangallo ; according to some , Bramanti
designed part of the architecture of the interior.

The central window of the entrance - wall formerly contained stained
glass by William of Marseilles, now modern. In the r. 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 Family, altar-piece by Gimig-
nani; monument and bust of Card. Slueius. 4th Chapel: altered copy of

S. Maria della Pace. ROME. Palazzo Vidoni. 155

Michael Angelo's Pieta in St. Peter's, by Nanni di Baccio Bigio. In the 1.
aisle , 1st 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 Salviali.

In the Choir: over the high -altar, "Holy Family with saints, by
0. Romano, damaged by inundations; on the r., "monument of Hadrian IV.
of Utrecht (preceptor of Charles V., d. 1523), designed by Baldassare Pe-
ruzzi , executed by Michelangiolo Savese and Niccolb Tribolo; opp. to it that
)f a Duke of Cleve-Julich-Berg (d. 1575) by Egidius of Riviere and Nicolaus
of Arras.

The Hospice connected with the church , which from 1815 to 1863 was
under Austrian management, has again become a national German institution.

*S. Maria della Pace (PI. II, 13), erected by Sixtus IV.
(1484) and Innocent VIII., was restored by Alexander VII., and
provided by Pielro da Cortona with a facade and semi-circular
portico. The church consists of a nave only, and terminates in an
octagon with a dome.

Over the 1st Chapel on the r. are "'"Raphael's Sibyls, painted in 1514
by order of Agostino Chigi who erected the chapel , skilfully freed from
Restorations' by Palmaroli in 1816; seen best 10 — 11 a. m. Prophets in
the lunette above by Tim., della Vile. At the sides of the 1st Chapel on
Hie 1. monuments of the Ponzetti family, of 1505 and 1509 (which should
be compared with the heavy decorations of the 2nd chapel on the r., executed
half a century later); fresco altar-piece by B. Peruzzi: Madonna between
St. Brigitta and St. Catharine , in front the kneeling donor Card. Ponzetti ;
saints above the niche by Bagnacavallo. To the 1. beneath the dome, the
entrance to the sacristy and court (see below). Over the first altar on the 1.,
Adoration of the Shepherds by Sermoneta. The second altar, with handsome
marble-work partially gilded, is of the 16th cent. The high-altar is adorned
with an ancient and greatly revered Madonna. Over the adjacent altar to
the r. , Baptism of Christ, Sermoneta. Over the niche , Mary's first visit to
the Temple, Bald. Peruzzi.

It is the custom for newly-married couples to attend their
first mass in this church. — The *court of the monastery, with
arcades constructed by Bramante by order of Card. Caraffa in
1504, merits a visit; by the r. wall the tomb of Bishop Bocciacio
(d. 1437). Entrance through the church, or Arco della Pace 5.

From the portal of the church the Via della Pace and the
Via in Parione lead in a straight direction to the animated Via
del Oovervo Vecchio. The latter with its prolongation under
different names forms the most direct and frequented route be-
tween the Piazza del Gesil and the Vatican (distance from Gesu
to the Ponte S. Angelo 18 min. walk).

From the Piazza del Gesu the Via de' Cesarini is followed,
leading to the Piazza delle Stimate on the r., with the church of
that name (PI. II, 16) and the opposite Pal. Strozzi (PI. II, 16)
(the prolongation of the street leads to the Piazza della Minerva,
p. 152); the Piazza Strozzi, named after the palace, is then
entered on the r., then the Via di Tor Argentina, which to the r.
leads to the Pantheon ; on the 1. is the Teatro Argentina. The
Via del Sudario now leads direct to the church of Andrea della
Valle, which is already visible.

The corner-house (No. 13) before the church is reached is
the Palazzo Vidoni (PI. II, 13), formerly Caffarelli and Sloppani,

1 56 S. Andrea della Valle. ROME. Pal. Massirni alle Colonne.

originally constructed from designs by Raphael : on the staircase
a few ancient statues (L. Verus, Minerva, Diana). In one of
the rooms is preserved the celebreted Calendarium Praenestinum
of Verrius Flaccus, being five months of a Roman calendar found
by Card. Stoppani at Prseneste. This palace was once occupied by
Charles V. (access not easily obtained). ■ — On the side of the
palace towards the church is the so-called Abbate Luiai, a muti-
lated ancient statue (see p. 121).

*S. Andrea della Valle (PI. II, 13), begun by P. Olivieri in
1591 on the site of several earlier churches , was completed by
C. Maderno ; facade from drawings by Eainaldi. The interior is of
symmetrical proportions , but unfortunately partially whitewashed.

On the r. the 2nd Chapel (Strozzi) contains copies in bronze of the
I'ieta (in St. Peter's), and the Kachel and Leah (in S. Pietro in vine.) of
Michael Angela. On the 1. the 1st Chapel (Barberini) is adorned with several
marble statues by JUocchi (St. Martha), P. Bernini (John the Bapt.), Stall da
Bracciano (M. Magdalene), and Amb. Buonvicino (St. John). At the extremity
of the nave are the monuments of (1.) Pius II. and (r.) Pius IV. by Sic.
della Guardia and Pietro Paolo da Todi. In the dome : Glory of Paradise,
by Lanfranco ; beneath, the "Evangelists by Domenichino, one of his finest
works. By the same master, "paintings on the vaulting of the apse. In
the girding- arch: John the Bapt. , St. John, and St. Andrew pointing to
Christ ('this is the Lamb' etc.); in the vaulting itself, on the 1. the
Scourging of St. Andrew ; then the Vocation of Peter and Andrew by
Christ ; on the r. , St. Andrew beholds and adores the cross to which be
is about to be affixed ; beneath, 6 allegorical female figures ; the extensive
lower frescoes by Calabrese (martyrdom of the saint) are of no great value.

The Via de' Massirni is now followed, reaching after a few
paces, on ihe r. No. 17, the

Palazzo Massirni alle Colonne (PL II, 13, If), a fine structure
by Baldassare Peruzzi. The facade is constructed in a curve,
following the direction of the street ; the glimpse obtained of the
double court is strikingly picturesque.

A roovi on the first floor contains the celebrated statue of the '""Discw-
tlirower, a copy of the bronze statue of Myron, found on the Esquiline in
1761, one of the most interesting antiques in Rome, almost perfect and far
better executed than the inaccurately restored duplicate in the Vatican.
Visitors are not always admitted; Ihe most favourable time is 9 — 11 a. m.;
the staircase to the r. in the colonnade in the court is ascended to the first
floor, and application made to a servant (1 fr.) in the anteroom. The pas-
sages and saloons of the palace1 contain several other ancient statues, in-
scriptions, etc. — Permessi tor the Villa Massimo (p. 204), formerly obtained
on leaving a visiting-card here, are now granted in exceptional cases
only, on written application accompanied by a recommendation from the
traveller's ambassador or consul.

On the second -floor is the chapel of <S. Filippo Neri , who is said to
have resuscitated a child of the family; open on March 16th.

Within the buildings connected with this palace the Germans
Pimnnrtz and Schweinheim (p. 286) established the first printing-
office in Rome in 148.'), where Apuleius, Augustinus de Civitate
Dei, and other works were published, furnished with the name of
the printers and the addition of : In aedibus Petri de Mtiximis.
The Massirni family claims descent from the ancient Maximi, and
their armorial bearings have the motto ' Cunctnndo restiluit'.

Palazzo Braschi. ROME. Chiesa Nuova. 157

To the 1. the Via de' Baulari leads to the Pal. Farnese
(p. 158), which is visible from here. The small Piazza S. Panta-
leo is next reached, with the small church of that name on the r.
In a straight direction is seen the spacious

Palazzo Braschi (PL II, 13, 27), erected by Morelli at
the close of the last century, is now occupied by the Minister
of the Interior. It contains a fine * marble staircase and a few
ancient statues. The rear of the building adjoins the Piazza
Navona (p. 153).

Passing the palace the traveller reaches the Piazza di Pasquino,
which derives its appellation from an ancient group of statuary
placed at the obtuse corner of the Pal. Braschi. This was an
admirable, but now sadly mutilated work of the beginning of
the imperial age , and was so named from the tailor Pasquino
who lived in the vicinity and was notorious for his lampooning
propensities. It was once the custom to affix satires and ebul-
litions of malice to this statue (the answers to which used to
be attached to the Marforio, p. 207), and to refer them to the
slanderous tailor, whose name is perpetuated in the term 'pas-
quinade'. The group represents Menelaus with the body of
Patroclus , at the moment when in the tumult of the battle he
looks around for help. Duplicates of the group are in the Loggia
de' Lanzi and Palazzo Pitti at Florence, fragments in the Vatican
(p. 243).

The Via del Governo now continues to be followed. After 3 M.
the Via in Parione diverges to the r. to the church of S. Maria
della Pace. Then, on the r., is the Pal. del Governo Vecchio, which
was long the seat of the tribunals of justice and police. No. 124
on the opposite side is a small , tastefully constructed house in
the style of Bramante (1500). The Via della Chiesa Nuova
diverges to the 1. and leads to the piazza of that name, with the

Chiesa Nuova (PI. II, 10) (S. Maria e S. (ireyorio in Vallicella),
erected by S. Filippo Neri (for the order of Philippines founded
by him), and completed in 1605. Architecture by Giov. Matteo da
Citth di Castello, interior by Martina Lunghi, facade by Euyhesi.

The interior , dark and unfavourable for pictures , is richJy decorated.
The ceiling of the nave, the dome, and the tribune were painted by Pietro
i hi fortona. On the r., 1st Chapel: Crucifixion, Scip. di Oaetano ; 3rd Cha-
pel, dell' Ascensione: altar-piece by Muziano. On the 1., 2nd Chapel: Ado-
ration of the Magi, Ces. Aebbia; 3rd Chapel: Nativity, Duranto Alberli.
4th Chapel: Visit of Elisabeth, Baroccio. In the transept, on the 1.,
Presentation in the Temple, Baroccio; Peter and Paul, statues in marble
by Vnlsoldo. Here, too, by the tribune is the small and sumptuous
chapel of S. Filippo Neri, beneath the altar of which his remains repose.
Above is the portrait of the saint in mosaic , after the original of Guido
Rem which is preserved in the adjoining monastery. In the transept , Coro-
nation of the Virgin, C'av. d'Arpino; John the Bapt. and St. John, statues
in marble by Flaminio Vacca. Over the high - altar, with its four columns
of porta santa, a Madonna by Rulens; on the r. *SS. Gregory, Mauras, and
Papia, on the 1. "SS. Nereus and Acliilleus, also by Rubens.

In the Sacristy (entered from the 1. transept), constructed by Marru-

I 58 Pal. delta Cancelleria. ROME. S. Lorenzo in Dumaso.

celli , on the vaulting : Angel with instruments of torture, by Pietro da Cor-
totia. Colossal statue of the saint by Algardi.

The adjoining monastery, erected by Borromini, is of irregular
iorm , but remarkable for the massiveness of its construction. It
contains an apartment once occupied by the saint, with various
relics. — The valuable Library founded by S. Filippo Neri, and
gradually enriched by rare MSS. , is not generally accessible to
the public.

From the Piazza della Chiesa Nuova the Via de' Filippini
leads to the r. to the Piazza delV Orologio, whence to the 1. the
Via dei Banchi Nuovi diverges to the Via del Banco di 8. Spirito,
The latter leads to the Ponte S. Angelo.

The Via de' Baullari , opposite the Pal. Massimi, leads to
several interesting palaces in the best style of the Renaissance.
Somewhat removed from the street , immediately on the r., is a
small, but tastefully constructed edifice, the *Palazzetto Farnese, the
architect of which is said to have been Baldassare Peruzzi.

The next street to the r. leads to the piazza named after the
*Palazzo della Cancelleria (PI. II, 13), designed by Bramante,
and one of tlie finest structures in Rome. Within its precincts
is the church of S. Lorenzo, originally erected near the theatre
of Pompey. The elegant facade (with portal subsequently added
by Bonn. Fontand) consists of blocks of travertine from the Colos-
seum. The columns of the double *court, surrounded by arcades,
are ancient; the graceful capitals are decorated with roses, that
flower being prominent in the armorial bearings of the founder
Card. Riario. In this palace in 1848 Pius IX. convoked the par-
liament which was to deliberate on the reforms to be undertaken
in the States of the Church. On Nov. loth of that year the
minister Count Rossi was assassinated on the first landing of the
staircase. This is the only palace in the interior of the city
which the Italian government still permits to be occupied by thi
ecclesiastical authorities.

To the r. of the palace (entrance to the r. from the court)
is situated the church of S. Lorenzo in Damaso (PI. II, 13),
which has the above-mentioned facade in common with the palace.
It was also designed by Bramante (originally erected by Darnasus I.),
and is bounded by arcades on three sides. The pictures were
destroyed during the revolution of the previous century , and the
architecture alone continues to be an object of interest. At the
extremity of the r. aisle is the monument of the ill-fated Count
Rossi, by Tenerani.

The Piazza della Cancelleria is adjoined by the Piazza di
Cumpo di Fiori , a focus of commercial traffic , and the latter
by the Piazza Farneae , adorned with two fountains. Here is
situated the

*Palazzo Farnese (PI. II, 14), one of the finest in Home, be-

Palazzo Farnese. ROME. 8. Maria di Monserrato. 159

gun by Paul III. (Alex. Farnese, 1534 — 45) when cardinal, from
designs by Anton, da Sangallo , continued under the direction of
Michael Angelo, and completed by the construction of the loggia
at the back towards the Tiber by Giac. della Porta. 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 since 1862 has been tenanted by the ex -king
Francis II. The threefold *colonnade of the entrance was designed
by Sangallo, the two lower halls of the court by Mich. Angelo,
after the model of the theatre of Marcellus. The court contains
two ancient sarcophagi. The celebrated antiquities once in this
palace are now partly in the Museum of Naples (Farnese Bull,
Hercules, Flora) and partly in England. Visitors are now ad-
mitted to see the frescoses on Fridays, 12 — 2 o'clock.

A room on the 1st floor (entrance by the first door of the 1.
arcade in the court; then, at the top of the staircase, through
a glass-door to the 1. , and along a passage to the end) is em-
bellished with * frescoes by Annibale Caracci, his finest work,
consisting of mythological representations with rich architectural
painting.

Ceiling. In the centre: Triumph of Bacchus and Ariadne; 1. Pan,
offering goat's wool to Diana; r. Mercury with a trumpet bringing the
apple to Paris. — On the vaulting of the ceiling, to the r. of the entrance :
1. (above the door) Galatea suirounded by nymphs and Tritons ; 2. Luna
embracing the sleeping Endymion; 3. Polyphemus playing on the syrinx in
order to gain the affections of Galatea. Above this, Apollo carrying offHya-
cinthus; 4. Hercules and Omphale, the latter with the club and lion's skiu;
5. Aurora in her chariot embraces Cephalus, whom she has carried off (this
and No. 1. are by Lodovico Caracci, from the designs of his brother An-
nibale); 6. Anchises removing the cothurnus of Venus; 7. Polyphemus
hurling a rock after Acis, who escapes with Galatea. Above this, Ganymede
carried oh* by the eagle of Jupiter. 8. Juno, encircled with the girdle of
Venus, approaches Jupiter. — In the round reliefs (window-wall, from 1.
to r.) : Leander and Hero ; Pan pursuing the nymph Syrinx ; Salmacis
embracing Hermaphroditus ; Cupid seizing a Faun; Apollo flaying Marsyas ;
Horeas carrying off Orithyia ; Eurydice conducted back from the infernal
regions ; Rape of Europa. — On the narrow ends of the saloon : Perseus
petrifies Phineus and his companion with the head of the Medusa; Perseus
on Pegasus hastening to the relief of Andromeda (said to have been almost
entirely executed by Domenichino). — Over the niches and windows are
eight smaller paintings (from 1. to r.): Arion on the dolphin; Prometheus
educating man; Hercules slaying the dragon which guards the apples of
the Hesperides ; Hercules delivering Prometheus on Caucasus ; Icarus pre-
cipitated into the sea ; Callisto bathing ; the same nymph metamorphosed
into a bear; Apollo receiving the lyre from Mercury. — Over the prin-
cipal door, a girl caressing a unicorn, the emblem of the Farnese family,
executed by Domenichino from A. Caracci's designs. Other apartments which
are. not accessible contain several works of A. Caracci, Daniel da Volterra,
Salviati, Vasari, and the two Zuccari.

From the Piazza Farnese a street (Via di Monserrato, Via de'
Banchi Verchi) leading to the Ponte ,S. Angelo contains several
churches. The third on the 1., »S. Maria di Monserrato, is the

160 Pal. Spada alia Regola. ROME. Monte di Pieth.

national Spanish church, connected with a hospice, erected in
1495 by Sangallo; the first chapel on the r. contains an altar-
piece by Ann. Caracci.

The Vicolo de' Venti, to the 1. opposite, leads to the Piaaia
di Ciapo di Ferro. No. 13 on the r. is the

*Palazzo Spada alia Kegola (PI. II, 14), erected about 1540
by Card. Capodiferro under Paul III. (in imitation of a house built
by Raphael for himself), and since the time of Urban VIII. (1640)
in possession of the Spada family. It contains an interesting col-
lection of *antiquities (on the ground-floor, */2 fr.) and pictures
(1st floor, i/2 fr-)i °Pen Mond. , Wed., and Sat., 10—3 o'clock.

Antiquities: In the 1st Room by the long wall; sitting "statue of
Aristotle, with the inscription: APJ2TH . . ., on the 1. side of the basis,
formerly erroneously interpreted as Aristides (the square O having been
mistaken for I), copy from a celebrated Greek work ; r. arm and 1. leg
new. — In the 2nd R. eight fine "reliefs, found in 1620 in S. Agnese
fuori le Mura, where they formed part of the pavement with their faces
towards the ground. Entrance-wall: r. 65. Pfedalus and Pasiphae; 1. 72. Paris
as a cowherd. Window-wall: 66. Wounded Adonis; 67. Ulysses and Diome-
des carrying off the Palladium. Narrow end : Endymion ; Perseus and An-
dromeda, casts from the originals in the Capitoline museum. L. wall:
68. Paris taking leave of Cftnone ; 69. Hypsipjle finds Opheltes, who lad
been entrusted to her, killed by a snake; 70. Amphion and Zethus ; 71. M-
lerophon watering Pegasus. Besides these : busts, small statues, etc.

In the upper story a Colossal Statue of Pompcy, found under Julius III.
(1550J in digging the foundations of a house in the Vicolo tie1 Leulari. The
upper portion was in the ground of one proprietor whilst the legs were in
that of another. As both parties laid claim to the statue the judge directed
that it should be divided! The pope, however, prevented this by purchas-
ing the statue for 500 scudi, and presented it to Card. Capodiferro. The
head, although of a detached block, belongs to the original. The work is
mediocre.

The Picture Gallery (provided with catalogues) is reached beyond
a room containing frescoes of little value. 1st Room: 3. Madonna,
Bolognese Sch.; 7, 12. Portraits, French Sch.; 10. Card. Patrizi, Camuccini;
22. Portrait, Caravaggio; 40. Julius III., Sc. Gaetano; 56. Madonna, SA
of Francia. — 2nd R. : 1. Astronomer, Seb. del Piombo; 6. Still life, Bmdin;
9. Landscape, Breughel; 10. Judith, Guido Reni; 12. Landscape, G. Pwm:
18. Visitation of Elisabeth (greatly damaged), And. del Sarlo; 45. Chral
and the scribes, Leonardo da Vinci (a. copy from the original in England). -
3rd R. : 2. St. Anna and the Virgin, Caravagyio; 4. John the Bapt., Raphael,
a. copy of the tribuna at Florence ; 15. Landscape, Breughel; 24. Dido'f
death, Guercino; 26. Design of the ceiling-painting in Gesii, Baactio;
29. landscape, Salvator Rosa; 31. Portrait, Titian; 40. "Portrait, Jforoni;
48, 49. Hod the Father, and Bearing the Cross, Marco Palmezzano ; 51. Card.
Paolo Spada, Titian (?); 60, 70. Landscapes, Salv. Rosa; 63. Abduction rf
Helen, Guido Reni; 67. Cavalry-skirmish, Borgognmie. — 4th R. : 4. Card.
Bernardo Spada, Guido Reni; 9. Paul III., after Titian; 10. Portrait (1511),
German Sch.; 15. Laughing angel's head, Caravaggio; 18. Portrait, German
Scli.; 26. Christ in the garden, Get: Honthorst; 30. St. Cecilia, Caravaggio;
31. Card. Fabricius Spada, Maratla; 44. Madonna, And. del Sarlo (Oi
54. Portrait, French Sch.

Proceeding in the same direction from the Piazza Capo di
Ferro the traveller reaches the Piazza de Pellegrini; on the 1. is
the rear of the former Pal. Santacroce (PL II, 14), now a Monte di
Pieth, or money-lending establishment, instituted in 1539, and es-
tablished here since 1004 (some of the numerous pictures pledged here

S. Giov. de' Fiorentini. ROME. S. Carlo a Catinari. 161

are of great value). On the r. the church of 8. Trinith de' Pel-
legrini, erected iu Mill; high-altar adorned with the Trinity, by
Ouido Reni. The neighbouring hospital is destined principally for
the accommodation of pilgrims.

Hence to the r. the Via de' I'ettinari leads to the Ponte Sisto
(|>. 224), the street to the 1. to the Via de' Giubbonari (see below).
At the extremity on the r. is the small church of S. Salvatore
in Onda (PI. II, 14), re-erected in 1684, on the 1. the Fontunone
<li Ponte Sisto, constructed by Giov. Fontana untcr Paul V.

In a straight direction, from the fountain, near the river, runs
(he Via del Fontanone, prolonged by the Via Giulia, constructed
by Julius II., and leading (in 12 min.) to the Ponte S. Angclo.
To the 1. in the latter street, opposite the garden of the Pal.
Farnese, lies the small church of S. Maria della Morte , or dell'
Orazione, erected by Fuga about the middle of the previous cen-
tury, and belonging to a burial -society. Then to the 1. Pal.
Falconieri, built by Borromini, where the picture-gallery of Card.
Fesch was formerly established; farther on, on the same side, the
(^arceri Nuoci , a prison founded by Innocent X.; then (No. 66)
I he Pal. Sacchetti (PI. II, 10), originally erected by Antonio da
San Gallo as his private residence. At the end of the street, 1.
S. Giovanni de' Fiorentini (PI. II, 10), the stately national church
of l he Florentines, designed by Sansovino and Giae. della Porta,
and begun at the commencement of the 16th cent. Michael Angelo,
at an advanced age, took an active part in its erection ; the facade
was added by Aless. Galilei in 1725. It contains nothing worthy
of mention except a picture (St. Cosmas and St. Damianus at
the stake) by Salvator Rosa in the chapel of the r. transept.

Near the church an iron-bridge (1 soldo), constructed in 1863,
crosses the river to the Longara (p. 220). The Via Paola leads
from the church to the Ponte S. Angelo.

In the Piazza di Campo di Fiori, towards S. Andrea della
Valle, once lay the Theatre of Pompey. In the court of the Pal.
Righetti, Piazza del Biscione 95 , the bronze statue of Hercules
(p. 245) and substructures of the theatre were discovered.

From the Piazza di Campo di Hori the animated Via de' Giub-
bonari leads to the Capitol and the S. quarters of the city. After
2 min. it expands into the Piazza S. Carlo a Catinari. On the
1. the church of S. Carlo a Catinari (PI. II, 14), erected by S.
Carlo Borromeo at the beginning of the 17th cent. The form is that
of a Greek cross; beneath the dome, paintings by Domenichino.

In the 1st Chapel on the r., Annunciation, by Lanfranco. In the tran-
sept to the r., Death of St. Anna, Andrea Sacchi. Over the high-altar,
Card. Borromeo in the procession of the plague at Milan, P. da Cortona;
tribune decorated by Lanfranco; the other paintings are of little value.

Opposite is the Pal. Santacroce, facing the Piazza Branca (r. ).

BjEDEHER. Ttalv TT. 3rd RHilirm AA

162 Palazzo Costaguti. ROME. Palazzo Mattel.

The street now divides: to the 1. the Via de' Falegnami leads
to the Piazza Mattel, or Tariaruya, named after the graceful Fon-
tnna delle Tartarut/he (tortoises), erected by (iiac. della Porta in
J 585, and embellished with the figures of four youths.

Immediately to the r. , Piazza Mattei 10 (another entrance
Piazza Costaguti 16), is the

Palazzo Costaguti, erected about 1590 by Carlo Lombardi.
Of the ceiling -paintings on the 1st floor access to the following
only (porter '/., fr.) is permitted: 1. Hercules bending his bow
against Nessus, Franc. Albanl ; 2. Apollo in the quadriga, to which
Truth raises herself, discovered by Time, Domenlchino (greatly
retouched); *3. Armida with Rinaldo in the dragon -chariot, ad-
mirably coloured, by Guereino. The paintings not shown are
by the Car. a" Arpino and other good masters. One wing of the
palace (formerly Boccapadnlf) was long the residence of Poiissin,
and still contains works by him, but is not now accessible.

Adjoining the piazza on the 1. is the

Palazzo Mattei (PI. II, 17, 27), originally an aggregate of
separate buildings which occupied the block between the Yia di
S. Caterina de' Funari and Via Paganica. Of these the hand-
somest is the present so-called palace (principal entrance V. di
S. Caterina de' Funari 32, side-entrance No. 31), erected in 1616
by Carlo Maderno, and one of his finest productions. In the pas-
sages of the entrances , the arcades, and the lateral walls of the
court a great number of ancient reliefs are immured; among
those in the court, r. Mars with Rhea Sihia and Apollo with the
Muses; 1. the Calydonian hunt and Rape of Proserpine; in the
portico, Sacrifice of Mithras, Apollo with the Muses, Bacchanalian
procession, all from sarcophagi. The statues in the court and niches
on the stairs, some of them greatly modernised, are of no great
value. The decorations of the ceiling on the staircases, in stucco,
are well executed.

The picture-gallery is now greatly reduced in extent; the
frescoes do not merit special mention.

Then in the Via di S. Caterina de' Funari, on the 1., the
church of S. Caterina de' Funari (PL II, 17), erected in 1564
by Giac. della Porta, with a singular-looking tower, situated within
the area of the ancient Cirms Flamlnius. The interior contains a
few unimportant pictures by Nanni, Venusti, Muziano, and Agresti.
The adjoining convent of Augustine nuns is an educational estab-
lishment for girls.

The street terminates in the Via fielfml, which to the 1. leads
to the Via di Araceli (p. 121), and to the r. to the Piazza di
Campitelli, beyond the next corner. Here on the r. stands S. Maria
in Campitelli (PI. II, 17), erected by Rinaldi under Alexander VII.
for the more worthy reception of a miraculous image of the Vir-
gin, to which the cessation of the plague in 1(i5G was ascribed;

Ghetto. ROME. Colonnade of Octavia. 163

a smaller church of the same name, mentioned in the 13th cent.,
formerly stood on this site. The architecture of the interior, with
its handsome projecling columns, has an imposing effect. Beneath
the canopy over the high-altar is placed the miraculous Madonna.
In the 2nd Chapel on the r. , the Effusion of the Holy Ghost,
by Lara Giordano; in the 1st Chapel on the 1. two monuments
resting on lions of rosso antico. In the r. transept the tomh of
Cardinal Pacca by PettrirJi. — Opposite the church is the Pal.
Pacca.

The street in a straight direction from the piazza leads to the
Via Tor do' Specchi at the loot of the Capitoline, that to the 1.
to the Piazza Araeeli (p. 104), r. to Piazza Mootanara (p. Iti'lJ.

From the Piazza di S. Carlo a Catinari the Via del Pianto
leads to the r. to the Piazza Giudea or di S. Maria del Pianto,
called after a church of that name. Adjoining this piazza on the
r. is the Piazza Ccnci, where on the 1. in the corner, the Syna-
gogue, and on the r. the

Palazzo (tnri-Bolognetti (PL II, 17) are situated. In the latter
once resided the ill-fated Beatrice Cenci, executed for the murder
of her father, a man of execrable fame. Her portrait, which is
of questionable authenticity, is preserved in the Pal. Barberini,
and is a favourite subject for reproduction with the Roman artists.

From the Piazza Giudea the Pescheria (fish-market) , which
presents an animated scene on Friday mornings , leads to the
Colonnade of Octavia. Between the Pescheria and the Tiber lies the

Ghetto (PI. II, 17), the quarter allotted by Paul IV. to the
Jews, who in ancient and mediaeval times occupied a quarter in
Trastevere, formerly closed by a gate. It consists of several streets
parallel with the river, and connected by narrow lanes. The same
pope enacted lhat the Jews should wear yellow head-gear, and
pay unusually heavy taxes; amongst other oppressive exactions,
they were compelled to provide the prizes for the horse-races at
the Carnival. The traveller may explore these purlieus for the
sake of observing ghe marked oriental type of their occupants,
who with their characteristic industry seek to counteract the
disadvantages of their social position. The Via de' Fiumari,
the nearest to the river, leads to the Ponte de' Qualtro Cupi
(see p. 227).

Near the Pescheria are situated the interesting remains of the
Colonnade of Octavia, erected by Augustus on the site of a similar
structure of Metellus (B. C. 14(J) and dedicated to his sister.
Under Titus it was destroyed by a conflagration which raged in
■ this quarter of the city, and was subsequently restored by Sept.
Severus and Caracalla in 203, as the inscription records. The
colonnade enclosed an oblong space, within which temples of

11*

164 Theatre of Marcellus. ROME. Piazza Araceli,

Jupiter Stator and Juno stood. The modern additions which for-
merly marred the effect of the ruins have been removed.

Proceeding in the direction of the Pescheria from the colonnade
the street reaches the Theatre of Marcellus (PL II, 17, 5), com-
menced by Caisar, completed B. C. 13 by Augustus and named
after his nephew. The twelve arches still standing on the exter-
nal wall of the space for the spectators 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 case of the Colosseum , a third probably rose in the
Corinthian order. It is said to have accommodated 20,000 specta-
tors. The stage lay towards the Tiber. In the 11th cent, the
theatre was employed by Pierleone as a fortress. His descendants
yielded possession to the Savelli, whose palace (opposite the Ponte
Ouattro Capi) stands on a lofty mound of debris within the theatre.
In 1712 it was purchased by the Orsini ; in 1816—1823 the
historian Niebuhr, when Prussian ambassador, resided here.

The external wall adjoins the small and busy Piazza Mm-
tanara , a frequent resort of the peasantry of the Campagna. To
the 1. a street leads to the Piazza Araceli, to the r. the ani-
mated Via della Bocca della Verith to the piazza of that name
(p. 183). Immediately to the r. in the latter street, standing back,
is the church of S. Niccolb in Carcere, recently restored, con-
taining in the interior and on the external wall- ancient columns
which appear to have belonged to three different temples, those of
Spes , Juno Sospita , and another. Visitors may descend and
examine the foundations of these temples, which have been ex-
cavated; sacristan 1/2 fr-

IV. Ancient Rome.

This portion of the description comprises the S. part of the
city, commencing with the Capitoline, and extending E. as far as
the Lateran: i. e. the hills of the Capitoline, Palatine, Aventiiie,
Ciclius, and the S. slope of the Esquiline. The imposing monu-
ments and ruins of classical antiquity, more of which are daily
brought to light by the ^excavations , impart to this , the (now
almost deserted) principal quarter of the Republican and Impe-
rial city, its characteristic aspect. A number of ancient churches,
extremely interesting to students of Christian architecture, as
well as the imposing collections of the Capitol and Lateran , also
attract numerous visitors. The description begins with the Capitol.

From the Piazza Araceli (PL II, 17) three approaches lead
to the Capitoline Hill: 1. the lofty flight of steps (124 in num-
ber), constructed in 1348 (principal entrance generally closed,
see below), to the church of S. Maria in Araceli, whence the ap-
pellation of the piazza below. To the r. the Via de' tre Pile ascends

-LlXyh qeooi

AnsT -v Ed. ffagne. _

Pal. Caffarelli. ROME. S. Maria in Araceli. 165

to the Pal. Caffarelli, erected in the lGth cent, by Ascanio Caffa-
relli, a former page of Charles V., now the residence of the Prussian
ambassador, and occasionally of members of the royal family of
Prussia. In the garden ancient substructures of massive blocks
have recently been excavated, appertaining perhaps to the temple
of Jupiter.

*S. Maria in Araceli (PI. II, 20). The usual entrance is from
the piazza ol the Capitoline by the stair to the 1. (in the rear
of the Capitoline museum), and then to the 1. from the first
landing. Over the door here is an ancient mosaic , representing
the Madonna with two angels. The church probably occupies the
site of a temple of Juno Moneta , and is mentioned as early as
935. Fa<;ade unfinished. The interior is disfigured by modern
additions. The nave is supported by 22 ancient columns, most
of them of granite , varying greatly in style and dimensions ; on
the 3rd to the 1. the inscription : A cubiculo Auyustorum. The
church derives its appellation from a legend that Augustus erected
an altar here to Christ, with the inscription : Ara primoyeniti Dei,
which is pointed out in the 1. transept beneath the altar (restored
in 1835) of St. Helena with its circular canopy, where this saint
is said to be interred.

Dy the wall of the principal entrance, to the 1., is the tomb of the
astronomer Lodovico Grato (1531), figure of Christ said to be by And. Ban-
xoi'ino; on the r. the -monument of Card. Lebretto (1465) with partially
preserved painting. In the r. aisle, 1st Chapel : :: frescoes from the life of
St. Bernhardin of Siena, by I'iiittiricchio, restored by CamucctHi. Frescoes
on the ceiling attrib. to Franc, da Citld di Castello and L. Shjnorelli. The
5th Chapel (of St.. Matthew) contains good pictures by M-uziano. In the
2nd Chapel of the 1. aisle 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 the Infant Christ (it tanlo bambino), which constitutes
the principal ornament of the church. It is believed to protect those in
imminent danger, is frequently invoked and revered, and is conveyed to
the houses of those who are dangerously ill, on which occasions passers-by
kneel on its approach. During the week after Christmas, 3—4 o'clock
daily, a number of c-hildren from 5 to 10 years of age address their pe-
titions to the bambino. In the transept, on the r. and 1. by the pillars
of the nave are two *ambos from the former choir, by Laureitlius and
Jacobus Cosntas. The Chapel on the r. belongs to the Savelli ; on the r.
and 1. (the latter originally an ancient sarcophagus) are monuments of the
family, of the 13th cent, (of the parents and a brother of Honorius IV.).
liesides the canopy already alluded to, the 1. transept contains the monu-
ment of Mattlueus of Aquasparta (d. 1302), the prineipal of the Dominiea-i
order mentioned by Dante. In the choir, to the )., the monument, of Giov.
Hatt. Savelli (d. 1489). Over the high-altar, prior to 1565, was the Madonna
of Foligno by Raphael, ordered for this church, but now in the Vatican
Gallery. The donor, Sigismondo Conti da Foligno, is interred in the choir.
The present altar-piece is an ancient picture of the Madonna, attributed
to St. Luke.

The adjacent cloister (reached by the continuation of the
staircase from the piazza of the Capitoline) has since 1251 be-
longed to the Frati minori Osservanti di S. Francesco. It is at
present partially occupied by soldiers. In the passage beyond the
second of the two handsome courts a broad staircase to the r.

166 Piazza del Campidoglio. ROME. Pal. del Senatore.

asi'el

.■lids to a chapel and corridor , both commanding magnificent

* views of Rome , especially of the Quirinal , Esquiline , Cxlius
Palatine, and Formn. The library, established in 1732, is acces-
sible by special permission only.

The central asphalt-stairs lead to the far-famed **Piazza del
Campidoglio (PI. 11, '20), or square of the Capitol. The design
of the whole is duo to Michael Angela, and its execution was
begun in 1536 by Paul 111. ; the palaces of the Conservator] and
Senators were already in existence, but their facades were alterd.
At the foot of the steps ( Cordonnata) which lead to the Capitol are
two handsome, water-spouting Egyptian lions in basalt: above, the
celebrated groups of Castor and Pollux, said once to have adorned
the theatre of Pompey. At the sides of the balustrade are the
so-called Trophies of Marius, from the water-tower of that name
of the Aqua Julia near S. Maria Maggiore (p. 141") , and the
statues of the Emp. Constantine and his son Con-tans from the
Therm* of Constantine on the Quirinal; on the r. the first ancient
milestone of the Via Appia (on the 1. a modem counterpart).

In the centre of the piazza stands the admirable bronze

* Equestrian Statue of Marcus Aurelius (161 — 181), 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. For its excellent state of
preservation it has been indebted to the popular belief that it
was a statue of Constantine, the first Christian emperor. Beyond
it is situated the Pal. del Senatore, re-erected by Boniface IX.
on the site of the ancient Tabularium, and provided with its hand-
some flights of steps by Michael Angelo, under whose directions,
it is believed, the facade was constructed by Giac. delta Porta;
the river-gods are those of the (r.) Tiber and (1.) Nile; in the
centre a fountain, above which is a sitting statue of Rome. The
palace contains a spacious hall for the solemn meetings of the
senate, the offices of the civic administration, an observatory, and
dwelling-apartments. The campanile was erected by Gregory XIII.
to replace a former structure, which like the four corner-towers
(one of them towards the forum, on the 1., is still recognised) pro-
bably belonged to the edifice of Boniface. The roof, embellished by
a standing figure of Roma, commands a fine view, but the ascent has
of late years been prohibited. The great bell is employed to con-
voke the senators , to announce the approach of the Carnival, and
the death of a pope.

The two palaces at the sides were erected in the 17th cent,
by Giac. del Duca with some deviations from the plans of Mich.
Angelo; on the r. the Pal. of the Conservatory (p. 205) (with
guard-house below), and on the opposite side the Capitoline Museum
(p. 207). The staircases with three-arched halls at the sides of
i-hese palaces were erected by Viynoln ; that to the 1. by the

Capitol. ROME. Tarpeian Rock. 167

museum leads to the church of S. Maria in Araceli and the con-
tiguous Franciscan monastery; that to the r., on the opposite
side, to Monte Capri-no, where the Archaeological Institution (p. 85)
and the Protestant hospital are situated. Descent to the Forum
on either side of the Senatorial Palace.

The Capitol, 100 ft. above the sea-level, formed the central
and principal point of ancient Rome. The depression between
its two culminating points , i. e. the present piazza of the Capi-
tol, was occupied by the asylum which, according to tradition,
Romulus opened for the reception of the exiles of the neigh-
bouring tribes. On the height to the 1., on the site of S. Maria
in Araceli, stood the Temple of Juno Moneta , and the Arx , or
citadel id the strict sense, a term commonly employed to designate
the entire hill.

On the Tarpeian Rock, the height to the r., best seen from
the garden of the Casa Tarpeia (custodian, Monte Caprino 130)
or from the Via Tor de' Specchi (between Nos. 37 and 38), lay
the Temple of Jupiter Cupilolinua. The precipitousness of the
ground has ho\ve\er been greatly diminished since ancient times;
moreover the precise situation of the rock from which the con-
demned were hurled is still involved in some doubt, so that a
visit to this spot may well be omitted.

Of the buildings which in ancient times covered the Capitol,
some imposing remains alone are preserved where the Senatorial
Pal. stands (entrance by the gate in the narrow wall to the r., visit-
ors ring at the first deer ; if the custodian is not at hand he may ge-
nerally be found in the upper story, where the offices of the civic
administration are established). This edifice was the * Tabularium,
erected B. C. 7S by the consul A. Lutatius Catulus for the reception
of the state archives, and resting on the massive substructures which
surround the hill. It consisted of a five-fold series of vaults, the
last of which towards the Forum was an open hall, long employed
as a salt magazine, with half-pillars in the Doric style, as seen
from without. The blocks of stone have been much corroded by
the action of the salt. From this point there is a beautiful *view
of the Forum , the form and situation of which are distinctly
traced. The custodian points out an ancient staircase which
descended hence to the Forum, where, to the 1. of the temple
of Vespasian, the archway where it issued is recognised. A few
architectural fragments from the neighbouring temples and other
buildings are here preserved.

Descending from the piazza of the Capitol on the r. by the
Senatorial Palace , the traveller enjoys from the lower extremity
another good * survey of the Forum. The excavated portions consist
of two different divisions. The smaller to the 1. below contains
among other relics the temple of Saturn, to which the 8 unfluted
columns belong, the 3 columns of the temple of Vespasian, the

1 68 Forum Romanum. ROME. Temple of Saturn.

arch of Septim. Severus, and immediately below in the corner the
colonnade of the 12 gods. The second division comprises the
column of Phocas , the Basilica Julia, and the temple of Castor.
Beyond these, to the 1., is the temple of Faustina now converted
into a church , then the huge arch of the basilica of Constantine
the Colosseum, the arch of Titus , and to the r. the gardens of
the Palatine.

Here on the S. W. depression of the hill (Clivus Capitolinml
the Sacra Via descended to the ** Forum Romanum, which ex-
tended as far as the temple of Faustina. It formed the focus of
political and civic life , the scene of popular assemblies , judicial
proceeding's, commercial negotiations, and public amusements. Near
the temple of Faustina stood an archway , the Arcus Fabianus,
dedicated in B. 0. 123 to Fabius Maximus, conqueror of the
Allobrogi. This formed the S. boundary of the forum, which was
about 690 ft. in length. As this limited space became more and
more inadequate to the requirements of the vast city, the entire
business of which was here concentrated, attempts were made to
supply the deficiency by the construction of basilicas and secon-
dary fora. Few spots in the world have a history like this, which
has witnessed the legal and political development of every possible
phase of public life. Under the emperors it soon came to be
regarded as a venerable antiquity and an appropriate site for
honorary statues and triumphal arches. To this period most of
the extant ruins belong , whether of edifices then erected or re-
stored only. In the middle ages it sustained many a rude shock
during the contests of the nobles , and at length , as its present
appellation Campo Vaccino indicates, became a pasture for cattle.
The excavations, begun early in the present century, are zeal-
ously prosecuted under the superintendence of the Cav. Rosa,
and will probably lead to new and interesting discoveries. The
visitor descends by the carriage-road.

The first edifice , of which 8 granite columns are still stand-
ing on a basement 16 ft. in height, is the * Temple of Saturn,
originally consecrated under the consuls Sempronius and Minucius,
B. C. 491 , and restored by Munatius Plancus about 44 B. C,
where from the most ancient times the ^Erarium Publicum (trea-
sury of state) was established. The inscription : Senatus populus-
que Bomanus incendio consumptum restituit refers to a later
restoration undertaken hastily and without taste.

Below the Tabularium, of the upper gallery of which one arch
only now stands, in the angle formed with it by the street, lies
the Schola Xantha with the Colonnade of the Twelve Gods
(deoricm consentium) , whose images Vettius Agorius Pratextatus,
the priHt'eetus urbi and one of the principal champions of expiring
paganism , erected here, A. 1). H(>7. The entire structure was

£Mm mwx*

^.G><m>*t,^ltexmm#.

Temple of Vespasian. ROME. Arch of Sept. Severus. 169

destined for the accommodation of the public scribes and notaries ;
the name Schola Xantha is derived from a certain Fabius Xanthus
who had previously restored it. In 1858 the ruin was considerably
modernised.

To the r. of the latter the Tabularium is adjoined by the
Ruin of the Three Columns , or * Temple of Vespasian , erected
under Titus , restored by Sept. Severus. The inscription ran
thus : 'Vivo Vespasiano Augusto Senatus populusque romanus im-
perator Caesar Severus et Antoninus Pii Felices Augusti restituerunt.'
Of this a poriionof the last word only is preserved. The columns and
entablature bear testimony to the superiority of the workmanship.

Farther on, to the r., also adjoining the Tabularium in the
rear, is the Temple of Concordia, founded B. C. 388 by M. Furius
Camillus, re-constructed and enlarged by Tiberius, B. C. 7. It
was dedicated to Concord to commemorate the termination of the
protracted struggle between patricians and plebeians. The smaller
projecting rectangle of the raised substructure was the temple
itself, whilst the larger edifice behind, extending on both sides
of the temple (ascent to Araceli on one side}, was the senatorial
assembly-hall, the threshold of which is still recognised.

In front of the temple of Concordia , on the opposite side of
the street (clivus Capitolinus) , rises the * Triumphal Arch of
Septimius Severus, with three passages. It was erected in honour
of that emperor and his sons Caraoalla and Geta (Caracalla after-
wards caused the name of his brother whom he had murdered to
be obliterated), A. D. 203, to commemorate his victories over
the Parthians, Arabians, and Adiabeni, and was surmounted by a
brazen chariot with six horses, on which stood Severus, crowned
by Victory. Above the arch are figures of Victory, at the sides
crowded representations from the wars of the emperor, on the
bases of the half-columns captive barbarians, all testifying to the
degraded condition of the sculpture of that period. In the middle
ages the arch was temporarily converted by the ruling powers
into a species of castle, and was deeply imbedded until extrica-
ted by Pius Vll. in 1803.

The arched wall by the arch of Severus is the remains of the
imperial Rostra, or orator's tribune. At its extremity was the
Umbilicus urbis Romae, or ideal centre of the city and empire,
the remnants of which are recognisable. At the other extremity,
below the street, are a few traces of the Miliareum Aurewn, or
central milestone of the roads diverging from Rome.

From this part of the excavations a passage leads from the
arch of Severus under the modern street to the second division.
It is generally closed on holidays, but if notice is given on entering
the excavations it will be opened (5 s.).

To the 1. rises the * Column of Phocas, erected in 608 by the
exarch Smaragdus in honour of the tyrant Phocas of the E. Roman
empire , and taken by him from a mmc a... .;<>„* edifice. Beside

170 Column of Phocas. ROME. Career Mamertinus.

it are basements which were employed for similar honorary columns
and fragments of other structures.

On the opposite side is the pavement of the Basilica Julia,
commenced by Cassar and completed by Augustus, once a magni-
ficent edifice consisting of five adjoining halls. The pillars have
been reconstructed in accordance with the ascertained ancient
style, and partly from the original fragments. The greater part
of the pavement is also modern. These basilicae , the first of
which (Basilica Porcia) was erected by Oato the Censor on the
opposite side near S. Adriano, served to draw off a portion of the
traffic, from the limited space of the forum , and were employed
as courts of justice , commercial meeting-places, etc. Several of
these lay on each side of the forum.

Beneath the Basilica runs an antique and still partially visible
channel by which the water from the Forum was conducted to
the Cloaca Maxima (p. 183).

By the Basilica Julia, in the direction of the Palatine, are
three columns from the *Temple of Castor and Pollux, which
was erected after the decisive victory over the Latins 'at Lake
Regillus (B. C. 49(5) and subsequently re-erected by Tiberius.
They are of Parian marble and the most perfect of those extant.
The substructure of the temple, with its lofty flight of steps on
the E. side , has been brought to light by recent excavations
undertaken by the Cav. Rosa. To the r. by this temple once stood
the ancient Regia, or royal palace, subsequently the official resi-
dence of the pontifex niaximus, the site of the present church
of S. Maria Liberatrire ; behind it was the Temple of Vesta.
Caesar's remains were burned by the people in front of the Regia.

We now return to the excavated portions of the forn'm. Passing
to the 1. of the arch of Severus, the traveller reaches the small
church of 8. Giuseppe de' Falegnami to (he 1. at the entrance of
the Via di Marforio , by the steps ascending to Araceli. Beneath
it (entrance adjoining the stairs, 1/2 fr.) is the * Career Mamertinus,
one of the most ancient structures in Rome. It was originally
the excavation of a well (Tullianum , whence traditionally attri-
buted to Servius Tullius), and subsequently served as a prison,
where Jugurtha and Catiline's accomplices perished. It consists
of two chambers , one beneath the other , of very ancient con-
struction; the vaulting of the lower is formed by the gradual
overhanging of the side walls. It contains a spring, which,
according to the legend, St. Peter, who was imprisoned here under
Nero, miraculously caused to flow in order to baptize his jailors.
The building is therefore termed S. 1'ietro in Carcere.

Nearly opposite stands the church of SS. Luca e Martino,
erected on the site of an ancient building. Passing it the Via
Bonell.i leads to the Forum of Augustus (p. ITS). Farther on is
the church of S. Adriano with its unadorned facade, uninteresting

Temple of Faustina. ROME. Basilica of Constantine. 171

like the last-mentiniied, and also occupying tlie site of an ancient
edifice, perhaps the Curia Hostilin, which was subsequently re-
erected under the name of Curia Julia by Cesar and Augustus,
and employed as an assembly-hall by the senate.

The route is now continued on the 1. side of the forum,
where humble workshops now occupy the site of sumptuous palaces
and temples. Of the * Temple of Faustina, within which the
church of 8. Lorenzo in Miranda has been erected , the portico
(with 10 columns of cipolliuo, 6 of which form the facade) and a
portion of the eella are still standing. It was dedicated by An-
toninus in l-H to his wife, the elder Faustina, and re-dedicated
to that emperor himself after his death. The first line of the in-
scription T)iro Antonino et divae Faustinae ex S. C. was then added.

Adjacent is the church of *SS. Cosma e Damiano, erected
by Felix IV., having been incorporated with an ancient circular
temple (possibly of the Penates"), to the portico of which the two
cipolline columns half projecting from the ground to the r. of
the church, in front of the Oratorium della Via Cruris, probably
belonged. The level of the pavement was so much raised by
Frban VIII. on account of the humidity of the soil, that an upper
and lower church were thus formed. The entrance, with the
columns of porphyry and bronze doors, is ancient. Behind this
church were found the remains of an ancient plan of Rome (now
in the Capitoline Museum, p. '208J, fragments of which were also dis-
covered in .1867— (58.

Tlie church is entered by the rotunda. t >n the triumphal arch and in
the tribune are interesting "mosaics of the 6th cent, (freely restored about
IG60; best light towards evening); mi the triumphal arch the Lamb with
the Hook and seven seals, according to Revelations IV. ; adjoining these
the seven candlesticks, lour angels, and two of the symbols (angel and eagle)
of the Evangelists. The arms with wreaths under them belong to' the groups
of the 04 elders. These mosaics were originally destined for a larger arch,
and have been cut smaller at the sides and below. In tlie tribune: Christ,
to whom the saints f'osmas and Oaniianus are conducted by Peter and Paul ;
on the 1. side St. Felix with the church, on the r. St. Theudorus. Beneath,
Christ as the I.amb, towards whom the twelve lambs (apostlesl turn.

The lower church (entrance to the 1. in the tribune; the sacristan acts
as guide, ']■• fr.) is unattractive. It contains the tomb of the saints Cosnias,
Hamianus, and Felix, an ancient altar, and somewhat lower a spring, said
to have been called forth by St. Felix. Near it a niche with remains of
paintings of the 10th cent.

The three colossal arches of the *Basilica of Constantine are
nest reached. They were long supposed to have belonged to Vespa-
sian's temple of Peace, which however was entirely burned down
under Commodus. Nearly on the same spot Maxentius erected a
basilica, which was afterwards altered by his conqueror Constantine.
The entrance originally faced the Colosseum, subsequently the Via
Sacra. It was a basilica of three halls with vaulting of vast span,
which has served as a model for modern architects, as, for example,
in the construction, of the vaulting of St. Peter's, which is of equal
width The only column of the interior which has been preserved

172 S. Francesco, Romana. ROME. Arch of Titus.

now stands in front of S. Maria Maggiore. The traveller should
on no account omit to ascend to the summit of the ruin in order
to enjoy the magnificent ** Panorama of ancient Rome. The route
is as follows. The street between the Temple of Faustina and
S. C'osma e Damiano is followed to the end; then to the r. by
a lane , and to the 1. by the Via del Tempio della Pace into
the Via del Coliseo. At the corner here, immediately to the r.,
is No. 61, an institution for poof girls (visitors ring; 1 fr.),
from the garden of which the stair ascends. The aperture by the
staircase affords the best view of the Colosseum, to the 1. of which
are the Thermae of Titus on the Esquiline ; to the r. the circular S.
Stefano ; nearer, S. Giovanni e Paolo with the new dome, both on the
Cadius. Beyond the Colosseum the Alban, and to the 1. the Sabine
Mts. 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 Pamrlli. Towards the W. the Capitol, to the r. of which,
between the domes of two churches, Trajan's column is visible;
above the latter M. Mario; farther to the r. the Torre di Nerone
and the Quirinal. Towards the N. the church of S. Pietro in Vin-
coli with its magnificent palm, and >S. Maria Maggiore, recognised
by its two domes and Romanesque tower, both on the Esquiline.

Towards the close of the forum rises the height anciently
termed Velia, where, adjoining the basilica of Constantine, and
partially occupying the site of a temple of Venus and Roma (see
below), the church of S. Francesco Romana with adjoining cloister
is situated.

S. Francesea Romana (I'l. II, 23), or 8. Maria Nuova, stands
on the site of an older church of Nicholas I. founded about 860;
it was re-erected about 1216 under Honorius 111. after a con-
llagration, and was finally modernised by Carlo Lombardo in 1615.

On the r., 2nd Chapel: (r.) monument of Card. Vulcani (d. 1322) and
that of the papal commandant and general Antonio Rido (d. 1475). 3rd Cha-
pel: Miracles of St. Benedict, altar- piece by Subleyras. In the tribune mo-
saics 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 attrib. to St. Luke , which is said alone to have escaped de-
struction in the conflagration. To the r. of the apse : monument of Gre-
gory XI., who transferred the papal residence from Avignon to Rome (d.
1378), with relief by Olivier i. Here on the r., immured in the wall, arc
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 ot
I he saints with an angel, by Meli. Under the tribune (closed; the sacristan
escorts visitors with a light, if desired) is the tomb of the saint, and over the
altar a marble relief bv Bernini. On the 1. wall of the sacristy a Madonna
with four saints, by Sinibaldo, a pupil of Perugino , date 1524. The sacri-
stan now shows a court behind the church, with the well-preserved western
apse of the Temple of Venus and Roma (fee 'ja fr.).

On the summit of the Velia, by the Palatine, rises the
* Triumphal Arch of Titus , erected in commemoration of his
victory over the Jews, and dedicated to him under his successor
Domitian in SI, as the inscription towards the Colosseum records:

Temp, of Venus and Roma. ROME. Colosseum. 173

Senatus populusque Romanus divo Tito divi Vespasiani filio Ves-
pasinno Augusto. The arch is embellished with fine reliefs. On
the exterior, on the same side as the inscription, is a representa-
tion of a sacrificial procession on the frieze. On the inside, Titus
crowned by Victory in a quadriga driven by Roma; opposite, the
triumphal procession with the captive Jews, table with the show-
bread, and candelabrum with seven branches. In the middle ages
the arch was converted into a small fortress, crowned with pinnacles,
and strengthened by new walls. When these were removed under
Pius VII., the arch lost its support, and it became necessary to
reconstruct it, as the inscription on the other side informs us.

The street now descends, passing a number of nameless ruins
on both sides, to the Colosseum. On the 1. is the double apse of
the Temple of Venus and Roma, erected by Hadrian in 135, and
restored by Maxentius in 307. This was the largest and one of
the most sumptuous temples in Rome , with ten columns at the
ends, and twenty on each side. There must evidently have
been two temples under the same roof, with entrances from the
Colosseum and Capitol and adjacent cell* , so that there was a
niche on each side of the central wall for the image of a god.
One half is now within the precincts of the monastery of S. Fran-
ccsca Romana (p. 172), the other towards the Colosseum is open.

On the descent hence to the Colosseum the remains of an
extensive square Basis of masonry are seen to the 1. below. Here
once stood the gilded bronze Colossal Statue of Nero, as god of
the sun, surrounded with rays, and 117 ft. in height, executed
by Zenodoros by order of the emperor himself, when after the
conflagration (A. D. 64) he erected his golden palace with lavish
splendour. The latter fell to decay soon after the emperor's death
(in 68), and the statue was removed thence under Hadrian to the
above-mentioned basement. In the space occupied by an artificial
lake in the gardens of Nero, Vespasian founded the Amphitheatrum
Flavium, which was completed by Titus in the year 80, and
usually (since the 8th cent.) named after the former colossal
statue of Nero the

** Colosseum (PI. II, 24), Ital. II Coliseo, the largest theatre,
and one of the most imposing structures in the world. On its
completion it was inaugurated by gladiatorial combats, continued
during 100 days , in which 5000 wild animals were killed , and
naval contests represented. 87,000 spectators could be accommo-
dated within its walls.

It was restored by Alex. Severus, as it had suffered from a conflagra-
tion under Macrinus. In 248 the Emp. Philip here celebrated the 1000th
anniversary of the foundation of Rome with magnificent games. In 405 gla-
diator-combats were abolished by Honorius as inconsistent with the spirit of
Christianity, but wild-beast fights continued down to the time of Theodoric
the Great. In the middle ages the Colosseum was employed by the Roman
barons, especially the Frangipani, as a stronghold. In 1312 the Annibaldi
were compelled to surrender it to the Emperor Henry VII. , who presented

171 Colosseum. KOME. The Exterior.

it to the Raman senate and people. In 1332 the Roman nobility again in-
troduced bull-fights. Alter this period, however, the destruction of the Co-
losseum began, and the stupendous pile began to be regarded as a species
of quarry. In the 10th cent. Paul II. here procured the materials for the
construction of the Pal. di S. Marco (di Venezia), Card, ltiario for the Can-
celleria, and Paul III. (1534—49) for the Pal. Farnese. Benedict XIV.
(1740—58) was the first to protect the edifice from farther demolition by
consecrating the interior to the Passion of Christ, on account of the fre-
quency with which the blood of martyrs had there flowed, and erecting
small chapels within it, where sermons are still preached on Fridays by a
Capuchin. The following popes, especially Pius VII. and Leo XII., have
averted the imminent danger of the fall of the ruins by the erection of huge
buttresses. The stairs in the interior were restored by Pius IX.

The Colosseum is cons: meted of blocks of travertine (bricks
have also been employed in the interior), which were originally
held together by iron cramps. The numerous holes hewn in the
stone were made in the middle ages, for the purpose of extracting
the then very valuable iron. The external circumference of the
elliptical structure measures 1900 ft., or upwards of one-third
of a mile, the long diameter 658 ft., the shorter f>f>8 ft., height
202 ft. Above the arena rise the tiers of seats intersected by
steps and passages , most of which are now in ruins and only
partially accessible.

On the exterior the preserved N. E. portion (towards the
Esquiline) consists of 4 stories; the 3 fifst are formed by arcades,
the pillars of which are embellished with half-columns of the
Doric, Ionic, and Corinthian order in the 1st, 2nd, and 3rd stories
respectively. A wall with windows between Corinthian pilasters
constitutes the 4th story. Statues were placed in the arcades of
the 2nd and 3rd stories, as appears from the repiesentations on
ancient coins. At the extremities of the diameters are the 4 triple
main-entrances , those towards the Esquiline and Ctclius for the
emperor, the others for the solemn procession before the com-
mencement of the games, and the introduction of the animals and
machinery. Towards the Esquiline are seen traces of the stucco-
decorations, which were restored under Pius VII. and once served
as models for Giov. da Udine, the pupil of Raphael. The arcades
of the lowest story served as entrances for the spectators, and
were furnished with numbers tip to LXXX. (Nos. XXIII. to LIV.
still exist), in order to indicate the stairs to the different seats.
Below, on the exterior, are two rows of arcades, then a massive
substructure for the seats. Every fourth arch contains a staircase.
A portion of the tiers of seats is still distinguishable, the foremost
of which, the Podium, was destined for the emperor, the senators,
and the Vestal Virgins; the emperor occupied a raised seat
(Pulvinar), the others seats of honour. Above the Podium rose
3 other classes of seats, the first of which was allotted to the
I- nights. In the last division were the humbler spectators, in a
colonnade, on the roof of which sailors of the imperial fleet were
stationed for the purpose of stretching sail-cloth over the entire

Colosseum. ROME. The Interior. 175

amphitheatre to exclude the burning rays of the sun. Apertures
are still seen in the external coping, and beneath them corbels,
for the support of the masts to which the necessary ropes were
attached. Beneath the amphitheatre were chambers and dens for
the wild beasts , and an apparatus by means of which the arena
could be laid under water , all of which it has been necessary to
fill up, the level of the ground having been so low as to en-
danger the ruins.

Although one-third of the gigantic structure alone remains,
the ruins still produce an overwhelming effect. An architect of
the previous century estimated the value of the materials still
extant at 1 '/._> million scudi, which according to the present value
of money would be equivalent to at least half a million pounds
sterling. Thus the Colosseum has ever been a symbol of the
greatness of Rome, and gave rise in the <Sth cent, to a prophetic
saying of the Anglo-Saxon pilgrims of that age :

'While stands the Colosseum. Rome shall stand,
When falls the Colosseum, Rome shall fall,
And when Rome falls — the World !'

Those who desire to explore the ruins are strongly recommended
to ascend to the upper» stories (the custodian is to be found
on the r. side of the entrance from the Forum, 5 — 10 soldi; but
his services may well be dispensed with). A steep wooden stair-
case of 56 steps ascends to the first storey. Of the three arca-
des the inner should be selected and followed to the 1. for the
sake of the survey thus afforded of the interior. Over the en-
trance towards the Palatine the modern staircase of 18 sieps as-
cends to the 2nd, and then to the 1. direct to a projection in
the 3rd story. The *view from the restored balustrade to the
r. in the 4th story, to which another flight of f)5 steps ascends,
is still more extensive. It embraces the (Melius with S. Stefano
Rotondo and S. Giovanni e Paolo; farther off, the Aventine with
S. Balbina, in the background S. Paolo fuori le Mura; nearer,
to the r. , the Pyramid of Cestius; to the r. the Palatine, to
which the arches of the Aqua Claudia approach.

An indescribable impression is produced by the moonlight-
effects in the Colosseum, or when it is illuminated by torches or
Bengal lights, a scene which may occasionally he witnessed on win-
ter-evenings, and is strongly recommended to the traveller's notice
if an opportunity presents itself. A permesso is not now required.
The Flora found among the ruins of the Colosseum once com-
prised 420 species, which were collected by an English botanist,
but most of them have unfortunately disappeared under an over-
zealous system of purification.

Retracing his steps and quitting the Colosseum by the same

176 ,4r<7i of Constantine. ROME. Thermae of Titus.

gate , the traveller perceives on the 1. in front of the edifice the
so-called Meta Sudans, the partially restored fragment of a magni-
ficent fountain erected by Domitian. Farther on, to the 1. between
the Ccelius and Palatine, rising above the Via Triumphalis which
here united with the Via Sacra, stands the

* Triumphal Arch of Constantine (PI. II, 24), the best-preserved
of these structures , erected after the victory over Maxentius at
Saxa Rubra, near the Ponte Molle, in 311, when Constantine
declared himself in favour of Christianity. The inscription is as
follows : Imp. Caes. Fl. Constantino Maximo pio felici Augusto
Senatus Populusque Bomanus , quod instinctu divinitatis mentis
magnitudine cum exercitu suo tarn de tyranno quam de omni ejus
factions uno tempore justis rem publicam ultus est armis arcum
triumpliis insignem dicavit. The arch has three passages , and is
adorned with admirable sculptures from a triumphal arch of Trajan,
which stood at the entrance of Trajan's Forum. The age of Con-
stantine would have been incapable of such workmanship. The
following are from the arch of Trajan : the captive Dacians above
(7 ancient; one entirely, and the heads and hands of the others
are new); the reliefs (facing the Colosseum), to the 1. : 1. Trajan's
entry into Rome, to the r. of which : 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 1. : 5. Trajan
crowning the Parthian king Parthamaspates ; 6. Soldiers conducting
two barbarians into Trajan's presence; 7. Trajan addressing the
army; 8. Trajan sacrificing; the 8 medallions beneath these reliefs
represent sacrifices and hunting-scenes; on the narrow sides two
battles with the Dacians ; beneath the central arch, the vanquished
imploring pardon , and Trajan crowned by Victory. The contrast
between the condition of art in Trajan's and that in Constantine's
age is exhibited by the smaller reliefs inserted between the me-
dallions , representing the warlike and peaceful achievements of
Constantine. In 1804 Pius VII. caused the ground to be lowered
to its original level.

On the opposite side, a few hundred paces from the Colosseum
(in the Via Labicana, 1st door 1., fee 1/2 fr- i the via della Pol-
veriera here ascends to the 1. between walls in 5 min. to S. Pietro
in Vincoli, p. 143), are situated on the Esquiline the

*ThermEe of Titus (PI. II, 26) O/2 fr.). Maecenas once possessed
a villa here, which was afterwards incorporated with the golden pa-
lace of Nero. On the site of the latter, in the year 80, Titus has-
tily erected his sumptuous Therms , which where greatly altered
and enlarged by Domitian, Trajan, and others. The ruins occupy
an extensive space, and are scattered over several vineyards. The
smaller portion only is accessible which was excavated in lolo.
The earlier structure of Nero is easily distinguished from that of
Titus. The long vaulted parallel passages first entered belong to

Fora of the Emperors. ROME. Forum of Nerva. 177

the Thermae They form together a semicircular substructure, the
object of which is not clearly ascertained. Most of the chambers
beneath, which were filled up by Titus in the construction of his
baths, and re-excavated at the beginning of the 16th cent., be-
longed to the golden palace of Nero. A series of 7 rooms is first
entered here; to the 1., near that in the centre, are remains of
a spring. Traces of the beautiful paintings , which before the
discovery of Pompeii were the sole specimens of ancient decoration
of this description, and served as models for Giov. da Udine and
Raphael in the decoration of the loggie , are still perceived.
Colonnades appear to have existed on both sides of these rooms.
A passage leads hence to a bath-room. To the 1., at a right angle
to this suite, are a number of small and unadorned rooms, pro-
bably the dwellings of the slaves; to the 1. again, opposite the
first suite, is a passage once lighted from above, the vaulting of
which was adorned with beautiful frescoes still partially visible.

Fora of the Emperors. Academy of S. Luca.

On the route returning hence to the forum, in the plain to
the N.E. of the forum of the republic, were situated the Fora of
the Emperors, erected by their founders rather as monuments and
ornaments to the city than for practical purposes. 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 constructed by Augustus ; the Temple of Peace
(p. 169) of Vespasian is often mentioned as a third, another was
founded by Domitian ; and finally, the most magnificent of all
these structures, was the Forum of Trajan. They are here enume-
rated in order from the Temple of Peace , which probably lay on
the site of the basilica of Constantine, to the Forum of Trajan,
as they all adjoined each other within this area.

Adjacent to the Temple of Peace lay the forum founded by
Domitian and completed by Nerva, whence called the Forum of
Nerva, sometimes also Forum Transitorium from being intersected
by a principal street. Here stood a temple of Minerva, taken down
by Paul V. in order to decorate the Fontana Paolina on the Jani-
culus with the marble , and a small temple of Janus. Remains
of the external walls exist in the so-called * Colonacce, two half-
buried Corinthian columns, with entablature richly decorated with
reliefs (branches of art, weaving, etc., which were specially pro-
tected by the goddess ; oasts of them in the museum of the Aca-
demie Franchise , p. 109); above them an attic with a Minerva.
Passing through the 1. arch of the basilica of Constantine , and
ascending the street (V. Alessandrina) on the 1. , the traveller
reaches this ruin at the corner of the second cross-street to the
r., and will here be enabled to form an idea of the grandeur

I 78 Ace. di S. Luca. ROME. Forum of Augustus.

of the original structure. The following cross-street is the Via
Bonella.

Near the Forum, Via Bonella 44, is the

Accademia di S. Luca, a school of art founded in 1595, the
first director of which was Federiyo Zuccaro. Open daily 9—5
o'clock. Visitors ring or knock at the principal door.

Immured in the passage of the staircase are a few casts from Trajan's
Column (disfigured with whitewash). On the first landing is the entrance
to the collection of the competitive works of the pupils (usually closed; the
custodian of the gallery opens the door if requested). 1st Room: Discus-
thrower reposing, in plaster, Kessels. 2nd R. : r. of the door, Christ on
the lit. of Olives, drawing by Seitz. 3rd R. : Reliefs by Thorwaldsen and
C'anova. In the back part of the saloon the casts of the JEginetan sculptures
are at present placed. 4th R. : Ganymede giving water to the eagle,
Thorwaldsen.

Another stair ascends to the

Picture Gallery ('|-.> fr.). A small ante-chamber (with engravings etc.)
leads to the 1st saloon, lighted from above. Entrance-wall: Landscape,
Berchem; Wharf, Tempesta; Madonna and Descent from the Cross, old Dutch
Sch.; Venus crowned by graces, Rubens; Madonna, Van Dyck; St. Jerome,
Titian ; Wharf, Jos. Vernet. Short wall : two Landscapes , 0. Poussin. Se-
cond wall: Scribe disputing, /libera; Venus, P. Veronese; Portrait, Van
Dyck (?); Portrait, Titian; Vanity, by the same; Coast Landscape, Claude
Lorrain; Wharf, Jos. Vernet. On the second short wall, busts of Betti,
Tenerani, and Thorwaldsen. The saloon is adjoined on one side by a small
room, principally containing portraits of artists ; among them, on the pillar,
Virginie Lebrun ; above, Byron ; another row occupies the upper part of
the r. short wall; to the r. Angelica Kauffmann; below, by the entrance,
Concert of cats, by Salvator Rosa. On the entrance-pillars of the 2nd saloon :
Architectural design, Canaletlo; Madonna, Maratta; on the back of this pic-
ture there is a "copy, by Marc Antonio, of the first design of Raphael's
Transfiguration (figures nude ; original supposed to have been lost). L. wall:
Discovery of the guilt of Calisto, Titian (usually covered); Fortuna, Guido
Reni ; !Boy as garland-bearer, fresco by Raphael; Lucrezia, Guido Cagnacci;
Venus and Cupid (al fresco), Ouercino. Short wall: St. Andrew, Bronzino;
Portrait, Venet. Sch.; Cupid, Guido Reni; St. Luke painting the Madonna,
beside him Raphael observing him, Raphael (only partly executed by hiin;
originally an altar-piece in St. Martino); Portrait, Tintoretto; Tribute-
money, after Titian. R. wall: Bacchanalian dance, Poussin; Hebe, Pelle-
grini; Galatea, copy by Giulio Romano from Raphael; Wharf, J. Vernet;
Susanna , P. Veronese ; Bacchus and Ariadne , Guido Reni.

Round the upper part of this saloon is a double row of portraits of
artists.

The permission of the director is necessary in order to obtain access
to the collection of casts for the purpose of study.

The Via Bonella is terminated by an ancient wall with a
gateway.

In front of the latter, to the 1., are three beautiful and lofty
* Corinthian columns with entablature, which belonged to one of the
sides of the Temple of Mars Ultor in the Forum of Augustus
(PL II, 20). The forum was enclosed by a lofty *wall of peperine
(grey volcanic, rock), of which a considerable part is seen near the
temple, and especially at the arch (Arco de' Pantani). This wall
was adjoined by the back of the temple which Augustus , when
engaged in war against Ciesar's murderers, vowed to erect.

Between this and the ancient republican forum lay the Forum
of Caesar with a temple of Venus (ienetrix. Scanty remnants of

Forum of Trajan. ROME. Trajan's Column. 179

the external wall of tuffstone are seen to the 1. in the court of
No. 18 Vicolo del Ghettarello, which diverges to the r. from the
Via di Marforio between Nos. 47 and 46.

The traveller now ascends to the 1. through the Arco de' Pan-
tani by the huge wall which now forms part of a nunnery, and a
short distance farther descends to the 1. by the Salita del Grillo
[in the court No. 6, wall of Trajan's forum, see below) to the
busy Via Campo Carleo, the prolongation of the Via Alessandrina,
whence immediately to the r. the Piazza della Colonna Trajana
is entered.

The Forum of Augustus was adjoined by the * Forum of Trajan
(PI. II, 19), an aggregate of magnilicent edifices, designed by the
architect Apollodorus of Damascus (111 — 114). In the portion
excavated in 1812 (keys kept by a barber, P. della Colonna Tra-
jana 08) four rows of columns, the foundations of which were
then discovered , are iirst encountered (fragments of columns
were also found here , but it is not certain whether they belong
to those which stood on the spot) , being part of the five-hailed
Basilica Ulpia , which lay with its sides towards the end of the
present piazza. Between this Basilica and the Forum of Augustus
lay the Forum Trajani , of the S.E. semicircular wall of which
a portion is still seen in the Court of No. 6 Via della Salita del
Urillo. two stories in height ; the chambers of the lower were pro-
bably shops. In the centre of this Forum rose Trajan's equestrian
statue. On the other side of the basilica stands **Trajan's Column,
124 (or incl. pedestal and statue 158) ft. in height; diameter 12,
at the top 1 1 ft. ; entirely covered with admirable reliefs from
Trajan's war with the Dacians (which can be more conveniently
examined on the cast in the Lateran), comprising, besides animals,
machines , etc. , upwards of 2500 human figures , each averaging
2 ft. in height. Beneath it Trajan was interred, on the summit
was placed his statue (now that of St. Peter); in the interior a
stair of 184 steps ascends. The height oi the column at the
same time indicates how much of the Quirinal and Capitoline
must have been levelled in order to make room for these build-
ings. Moreover to this forum belonged a temple, dedicated to
Trajan by Hadrian, a library, and a triumphal arch of Trajan, all
situated on the other side of the column. Some of the reliefs
from the last mentioned were taken for the arch of Constantino
(p. 176).

On the N. side of the piazza are two churches, that on the
r. del Nome di Maria, erected in 1683 after the liberation of
Vienna from the Turks, restored in 1862; that on the 1. S. Maria
di Loreto, erected by Sunyallo in 1507; in the 2nd chapel a
statue of St. Susanna by Fiammingo, high altar-piece of the
school of Pemgino.

Three connecting streets lead hence to the Piazza SS Apostoti

12*

180 Palatine Sill. ROME. Farnese Oardens.

(p. 118). Ascending to the r. the Via Magnanapoli leads in
16 min. in a straight direction to S. Maria Maggiore (p. 137);
to the 1. it leads to the Piazza di Monte Cavallo (p. 130). The
street to the 1. leads to the Piazza S. Marco, or if it be quitted by
the first street to the r., the Piazza di Venezia (p. 120) is reached.

The Palatine.

Velabrum. Forum Boarium.

The Palatine Hill, situated on the S.W. side of the Forum,
rises in the form of an irregular quadrangle. In ancient times it
was bounded on the N. side, towards the Capitol , by the Vela-
brum and the Forum Boarium (p. 184); on the W., towards the
Aventine, by the Circus Maximus fp. 185); on the S. , towards
the Caelius, by the Via Triumphalis and the Via Appia (now Via
di S. Gregorio). The Palatine is the site of the most an-
cient city of Rome, the Roma Quadrata, remnants of whose walls
have been brought to light at five different places, thus affording
us an opportunity of tracing the situation of these venerable for-
tifications with tolerable precision. The wall appears to have en-
circled the entire Palatine hill about half-way up its slopes, and
to have been penetrated by gates at three places only. The sit-
uation of two of these, the Porta Mugionis or Mugonia, and the
Porta Romana or Romanula has been ascertained by the most re-
cent excavations. Tradition places on this hill the dwellings of
its heroes Evander, Faustulus, and Romulus, and many celebrated
men resided here at a subsequent period , such as the Gracchi,
Cicero, Mark Antony, etc. ; but the emperors at length took pos-
session of the entire area and erected their private residences on
it. The chief of these are the palaces of Tiberius, Caligula, the
Flavii, and Severus, the vast ruins of which present a most im-
posing appearance even at the present day. The Palatine re-
tained its magnificence for a comparatively long period , and was
subsequently the residence of Byzantine generals and German
kings, but was at length suffered to fall to decay.

The Palatine is now occupied by two religious houses (5. Bo-
naventura , opposite the arch of Titus , and the Villa Mills , now
occupied by nuns of the order of St. Francis de Sales), by three
vigne ( Vig/ia Nussiner on the N. W. side, Vigna del Collegio Inglese
at the S.W. corner, and the Vigna di 8. Sebastiano on the S.),
and finally by the Orti Farnesiani, extending over the entire N.E.
portion of the hill. The different parts of the hill, with the ex-
ception of the sites of the convents and the last-named Vigna,
have been explored at various times by means of excavations,
the most interesting and extensive of which were conducted by
the architect Comrn. Pietro Rosa in the Farnese Gardens (pur-
chased in 1801 by Napoleon III. from King Francis II. for 250,000
fr. ). The Vigna Nussiner was presented to the city by the

Palatine Hill. ROME. Museum. 181

Emperor of Russia in 1857 , after he had caused excavations to
be made in it during the preceding eleven years under the super-
vision of Vescovali. Important discoveries have also been made
by the Cav. Visconti since 18(36 in the Vigna del Collegio Inglese,
which was purchased by Pius IX. Since the incorporation of Rome
with the kingdom of Italy and the purchase of the Farnese Gai-
dens by the Italian government (in Dec. 1870, for a sum of
650,000 fr.) these various excavations have been entrusted to
the sole management of-M. Rosa, who has caused the different
parts of the ruins to be connected by paths, thus rendering them
conveniently accessible (on Thursdays and Sundays from 10 o'clock
till dusk). No fee. Entrance from the Forum, opposite Constan-
tine's basilica. The ruins may be inspected in the course of an
afternoon, but their imposing character coupled with the beautiful
and varied views commanded by the Palatine render them well
worthy of repeated visits.

The excavations of the * Farnese Gardens are first entered.
Notwithstanding the great difficulties which attended the pro-
secution of the work- , such as the removal of rubbish 20 ft.
in depth, very important discoveries have been made here. The
character of the ruins brought to light has not yet been precisely
ascertained in every case, but they convey a striking idea of the
structures with which the Palatine was once covered. M. Rosa,
on whose researches the following description is based, has drawn a
map of the entire region, which is reproduced photographically and
exposed to view at different points (it may be purchased at Loscher's
bookshop, Corso346, for 3l/.2 fr.). The streets, temples, houses, and
palaces are everywhere furnished v ith notices of the most important
passages in ancient literature supposed to relate to them. The
success of these attempts at identification is, however, necessarily
doubtful in many cases , and a number of the names must be
legarded as mere matter of conjecture.

After ascending the first stair to a point below the dwelling
of the director , the visitor turns to the r. and enters a small
* Museum, where the most interesting objects found during the
excavations, either in the originals or in casts, are collected.

In the centre , near the entrance , young Bacchus led by a
nymph; statue of a youth in basalt; torso of a Venus Genetrix.
To the 1. , by the posterior wall , cast of a Cupid in the act of
pouring out wine (original at Paris, found in the Nymphasum of
the Flavian palace); on the r., torso of a satyr by Praxiteles;
three female busts of nero antico. Lett row: *head of ^Escula-
pius , perhaps belonging to the torso with the .snake on the r. ;
female portrait-head; on the r., head of dead barbaiian; 1. heads
of Nero and Drusus. By the 1. wall lamps and other antiquities.

182 Palatine Tlill. ROME. House of Tiberius.

Specimens of the different kinds of stone found among the ruins.
By the r. wall coins, glasses, objects in ivory, fragments of stucco,
brick-stamps. Among the terracotta fragments by the wall of the
entrance two *reliefs with representations of mysteries should be
observed.

The visitor should now descend the stone stairs to the r. to
the Clivus Victoriae, the ancient pavement of which is visible on
both sides. This street originally led to the Forum on the r.,
through the Porta Romana , but was afterwards entirely covered
by the structures of Caligula. To the latter belong the huge sub-
structures and well preserved vaulting which here strike the eye.
If the traveller descend the Clivus Victoriae to the r. to the Fo-
rum, he will perceive above Mm, about 45 paces to the 1., the
beginning of the bridge which Caligula caused to be thrown over
the Forum to the Capitol, in order to facilitate his intercourse with
the Capitoline Jupiter, whose image on earth he pretended to be.
The bridge gradually ascends towards the Forum ; by the second
paved way diverging to the 1. a fragment of the original marble
balustrade is still standing. Returning hence and ascending the
narrow stair , the traveller reaches the bridge , which he follows
to the farther extremity, passing various fragments of mosaic
pavement. The purpose of the rooms on the 1. is not yet preci-
sely ascertained. On emerging, we proceed to the 1. along the
slope of the hill, which affords a series of tine views. Imme-
diately in the foreground lie the slopes of the Palatine. In front
of the temple of the Dioscuri rises the church of S. Maria Libe-
ratrice with extensive walls adjoining it , occupying the site of
the temple of Vesta and the Regia. Farther distant is the an-
cient circular church of <S. Teodoro, also erected on the foun-
dations of an ancient structure (perhaps a temple of Romulus).

The remains of opus reticulatum on the 1. belong to the pa-
latical edifices of Tiberius, which extended to the W. of the pa-
lace of Caligula. At the extremity of the last slope the traveller
reaches a wooden stair by the inscription 'Domus Tiberiana!, and
descends past the Auyuralorium , a lofty square platform on the
r. where the auspices were consulted, and the back of the palace
of Tiberius on the 1., to a private *dwolling excavated in 1869,
which appears to have survived the destruction of all the other
douses of the kind. It is believed to have been the house of
Tiberius Claudius Nero, the father of Tiberius, to which his mo-
ther Livia also retired after the death of Augustus, in order to
marry whom she had been divorced from her first husband. The
passage on the 1., once built over by the structures of Tiberius,
descends to the house.

A flight (if six steps descends to the mosaic pavement of the vaulted
Vestibulum , whence the quadrangular Atrium is enlered. Adjoining uR'
latter are three chambers opposite the entrance. The mural'paintings here

Palatine Hill. ROME. Flavian Palace. 182 a

will bear comparison with the linost of those discovered at Pompeii. The
lirst on the r. in the central room represents Io guarded by Argus, while
Mercury approaches to release her, the second represents street-scenes; on
the wall opposite the entrance are Polyphemus and Galatea. The central
pictures represent large windows whence a view of mythological 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 paint-
ings in the corners above, representing sacrificial scenes, afford a good idea
of the ancient style of pictures, which like the mediaeval altar-triptychs could
be closed by two folding shutters or wings. By the 1. wall are leaden water
pipes with inscriptions from which the history of this house has been
gathered. The walls of the chamber to the r. are adorned with magnificent
*:garlands, from which masks and other Bacchanalian objects depend between
the columns; the walls of the room to the 1. are divided into brown sec-
tions edged with red and green, above which are light arabesques between
winged figures on a white ground. Adjoining the r. side of the atrium is
the Triclinium , or bedroom , recognisable by the inscription , with walls
painted bright red. The two large central paintings represent landscapes,
that on the r. the attributes of Diana (large indented crown, stag's and wild
boar's heads). On the entrance-wall are two glass vases with fruits. — At
the back of the house are situated the unpretending offices (bedroom, store-
room, etc.), which are reached by a small wooden stair to the r. as the
triclinium is quitted.

Returning through the vestibule to the passage and following
it to the r. to the end, where a well-preserved head of Venus in
marble stands upon a Corinthian capital, the visitor will perceive
the continuation of the passage to the 1., leading to the residence
of the director. At the beginning of the circular vaulting consi-
derable remains of the stuccoating is still seen. Beyond these first
arches a second subterranean passage is reached on the i\, with
vaulting and pavement in mosaic (fragments only extant), leading
(finally by steps) to the Palace of the Flavii, the most important
part of the excavations of the Palatine. About twenty paces in a
straight direction from the mouth of the passage the spacious Ta-
blinum is reached, the ancient imperial residence properly so call-
ed. Domitian, by whose father Vespasian the palace was erected,
constituted it the chief seat of the Roman government, and made
those arrangements which are still traceable in the ruins. The
disposition of the apartments is that of an ordinary Roman dwell-
ing (Atrium, Tablinum, Peristylium, etc.), but on a much larger
scale and without offices. Crossing the tablinum and proceeding to
the E. verge of the plateau (in the direction of the basilica of
Constantino) we reach an oblong anterior court with three rectan-
gular projections, the site of the Atrium, and once surrounded
with columns. This was the station of the guards of the palace,
and also served as an antechamber for audiences etc. — From the
central projection a view is obtained in a straight direction of the
scanty remains of the temple of Jupiter Stator, the foundation of
which tradition ascribes to Romulus, and which was situated near
the Porta Muyionis. Remains of a substructure of tufa blocks
(two of which bear Greek names), belonging to an ante-Neronian
restoration of the temple, have recently been brought to light. To
the r. of this a part of the ancient basalt pavement of the Via

182 b Palatine Hill. ROME. Flavian Palace.

Nova is observed, and farther distant in the foreground near the
inscription 'Roma Quadrata', are remains of the wall of this
the most ancient city , constructed of regularly hewn blocks of
tufa. — Adjoining the atrium are three chambers, the most S.
of which is the Lararium, or chapel of the Lares or household-
gods. On a pedestal at the extremity of the chapel is a small
square altar in marble with figures of the Oenius Familiaris and
the Lares. The former stands in front with covered head ; the
latter are represented at the sides in the typical style common in
Pompeian works of the kind, with boots, a short chiton, a rhyton
or drinking-horn in the raised hand , and a situla or pitcher in
the other. The second apartment is the Tablinum already men-
tioned, which in private dwellings was the principal sitting-room.
It was here employed as a throne-room, and here the emperors
granted audiences. This extensive hall, with its large semicir-
cular apsis which was occupied by the throne , and its eight
niches alternately round and square, containing still extant square
pedestals, was originally entirely covered. An adequate idea of
its magnificence can hardly now be formed , when it has been
deprived of its decorated ceiling, when the walls have lost their
marble covering, the niches their statues , and the pedestals the
colossal figures which once occupied them. The third apartment,
that on the N., is the Basilica Jovis, where the emperor pro-
nounced his legal decisions. The semicircular tribune was se-
parated from the space allotted to the litigants by a marble screen,
a fragment of which still stands here. The latter space was
bounded on each side by a narrow colonnade , some of the
bases of which and one entire column are preserved. — To the
W. of the tablinum is situated the Peristylium , two-thirds of
which only have been excavated (one-third on the S. side is
covered by the court of the adjoining convent of the Salesian
nuns) , a vast square garden fw sq. yds. in area, originally sur-
rounded by a colonnade. Its imposing dimensions and a few
traces of its marble covering (giallo antico) are now the sole in-
dications of its ancient magnificence. The open space in the
centre was originally occupied by fountains, trees, and flowers.
At the N.W. corner a stair descends to two subterranean cham-
bers (perhaps bath-rooms), showing traces of stucco decorations
and painting. The carefully hewn blocks of stone observed here
probably belonged to a still more ancient structure. — Opening
on the peristyle along its entire width was the Triclinium, or
dining-hall (Jovis Coenatio), whence the diners could enjoy a view
of the fountains and trees of the garden. In the semicircular
apsis on the W. wall most of the original marble and porphyry
covering of the pavement in still extant. The remains of the
pavement and covering of the wall on the N. side are more
scanty. Adjacent to the latter is the Nymphaeum , or fountain

Palatine. ROME. T. of Jupiter Victor. 182 c

saloon , containing an elliptical basin , in the centre of which
rises a fountain covered with partially preserved maTble slabs,
and once employed as a stand for plants. The other smaller
chambers which extend along the N. side of the palace are of
inferior interest, and their purposes are not yet ascertained. The
same may be said of the chambers adjoining the back of the
dining-hall on the W. The visitor next enters a colonnade, the
six cipollino columns of which (two entire, the others partially
preserved) rest on foundations of peperine dating from the repub-
lican epoch, and visible from above through the broken pavement.
The following-room, as the notice informs us, is conjectured to
have been the once celebrated Palatine Library. The next, with
slightly rounded niche and seats along the walls, is supposed to
have been the Academia or lecture-room.

From the academia a few steps descend to the flight of steps
by which an ancient temple is approached. This was the temple
of Jupiter Victor, erected in consequence of a vow made by Fa-
bius Maximus at the Battle of Sentinum (B.C. 295) 5 26 steps
in 5 different flights (on the 4th landing is a round pedestal
with an inscription) ascend to the nearly square substructure of
the temple, the great age of which is indicated by the stumps
of columns of peperine, originally covered with stucco. Opposite
the S.W. corner of this temple (and exactly opposite the inscrip-
tion Hum Fabius Maximus'^) a recently constructed passage de-
scends, connecting the imperial ruins on the S. side of the Palatine
with those above described. Before visiting these ruins, we may
proceed about 50 paces farther to a flight of steps discovered in
1870, which formed the ancient approach to the Palatine hill
from the Circus Maximus. The steps are hewn in the natural
tufa rock and are flanked by solid masonry constructed of huge
blocks of stone without mortar, obviously of very great antiquity.
The destination of the structures on either side is still involved
in obscurity.

We now return to the above mentioned path recently con-
structed, descend as far as its first turn towards the 1., and then
proceed for 3 min. in a straight direction along the height, pass-
ing several unexplained ruins and the gardener's house below the
Villa Mills , the beautiful cypresses of which peep down from
above. Beyond the house a small flight of stone steps and then
a wooden stair are ascended to a plateau bounded on the E. and
S. by the imposing ruins of palaces chiefly constructed by the
emperors Commodus and Septimius Severus. In magnitude and
picturesqueness these ruins surpass those of the Farnese Gardens,
but are of inferior interest owing to the obscurity in which their
arrangements and purposes are involved. The excavations under-

182 c? Palatine. ROME. Palace of Commodus.

taken here at the instance of Pius IX. during the last few years
have brought to light a considerable number of the lower cham-
bers of these palaces and edifices. Turning to the 1. on the pla-
teau past a wooden balustrade towards the white hut of the cus-
todian we reach a second and more extensive space in the form
of a stadium, i. e. of oblong shape with a rounded extremity
towards the W. Opposite us lies the convent of S. Bonaventura
with its palms towering over the wall ; on our r. are remains
of later imperial structures erected above the lower lying build-
ings, and on our 1. rise the white convent walls of the Villa
Mills. This plateau was originally enclosed by a colonnade, con-
sisting of pillars of masonry covered with marble, with half-
columns in front of them. To the 1. as the plateau is entered
the remains of these pillars together with the semicircular water-
basin in front of the apsis are visible below. Other relics of the
colonnade are also observed farther on. The colonnade was ad-
joined by three apartments , covered by the imposing apses of a
subsequent structure. The third of these still possesses traces of
mural paintings and a portion of its mosaic pavement. In the
large central chamber the point of divergence of the vaulted ceil-
ing is distinctly traceable. Several more fragments of the pillars
of the colonnade are seen beyond this, on both sides of the path,
and we at length reach the E. side of the structure at the ex-
tremity of the plateau. The variegated marble covering of the
half-columns is here particularly observable. To the r. in front
of the wooden door is an ancient stair which descended through
a painted passage to the colonnade. Turning hence towards the
S.W. and passing the back of the apsis (the lofty proportions and
fretted vaulting of which should be observed), we enjoy a beau-
tiful view to the >S. and proceed between insignificant remains
of buildings and (keeping to the r.) across a paved bridge to a
plateau commanding a most admirable *view in every direction.

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 r. (SO are the churches of S. Giovanni e Paolo, the Lateran, in the fore
ground S. Gregorio, and above it S. Stefano Rotondo and the new casino of
the Villa Mattei. Still farther to the v. appear the ruins of the Therm*
of Caracalla (two towers beyond which to the 1. belong to the Porta S.
Sebastiano), and S. Balbina; then towards the W. the white tombstones of
the Jewish burial-ground on the site of the Circus Maximus, which occupied
the valley between the Palatine and Aventine; beyond them the Pyramid
of Cestius , and in the Campagna S. Paolo fuori le Mnra ; then the Avcn-
tine with its three churches, and finally St. Peter's.

Returning hence across the bridge and descending to the pla-
teau above described (the passages and chambers here are desti-
tute of decoration and comparatively uninteresting), we next de-
scend a wooden stair and then a lower stair by the gardeners
house, and passing a kitchen-garden arrive at a series of cham-
bers lying on the W. slope of the Palatine, below the verandah
of the Villa Mills. These are believed to have been the Paedn-

Palatine. ROME. S. Teodoro. 183

yogium , or school for the imperial slaves, who like those of all
the wealthier Romans were educated with the utmost care. A
colonnade of granite columns (one of which is still extant), the
marble entablature of which is now supported by pillars of ma-
sonry, lay in front of these apartments. Their walls are covered
with writing (ariif/iti, done with the stilus, or ancient substitute
for a pen), consisting of names, sentences, sketches etc., similar
to the performances of mischief loving schoolboys of the present
day. The well-known caricature of the Crucified , now in the
Museo kirclieriano (p. 116) was found here. One of these scrawls,
'Corinthus exit de predagogio", furnished a clue to the destination
of this building.

On the 1. wall of the third room is the sketch of a mill driven hy an
:.ss; under which is tile inscription, 'labora asrlle quomodo ego laboravi el
proderit 1ibi\ The tigure of a Roman ^soldier is also scratched on the wall
iiiTe. On the posterior wall one ol* the most conspicuous names is Felici,
in large letters both Greek and Uonian. On either side of the central se-
micircular chamber with a square niche is situated a small irregularly shaped
chamber; that, on the r. is adorned with mural paintings (of Fortuna etc.).

Quitting Ihese rooms by the gate, the visitor proceeds in a
straight direction for about 200 paces to an altar of travertine with
an ancient inscription ('sei deo sei deivae sacrum'1 etc.), dedicated
to the unknown God. Some 60 paces beyond it is seen the most
considerable fragment extant of the ancient wall of Roma Qua-
dratn constructed of blocks of tufa without mortar , placed alter-
nately length and breadth-ways. Adjoining this is a grotto, sup-
posed to be the Lupercal to which the she-wolf is said to have
sought refuge when driven from the twins by the shepherds. A
stair ascended from this grotto to the plateau of the hill, termi-
nating at the point indicated by the inscription ' Supercilium sca-
larum C'ari . About 250 paces farther the visitor passes the church
of S. Teodoro and reaches the Porta Romana and the ('lions Victo-
riae. As an appropriate termination to the excursion the visitor
is recommended to ascend the terrace by the director's house,
whence a charming survey of the chaos of ruins, the city, the
Oampagna, and the distant mountains is enjoyed.

From the Monastery of S. Bonaventura (approached by the
street in the valley, adjoining the arch of Titus) the (Uclius and
the Colosseum may be well surveyed. The palms of the monas-
tery-garden are celebrated.

Quitting the Forum, skirting the slope of the Palatine past
the church of S. Maria Liberatrice , which stands on the site of
the temple of Vesta, and traversing the Via di S. Teodoro, the
traveller first reaches (1.) the church of S. Teodoro, lying low,
and somewhat removed from the street. It is mentioned for the
first time under Gregory the Great, and probably occupies the
site of an ancient temple. In the interior (open on Friday mor-
nings till 9 o'clock) a Christian mosaic of the 7th cent, is preserv-

1 84 S. Giorgio in Velabro. ROME. Cloaca Maxima.

ed. A little beyond it the street divides : to the r. it descends to
the ancient Velabrum, a quarter or street which extended through
the Vicus Tuscus to the Forum, and was prolonged through the
Forum Boarium to the river; in a straight direction it leads to the

* Janus Quadrifrons , an edifice with four arched passages, dating
from the later imperial age , destination unknown , possibly a
species of exchange ; above it once rose a second story.

To the r. of this is S. Giorgio in Velabro, founded in the
4th cent., re-erected in the 7th, and often restored subsequently.
The portico, according to the inscription, dates from the 13th cent.
The interior is a basilica with aisles, 16 ancient columns, and a
venerable tabernacle. The frescoes of Giotto, with which it was
once adorned, have disappeared. (The church is rarely open ; visi-
tors knock at the door by the church to the 1. behind the arch.)

Adjacent to the church is the small *Arcus Argentarius, de-
corated with worthless sculptures, which, according to the inscrip-
tion , was erected by the money-changers and merchants of the
Forum Boarium (cattle - market) in honour of Septimius Severus
and his family. This forum must therefore have stretched from
this point as far as the Tiber, an extensive space and the scene
of the busiest comim rcial traffic.

Proceeding through the low archway of brick , opposite the
above arch , and passing the mill , the traveller arrives at the

* Cloaca Maxima, one of the most ancient structures in Rome,
founded under the Tarquinii for the drainage of the Forum and
the adjacent low ground. It is the earliest known application
of the arch-principle in Rome, and has defied the storms of more
than 2000 years ; two thirds of the depth are now filled up. A
basin was formed here, into which springs were conducted in or-
der to facilitate the flow. In the mill (5 soldi) the continuation
of the cloaca towards the Forum is seen, and from the Ponte Rotto
its influx into the Tiber. It is constructed of peperine with oc-
casional layers of travertine; at the influx, of peperine alone.

Continuing to follow the street beyond the Janus and turning
to the 1., the traveller reaches the Piazza della Bocca della Verith,
which occupies a portion of the ancient Forum Boarium , with a
fountain in the centre. Here to the 1., at the foot of the Aven-
tine, stands the church of S. Maria in Cosmedin, or Bocca delia
Verith, so called from the ancient mouth of a fountain to the 1.
in the portico, into which, according to the belief of the middle
a^es, the ancient Romans inserted their right hands when binding
themselves by an oath. It occupies the site of an ancient temple,
10 columns of which are immured in the walls (3 on the 1. side,
the others in the anterior wall), probably the Temple of the Three
Deities (Ceres, Liber, and Libera), which was founded in conse-
buence of a vow during a famine , B. C. 497 , or according to
others a Temple of Fortune. The nave is also supported by 20

8. Alessio. ROME. S. Maria Aventina. 185

ancient columns. The church, which is said to date from the
3rd cent. , was re - constructed by Hadrian 1. in the 8th (from
which period the beautiful campanile dates), and was subsequently
often restored. The beautiful opus Alexandrinum of the *pave-
rnent in the interior merits inspection. In the nave remnants of
the ancient choir are preserved , on the r. and 1. two handsome
arnbos and a candelabrum for the ceremonies of Easter. Canopy of
the high-altar by fieodatus (13th cent.). In the apse a handsome
episcopal throne of the same period, and an ancient Madonna.

Opposite the church, on the Tiber, stands the small and to-
lerably well preserved circular *'l'einple of Hercules Victor (?)
(now 8. Maria del Sale), formerly regarded as a Temple of Vesta,
consisting of 20 Corinthian columns (one of those next to the
river is wanting), insufficiently covered by a wooden roof.

A short distance hence up the stream, immediately to the r.,
is a second small and well preserved *Temple (converted in 880
into the church of £. Marin Eyiziacii) , with 4 Ionic columns at
each end , and 7 on one side ; the once open portico has been
closed by a wall. It has been known by a variety of different
appellations (e. g. Temple of Fortuna Virilis), but was probably
dedicated to Pudicitia Patricia. The interior contains nothing
worthy of note. On the other side of the transverse street is
situated the picturesque mediaeval *House of Crescentius (10th
cent.), commonly known as the Casa di Rienzi or di Pilato, con-
structed principally of ancient fragments. The long inscription
which it bears has given rise to a great variety of interpretations.

Here the Ponte liotto crosses to Trastevere (p. 228), where in
ancient times the Pons .-Emilius stood , having been constructed
B. C. 181. After frequent restorations the two arches (5 in all)
nearest the 1. bank fell, and the bridge was never reconstructed,
whence its present appellation. Within the last few years, however,
an iron chain-bridge has been thrown across the gap (1 soldo),
and affords a picturesque view : on the r. the island of the Ti-
ber, in form resembling a ship; 1. the Aventine; beneath, the
influx of the Cloaca Maxima, and extensive embankments which
protect the banks against the violence of the current.

If, in proceeding from the Forum through the Via di S. Teo-
ioro, the Janus Quadrifrons be left on the r., the traveller soon
-reaches in the Via de' Fenili , at the corner, the church of 8.
■Knastasia, mentioned as early as 449, frequently restored. By the
'buttresses of the interior the ancient columns are still standing.
ii the 1. aisle the monument of Card. Angelo Mai. Beneath the
"hurch are substructures belonging to the Circus Maximus, and
/till earlier remains of the walls of Roma Quadrata.
i!>jj The Via de' Cerchi is followed to the 1., running between the
Palatine and Aventine, where, as its name suggests, the Circus

186 Aventine. ROME. Marmorata.

Maximus was situated, which was originally instituted by the
kings, subsequently extended by C&sar and furnished with stone
seats, and finally more highly decorated by the emperors. The
limits were in the direction of the Forum Boarium ; in the centre
ran a wall (spina) longitudinally , which , connecting the mete
(goals) , bounded the course of the racers. With a few trifling
exceptions the walls of the circus have entirely disappeared; its
form is best distinguished from a higher point, as from the Pa-
latine. Within its precincts, at the base of the Aventine, the
Jewish burial-ground is situated.

The Via de' Cerchi soon after divides , leading to the 1. to
the Via di S. Gregorio (p. 191), and to the r. to the Via di Porta
8. Sebastiano (p. 191).

The Aventine.
Monte Teslaccio. S. Paolo fuori.

The Aventine, anciently the principal residence of the Roman
f'lobs and subsequently densely peopled, is now entirely deserted,
being occupied by monasteries and vineyards only. At its base
lies the Porta S. Paolo , leading to the celebrated Basilica of
that name, adjoining which is the Pyramid of Cestius with the
Protestant Burial-ground and the enigmatical Monte Testaccio.
The main street skirts the base of the hill close to the river,
whilst others rapidly ascend the hill. The principal route is descri-
bed first. It commences at the Via dclla Salara from the Piazzi
dellaBocca della Verita (p. 184), and passes 8. Maria in Cosmedin;
by the church a street diverges to the 1., leading (to the r. where
it divides) in 10 min. to 8. Prisoa (p. 189). 2 min. farther, at
the small chapel of St. Anna , the street ascends in 5 min. to
the three adjacent churches (p. 188).

The main street then continues between houses and walls ot
no interest and (under the name of Via della Marmorata) reach-
es the Tiber in 6 min. from the Piazza Bocca della Verita, skirt-
ing the river for about 2 min. To the r. a pleasing retrospect
of the Ponte Kotto and the Capitol. The ' large building on the
opposite bank is the Hospital of S. Michele , in front of it the
small harbour where the steamboats to Ostia and Porto lie. The
Marmorata, the landing-place and depot of the unwrought marble
of Carrara, is next reached. In the course of the excavations
begun here in 18G7 the ancient quay has been discovered.

After following the foot-path by the river for 8 min., two raised land-
ing-places with! inclined planes to facilitate the removal of heavy weights
are reached. Rings for mooring vessels are still visible. Numerous blocks
of wrought and unwrought marble were found in the vicinity, some of
them of a rare description and great value; many still bear the marks ot
Ihe fpiarry, numbers, addresses, and other inscriptions.

From the Marmorata the street proceeds between walls and
through an archway of brick (Arco di S. Lazaro). After 6 min. the

Protestant Cemeslery. ROME. Pyrdmid of Cestius. 187

street from the three churches on the Avon tine descends from the 1.
(no thoroughfare). Opposite, on the r., the large gateway (No. 21)
leads to the Prati del Popolo Romano, which enclose the Protestant
cemetery and Monte Testaccio. On the 1. a powder-magazine is
passed, the Pyramid of Cestius and the old burial-ground being
left to the 1., and in 3 min. the gate of the Protestant Cemetery
is reached (PI. Ill, 16) (custodian present from 7 a. m. to 4^4
p. m. ; Y2 fr0- The smaller and older burying-ground for non-
Romanists , laid out at the beginning of the century, adjoining
the pyramid and surrounded by a ditch , is now disused (the
custodian unlocks the gate if desired).

In 1825 the present area, since doubled in extent, was set
apart for this purpose. It is a retired spot, rising gently to-
wards the city-wall, affording pleasing views, and shaded by lofty
cypresses, where numerous strangers, English, American, German,
Russian, etc., are interred. Amongst many illustrious names the
eye will fall with interest upon that of the poet Shelley (d. 1IS22),
'cor cordium'. His heart only was buried here; his remains were
burned in the bay of Spezia, where they were washed on shore.

The *Pyramid of Cestius, originally situated in the Via
Ostiensis, was enclosed by Aurelian within the city-wall. It is
the tomb of Caius Cestius, who died within the last thirty years
before Christ, and, according to the inscriptions on the E. and W.
sides ('C. Cestius L. F. T'ob. Epulo. Pr. Tr. PI. VII. vir Epu-
lonum'), was pnetor, tribune of the people, and member of the
college of Septomviri Epulonuin , or priests whose office was to
conduct the solemn sacrificial banquets. The inscription on the
W. skle beneath records that the monument was erected in 330
days under the supervision of L. Pontius Mela and the freedman
Pothus. Alexander VII. caused the somewhat deeply imbedded
monument to be extricated in 1663, on which occasion, besides
the two columns of white marble, the colossal bronze foot, now
in the Capitoline Museum, was found. According to the in-
scription on the basement, it appears to have belonged to a colossal
statue of Cestius.

The Egyptian pyramidal form was not unfreuuently employed
by the Romans in the construction of their tombs. That of
Cestius is constructed of brick and covered with marble blocks;
height 117 ft., width of each side of the base 93 ft. The interior
(17 ft. in length, 14 ft. in width) was originally accessible by
ladders only ; the present entrance was made by order of Alexan-
der VII. (key kept by the custodian of the Protestant cemetery).
The vaulting exhibits traces of painting.

Traversing the meadows, the traveller next proceeds to Monte
Testaccio (PI. Ill, 13), the summit of which is indicated by a
wooden cross. It commands a magnificent **panorama: N. the
city, beyond it the mountains surrounding the crater of Baccano,

188 Monte Testaccio. ROME. S. Sabina.

then the isolated Soracte with its five peaks. E. the Sabine Mts.
in the background the imposing Leonessa, in the nearer chain
M. Gennaro, at its base Monticelli , farther to the r. Tivoli.
Beyond this chain the summits of M. Velino above the Lago Fucino
are visible. S. of Tivoli appears Palestrina. After a depression
above which some of the Volscian Mts. rise, follow the Alban Mts. :
(in the buttress farthest E. is Colonna, beyond it Frascati, higher
up Rocca di Papa, M. Cavo with its monastery, below it Marino
finally to the r. Castel Gandolfo. The most conspicuous objects
in the broad Campagna are the long rows of arches of the Aqua
Claudia and the Acq. Felice towards the S., and the tombs of the
Via Appia with that of Caecilia Metella.

M. Testaccio, 170 ft. in height, is, as its name signifies,
entirely composed of the remains of broken pottery. When and
how this hill was formed is still an unsolved mystery. The popular
belief was that the vessels in which subjugated nations paid their
tribute-money were here broken, whilst the learned have assumed
that potteries once existed in the vicinity, and that the broken
fragments together with other rubbish were here collected to be
used for building purposes. Others have connected this remark-
able hill with the Neronian conflagration , or with the magazines
situated here on the Tiber near the harbour (emporium). It
existed prior to the Aurelian wall, and remnants of temples found
there date from the first centuries of the Christian era. It is now
honey-combed with cellars , in some of which wine is purveyed,
and attracts pleasure-seeking crowds on holidays.

A visit to the three adjacent churches on the Aventine may
conveniently be accomplished in going or returning from S. Paolo.
On the route from the city thither the traveller first reaches

*S. Sabina (PI. Ill, lfc>J, erected under Celestine I. by Petrus,
an lllyrian priest, in 425, and restored in the 13th, 15th, and
Kith centuries, has since the time of Innocent III. belonged to
the Dominicans. It is usually entered by a side-door; if closed,
visitors ring at the door to the 1., and proceed through the mon-
astery to the former portico, now closed, and the principal portal
with handsome carved doors, probably of the 12th cent. The
interior, with its 24 ancient Corinthian columns of Parian marble
and open roof, has well preserved the character of an early basi-
lica. It probably occupies the site of an ancient temple.

On tlie entrance-wall , over the door, an ancient inscription in mosaic
with the name of the founder; on the 1. a figure emblematical of the Ecclesia.
ex < ircumcisione (Jewish Christians), on the r. that of the Eccl. ex Gen-
tihus (Pagan Christians).

On the pavement in the centre of the nave is the tomb of Munio da
Zamora, principal of the Dominican order (d. 1300), adorned with mosaic.
In the chapel of St. Poininicus, at the extremity of the r. aisle, the "Ma-
donna del Rosario with St. Catharine, an altar-piece by Sassoferrato , re-
garded as his master-piece. Other paintings (by Ziirrht'ri and others) are
of no great value.

5. Alessio. ROME. S. Maria Aventina. 189

The handsome court of the adjoining monastery is embellished
with upwards of 100 small columns. The garden commands a
fine *view of Rome with the Tiber in the foreground.

S. Alessio (PI. Ill , 18) (when closed , visitors ring at the
door to the 1. beneath the portico) is an ancient church with an
entrance-court. The date of its foundation is unknown , but it
was re-consecrated 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, to which with the neighbouring mon-
astery it still belongs. The interior was modernised in 1750,
and again recently.

The 1. aisle contains a well and a wooden staircase belonging to the
house of the parents of the saint, which formerly stood by the side of the
church. Two small columns adorned with mosaic in the choir are, accord-
ing to the inscription , the remnants of a work of 19 columns by Jac.
Cosmas.

A small piazza is next reached. The green door on the r. side
contains the celebrated key-hole through which St. Peter's is seen
at the extremity of the principal avenue of the garden. Visitors
ring in order to obtain access to the church of

S. Maria Aventina, or del Priorato (PI. Ill, 18). The ad-
jacent monastery is a priory of the Maltese order. The church,
founded at a very remote period , was restored by Pius V. and
altered to its present unsightly form by Piranesi in 1765. On
the r. of the entrance is an ancient sarcophagus, on which Minerva
and the Muses are represented; among them is the deceased
(head unfinished); the remains of a Bishop Spinelli were after-
wards placed in it. Also a statue of Piranesi, and the tombs of
several members of the Maltese order (Caraffa , Caracciolo , Seri-
pando, etc.) of the 15th cent. Fine view of the opposite bank of
the Tiber from the garden.

Beyond S. Maria in Cosmedin the Via di S. Sabina, and after-
wards (1.) the Via di S. Prisca traverse the Aventine, terminating
opposite the Porta di S. Paolo. Midway stands the church of
8. Prisca (PI. Ill, 21), usually closed , founded at a very remote
period, but in the 17th cent, entirely modernised. The ancient
columns have been incorporated with the modern masonry.

The Vii/na Maccarani, opposite the church (the vigna is tra-
versed in a straight direction as far as the extremity, whence the
main path to the 1. is followed), contains a fragment of the vene-
rable Servian Wall, excavated on the slope of the Aventine. It
consists of large blocks of tuffstone; the arch seen here belongs
to a much later period. In the latter period of the republic the
wall , as the ruins indicate , was disused and entirely built over.
Another, but more imperfect fragment may be seen in the vigna
on the other side of the street, below S. Saba.

Below S. Prisca, towards the gate, the street ascends to S. Saba
(PI. Ill, 28), a church of great antiquity, but almost entirely re-

190 Porta 8. Paolo. ROME. 8. Paolo fuori.

erected in 1465. To the 1. in the portico an ancient sarcophagus
with 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 bear traces of painting.

About li/2 M. from the Porta 8. Paolo (PI. Ill, 16), ancient-
ly the Porta Ostiensis, is situated the celebrated church of S. Paolo
fuori le Mura, with an important Benedictine Abbey. About mid-
way on the unattractive route a small chapel on the 1. indicates
the spot whore , according to the legend , St. Peter and St. Paul
took leave of each other on their last journey. (Omnibus in the
afternoon every half-hour from the corner of the Pal. Venezia,
at the back of Gesit, 6 soldi; fiacre i1^— 2 fr.J.

** S. Paolo fuori le Mura, founded in 388 by Theodosius and
Valentinian II. on the site of a small church of Constantine,
renewed and embellished by numerous popes, especially Leo III.,
was, prior to the conflagration of the night of July 15th, 1823,
the finest and most remarkable church at Rome. It was a basilica
with double aisles and open roof; and 80 columns of pavonazetto
and Parian marble, adorned with busts of the popes, supported
the architrave. It moreover contained numerous ancient mosaics
and frescoes , and in the Confessio the sarcophagus of St. Paul,
who , according to tradition , was interred by a certain Lucina
on her property here. The front towards the Tiber was approach-
ed by a colonnade , and in the middle ages an arcaded passage
connected it with the city.

Immediately after the fire , Leo XII. commenced the restora-
tion, which was presided over by Belli, and afterwards by Poletti.
In 1840 the transept was consecrated by Gregory XVI., and in
1854 the entire church by Pius IX. Unfortunately the ancient
basilica has been superseded by a modern, and in many respects
unsightly fabric. The dimensions, however, of the interior (410 ft.
in length) and the materials of which it is constructed are im-
posing. The principal portal towards the Tiber is still unfinished;
the present entrance is either from the road on the opposite (E.)
side, or by the portico on the N. side. The former, at the back
of the campanile, should be selected.

The small space first entered contains a colossal statue of Gregory XVI.,
and a few frescoes and ancient mosaics rescued from the fire. To the I. is
the entrance to the Sacristy, which contains several good oil-paintings.
Over the door the Scourging of Christ (attrib. ,to Signorelli), on the r. a
Madonna with SS. Benedict, Paul, Peter, and Justina. Then 4 single figures
of the same saints. In a straight direction from the entrance-hall seve-
ral chapels are reached, containing a few ancient but greatly restored fres-
coes. To the 1. in the last is the entrance to the court of the monastery, to
the r. that, of the church, the transept of which is first entered. We begin,
however, with the nave, which with the four aisles is borne by columns of
granite from the Simplon. The two yellowish columns of oriental alabaster
at. the entrance, as well as the four of the canopy of the high-altar, were

8. Paolo fuori. ROME. Via Appia. 191

presented by the Viceroy of Kgypt to Gregory XVI. Above the columns of
the nave and aisles, and in the transept, a long series of portrait-medallions
of all the popes in mosaic (each 5 ft. in diameter) have been placed. Between
the windows in the upper part of the nave are representations from the life
of St. Paul by Gagliardi, Podesti, Consoni, Balbi, etc. The windows of the
external aisles are filled with stained glass (apostles and Fathers of the
church). On the sides of the approach to the transept are the colossal sta-
tues of St. Peter and St. Paul; the 'Confvssio, or shrine, is richly decorat-
ed with rosso and verde from the lately re-discovered ancient quarries in
Greece.

On the triumphal arch 'mosaics of the 5th cent, (constructed at the
instance of Galla Placidia, sister of Honorius and Arcadius) : Christ blessing
in the Greek fashion (comp. the picture in the lower church of S. Clemente,
p. 1SJ8), with the >24 elders of revelation. On the side towards the transept:
Christ in the centre , 1. Paul, r. Peter. Beneath the triumphal arch is the
high-altar with "canopy by Arnolfus and his assistant l'etrus (1285). —
Transept : in the tribune "mosaics of the commencement of the 13th cent.,
Christ (resembling the figure on the arch) in the centre, on the r. SS. Peter
and Andrew, on the 1. Paul and Luke. Under these are the 12 Apostles and
two angels. Beneath , the modern episcopal throne. To the 1. by the apse
the (1st) Chapel of St. Stephen , with statue of the saint by Rinaldi , and
two pictures (Stoning oi St. Stephen, by Podesti , and the Council of high-
priests, by Coghetti). (2nd) Cappella del Crocifisso: in front of the mosaic
beneath , Ignatius Loyola and his adherents pronounced the vows of their
new order, April 22nd, 1541. On the r. the (1st) Cap. del Coro, designed by C.
Maderno, spared by the fire. (2nd) Cap. di S. Benedetto, with his statue by
Tenerani. By the narrow walls of the transept : 1. altar with the Conver-
sion of St. Paul by t'amuccini and the statues of St. Itomuald by Stocehi,
and St. Gregory by Laboureur ; r. altar with the Assumption of the Virgin
by Podesti, and statues of SS. Penedict and Theresa by Baini and Tenerani.

The Monastery of the church has belonged to the Benedictines
since 1442. It possesses a beautiful * Court of the 13i,h cent,
(entrance see p. 190; visitors apply lor the key in the sacristy;
'/■2 fr.), containing numerous ancient and early Christian inscrip-
tions from the neighbouring, now inaccessible catacombs, and a
few fragments of ancient and mediaeval sculptures , among them
a large sarcophagus with the history of Apollo and Marsyas. The
monastery is richly endowed, but the situation is $o unhealthy
that it is deserted during the summer. The principal festivals
of the church are on Jan. 25th, June 30th, and Dec. 28th. Oppo-
site the church a poor osteria; the taverns, however, on the
road 1/2 M. farther are favourite popular resorts. Visit to the
Tre Fontane see p. 200.

The Via Appia within the City.
Thermae of Caracalla. Tomb of the Scipios. Columbaria.
From the Arch of Constantine the Via di S. Gregorio between
the Palatine and Csslius is followed. After 5 min. ft. Gregorio
(p. 195) lies on the 1. ; then the Via de' Cerchi (p. 185) diverges
to the r. and skirts the Palatine. A short distance farther the
street proceeds in a direct line over the Aventine, below ft. Saba,
to the Porta S. Paolo. The Via di Porta S. Sebastiano is now
entered to the 1. Here was anciently situated the Capuan Gate
(Porta Capena), whence the Via Appia issued. At the extremity
of a rope-walk a street ascends on the r. to the church of 8.

192 Thermit of Caracalla. ROME. '. 8S. Nereo ed Achilleo

Balbina (PI. Ill, 23), situated on the slope of the Aventine, an
edifice of considerable antiquity, with open roof, hut moder-
nised and destitute of ornament (visitors ring at the gate on the
r. of the church). The adjacent building is fitted up as a Re-
formatory for youthful criminals. The old tower (ascended by an
uncomfortable staircase) commands a fine *view.

From the street a view is obtained of the Ca?lius with the
Villa Mattei (p. 196) and S. Stefano Rotondo (p. 196) to the 1.
The Via delle Mole di 8. Sisto, diverging to the 1., leads thither.
The turbid streamlet Marrana is now crossed. Immediately to
the r. the Via Antonina leads to the ruins of the ** Thermae of
Caracalla (or Antoninianae) (PI. Ill, 23), 4 min. from the Arch
of Oonstantine (visitors ring at the gate to the 1., V2 fr.)- They
were commenced in 212 by Caracalla, extended by Heliogabalus, and
completed by Alex. Severus : 1600 bathers could be accommodated
at once. The magnificence of the establishment was extraordi-
nary. Numerous statues (among them the Farnese Bull, Her-
cules, and Flora at Naples), mosaics, etc. have been found here.
Bare as the walls now are, and notwithstanding the destruction of
the roof, the technical perfection of the structure is still apparent.
The entire establishment was quadrangular in form, and surrounded
by a wall, with porticoes, race-course, etc. The destination of all
the chambers cannot now be precisely ascertained. The most
important only are here enumerated. A spacious oblong is first
entered, once surrounded by columns (peristyle) ; scanty remnants
of mosaic pavement. To the 1. a large saloon is reached, which
appears to have been fitted up as the Calidarium, or hot-air bath.
By the last pillar on the r. a new stair has been constructed,
ascending by 98 steps to the roof, which affords a magnificent
* panorama of the Campagna and of ancient Rome. From the cali-
darium a second peristyle is entered, corresponding to the former,
and containing remnants of mosaic-pavement. The semicircular
Exedra now leads hence to the Tepidarium or warm bath, situated
in the centre, adjacent to the calidarium. L. of this is the Fri-
gidarium, or cold bath, a large round space, the vaulting of which
has fallen in. A small stair by the wall here affords a survey
of a part of the grounds which surrounded the baths. In this
direction the stadium was situated. Other remains of the therms
are scattered over the neighbouring vineyards. In a closed room
in the Calidarium (which the custodian shows, if desired) are
preserved several fragments of architecture and sculpture found
in the Therm Ee (e. g. a head of Marsyas , head of Apollo, torso
of a Cupid, similar to that in the Galleria delle Statue, etc.).

The main street is now regained. L. the public arboretum;
some distance farther, r. the church of SS. Nereo ed Achilleo
(PI. Ill, 26), standing on the site of a temple of Isis, founded
at an early period, restored by Leo III., and almost entirely re-
constructed by CarcL-Jl«aaius at the close of the 16th cent.

S. Cesareo. ROME. Tomb of the Scipios. 193

The interior exhibits the characteristics of an ancient basilica. At the
extremity of the nave is an ambo on the 1., supposed to be of great age,
transferred hither from S. Silvestro in Capite ; opposite is a marble cande-
labrum for the Easter-candles, of the 15th cent. Above the arch of the tri-
bune are fragments of a mosaic of the time of Leo III., freely supplement-
ed by painting: Christ between Moses and Elias, in front the kneeling
Apostles, r. the Annunciation, 1. the Madonna.

The opposite church of S. Sisto , restored by Benedict XIII.,
contains nothing worthy of note. Adjoining it is the collection of
the antiquity-vendor Guidi , who has commenced to excavate the
Thermae of Caracalla opposite. The remains of an ancient dwelling-
house with numerous paintings have already been discovered.

Then to the 1. the Via delta Ferratella diverges to the Lateran,
passing a small temple of the Lares.

Somewhat farther , on the r. , S. Cesareo , a small but re-
markable church, mentioned before the time of Gregory the Great,
and finally restored by Clement VII.

In the centre of the anterior portion of the church are two altars dat-
ing from the close ol the 16th cent. ; at the farther extremity, to the 1.,
the old pulpit with sculptures : Christ as the Lamb , the symbols of the
Apostles, and sphynxes; opposite, a modern candelabrum with ancient basis.
The inlaid screen of the presbyterium and the decorations of the high-altar
are nudigeval. The tribune contains an ancient episcopal throne.

The piazza in front of the church is adorned with an ancient
column. Here the Via di Porta Latina, the ancient Via Latina,
which traversed the valley of the Sacco and terminated at Capua,
diverges to the 1. The old Porta Latina is now closed. Near
it to the 1. (5 min. walk from S. Cesareo), beyond the former
monastery, is the church of S. Giovanni a Porta Latina (PI. Ill,
29), erected by Celestine III. in 1190, and effectually modernised
by restorations in 1566 , 1633 , and finally by Card. Rasponi in
1686. The 4 antique columns in the portico and 10 in the in-
terior are now the only objects of interest it possesses.

To the r., nearer the gate, an octagonal chapel of the 16th
cent. , occupies the spot where the saint suffered martyrdom.
The adjoining vigna (formerly Vigna Sassi) (key kept by custo-
dian of the church) contains, immediately to the 1., a columbarium
(see p. 194), interesting on account of its decorations in stucco
and colours , the so-called Tomb of the Freedmen of Octavia. A
stair, partly modem, descends to a niche decorated with plaster,
below which is a cinerary urn with shells and mosaic. Beneath is
the vaulted tomb , r. an apsis with painted vine-wreaths and Victo-
ries. Here and by the wall are several aediculae, or cinerary
urns in the form of temples, with inscriptions and representations.
The vigna commands a pleasing view of the city. It may be
traversed, and quitted by an egress to the Via di Porta S. Se-
bastiano. At the outlet is the tomb of the Scipios (see below).
Those who approach the vigna by the Via di Porta S. Sebastia-
no reach on the 1. by the cypress (Vigna Sassi, No. 13) the ce-
lebrated *Tomb of the Scipios, discovered in 1780 (}/2 fr.). A

B MUF.h J 3

194 Arch of Drusus. ROME. Porta S. jSebastiano.

model only of the ancient sarcophagus of peperine-stone , which
Pins VII. caused to be removed with the fragments of the others
to the Vatican (see p. 241), is now here. In this sarcophagus
reposed L. Cornelius Scipio Barbatus, Consul B. C. 297, the eldest
member of the family buried here. The bones of the hero
which had been found in a good state of preservation, were in-
terred at Padua by Quirini , a Venetian , and are therefore with-
drawn from the gaze of the curious. Here, too, were interred
the son of the latter , Consul in 259 , many of the younger
Scipios , the poet Ennius , as well as members of other families
and freedmen. The tomb was originally 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.
Over the entrance-arch in the interior traces of a cornice are ob-
served, and above are Doric half-columns.

The adjacent Vigna Codini, No. 14, contains three admirably
preserved * Columbaria. These were tombs capable of containing
a large number of cinerary urns, and derive their appellation from
their resemblance to pigeon-holes (columbaria). They were usually-
constructed by several persons in common , or as a matter of
speculation, and the single recesses could be purchased, or in-
herited. The names of the deceased were inscribed on marble
tablets over the niches , on which their mode of acquisition of
the spot was occasionally also recorded. Two of these structures
are very similar : a steep stair descends into a square vault, sup-
ported by a central buttress , which as well as the external walls
contains a number of niches. The third, discovered in 1853,
consists of three vaulted passages , in the niches of which aedi-
aulae and small , sarcophagus-like monuments are immured. The
cdjoining dark passages were destined for the interment of slaves.

The gate is 25 min. walk from the arch of Constantine. Im-
mediately before it is the Arch of Drusus ; for it is probable that
this now much mutilated monument is the arch erected in honour
of Claudius Drusus Germanicus , B. C. 8. It is constructed of
travertine-blocks, partially covered with marble, and still possesses
two marble columns on the side towards the gate. It terminated
in a pediment , until Caracalla conducted over it an aqueduct to
supply his baths with water, the brick remains of which seriously
mar the effect.

The marble blocks of the Porta S. Sebastiano , formerly Porta
Appia, appear to have been taken from ancient buildings; it is
surmounted by mediaeval towers and pinnacles. With regard to
the Via Appia without the city, see p. 261 .

8. Gregorio. ROME. 8. Giovanni e Paolo. 195

The Caelius.

This once densely peopled hill is now deserted like the Pala-
tine and Aventine.

If from the arch of Constantine the Via di S. Gregorio be
followed, or the public grounds above it to the 1., the Piazza di
S. Gregorio will be reached. Here to the r. is situated

S. Gregorio (al Monte Celio) (PI. Ill, 24), on the site of the
house of Gregory the Great's father, originally founded by that
pope himself and dedicated to St. Andrew. In 1633 it was re-
stored by Card. Borghese, who caused the stair, colonnade, portico,
and facade to be constructed by Giov. Bait. Soria. The recon-
struction of the church was commenced in 1725.

In the entrance- court, decorated with pilasters etc. of the Ionic order,
beneath the portico: 1. monument of the Guidiccioni of 1643, but with
sculptures of the 15th cent. ; r. monument of the two brothers Bonsi of the
close of the 15th cent. Over the high-altar : St. Andrew , altar-piece by
Balestra. At the extremity of the r. aisle : * St. Gregory , altar-piece by S.
Badalocchi. Beneath it a *predella : the Archangel Michael With the apos-
tles and other saints , attrib. to L. Signorelli. Here to the r. is a small
chamber preserved from the house of St. Gregory, containing a handsome
ancient -seat of marble and relics of the saint. Opposite, from the 1. aisle,
the Cap. Salviati is entered. In front of the altar on the r. an ancient
and highly revered Madonna , which is said to have addressed St. Gregory ;
1. a "ciborium of the 15th cent., disfigured by re-regilding. The sacristan,
if desired (i|2 fr.), now conducts visitors to three "chapels lying somewhat
removed from the rest of the church , and connected by a colonnade. To
the r., Chapel of St. Silvia, mother of Gregory, with her statue by C'or-
dieri; above it in the vaulting of the niche, a fresco by Guido Reni,
greatly damaged. In the centre the Chapel of St. Andrew ; over the
altar: Madonna with SS. Andrew and Gregory, painting in oils by Roncalli ;
on the r. Martyrdom of St. Andrew (a copy in the Lateran, p. 204),
Domenichino ; 1. :!St. Andrew, on the way to the place of execution, be-
holds the cross, Guido Reni, two pictures which formerly enjoyed the
highest celebrity. To the 1. the Chapel of St. Barbara with a sitting
statue of St. Gregory in marble, said to have been begun by Michael
Angelo, completed by Cordieri. In the centre a marble table with antique
feet, at which St. Gregory is said to have entertained 12 poor persons
daily. According to the legend an angel one day appeared , so as to form
a thirteenth !

An ascent to the r. , between fragments of ancient walls , is
now made to

S. Giovanni e Paolo (PI. II, 24), which has existed since the
5th cent. The portico, mosaic-pavement in the interior, and archi-
tecture of the apse are of the 12th cent. The church contains
little that is worthy of mention. Visitors are shown a marble
slab, railed in, on which the saint was beheaded.

The adjoining cloister is the property of the Passionists. Be-
neath it are spacious ancient vaults. Visitors ring at the door on
the r. in front of the colonnade of the church, and are escorted by
a monk. The vaults, which are only partially freed from rubbish,
were formerly believed to be substructures of the Temple of
Claudius ; it is now supposed that they were connected with the
Colosseum, and served as dens for the wilH beasts etc. By the

13*

196 8. Maria in Domnica. ROME. S. Stefano Rotondo.

upper door of the monastery gentlemen may obtain admittance to
the * garden , whence there is a beautiful prospect of the Forum,
Colosseum, Lateran, S. Stefano Rotondo, etc. (5 — 10 soldi).

The street flanked by walls is now ascended farther to the
Arch of Dolubella and Silanus , erected A. D. 8, of travertine
through which an aqueduct appears to have passed.

Somewhat farther, on the r., is the portal, embellished with
mosaic , of a former hospital , which belonged to the insignificant
church of 8. Tommaso in Formis (PI. Ill, 24) situated behind it.
The interesting mosaic, representing Christ between a Christian
and a Moor, was executed in the 13th cent, by two masters of
the Cosmas family.

To the 1. is the descent to the Colosseum , r. is the Piazza
della Navicella , so called from the small marble ship which
Leo X. caused to be made from the model of the ancient original
formerly in the portico of the church. The church of S. Maria
in Domnica, or della Navicella (visitors knock), one of the most
ancient deaconries of Rome , was re-erected by Paschalis I. in
817, to which period the columns of the nave and the tribune
belong ; the portico was erected by Leo X. from designs , it is
said, by Raphael.

The nave rests on 18 beautiful columns of granite; above, beneath
the ceiling, a frieze painted by Giulio Romano and Perino del Vaga (in
grisaille; genii and lions in arabesques), afterwards retouched. The arch
of the tribune rests on two columns of phorphyry; the mosaics date from
the 9th cent., but were considerably restored under Clement XI.; above
the arch Christ between two angels and the apostles, beneath are two
saints ; in the vaulting Madonna and Child imparting blessings , on either
side angels, Paschalis I. kissing her foot ; beneath all the figures flowers
spring forth.

(No. 4, adjoining, is the entrance to the once celebrated Villa
Mattel, with a few antiquities, charming grounds, and fine points
of view.)

Opposite is S. Stefano Kotondo (PI. Ill, 27) (visitors proceed
to the r. in the Via di S. Stefano, through the first green door
on the i-., and ring a bell on the r. under the portico).

It is interesting on account of its construction, and, although
greatly diminished in extent , is the largest circular church in
existence. It was erected at the close of the 5th cent, by Simpli-
cius , and subsequently gorgeously decorated with marble and
mosaics. It then fell to decay, and was restored by Nicholas V.
In the original edifice the present external wall formed the central
row of columns, whilst another wall, decorated with pilasters,
34 ft. distant, now perceived at a considerable height around the
church , formed the circumference. Nicholas V. excluded the
external wall, and closed the intervals between the central columns
with masonry, with the exception of a few receding chapels. The
roof is rudely constructed of wood. The old entrance was on
the E., the present portico was erected by Nicholas; here to the

S. Stefano Rotondo. ROME. S. Clemente. 197

r. is the ancient episcopal throne, from -which Gregory the Great
delivered one of his homilies.

To the 1. of the entrance an altar-niche with mosaic of the 7th cent.;
farther on, to the 1. a chapel with (1.) a well-executed monument of the
beginning of the 16th cent. Most of the 56 columns are of granite , a few
of marble. The lateral walls bear frescoes of fearful scenes of martyrdom
by Tempesta and Pomarancio (much retouched). In the centre a canopy
of wood.

If the Via di S. Stefano be followed farther, it leads by the
extensive fragments of masonry of an ancient aqueduct in 5 min.
to the vicinity of the Lateran (p. 199).

*S. Clemente. The Lateran.

From the Colosseum three streets run in a N.E. direction,
to the 1. the Via Labicana to the Thermae of Titus (p. 176), r.
the Via de' Quattro Santi to the church of that name , uniting
with the following near the Lateran , and finally between these
two the Via di S. Giovanni in Laterano to the (12 min. walk)
Piazza of the Lateran and the Porta S. Giovanni.

If the latter be selected it leads in 5 min. to a small piazza,
where on the 1. is situated

S. Clemente (PI. II, 27) (side entrance from the street usually
open ; if not , visitors ring at the principal door under the por-
tico), which in its original form is one of the best-preserved
basilicas of Rome, and has received additional attractions in conse-
quence of recent important excavations. Beneath the present
church the original structure, which St. Jerome mentions in 392
as occupying this site, has thus be; n brought to light. Hadrian I.
decorated it with paintings, still partially preserved. It was almost
entirely destroyed in 1084 on the entry of Robert Guiscard, and
in 1108 Paschalis II. erected on its ruins the present (upper)
church, for which he made use of all the available portions (e. g.
the choir and ambos) of the lower. It was afterwards fre-
quently restored, finally with considerable taste by Clement XL,
who however unfortunately added the unsuitable ceiling.

An anterior court surrounded by a colonnade and paved with
fragments of marble (giallo and verde antico), is first entered
from the principal gate in the Via di S. Clemente, beyond which
the visitor reaches the church. The latter consists of nave and
aisles, but, like all genuine basilicas, is destitute of transept.
The nave with its flat ceiling is separated from the aisles by
antique columns, and contains the * screen of the choir and the
ambos from the lower church, with the monogram of Pope John VIII.
(key kept by the sacristan). The canopy with 4 columns of pa-
vonazetto dates from the time of Paschalis II; in the tribune an
ancient episcopal throne, restored in 1108. Mosaics of the tribune
of the 12th cent. On the arch in the centre: Bust of Christ
with the symbols of the 4 evangelists, 1. SS. Paul and Lawrence,

198 SS. Quattro Coronati. ROME. Cap. di S. Silvestro.

beneath them Isaiah, lower down the city of Bethlehem , r. SS.
Peter and Clement, beneath them Jeremiah, lower down the city
of Jerusalem. On the vaulting : Christ on the Cross, with John
and Mary surrounded by luxuriant wreaths , beneath which the
13 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 loth cent. In the chapel at the
extremity of the r. aisle a statue of John the Bapt. by Donatello's
brother Simone. L. of the principal entrance the Cappella della
Passione with * frescoes by Masaccio , unfortunately retouched,
one of the finest extant works of this master. On the arch over
the entrance the Annunciation. To the 1. near the entrance St.
Christophorus. On the wall behind the altar a Crucifixion, on the
1. scenes from the life of St. Catharine : above , she refuses to
worship a heathen idol; she teaches the king's daughters in
prison; below, she disputes before Maxentius with the doctors;
an angel breaks the wheels on which she was to be broken; her
execution. The paintings on the window-wall , greatly damaged,
probably refered to St. Clement.

The Lower Church has been excavated within the last tew
years (sacristan , who attends visitors with a light , !/2 ft-)-
In order, however, to obtain a distinct idea of the original struc-
ture , which has been considerably marred by subsequent alter-
ations, the visitor should repair to the church on Nov. 23rd, or
on Feb. 2nd, on which days the lower church is completely illu-
minated. The entrance is from the sacristy (in the r. aisle), on
the walls of which hang copies of the frescoes in the lower
church, and plans comparing the upper with the lower part of
the edifice.

A broad marble stair (with inscriptions on the walls from the
time of Pope Damasus) descends to the vestibule in which the
nave and aisles of the lower church terminate. The aisles alone
have remained in their original condition, while in the nave ad-
ditions 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 white-
wash. The older additions consist of the wall between the co-
lumns of the r. aisle, and the lateral wall on the r., both built
on the occasion of the erection of the upper church, the former
for the support of the external wall above , the latter to sus-
tain the r. 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 1. aisle,
and (like the outer walls) adorned with *frescoes, some of which
are in excellent perservation. Apart then from the subsequent
alterations the church was a basilica with nave and aisles , and
a semicircular apse corresponding with that above; the 1. aisle

S. Clemente. ROME. 199

corresponded with the 1. aisle of the upper church, while the
nave was as wide as the nave and r. aisle of the upper church
together. The ceiling was borne by 16 ancient columns of gra-
nite and marble. Seven of those in the r. aisle are still in
their places, while those in the 1. aisle are still partially concealed
by the masonry.

The Frescoes date from different periods, between which
about five centuries intervene. We begin with the vestibule.
Immediately to the 1. by the stair is a female head with nim-
bus, believed by De Rossi to date from the 5th cent. Farther
on, under the first arch on the 1., *Christ blessing in the Greek
mode, with first, middle, and little finger extended (as in the old
mosaics of S. Paolo fuori le Mura, p. 191), between the arch-
angels Michael and Gabriel and SS. Andrew (1.) and Clement
(r.). Before him kneel SS. Cyril and Methodius. The figures
in this , as well as in the following scenes , have their names
attached. Opposite (on the r.), 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 r. is the dedication : In nomine Domini Ego Beno de Rapiza
pro amort beati dementis et redemptione anime pingere feci.
On the r., farther on, the Transference of the relics of St. Cyril
from the Vatican to S. Clemente in the reign of Pope Nicholas,
with the dedication : Ego Maria Macellaria pro timore Dei et re-
medio anime rnee haec pingere feci. At the end of the vestibule
on the r. is the entrance to the 1. aisle. 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 1. corner St. Cyril before the Emp.
Michael ; on the lateral wall a Youth baptised by St. Methodius.
The nave is now entered through the arch in the r. wall. Here,
immediately to the 1., is a *fresco in three sections, one above
the other. Half of the uppermost, the Enthronement of St. Cle-
ment, is des;royed. That in the centre represents St. Clement
celebrating mass ; on the r. Theodora converted to Christianity
and her husband Sisinius struck with blindness ; the smaller
figures on the 1. are those of the donor Beno and his wife. Be-
low it is the dedicatory inscription. The lowest represents Sisi-
nius causing a column to be bound instead of St. Clement (11th
cent.). The lateral surfaces of this pillar are also adorned with
frescoes (1. St. Antony, Daniel in the lions' den ; r. St. Egidius,
St. Blasius), but the adjoining wall precludes their being in-
spected. Farther on towards the vestibule, on the same wall,
is another and larger * fresco in three sections. The highest,
now half obliterated, represents Christ, bptween Michael and St.

200 SS. Quattro Coronati. ROME. Villa Campana.

Clement (l.J and Gabriel and Nicholas (r.J. In the centre are
three scenes from the life of St. Alessius, placed one above the
other as in the case of scenes on Roman sarcophagi: a. Ales-
sius returns unrecognised to Rome as a hermit; b. Pope Boni-
face I. blesses the dying man; c. The betrothed of the dead
man recognises his corpse. The lowest of the three frescoes is
of a decorative description with flowers and birds. At the end
of this wall are three scenes from the life of Christ. Next to
them, on the wall of the vestibule, on the r. the Crucifixion, on
the 1. the Assumption. Over the latter Christ borne by four
angels; at the corners St. Vitus (r.J and Leo IV. (l.J with the
inscription S. Dom. Leo IV. P. P. Ro , and the square halo
with which living persons were usually represented (9th cent.).
The frescoes of the external wall of the r. aisle are almost enti-
rely obliterated. A niche in this aisle contains a scene of Mary
with Jesus. On the arch above Christ (beardlessj, with figures
of angels and saints on either side.

Beneath this church ancient chambers and substructures of
tuffstone have been discovered, the latter probably of the repub-
lican period. The descent into these chambers is at the end
of the r. aisle, where an altar of Mithras has been fonnd. S. Cle-
mente gives a title to a cardinal, and belongs to Irish Dominicans.

A transverse street opposite to S. Clemente leads to the Via
de' Quattro Coronati, and to the (on the 1. sidej church of

SS. Quattro Coronati (PI. II, 27J, dedicated to the saints
Severus, Severianus, Carpophorus , and Victorinus, who suffered
martyrdom under Domitian for refusing t» make images of hea-
then gods. The date of the foundation is very remote ; the ma-
terials were probably partially derived from some ancient structure.
After its destruction by Robert Guiscard it was rebuilt by Pa-
schalis II. in 1111 , restored under Martin V. by Card. Alph.
Carillo, and subsequently partially modernised.

The church now possesses two entrance-courts (when closed,
visitors apply for admission to the r. under the entrance of the
first court, i/2 fr.J. On the r. , beneath the hall in front of the
entrance to the second court, is the Cap. di S. Silvestro, conse-
crated under Innocent IV. in 1246, containing valuable, although
somewhat unattractive ancient paintings from the life of Con-
stantine and a still more remote period. The second court still
contains ancient columns and traces of the entablature. The tri-
bune is decorated with baroque frescoes by Giov. da S. Giovanni.
The nunnery comprises an establishme ntl'or the education of orphans.

To the r., farther on in the Via di S. Giovanni, is the Villa
Campana , which formerly contained a valuable collection of anti-
quities, now in Paris and St. Petersburg.

To the r. , at the entrance of the spacious and quiet Piazza
di S. Giovanni in Laterano, is situated a large hospital for women,

Scala Santa. ROME. S. Giovanni in Later ano. 200a

accommodating about 600 patients (obstetric department connected
with the Sapienza). The Via in Merulana then diverges to the 1.
to S. Maria Maggiore (p. 137). Opposite is the octagonal baptistery
of S. Giovanni in Fonte ; farther on, the church, and before it
the palace with the museum. In the centre is the Obelisk erected
here in 1588 by Sixtus V. , once placed by King Tuthmosis in
front of the temple of the sun at Heliopolis, and brought to Rome
by Constantine.

The gate to the 1. opposite the projecting palace is the
entrance to the Villa Massimo (p. 204). Facing the spectator is
the Scala Santa, 28 marble steps from the palace of Pilate at
Jerusalem, brought to Rome in 326 by the Empress Helena, and
which may only be ascended on the knees. The two adjoining
flights are for the descent. The chapel at the summit contains
a picture of the Saviour , traditionally attributed to St. Luke.
Beneath are two groups in marble by Giacometti, Christ and Judas,
and Christ before Pontius Pilate.

In the corner to the 1. the street diverges to the Villa "Wol-
konsky (p. 205). The Piazza di Porta S. Giovanni is now entered,
where , especially in front of the church and to the r. by the
city-wall , a charming prospect of the mountains and Campagna
is enjoyed. To the 1. by the Scala Santa is a tribune erected
by Benedict XIV. with copies of the ancient mosaics in the tri-
clinium of Leo III. — Beyond this a survey is obtained of the
row of arches of the Aqua Claudia. An avenue leads hence in
5 min. to S. Croce (p. 142). The Porta S Giovanni, named
after the church, was erected in 1574 (hence to the Campagna
see p. 266) , superseding the ancient and now closed Porta Asi-
naria (a short distance to the r.).

*S. Giovanni in Laterano (PI. Ill, 30), 'omnium urbis et orbis
ecclesiarum mater et caput1, was , after the time of Constantine
the Great, the principal church of Rome. It was overthrown by
an earthquake in 896, 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 by Giotto; again
altered under Martin V. (1430), Eugene IV., and Alexander VI.,
and modernised by Pius IV. (1560), by the alterations of Borro-
mini (1650), and by the facade of Galilei (1734).

The Facade by Aless. Galilei is the best of this description
in Rome. From the central upper loggia the Pope pronounces his
benediction on Ascension-day. To the 1. in the portico is an
ancient statue of Constantine the Great, found in the Thermae
of that emperor. Of the 5 entrances the Porta Santa on the r.
is closed ; that in the centre possesses two bronze doors with
garlands and other decorations. The portico is 33 ft. in depth
and 174 ft. in width; the church 408 ft. in length.

The nave, which is flanked by double aisles, is supported by 12 pillars,
the work of Borromini, partially enclosing the ancient columns ; in the

200 0 8. Oiovanni in Laterano. ROME. The Interior.

niches the 12 apostles, of the school of Bernini, above them reliefs by Algardi
Over these are the figures of 12 prophets. The ceiling , said to have been
designed by Michael Angela, is more probably by Giacomo della Porta. To
the r. and 1. at the extremity of the nave are the only two ancient granite
columns now visible. Beneath, in front of the Confessio, is the 'monument
in bronze of Pope Martin V. (d. 1431), by Simone, brother of Donatello. In
the centre of the transept, which is raised by two steps , is the • Canopy
(about 1390), a beautiful work lately restored, with greatly retouched paint-
ings by Barna da Siena, containing numerous relics, especially the heads of
the apostles Peter and Paul. Beneath it is the high-altar (altare papale)
at which the pope alone reads mass, containing a wooden table from the
catacombs which is said to have been employed as an altar by St. Peter.
The transept was restored under Clement VIII. by Giac. della Porta (1603)
and adorned with frescoes. Here to the 1. is the great Altar of the Sacra-
ment, with four ancient columns of gilded bronze , which once belonged to
the original basilica. The (generally closed) chapel of the choir, to the 1. by
the tribune, contains a portrait of Martin V. by Scip. Gaetano, and an altar-
piece by the Cav. oVArpino. The tribune is embellished with "mosaics
either originally executed, or perhaps ancient workmanship restored by
Jacopo da Turrita (1290) ; the Saviour enveloped in clouds ; beneath, at the
sides of a cross, 1. the Virgin, at whose feet Nicholas IV. kneels, St. Francis,
St. Peter, and St. Paul, r. John the Bapt., St. John, St. Andrew, and other
saints. To the r. in the transept two fine columns of giallo antico. An
egress here leads to the piazza of the Lateran. The passage ('Portico
Leonino\ because constructed by Leo I.) entered to the r. behind the tribune,
is embellished on either side by mosaic tablets, the subjects of which relate
to the construction of the church; farther on, r. the kneeling figure of a
pope (10th cent.); to the 1. in the centre an altar with ancient crucifix, on
sither side statues of Peter and Paul (10th cent.). Farther on, r. the en-
trance to the Sacristy, the inner bronze doors of which date from 1196. In
the first chapel on the 1. an Annunciation by Seb. del Piombo (?); in the
last chamber, the cartoon of a Madonna by Raphael. On the 1. at the
extremity of the passage is a handsome marble sanctuarium (about 1500);
near it the Tabula Magna Lateranensis, or list of relics. Objects of interest
in the aisles : at the back of the first pillar on the r. in the nave , 'Boni-
face VIII. between two cardinals announcing the first jubilee (1300), by
Giotto. The 2nd chapel on the r. belongs to the Torlonia family, and ii
richly decorated with marble and gilding ; over the altar, Descent from the
Cross by Tenerani (a custodian opens this and other closed chapels, '(2 fr.).
The 3rd chapel belongs to the Massimi , constructed by Giac. della Porta,
with the Crucifixion , an altar-piece by Sermoneta. Farther on in the r.
aisle, the monument of Card. Guissano (d. 1287). The 1st "chapel on the
1., that of And. Corsini, designed by Galilei in 1734, contains 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 sump-
tuously inlaid with precious stones. Beneath the chapel is the burial-vault
of the Corsini, with a "Pieta by Bernini (?). During the excavation of the
latter the antiques, now in the Pal. Corsini, were found.

The sacristan conducts visitors to the 1. from the last chapel
into the interesting * Court of the Monastery (12th cent.) with
numerous small columns, spiral, and decorated with mosaic. Various
fragments from the old church are placed in the passages. Visitors
return through the church and quit it by the egress to the r. in
the transept , leading to the portico ; this front dates from the
time of Sixtus V. The hall to the r. beneath contains a statue
of Henry IV. of France, by Nic. Cordieri.

The door of the court is now entered to the 1., the steps in
the court to the r. are descended, and a door on the 1. between
two immured columns of porphyry, with antique architrave, leads

Lateran. ROME. Baptistery. 201

to the octagonal * Baptistery for S. Giovanni in Fonte), where
according to tradition Constantine the Great was baptised. It
assumed its present form by slow degrees , finally under Gre-
gory XIII. and Urban VIII. The Borgia Chapel is first entered,
where over the door to the Baptistery a Crucifixion , a relief in
marble, is perceived, date 1494. The Baptistery contains 8 large
columns of porphyry, with ancient architrave of marble, alleged to
have been presented by Constantine. In the centre a font of
green basalt. Frescoes by A. Sacchi, Maratta, etc. On the r. an
oratorium of St. John with bronze doors of 1196; statue of the
saint by Landini. Adjoining this door is the entrance to the
Oratorio di S. Venanzio, with ancient mosaics of the middle of
the 8th cent. On the 1. the oratorium of John the Bapt. , with
bronze statue of the saint by L. Valadico (after Donatello),
between two columns of serpentine. The bronze doors, presented
by a Bishop Hilarius , are said to have belonged to the Thermae
of Caracalla.

The residence of the popes from the time of Constantine
until the migration to Avignon adjoined the Church of S. Gio-
vanni. Under Clement V. the palace was burned down, and not
re-erected till 1558 under Clement V. , from designs of Bom.
Fontana. As it remained unoccupied, it was converted by Inno-
cent XII. into an orphan-asylum in 1693. In 1843 Gregory XVI.
here established a collection of the heathen and Christian anti-
quities for which the Vatican and Capitoline museums no longer
afforded space. This Museum Gregorianum Lateranense has
since then steadily increased in extent and importance. On the
basement-floor are 16 rooms containing ancient sculptures; the
first floor is principally occupied by Christian antiquities.

The collections are accessible daily 9 — 4 o'clock. The entrance
is by ;he portal in the piazza with the obelisk; visitors ring on
the r. in the passage , when the custodian is not on the spot.
There are neither catalogues nor numbers , but the custodian
(1 fr.) is well informed . A good scientific German catalogue was
published by Benndorf and Schone at Leipzig in 1867.

The inspection begins on the r. under the arcades of the
entrance- wing.

1st Room: principally sculptures, formerly preserved in the Apparta-
menti Borgia of the Vatican. Entrance-wall: relief of the Abduction of
Helen ; tomb - relief (warrior's farewell) ; priest of the oracle of Dodona
(fountain-relief). L. wall : two pugilists , termed Dares and Entellus (in
relief); bust of II. Aurelius; Trajan (head restored by Thorwaldsen) accom-
panied by senators (relief from Trajan's Forum) ; in front of the latter a
statuette of Nemesis. R. wall : sarcophagus-reliefs of Mars and Rhea Silvia
(the latter being a likeness of the deceased woman), Diana and Endymion ;
Adonis; Diana and Endymion. In the centre a mosaic with pugilists, from
the Thermce of Caracalla (see 1st floor, p. 203). — 2nd R. : interesting archi-
tectural 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 r. merit inspection. — 3rd R. : bv the entr?.nce-wall a statue of yEscu-

202 Lateran. ROME. Museum Gregorianum.

lapius. E. wall: "Antinous (head new), found at Palestrina. Wall of egress:
child's sarcophagus with scenes of pugilism. In the window several well-
wrought feet of tahles. — 4th R. : on the entrance-wall 'Medea with the
daughters of Peleus, a Greek relief. On the board above (numbered 762) a
beautiful small head of a female satyr. Statue of Germanicus. R. wall:
'statue of Mars. Wall of egress : copy of the reposing satyr of Praxiteles.
On a cippus : "bust of the youthful Tiberius. In the first window : basis of
a column from the Basilica Julia. In the centre a beautiful basin of luroac-
chella (a species of shell-marble).

The passage is now crossed to the

5th Room. R. wall: Roman portrait-bust; statue of Priapus; a Muse;
statue of Priapus ; '"cinerary urn with representation of a cock-fight. In the
centre: sacrifice of Mithras (found near the Scala Santa); stag of basalt; a
cow. — 6 th R. : collection of sculptures from Cervetri , the ancient Caere,
probably found among the ruins of a theatre. Entrance wall: 1. circular
altar with Pan and two dancing women. Then a colossal portrait-head (per-
haps Augustus); r. statue of an emperor, head new. R. wall : draped statue;
colossal sitting statues of Tiberius and Claudius, between them the younger
Agrippina ; toga statue (perhaps the elder Drusus). Wall of egress; statue
of an emperor ; bust of Caligula. In front of it : relief with representation
of the deities of three Etruscan cities (Vetulonia, Volci, Tarquinii). On the
pillar between the windows: female portrait-statue (perhaps Drusilla). In
the centre, two sleeping figures (from a fountain); altar with representation
of sacrifice. — 7 th R. , r. wall: -dancing Satyr, found near S. Lucia in
Selce, possibly from a group by Myron ; Marsyas endeavouring to pick up
flutes thrown away by Athene. By the door : (r.) head of Paris (?) ; (1.) bar-
barian monarch. L. wall : Apollo. Opp. the entrance : "" Sophocles, one of
the most beautiful ancient portrait-statues in existence , found at Terraci-
na in 1838. The desire to exhibit this statue in an appropriate locality
contributed in a great measure to the foundation of the Lateran museum.—
8th R. , entrance-wall: 1. "relief of a poet, with masks, and a Muse; r. sar-
cophagus with the C'alydonian hunt; above it small head of a sleeping
nymph. L. wall : Meleager slain by Apollo. In the centre : "statue of Po-
seidon, found at Porto. — 9th R., containing numerous architectural frag-
ments brought to light by the excavations in the Forum and the Via Appia.
Entrance-wall : sarcophagus - relief with masked Cupids bearing garlands.
Wall of egress, to the 1. by the door: small head of Victory. In the centre:
triangular ara with Bacchanalian dances. — 10th R., chiefly sculptures
from the tombs of the Haterii, on the Via Labicana near Centocelle, found
in 1848. Entrance-wall: male and female portrait- busts; between them
relief of a large tomb, with powerful lifting -machine adjacent. R. wall:
relief of the laying out of a dead woman, surrounded by mourners. Wall of
egress : relief with representation of Roman buildings, among which the Oo-
losseum is distinguishable. Above it a relief with Mercury (broken), Ceres,
Pluto, and Proserpine. In the centre : Cupid on a dolphin.

A second passage is now crossed to the

11th Room: The sculptures were principally found in the tombs on
the Via Latina (p. 266). Entrance-wall: 1. sleeping nymph, from a foun-
tain ; r. Bacchanalian sarcophagus ; then statues of Liber and Libera. K.
wall : several statues of the bearded Bacchus ; sarcophagus with the Seasons;
Ephesian Diana; Sarcophagus with Adonis. Wall of egress: sarcophagus;
Greek tomb-relief (farewell-scene). In the centre : large sarcophagus wiuj
triumphal procession of Bacchus. — 12 th R. , entrance-wall: 1. T?utlira'
Hercules ; r. sarcophagus with the history of Orestes (death of ^gistneus
etc.). R. wall: large sarcophagus with Cupids bearing garlands. Inen a
head of Augustus. *Boy with a bunch of grapes. In the corner batyrs.
Wall of egress: "sarcophagus with the destruction of the Children of Kiooe,
found in the Vigna Lozzano Argoli in 1839. — 13 th R., en trance- wall : reliei
of a Titan fighting; "portrait- statue of C. Latins Saturninus (m ™»
marble). Wall of egress : relief, Pylades supporting the exhausted Orestes.
In the centre : oval sarcophagus of P. Cajcilius Vallianus, with the represen-
tation c>f a funeral-banauet. Then a three-sided " candelabrum - stand witn

Lateran. ROME. Christian Museum. 203

Piuto, Neptune, and Persephone. — 14th R., entrance-wall: r. a small gronp
in relief, possibly Orpheus and Eurydice. L. wall : unfinished statue of
porphyry. Opp. the entrance : statue of a captive barbarian , unfinished , in-
teresting on account of the visible marks of measurement made by the
sculptor. Beneath , sarcophagus of L. Annius Octavius with representation
of the preparation of bread ; adjacent is the inscription : Evast, effugi, spes
et fortuna valete .' Nil mihi vobiscum est, ludificate alios. By the door of egress,
casts of the statues of Sophocles (7th R.) and the yEschines at Naples, inter-
esting for comparison. — 15 th R. and the following are devoted to the
yield of the new excavations at Ostia. In the glass- cabinets under the win-
dows are lamps, terracott«s, fragments of glass, ivory-articles, etc. On the
pillar, mosaic from a niche, with Silvanus ; on each side fragments of slabs
of terracotta. Wall of egress: r. Sarcophagus with Tritons and Nereids.
Then 1. a "small female head, probably of a nymph; head of Alexander.
Above, to the r. by the door, head of Atthis. — 16 th R. : r. lead pipes from
ancient aqueducts. Pictures from a tomb near Ostia with representations
of the lower regions. In the centre the * statue of a Recumbent Atthis,
found at Ostia in 1869, interesting on account of the traces of gilding oiv
the hair and the crescent.

The * Christian Museum was founded by Pius IX. and arranged
by the Padre Marchi and the Cavaliere de' Rossi. Entrance in
the rear . to the r. in the court (l/2 fr.). In the first hall a
statue of Christ by Sosnowsky ; in the wall 3 mosaics : that in
the centre of Christ , Peter , and Paul from the lower church of
St. Peter; the two others from the catacombs.

In the large corridor of the staircase a "collection of ancient Christian
sarcophagi, chiefly of the 4th and 5th centuries , with representations from
the Old and New Testament. R. by the narrow 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.) 1. Mi-
racle of Jonah ; 2. Christ's entry into Jerusalem. At the top (I.) 4. The
Good Shepherd among vines, with genii gathering grapes. Farther on , a
canopy with two columns of pavonazzetto and an interesting sarcophagus.
Above, on the wall of the staircase, the manger and adoration of the Magi.
Beneath, translation of Elijah. Above, on the narrow wall, 'sitting statue
of St. Hippolytus, upper part modern, from the catacombs near S. Lorenzo
fuori le Mura; on the chair a Greek inscription recording the saint's
achievements and an Easter-table. The door on the 1. leads to the upper
arcades, the opp. door to the rooms with the collection of pictures (see oe-
low). The posterior walls of the three open arcades exhibit a systemati-
cally arranged (by the Cav. de' Rossi) selection of ancient. Christian "'inscrip-
tions, an invaluable aid in the study of Christian antiquity. They are dis-
tributed with respect to the arches thus: 1st— 3rd. Elegies" on martyrs etc.
of the age of Damasus I. (366— 384); 4th— 7th. Dated inscriptions (238— 557) ;
8th, 9th. Inscriptions of doctrinal importance; 10th. Popes, presbyters,
deacons: 11th, 12th. Other illustrious personages; 13th. Relations, friends,
etc.; 14th— 16th. Symbolic and other records; 17th and follg. Simple epi-
taphs from various catacombs.

The Collection of Pictures (entrance see above) com-
prises in 2 rooms copies of pictures from the catacombs of
S. Calisto, SS. Nereo ed Achilleo, S. Sebastiano, etc. The 3rd
contains some sadly injured frescoes (of the 12th cent.), trans-
ierred hither from S. Agnese fuori le Mura. The visitor now
enters to the r. the properly so called

Picture Gallery. 1st Room, by the entrance-wall : ancient "mosaic
pavement of an unswept dining-room (asaroton) , by Heraclitus , found on
the Aventme in 1833. Above it Rt0™« ,.<■ =— y3n cartoon bv Giulio Ro-

204 Lateran. ROME. Picture Gallery.

mano. L. wall: Christ and Thomas, cartoon by Camuccini. Between the
windows : Descent from the Cross , rough sketch in colours by Dan. da
Volterra (the finished fresco is in S. Trinita de' Monti, p. 110). The door in
the r. wall enters the — 2nd R., entrance-wall: Annunciation, Cav. cTAr-
pino. R. wall : George IV. of England , Lawrence. In the r. corner is the
door to a stair ascending to the gallery of the adjoining saloon, on the floor
of which is the extensive "mosaic with 28 pugilists, found in the Thermae of
Caracalla in 1824. It bears obvious indications of the decline of art in the
age of its production. The door in the 1. wall of the 1st R. enters the -
3rd R. , entrance-wall: '"Madonna with the saints Lawrence, John the
Bapt., Peter, Francis, Antonius the Abbot, and Dominicus, by Marco Pal-
mezzano of Forli, a pupil of Melozzo (1537). In the corner: Madonna with
saints, by C. Crivelli, altar-piece of 1481. L. wall. *St. Thomas receiving
the girdle from the Virgin, with predella, by Benozzo Gozzoli (erroneously
attributed to Fiesole). Wall of egress : Madonna with John the Bapt. and
St. Jerome, Palmezzano (1510). — 4th R. , entrance - wall : Portrait, Van
Dyck (?) ; "Madonna, C. Crivelli (1482) ; Madonna, master unknown ; Sixtus V.,
Sassoferrato. L. wall : two modern Gobelins from the pictures of Fra Bar-
tolommeo in the Quirinal. Wall of egress : Christ with the tribute money.

— 5th R., r. wall: Entombment, Venet. School. Opp. the entrance: Holy
Family, And. del Sarto. L. wall: Assumption of the Virgin, Cola delta
Matrice (1515). — 6 th R. , entrance-wall: Baptism of Christ, Cesare da
Sesto (?). L. wall: St. Agnes, Luca Signorelli; Annunciation, Fr. Francia;
SS. Lawrence and Benedict, Luca Signorelli. Wall of egress: Coronation of
Mary, Fra Filippo Lippi. Window-wall: "St Jerome, tempera- picture by
Giov. Santi, Raphael's father. — 7th R. 1. : altar-piece by Antonio da Mu-
rano (1464). — 8 th R. , containing a large copy in oils of a fresco by Do-
menichino of the Martyrdom of St. Andrew, original in S. Gregorio (p. 195).

— 9th R. : a number of casts by Pettrich from subjects derived from the
life of the N. American Indians.

Several apartments on the 3rd floor of the palace contain a
*cast of Trajan's column, to which the custodian (usually engaged
except before 9 a. m.J conducts visitors when requested.

The *Villa Massimo (PI. II, 30) is not at present accessible
to visitors. The grounds aTe neither extensive nor particularly
interesting, and the antiquities are of little value ; but the casi-
no contains some valuable frescoes from the great Italian poets,
painted by German artists.

The antechamber contains a few mediocre ancient statues and chests
with beautiful carving (Renaissance). The Central Room is then entered,
adorned with representations from Ariosto by Schnorr , completed in 1827.
Ceiling-painting: Nuptials of Ruggiero and Bradamante and celebration of
victory. Entrance-wall : the Emp. Charles hastens to protect Paris against
Agramant. In the lunette above: Archangel Michael, I. victorious combat
of Rinaldo, r. Roland's contest with Agramant. L. wall, to the 1. : the sor-
ceress Melissa causes Bradamante to behold her posterity , r. baptism of
Ruggiero. In the lunette above: Melissa triumphing, beside her the magi-
cian Atlas, Ruggiero's foster-father, and Alcina, 1. Marlisa, r. Bradamante.
R. wall: "Angelica aud Medoro. In the foreground: Roland on the 1., sad
and mournful, r. in a s ate of frenzy. In the lunette above: St. John with
Astolph, who brings back from the moon Roland's lost reason, 1. Brada-
mante, r. Zerbino. Window - wall , between the windows: Saracen ner^s-
Above, 1. : Dudo conquers the Saracens by sea, r. conquest of Biserta. The
room on the r. contains representations from Dante. Pictures on the walls
by Koch. Entrance-wall : Dante threatened by a lion, leopard, and she-wolt,
finds Virgil his guide; r. Tartarus, with Minos, the judge of the infernal
regions, surrounded by the damned. Opp. the entrance : gate of purgatory,
guarded by an angel. In the foreground: boat with souls about to do pe*
nance, conducted by an angel. On the window-wall : purgatory with those

Villa Massimo. ROME. Villa Wolkonsky. 205

undergoing penance for the seven mortal sins. On the ceiling : representa-
tions from Paradise by Ph. Veil. Room on the 1. with pictures from Tasso
by Overbed and Fiihrich. Ceiling-painting: "Jerusalem delivered. Window-
wall: Call of Godfrey de Bouillon by the archangel Gabriel. Above: Sofronia
and Olindo at the stake, delivered by Clorinda. Opp. the entrance : Godfrey
chosen as commander; construction of machines for the siege of Jerusalem;
Pierre of Amiens encourages the warriors. On the extreme r. the portraits
of Prince Massimo and the artist (Overbeck) are introduced. Above: ~Er-
minia coming to the shepherds, all these by Overbeck. L. wall : r. meeting
of Rinaldo and Armida. In the centre : Tancred in the enchanted wood,
these two last by Fiihrich 1 1. death of Gildippe and Odoardo. Above: Ri-
naldo and Armida on the enchanted island. Entrance-wall : Godfrey de
Bouillon at the Holy Sepulchre. Above : baptism of Clorinda by Tancred,
her death. The 'predelle, in grisaille, which run beneath the pictures, also
represent scenes from 'Jerusalem Delivered'. From the central room a
flower-garden, commanding a beautiful view, is entered.

Villa Wolkonsky (PI. II , 33), accessible on Wed. and Sat. ;
the street to the 1. by the building adjoining the Scala Santa,
pursuing a straight direction beyond the 3rd arch of the aqueduct,
leads to the entrance-gate (*/2 &•)• Tne tastefully laid out grounds
are intersected by the Aqua Claudia , on and near which various
antique fragments are immured. Several Roman tombs of the
period of the first empire have lately been excavated here. Fine
*view of the Campagna and mountains, especially towards sunset,
from the roof of the small casino, to which the gardener conducts
the visitor if desired (fee l/2 fr0-

Collections of the Capitol.
With regard to the buildings see p. 166. The objects of in-
terest here are preserved in the two lateral palaces , that of the
Conservatori (r. in ascending) and the Capitoline museum (1.).
The latter is accessible daily frooi 10 to 3 o'clock. Fee (optional) ^J^ii.
In the palace of the Conservatori the picture-gallery only is at
present accessible (10 — 2 daily), as the other apartments are oc-
cupied by the offices of the syndic. Entrance to the 1. in the
court, up the stair, then by a door on the 1. adjoining the iron
gate of the Museo Etrusco. The visitor passes through three of-
fices and reaches a corridor where a bell must be rung on the 1.
at the fifth door, which bears the inscription Oalleria Comunale.

Palace of the Conservatori.

On the r. of the central door is the entrance to the 7 rooms of the
Protomotheca, founded by Pius VII., a collection of the busts of celebrated
Italians. In the 1st Room a few foreigners, among them N. Poussin, Raf.
Mengs, and Winckelmann. 2nd R. : musicians and statesmen. 3rd R. (large
saloon) : poets, scholars, artists. 4th R. : artists of the 14— 16th cent.
5th R. : artists since the 17th cent. 6th R. : modern poets and scholars.
7th R. : monument of Canova.

The principal door enters the court, where r. by the door is a statue
of Ccesar, 1. Augustus. By the r. wall of the court : hand and limbs of a
colossal figure in marble, 1. colossal head in marble, high-relief of a pro-
vince on the pedestal. Adjacent is the cinerary urn of Agrippina, wife of
Germanicus, which in the middle-ages was employed as a measure for
corn; inscription: Ossa Agrippinae M. Aarivvae f. divi Augusti neplis uxorit

206 Capitol. ROME. Pal. of the Conservatori.

Germanici Caesaris Matris C. Caesaris Aug. Germanici principis. In the
centre of the hall opp. the entrance: statue of Roma; at the sides statues
of barbarians in grey marble. L. in the corner: colossal bronze head, r.
''horse torn by a lion. By the entrance-wall farther on, to the 1., statue
of a Bacchante ; opp. the stair, a modern columna rostrata with the genuine
fragment of an inscription composed in honour of C. Duilius, the victor at
Mylae, B. C. 260, and renewed under Tiberius. In niches on the landing
of" the staircase, 1. Ceres, r. Urania (inaccurately restored). Here in the
small court four * reliefs are immured from a triumphal arch of M. Au-
relius, found near S. Martina in the Forum : r. sacrifice in front of the Ca-
pitoline temple; on the long wall, entry of the emp., passing the temple of
Jupiter Tonans, pardon of conquered enemies, and his reception by Roma
at the triumphal gate. In the passage above, two reliefs from the triumphal
arch of M. Aurelius (in the Corso near Pal. Fiano), which was removed
under Alex. VII. in 1653; 1. apotheosis of Faustina, r. sacrifice in front
of her temple (still standing). Visitors now ring at the door opposite the
stair (ij2 fr.) and enter the large saloon decorated with frescoes by the
Caval. d'Arpino: combat of the Horatii and Curiatii, and other scenes from
the period of the kings. By the entrance-wall: marble statue of Leo X.,
by Giac. del Duca; on the r. wall, r. , that of Urban VII. by Bernini.
Wall of egress: bronze statue of Innocent X. by Algardi. — 2nd R. (r.):
pictures by Laureii, monuments of the generals Marcan^onio Colonna (by
the en trance- wall), r. Alex. Farnese, 1. Rospigliosi, Aldobrandini, Bar-
berini. — 3rd R. : scenes from the Cymbrian war; celebrated bronzes. In
the centre : so-called * Capitoline Wolf, with Romulus and Remus, in the
early Etruscan style, perhaps that erected B. C. 296 by the ^Ediles Cneius
and Quintus Ogulnius. An injury on the r. hind-leg is alleged to have
been occasioned by the lightning, by which according to Cicero the group
was struck during the consulship of Manlius and Cotta, B. C. 65; the twins
are modern. Wall of egress : 1. bust of Michael Angelo, said to have been
executed by himself; r. expressive "head, supposed to represent L. Junius
Brutus, who expelled the kings and became first consul ; the eyes renewed.
Entrance-wall: boy extracting a thorn from his foot. — 4th R. : fragments
of the "Fasti Consulares, lists of the Rom. consuls, found in the 16th cent,
(smaller fragments in 1S18) near the temple of the Dioscuri, and probably
once immured in the Regia. By the walls statues of Socrates, Sappho (?),
Alcibiades (?), and Diogenes (?), with modern inscriptions. On the column
in the centre, Hadrian. — 5th R. . several small antiques. Entrance-wall:
female head in bronze, serving as a jug; two ducks. Wall of egress: head
of Medusa by Bernini. — 6th R., senatorial hall: paintings on the frieze
from the life of Scipio Africanus, attrib. to Ann. Caracci; on the walls
tapestry, woven in S. Michele. — 7 th E.: Sodema's frescoes from the llrst
and second Punic wars. The cabinets contain Rom. weights and measures.
Adjacent, on the r., is a small chapel with an '"altar-fresco (Madonna),
probably by Pinturicchio.

Visitors now retrace their steps through the 1st R. to the passage. By
the short wall is the entrance to the Museo Etrusco (of which the custodian has
the key ; permesso necessary from the Marchese Cavaletti, whose palazzo is
near S. Maria in Campitelli, PI. II, 17), an interesting collection of vases,
terracottas, and bronzes from Etruria and Latium, presented to the city by
A. Caslellani in 1866. The door to the 1. at the extremity leads to two
rooms (restored in 1870) with lists of modern Rom. magistrates ; thence a
passage is entered, and a court, to the 1. in which is a door with the
inscription Galleria de" Quadri, leading to the

Collection of Pictures (established by Benedict XIV.). Visitors
ring and ascend a stair in a straight direction to the 1st R. (catalogues for
the use of visitors).

1st Room, r. wall: 2. Redeemed spirit (unfinished), GuidoReni; 6. St.
Cecilia, Romanelli; 8. Landscape with M. Magdalene, Caracci; 9. M. Mag-
dalene, Albano; 13. John the Baptist, Guercino; 14. Flora, N. Poussin (copy
of the picture in the Louvre); 16. M. Magdalene, Guido Reni; 20. Cumsean
Sibyl, Domenichino. Narrow wall : 26. M. Magdalene, Tintoretto; 27. Pre-

Capitoline Museum. ROME. Bronzes. 207

sentation in the Terapie, Fra Bartolommeo ; 30. Holy Family, Garofalu:
34. Persian Sibyl, Guercino. L. window-wall: 41. Orpheus, Poussin; 42. Good
Samaritan, Palma Vecchio (?); 44. Madonna, Gaud. Ferrari; 49. Landscape
with St. Sebastian, Domenichino ; 50. Madonna and saints, S. Botticelli (?) ;
54. Coronation of St. Catharine, Garofalo ; 61. Portrait of himself, Guido
Reni; Madonna and saints (a copy), P. Veronese. Entrance-wall : 76. Apollo,
Polid. Caravaggio ; 78. Madonna and saints, Fr. Francia, 1513 ; SO. Portrait,
Velasquez; 87. St. Augustine, Giov. Bellini; "89. Romulus and Remus,
Rubens. 2nd R., r. : 98. Holy Family, Mantegna; '-100. Two portraits,
Van Dyck; 104. Adoration of the Shepherds, Mazzolino; 105. Portrait, Titian;
*106. Two portraits, Van Dyck; "116. St. Sebastian, Guido Reni; 117. Cleo-
patra and Octavian, Guercino; "119. St. Sebastian, Lod. Caracci; "132. Por-
trait, Giov. Bellini; *134. Portrait of Michael Angelo, perhaps by Marco
Venusti; 128. Fortune-telling gipsy, Caravaggio; 136. Petrarch, Giov. Bel-
lini (?); 137. Landscape, Domenichino; 139. St. Bernhard, Giov. Bellini (?).
Short-wall: 142. Nativity of the Virgin, Albano; * 143. S. Petronella raised
from her tomb and shown to her bridegroom, Guercino; 145. Holy Family,
Giorgione (V). L. wall: 157. Judith, G. Romano; 164. Madonna, Garofalo;
180. Christ and the adulteress, Titian; 186. Holy Family, Carpi; 199. Death
and Assumption of the Virgin , Cola delta Matrice. Entrance-wall : Virgin
and angels, Paolo Veronese; "224. Rape of Europa, Paolo Veronese.

Capitoline Museum ,
commenced under Innocent X. , extended under Clement XII..
Benedict XIV., Clement XIII., and Pius VI. The works carried
off by the French were restored with few exceptions to Pius VII.
The collection is considerably less extensive than that of the
Vatican , but is replete with admirable works. (The catalogue,
published in 1843, is now out of print. Fee i/2 fr-: opt.onal.)

Above the fountain in the centre of the court is the "Marforio (suppos-
ed to be derived from 'Forum Martis'), a colossal river-god holding a shell,
representing probably the Rhine or Danube, erected in the middle ages in
the Via di Marforio opp. the Career Mamertinus, where it was employed
as a vehicle for the sarcastic answers to the interrogatories of Pasquino
(see p. 121). At the sides two Satyrs from the Forum of Trajan, and several
sarcophagi and busts. L. of the entrance in the lower hall: 3. Colossal
Minerva; 4. Leg of Hercules with the Hydra, belonging to No. 32: 6. Sar-
cophagus with Bacchanalian representation. On the 1. at the extremity is
the entrance to the

Room of the Bronzes. In the centre an itnfortunately mutilated
horse of admirable workmanship, excavated in 1849 in the Vicolo delle
Palme in Trastevere. By the entrance-wall : bronze implements, a foot with
shoe, tripod, measures, balance, etc. Wall of egress : 3. Three-fold Hecate ;
14. Vase found near Porto d'Anzio, presented by King Mithridates to a
gymnasium. Long wall : * 5. Boy employed in sacrifices (Camillus) ; 16. Re-
mains of a bull, found at the same time as the horse. In the 2nd room :
1. Ephesian Diana, on the walls inscriptions; in the 3rd R., in the centre:
tomb-cippus of A. Sulpicius Maximus, a boy of lli|2 years of age, who ac-
cording to the inscription worked himself to death after having gained the
prize over 52 competitors for extemporising in Greek verses. Some of the
latter are placed on each side of the statuette of the youthful poet. It
was found in 1870 near the Porta Salara (p. 126). Inscriptions ; two sarco-
phagi : 4. with representations of the Calydonian , and 8. another hunt.
Returning to the hall, 1. on the narrow side: 9. Province in high-relief.
Farther on, to the 1., several mediocre female draped statues.

R. of the principal entrance: r. 20. Diana; 21. Young Hercules; 22.
Luna; 26. Mercury; 1. 25. Cyclopean Polvphemus with one of his victims
(improperly restored); 1. 28. Hadrian as a priest; r. 29. Sarcophagus with
the Calydonian hunt; r. 30. Jupiter; r. 31. Colossal Mars (legs modern);
6i. Hercules with the Hydra. Adjacent, to the r. , is the entrance to
three rooms containing inscriptions and several interesting sarcophagi

208 Capitoline Museum. ROME. Stanza del Fauno.

In the first, 1. ara , which stood in the market-place of Albano till
1743, with archaic representation of the exploits of Hercules ; also a few
insignificant busts. In the second , r. 4. * sarcophagus with battle between
the Romans and Gauls ; the commander of the latter commits suicide (per-
haps Anerostus, defeated B. C.2'J5 near Pisa); 1. 14. cippus of T. Statilius Aper'
at his feet a wild boar (aper). In the third a largei "sarcophagus (for-
merly regarded as that of Alex. Severus and his mother Mammsea), with
scenes from the life of Achilles: Achilles among the daughters of Lycome-
des, 1. farewell of Deidamia, r. arming of Achilles; on the back: Priam
begging for the body of Hector (found with the Portland Vase of the British
Museum near Porta Maggiore). L. of the door: 4. sitting statue of Pluto. By
cthe r. wall, 3. ancient mosaic: Hercules attired as a woman, spinning*
Cupids chaining a lion. — The visitor now returns to the hall.

In the walls of the staircase are immured the fragments of the marble
Plan of Rome, an important topographic relic, executed under Sept. Seve-
rus, found in the 16th cent, in SS. Cosma e Damiano. Portions of the
pieces found have been lost, but supplemented from the extant drawings
(these portions are indicated by asterisks). On the landing of the stair two
female statues, groundlessly designated as Pudicitia and Juno Lanuvina.
Visitors ring on reaching the top, and are first ushered into the

I. Room of the Dying Gladiator, containing the finest statues in the
museum. In the centre: 1. "'Dying Gladiator, representing a mortally
wounded Gaul ; a Greek work of the Pergamenian school, found in the
Gardens of Sallust together with the group of barbarians now in the
Villa Ludovisi (p 125). It is a work of profound interest and unrivalled
excellence. The right arm is a restoration by Mich. Angelo. The visitur
will readily recal the exquisite lines by Byron: Childe Harold, Canto IV.,
140. — 2. (r. of the door) Apollo with lyre. K. wall : 3. Faustina, traces of
gilding on the head ; ' 4. Head of Dionysius, erroneously taken for a wo-
man's (Ariadne's); 5. Amazon; 6. Alex, the Great; 7. Demeter. Wall opp.
the entrance: Head of M. Jun. Brutus, the 'tu quoque Brute' of Caesar;

10. Priestess of Isis ; 11. Flora from the villa of Hadrian. L. wall : "13. An-
tinous from Hadrian's villa; "15. Satyr of Praxiteles, the best of the ex-
tant copies ; 16. Female statue bearing a vessel. Entrance-wall : 17. Zeno,
found in 1701 in a villa of Antoninus Pius at Civita Lavinia.

II. Stanza del Fauno. On the walls reliefs, inscriptions, etc., among
them the Lex Regia of Vespasian (black tablet on the wall r.), whence
Cola di Rienzi 'the last of the Tribunes' once demonstrated to the people
the might and liberty of ancient Rome. In the centre 1. Satyr (Fauno)
of rosso antico, raising a bunch of grapes to his mouth, from Hadrian's
villa, placed on a remarkable Altar, dedicated to Serapis. Window-wall:
5. Colossal head of Bacchus, on a circular ara with rostrum, and the in-
scription ara tranquillitatis, found together with the Ara Ventorum (No. 6)
and the Ara Neptuni (So. 2) at Porto d'Anzio, where they were employed
by sailors for offering sacrifices. Wall of egress : 8. Head of Mercury (?);

11. Sarcophagus with relief of Luna and Endymion; 4 10. Head of Juno
Sospita; 13. Boy with mask of Silenus. R. wall: 15. Small Minerva; 17.
Mars. Entrance-wall: 20. Statue of Hercules; 21. Boy struggling with a
goose, copy of a statue by Boethus, excavated near the Lateran in 1741;
5 26. Sarcophagus with battle of Amazons, on the corner (23) the "head of
Ariadne crowned with ivy.

III. Large Saloon. In the centre : Jupiter, in black marble (nero antico),
found at Porto d'Anzio, on an altar adorned with Mercury, Apollo, and
Diana, in the archaic style. 2. and 4. " Two Centaurs of bigio morato,
by Aristeas and Papias, found in Hadrian's villa in 1736; 3. Colossal statue
of the youthful Hercules, found on the Aventine; it stands on a beautiful
altar of Jupiter, embellished with representations of his birth, education,
etc.; 5. jEsculapius, of nero antico, on an altar representing a sacrifice.
Window-wall: 6. Portrait-statue restored as Hygeia; 8. Apollo with lyre;

Capitoline Museum. ROME. Basts of Emperors. 209

9. M. Aurelius ; 10. Amazon ; 11. Mars and Venus, found near OstiaJ; 13.
Athene. Wall of egress : 14. Satyr ; 15. Apollo ; 16. Minerva ; 17. Colossal
bust of Trajan with civic crown. R. wall: 21. Hadrian as Mars found
near Ceprano ; 23. Gilded statue of Hercules, found in the Forum Boa-
rium. The two columns adjoining the niche were found near the tomb of
Csecilia Metella. 25. Amazon; 26. Apollo; 27. Mercurr; 28. Old nurse,
probably from a group of the Children of Niobe : 30. Ceres (?). Entrance-
wall : 31. Colossal bust of Anton. Pius; 33. Hunter with a hare; 34. Har-
pocrates, god of silence, from Hadrian's villa.

IV. Room of the Philosophers. On the wall valuable "Reliefs, five
from the frieze of a temple of Neptune; over the entrance-door, death of
Meleager ; sacrificial implements ; on the wall of the egress, an Archaic
Bacchanalian relief by Callinmchus, etc. In the centre the sitting consular
'statue of M. Claudius Marcellus (?), conqueror of Syracuse, B. C. 212,
from the Giustiniani collection, formerly in the Museo Chiaramonti. Also
93 " busts of celebrated characters of antiquity, to some of which arbitrary
names are affixed. 1. Virgil ('?); 4, '-5,6. Socrates; 9. Aristides the orator;

10. Seneca (?) ; 13. Lysias (?); 16. Marcus Agrippa; 19. Theophrastus ; 20.
Marcus Aurelius; 21. Diogenes the Cynic; 22. Sophocles (not Archimedes);
23. Thales; 24. ^Esculapius; 25. Theon ; 27. Pythagoras; 2S. Alexander the
Gr. (?); 30. Aristophanes (?) ; 31. Demosthenes; 33, 34. Sophocles; 35. Al-
cibiades (? certainly not Persius); 37. Hippocrates; 38. Aratus (?); 39, 40.
Democritus of Abdera; 41, 42, 43. Euripides; 44, 45, ::,46. Homer; 47. Epi-
menides; 48. Cn. Domitius Corbulo, 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 the Censor; 54. Minerva; 55. Cleopatra (?); !S59. Arminius,
erroneously named Cecrops; 60. Thucydides (?); 61. jEschines ; 62. Me-
trodorus ; 64. Epicurus ; 63. Epicurus and Metrodorus ; 68, 69. Masinissa ; 70.
Antisthenes ; 72, 73. Julian the Apostate ; 75. Cicero ; 76. Terence, according
to others C. Asinius Pollio; *82. ./Eschylus (?). The names of the busts
by the window-wall are unknown.

V. Room of the Busts of the Emperors. Reliefs by the entrance-wall :
over the door, I.Mercury, Hercules, Graces, Nymphs carrying off Hylas; ' H.
Endymion asleep, beside him the watchful dog; 'F. Perseus liberates Andro-
meda (these two belong to the eight reliefs in the Pal. Spada, p. 160). E.
(above the door of egress) : sarcophagus-relief, Muses (a cast, original in
London). Then more reliefs ; B. triumph of the youthful Bacchus, A. circus
games, Bacchanalia, D. Calydonian hunt (the latter modern). The collection
of the emperors' busts is one of the most complete in existence; the names
are for the most part verified by coins. In the centre: -Sitting female
statue, believed to be Agrippina, daughter of M. Agrippa, wife of Germani-
cus and mother of Caligula. The numbering of the busts commences in
the upper row, 1. of the entrance- door. 1. Julius Csesar; 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. Mcssalina, fifth wife
of Claudius ; 14. Agrippina the younger, daughter of Germanicus, mother
of Nero ; 15. Nero ; 17. Poppsea (?), Nero's second wife ; 18. Galba ; 19. Otho ;
20. Vitellius (?); 21. Vespasian ; 22. Titus; 23. Julia, his daughter; 24.
Domitian; 26. Nerva (modern?); 27. Trajan; 28. Plotina, his wife; 29.
Martiana, his sister; 30. Matilda, their daughter; 31, 32. Hadrian; 33. Sabina,
his wife ; 34. JSlius Caesar, his adopted son ; 35. Antoninus Pius ; 36. Fau-
stina the elder, his wife; 37. M. Aurelius as a boy; 88. M. Aurelius, more
advanced in life ; 39. Faustina the younger, daughter of Antoninus, wife of
Aurelius; 41. Lucius Verus ; 43. Commodus; 45. Pertinax; 50, 51. Septim.
Severus; 53. Caracalla; 57. Heliogabalus ; 60. Alex. Severus; "68. Maximin;
64. Gordian Afr. ; 65. Gordian; 76. Gallienus ; 80. Diocletian (?) ; 82. Julian
the Apostate. — Visitors now enter the

VI. Corridor, where on the narrow side, to the 1., No. 76. a beautiful
marble vase on archaic 'puteal with the 12 gods: Jupiter, Juno, Minerva,

B^DEKEn. Italy II. 3rd Edition. 14

210 Capitoline Museum. ROME. Boom of the Doves.

Hercules, Apollo, Diana, Mars, Venus, Vesta, Mercury, Neptune, and Vul-
can. Then, the back of the visitor being turned to the window: 1. "73.
Head of Silenus; 1. 72. Trajan; 1. ''71. Pallas, found at Velletri, exactly
corresponding to the statne (No. 114) in the Braccio Nuovo of the Vatican;
1. 70. M. Aurelius, as a boy; r. -69. Bust of Caligula; 1. 66. Augustus-
1. 64. Jupiter, on a cippus with relief: Claudia Quinta drawing a boat
containing the image of the Magna Mater up the Tiber; r. 61. Venus ■
r. 56. Female draped statue. (The door opposite leads to the Venus-room.)
L. 55. Head of Apollo; r. 59. Antinous; 1. 53. Psyche; r. =48. Sarcophagus
with representation of the birth and education of Bacchus ; r. 44. Selene;
1. 43. Head of Ariadne. Here and in the following compartments, on the
r., are immured the inscriptions from the columbarium of Livia (found in
1726 near the church of Domine quo Vadis). B,. 40. Niobide ; 1. 39. and r.
38. Venus; 1. 37. Marble vessel with Bacchanalian representations; r. 36.
Copy of the discus-thrower of Myron (Pal. Massimi alle Colonne, p. 156),
incorrectly restored as a warrior; 1. 33. Flute-playing Satyr; r. 32. Muse;
1. 29. octagonal cinerary urn with Cupids in the attitudes of celebrated
statues ; r. 28. Sarcophagus with the rape of Proserpine ; r. 26. The child
Hercules with the snakes ; 1. 22. Archaic relief, a lute-player (?); 1. 20. Old
woman intoxicated ; r. 16. Sitting draped statue. Opp. the entrance into
the Room of the Doves: 1. ''13. Cupid bending his bow (after Lysippus);
r. 12. Flute-playing Satyr; 1. 9. Recumbent lion; r. 5. Silenus; r. 3. Septim.
Severus; 1. 2. Faustina; 1. 1. M. Aurelius.

VII. Room of the Doves, so called from the "mosaic on the r. wall:
Doves on a fountain-basin, found in Hadrian's Villa near Tibur, copy of a
celebrated work, mentioned by Pliny, by Sosus of Pergamum. Beneath, a
sarcophagus: Prometheus forming man, whom Minerva inspires with life
(in a style showing the transition to the Christian period of art). Farther
on, a mosaic and several masks. Under them : " 69. Sarcophagus with
Selene and Endymion. The busts 45, 46, 47, 48, 49, 51. on the narrow wall
are particularly good. In the 2nd window by the 1. wall, 25. the Man Tablet,
a small relief in palombino, a soft species of marble, with the destruction
of Troy and flight of ./Eneas in the centre, and many other representations
from the legends of the Trojan war, explained by Greek inscriptions,
probably designed for purposes of instruction, found near Bovillse. In the
centre : girl protecting a dove, instead of the snake it was most probably a
dog or some such animal in the original mosaic.

VIII. Adjoining the gallery is the Venus Boom, which is shown to
visitors before leaving, containing the - Capitoline Venus, unquestio-
nably the workmanship of a Greek chisel, supposed to be a copy of the
Aphrodite of Cnidus by Praxiteles, found in excellent preservation immured
in a house of the Suburra. L. , Leda with the swan, a mediocre work;
r. e Cupid and Psyche, found on the Aventine.

V. Quarters of the City on the Right Bank.

On the r. bank of the Tiber are situated two distinct quar-
ters : towards the N. that of the Vatican; farther S., Trastevere.

The ancient Etruscan city of Vaticum is said once to have
stood on the Vatican Hill, whence the name is derived. Under
the emperors, gardens and monumental tombs, and the circus of
Caligula and Nero, which was subsequently superseded by the
church of St. Peter, were situated here. In order to protect the
latter, Leo IV. (852) erected a wall round this portion of the
city, the Civitas Leonina, which with its vast church and the
neighbouring palace is surpassed in celebrity by no other spot in
the world.

Ponte 8. Angelo. ROME. Castello.S. Angelo. 211

The river is crossed by the five arches of the Foute S. Angelo,
erected by Hadrian in order to connect his tomb with the city,
A. D. 136, and named after him Pons JElius. The bridge com-
mands a pleasing view of the Pincio with the Villa Medici.

At the approach to the bridge Clement VII. erected sta-
tues of Peter by Lorenzetto, and Paul by Paolo Romano, on the
site of two chapels formerly here. The 10 colossal statues of
angels, formerly much admired, were executed from Bernini's de-
signs in 1688, and testify to the low ebb of plastic taste at that
period. One angel (fourth on the r. , with the cross) is errone-
ously ascribed to Bernini himself; the two executed by him for
this bridge are now in S. Andrea delle Fratte (p. 111).

From the bridge to St. Peter's is a walk of 8 min. The bridge
leads direct to the Castello S. Angelo (PI. I, 10), the huge mo-
numental tomb erected by Hadrian for himself and his family (Mole-
Hadriani), after the example of the mausoleum of Augustus, the
tomb of Caecilia Metella, etc. It was completed in 140 by Antoninus
Pius. On a square substructure arose a cylinder of travertine,
externally covered with marble, of which no trace now remains;
on the verge of the summit 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 is supposed to have
belonged to this statue. According to others the pine -apple in
the Giardino della Pigna of the Vatican (p. 241) formed the
culminating-point of the structure. The ancient entrance is seen
in the court opposite the bridge. A passage gradually ascended
thence , winding round the building in the interior . and then
diverging to the central tomb-chamber, which is now reached partly
by other approaches. This was the la^t resting-place of Hadrian
and his family, where the now empty niches for the reception
of the urns are still seen. A sarcophagus of porphyry is said to
have been found here, the cover of which is employed as a font
in S. Peter's. Many of the following emperors also reposed here;
but, when the Goths under Vitiges besieged Rome, the tomb was
converted into a fortress , and the statues on the summit hurled
down on the besiegers. Gregory the Great, while conducting a pro-
cession to the Castello S. Angelo to pray for the cessation of the
plague then raging, here 'beheld the Archangel Michael sheathing
his sword', in commemoration of which Boniface IV. erected a
chapel on the summit, S. Angelo inter Nubes , afterwards super-
seded by the marble statue of an angel by Montelupo, and in 1740
by the present bronze statue by Verschaffelt. Subsequently to 923
the edifice was always employed by the party in power as a strong-
hold to intimidate their adversaries, and on the possession oi which
the subsistence of their sway depended. Since the time of Inno-
cent III. it has been in the Bower nt tho popes, and here in

14*

212 Pal. Oiraud. ROME. Ospedale 8. Spirito.

1527 Clement VII. sustained a terrible siege, on which occasion
Benvenuto Cellini asserted he had thence shot the Constable
Bourbon. The outworks were constructed by Urban V., and about
1500 the covered passage which leads hither from the Vatican was
added. In 1822 the interior was freed from rubbish. The fort
has lately been strengthened, and is now strongly garrisoned (en-
trance immediately to the r. by the sentinel). Permission to visit
it must be obtained at the office of the commandant, P. Colonna,
side-building; a sergeant ('/-i fr.) acts as guide. The visitor is
conducted through several gloomy dungeons in which Beatrice
Cenci , Cellini, Cagliostro , and others are said to have been in-
carcerated ; a passage with 80 large boilers in which the oil
thrown on besiegers was formerly heated ; former apartments of
the popes; a saloon with frescoes by Raphael's pupil Perino del
Yaga. The view from the summit is remarkably fine. The Giran-
dola (p. 89) was formerly burned here.

The Castle of S. Angelo is adjoined by the Piazza Pia, whence
four streets diverge to the W. : 1. by the river the Borgo 8. Spirito,
r. Borgo S. Angelo; between the latter and the city-wall lies a
quarter consisting of small and dirty houses. Then, in the centre,
from the two sides of the fountain, erected, like the two adjacent
facades, by Pius IX., the Borgo Vecchio (1.) and Borgo Nuovo[l.)
lead to the Piazza Rustkucci. The ordinary route to the Vatican
is by the Borgo Nuovo.

To the r. in this street is the church of S. Maria Traspontina
(PI. I, 7), erected in 1566; farther on, to the r., in the Piazza
Scossa Cavalli , is the handsome *Pal. Oiraud, erected in 1506
by Bramante for Card. Adriano da Corneto , now the property of
Prince Torlonia, who in an adjacent building possesses a valuable
collection of antiquities (e. g. the so-called Vesta Giustiniani, not
accessible). By the small fountain in the piazza is the insigni-
ficant church of «?. Giacomo (PI. I, 7). In a straight direction the
Piazza Rustkucci is reached, forming (260 ft. in length) a species
of entrance-court to St. Peter's.

The Borgo S. Spirito, is>uing from the Piazza Pia, terminates
under the colonnades of the piazza of St. Peter. To the 1. in this
street, by the river, is the spacious Ospedale di 8. Spirito (PL I, >),
established by Innocent III., and comprising a hospital, a lunatic-
asylum, a foundling-institution (accessible 2 — 4 p. m. ; permesso
obtained at the office of the administration , or in the library),
an establishment for the reception of girls and aged and infirm
persons, and a valuable medical library (open 8 — 12 o'clock). The
three departments first mentioned can accommodate 1000, 500, and
3000 persons respectively. The military hospital is opposite.

Farther on , 1. the church of S. Spirito in Sassia (PI. I, 'h
erected by Antonio da S. Gallo under Paul III. , the facade by

Porta S. Spirito. ROME. Piazza di S. Pietro. 213

Mascherino under Sixtus V. It pertains to the adjoining hospital
and possesses nothing remarkable , except a bronze ciborium on
the high-altar.

Then follows on the 1. the Porta S. Spirito , from which the
Via della Longara leads to Trastevere (p. 224).

A short distance from the colonnades , on the 1. the small
church of «S. Michele in Sassia , erected in the previous century,
the last resting-place of the artist Raphae. Mengs.

The ** Piazza di S. Pietro is a square wiih an elliptical space
in front, enclosed by the imposing colonnades of Bernini. Its
length as far as the portico of the church is 11.198 ft., greatest
breadth G25 ft. The colonnades, erected by Alexander VII., consist
of four series of columns in each, of the Doric order. Three
covered passages are formed by 284 columns and 88 buttresses,
on the roofs of which are placed 126 statues of saints in the
style of Bernini. The cost of the construction amounted to
850,000 scudi ; the pavement, laid down under Benedict XIII.,
alone cost 88,000 scudi. The whole presents a strikingly imposing
aspect, and forms an appropriate adjunct to the largest church in
the world. The great Obelisk in the centre of the piazza, brought to
Borne by Caligula and placed in the Vatican Circus , is the sole
monument of the description which has never been overthrown.

Tender Sixtus V. in 1586 this huge monument, estimated by Fontana to
weigh nearly one million pounds, was removed by means of rollers from
its original position, and on Sept. 10th erected under the superintendence of
Domenico Fontana on its present site. Representations of this extremely
difficult undertaking are frequently seen. It is related that Fontana in the
construction of his machines had omitted to make allowance for the ten-
sion of the ropes produced by the enormous weight, and that at the criti-
cal moment, although the bystanders were prohibited under pain of death
from shouting, one of the 800 workmen, the sailor Bresca di S. Eemo, ex-
claimed : 'Acqua alle funi !' (water on the ropes), thus solving the difficulty.
As a reward, his relations (of Bordighera near S. Remo) were granted the
privilege, still enjoyed by them, of providing the palm-branches on Palm-
Sunday for St. Peter's, which are then prepared and plaited by the nuns of
S. Antonio Abbate.

On the pavement around the obelisk is placed an indicator of
the points of the compass. At the sides are two handsome Foun-
tains, 46 ft. in height, that next to the Vatican erected by
Maderno, the other under Innocent XI. On both sides , between
the obelisk and the fountains , round slabs of stone indicate the
centres of the radii of the colonnades, of which each series of
columns appears thence as one. At the sides of the steps leading
to the portico of St. Peter's (see p. 215), the statues of St. Peter
and St. Paul, executed by Mino del Regno under Pius II., for-
merly stood. They are now at the entrance to the Sacristy (p. 218),
and have been replaced by Pius IX. by works of De Fabris and
Tadolini. To the r. at the extremity of the colonnades is the
entrance to the Vatican (see p. 231). The visitor passes the Swiss
guard and ascends the broad staircase on the r.

214 The Vatican. ROME. St. Peter's.

**S. Pietro in Vaticano.

St. Peter's, 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 Silvester I. It was erected in the form of a basilica
with nave, double aisles, and transept, on the site of the circus of Nero,
where St. Peter suffered martyrdom, and contained the brazen sarcophagus
of the apostle. It was approached by an entrance-court with colonnades,
and surrounded with smaller churches, chapels, and monasteries. The in-
terior was sumptuously decorated with gold, mosaics, and marble. At Christ-
mas, in the year 800, Charlemagne received the Roman imperial crown
from the hands of Leo III., and numerous emperors and popes were subse-
quently crowned here. In the course of time the edifice had at length be-
come so damaged that Nicholas V. determined on its reconstruction, and in
1450 commenced the posterior tribune, from the design of the Florentine
Bernardino Rossellini. Half-a-century later, in 1506, Julius II. recommenced
the tardy operations, and entrusted the execution of his plan to the eminent
Bramante (fionato Lazzari from Urbino). His design was a Greek cross,
surmounted by a dome in the centre over the tomb of St. Peter. Under
Leo X. Raphael deviated from this design by substituting a Latin for a
Greek cross, having with Giuliano da San Gallo and Fra Gioeondo da Ve-
rona succeeded to the supervision of the works after the death of Bramante
in 1514. From 1518 to his death (1520) Raphael was sole director. Diffe-
rent designs were again made by Baldassare Peruzzi (to 1536) and Antonio
da San Gallo (to 1546), under whom the work progressed slowly. Michael
Angelo (to 1564) returned to the Greek cross of Bramante ; the great dome
was now to be surrounded by four smaller ones and a "portico with pointed
pediment ; he erected the drum and left a precise model of the dome, in
accordance with which (after the interval during which Barozzi da Yignola,
till 1573, and Pirro Ligorio had conducted the work) Giac. della Porta (to
1604) and Domenico Fontana executed the work in 22 months with the aid
of 600 workmen. The formidable difficulties which the construction pre-
sented, and the beauty of the outlines, render it a marvel of architectural
skill. The facade only was now wanting, when Paul V. directed the archi-
tect Carlo Fontana (to 1629) to prolong the nave towards the front, and thus
complete the Latin cross. Bernini finally erected one (].) of the two pro-
jected campanili, which however was afterwards removed, as the substruc-
ture appeared inadequate to the weight. Under Alex. VII. Bernini added the
great colonnades at the sides of the facade, in order to enhance its effect.
The new church was consecrated by Pope Urban VIII., Nov. 18th,
1626, on the 1300th anniversary of the day on which St. Silvester is said to
have consecrated the original edifice. The interior was filled by Bernini
with the sculptures of his contemporaries, the buttresses covered with
marble of different colours, and niches, which destroyed the massive effect,
were formed in the principal pillars. At the end of the 17th cent, the build-
ing expenses of St. Peter's had amounted to upwards of 47 million scudi
(about 9»J2 million pounds), and the present annual cost of its maintenance
is 6000 pounds. The new sacristy , erected by Pius VI. , cost 960,0011 sc.
(about. 180,000 pounds).

The result of these various vicissitudes is that S. Peters is
the largest and most imposing, although not the most beautiful
church in the world; its area amounts to 212,321 sq. ft., whilst
that of the cathedral at Milan is 117,678, St. Paul's at London
108,982, St. Sophia at Constantinople 96,497, and the cathedral
of Cologne 73,903 sq. ft. Length externally 651, internally 629 ft;
height of nave near the entrance 162, width 93 ft. Width of each
aisle 35, total width 209 ft. Breadth of transept 220 ft. Height
of dome from the pavement to the lantern 429, to the cross on
the summit 465 ft.: diameter 148 ft., i. e. 3 ft., less than that

St. Peter s. ROME. The Facade. 215

of the Pantheon, which doubtless served Michael Angelo as a
model. The chuich contains 290 windows, 390 statues, 46 altars,
and 748 columns.

The Facade of St. Peter's by Carlo Maderno, with 8 columns,
4 pilasters, and 6 semi-pilasters of the Corinthian order, is 379 ft.
long and 152 ft. in height. It is surmounted by a balustrade
nearly 6 ft. in height, with statues of the Saviour and apostles,
19 ft. in height. The inscription runs thus r

In. Honorem. Principis. Apost. Paulus. V. Burghesius.
Romanus. Pont. Max. A. MDCXIJ. Pont. VII.

Over the central of the 5 entrances is the *Loggia in which
the new pope is crowned, and whence he imparts his benediction
at Easter to the concourse assembled in the piazza.

The Portico, the ceiling of which is magnificently decorated
with stucco, is 236 ft. in length, 42 in width, and 68 in height.
At the extremities equestrian statues , r. Constantine the Great
by Bernini , 1. Charlemagne by Cornacchini. At the entrances
are antique columns of pavonazzetto and African maible. Over
the interior of the central external entrance * St. Peter on the
sea, termed lLa Navicella', a mosaic after Giotto, formerly in
the entrance-court of the earlier church , unfortunately consider-
ably altered by Marcello Provenzale and Fr. Berretta. A copy of
the original is preserved in S. Maria della Concezione in the
Piazza Barberini (p. 124). Of the 5 doors of the church that
on the extreme r. is termed Porta Santa, indicated by a cross,
and is only opened during the year of jubilee (the last was in
1825). The great central entrance, with the brazen doors, which
Eugene IV. caused to be executed in 1447 by Ant. Filarete and
Sim. Donatello after the model of those of S. Giovanni at Flo-
rence, is only opened during the highest festivals. The Christian
subjects represented on the doors contrast strangely with those
on the surrounding arabesques, such as Phrixus and Hella on the
ram, Europa on the bull, Ganymede carried off by the eagle, etc.
The two side-doors are those usually employed.

The portico unfortunately detracts greatly from the effect of
the whole, and, even when the spectator is not in the immediate
vicinity, conceals a considerable part of the cylinder of the dome.
The effect which Michael Angelo intended the latter to produce
cannot be appreciated except from a distance.

Interior. On the pavement of the nave , behind the central door , is
a round slab of porphyry on which the emperors were formerly crow-
ned, and beyond it stones on which are inscribed the length of St. Paul's
in London, of the cathedral of Milan, etc. On each side, as far as the
dome , are four pillars with Corinthian pilasters ; above these a sump-
tuous entablature, which bears the arches extending from pillar to pil-
lar and the gorgeously fretted and gilded * vaulting of the ceiling. The
niches of the pillars here and in the other parts of the church contain ba-
roque statues of the founders of various orders. The pavement, like the
walls, consists entirely of marble, inlaid from designs by G. della Porta

216 St. Peters. ROME. The Interior.

and Bernini. By the fourth pillar to the r. is the sitting statue of St. Peter
in bronze, on a throne of white marble beneath a canopy, a work of the
5th cent., brought by Paul V. from the monastery of S. Martino. The r.
foot is almost entirely worn away by frequent contact with the lips of de-
votees ; in front of it two large candelabra.

The dome rests on four huge buttresses, the niches of which beneath
are occupied by statues , 17 ft. in height , of (r.) St. Longinus by Bernini
and St. Helena by Bolgi , (1.) St. Veronica by Mocchi and St. Andrew hy
Duquesnoy ; above them are the four loggie of Bernini , whence 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 4 mo-
saics of the evangelists after the C'av. tf Arpino , of colossal dimensions.
The pen of St. Luke is 7 ft. in length. The frieze bears the inscription
in mosaic :

Tu es Petrus el super hanc petrain aedifcabo ecclesiam meam et tibi dabo
claves regni caelorum.

The 16 ribs of the vaulting of the dome are decorated with gilded
stucco; between them are 4 series of mosaics. In the lowest the Saviour,
the Virgin, and the Apostles. On a level with the lantern, God the Fa-
ther, by Marcello Provenzale, after the Cav. cVArpino.

Beneath the dome rises the Canopy, 98 ft. , with the cross 101 ft. in
height , borne by four richly gilded spiral columns , constructed in 1633
under Pope Urban VIII., from designs by Bernini, of the metal taken from
the Pantheon (p. 151). Under the canopy is the high-altar, consecrated in
1594, where the pope only reads mass on high festivals. It stands imme-
diately over the Tomb of St. Peter. The Confessio, constructed by C. Maderno
under Paul V., is surrounded by 89 ever-burning lamps. The descent is by
a double marble stair. Doors of gilded bronze, dating from the earlier
church, close the niche which contains the sarcophagus of the apostle.
Between the stairs the "statue of Pius VI. in the attitude of prayer, by
Canova.

Beyond the dome the nave is continued and terminates in the tribune,
containing the tasteless bronze Cathedra Petri of Bernini, which encloses
the ancient wooden episcopal chair of St. Peter. On the r. is the monu-
ment of Urban VIII. (d. 1644) by Bernini; 1. "that of Paul III. (d. 1549)
by Gugl. delta Porta, probably under the supervision of Michael Angelo.
Above is the figure of the pope pronouncing his benediction ; beneath nn
the r. Prudence, on the 1. Justice, the latter now draped with bronze. Two
other figures belonging to the group are now in the Pal. Farnese. Beneath
the two founders of orders here and the two next in the nave, Pius IX.
eaused to be engraved the names of the bishops and prelates who on Dec.
8th , 1854 , accepted the new dogma of the immaculate conception of the
Virgin.

The visitor, having traversed the nave and surveyed the stupendous
dimensions of the fabric, now proceeds to examine the aisles and transepts.
St. Peter's possesses few pictures ; those formerly here , some of which are
now in the Vatican Gallery, are replaced hv copies in mosaic.

Right Aisle. Over the 'jubilee-door' St. Peter in mosaic, placed here
by Clement X. in the year of jubilee 1675. The (1st) Chapel delta Pteta
contains an admirable early work of Michael Angelo: "Mary with the dead
bodv of Christ on her knees. Adjacent, to the r. beneath the arch, is the
monument, of Leo XII., erected by Gregory XVI., by De Fabris; 1. cenotaph
and bronze relief-portrait of Christina of Sweden, daughter of Gustayus
Adolphus, and a convert to the Romish faith. The 2nd altar is adorned with
the Martyrdom of St. Sebastian after Domenichino. Beneath the next arches
are the monuments of (r.) Innocent XII. by Fil. Valle, and (1.) the Countess
Mathilde of Tuscany (d. 1115) by Bernini, executed by order of Urban VII.
who had transferred her remains from Mantua hither. On the r. the (ord)
Chapel of the Holy Sacrament, closed by an iron gate, contains an altar"P^
by Pietro da Cortona ; r. the finelv executed !* monument of Sixtus IV. (d. 1484)
by Ant. Pollajvolo (1493). Here Julius II. (like Sixtus, of the della Kovere
family), who was the first to continue the construction of the church after

St. Peters. ROME. The Interior. 217

Nicholas V. , is also interred. Under the next arch , r. the monument of
Gregory XII., the rectifier of the calendar (d. 1585), by Camillo Rusconi;
1. the unadorned sarcophagus of Gregory XIV. Opposite, over the altar by
the principal buttress , is the Communion of St. Jerome , after Domenichino
(original in the Vatican). E. the Gregorian Chapel , erected under Gre-
gory XIII. from the design of Michael Angelo , at a cost of 80,000 scudi ;
here to the r. is the "monument of Gregory XVI. (d. 1846), by Amici (1854);
beneath it is the tomb of St. Gregory of Nazianz (d. 390). Under the follow-
ing arch, r. the tomb of Benedict XIV. ; 1. altar with the mass of St. Basi-
lius, after Subleyras.

The Right Transept (where the OEcumenical council held its ses-
sions) contains by the tribune three altars with pictures by Caroselli , Va-
lentin, and Poussin , representing the Martyrdom of St. Erasmus. The pro-
longation of the r. aisle is now entered. Beneath the arch: r. "monument
of Clement XIII. (Rezzonico of Venice, d. 1769) by Canova; the figure of
the pope and the two lions are worthy of inspection ; 1. altar of the Navi-
cella, with Christ and Peter on the sea, after Lanfranco. Then the Chapel
of the Archangel Michael, on the v. the "Archangel, after Guido Reni ; in a
straight direction, Burial of St. Petronella , after Guercino. Under the (1.)
following arch : r. monument of Clement X. ; Raising of Tabitha by Peter,
after Costanzi. The principal tribune is now passed, and the 1. aisle en-
tered. Here , immediately on the r. , is the monument of Alexander VIII.
(Ottoboni of Venice, d. 1691), by Arrigo di S. Martino; 1. Healing of the
lame man by Peter and John, after Mancini; farther on, r. the altar of
Leo I. with marble relief by Algardi (about 1650), representing the Conver-
sion of Attila. Facing the visitor is the Cappella della Colonna, containing a
highly-revered Madonna from a pillar of the older church. Beneath the al-
tar ;n ancient Clni tian sarcophagus (on the front Christ and the apostles),
containing the remains of Leo II. (d. 683), Leo III. (d. 816), and Leo IV. (d.
855). Turning hence to the 1. the visitor first perceives on the r., over the
small door (of egress), the unattractive monument of Alex. VII. (d. 1667) by
Bernini. Opposite is an altar with an oil-painting (on slate) by Fr. Vanni,
Punishment of Simon Magus.

The Left Transept, with tribune and 3 altars, is next entered. It
contains confessionals for 11 different languages, as is indicated by the in-
scriptions. By the pillar of S. Veronica, beneath the statue of S. Juliana,
is an elevated seat, whence on high festivals the grand-penitentiary dis-
penses absolution. Over the first altar on the r. St. Thomas, by Camuccini ;
in front of that in the centre, the tomb of the great composer Palestrina
(1520—1592), whose works are still performed in St. Peter's; altar-piece,
Crucifixion of Peter, after Guido Reni; 1. St. Francis, after Domenichino.
The portal to the r. under the following arch leads to the Sacristy; above
it the monument of Pius VIII. by Tenerani. From this point the effect of
the dome, tribune, and transept collectively may best be appreciated. Then
the Clementine Chapel, erected by Clement VIII. (1592—1605): beneath the
altar on the r. reposes Gregory I., the Great (590—604); altar-piece after
Andr. Sacchi; facing the visitor the -monument of Pius VII. (d. 1823), by
Thorioaldsen, erected by Card. Consalvi; 1. Death of Ananias and Sapphira,
after Roncalli. The visitor now turns to the 1. and perceives beneath the
arch on the 1. the mosaic copy of Raphael's Transfiguration, four times the
size of the original. Opposite, to the r. the

Left Aisle is entered. Here under the arch on the r. the monument
of Leo XL (d. 1605) by Algardi, with a relief of the recantation of Henry IV.
of France; 1. monument of Innocent XI. (d. 1689) by C. Maratla , with relief
of the delivery of Vienna by King John Sobieski. The great chapel of the
choir, gorgeously decorated by della Porta with stucco and gilding, contains
the tombstone of Clement IX. (d. 1721) and two organs. Here on Sundays
ceremonies accompanied by beautiful musical performances frequentlv take
place ; ladies only admitted when provided with black dress and' veil,
gentlemen also in black (evening-dress). Beneath the arch, to the r. over
the door, is the temporary resting-place of each pope during the interval
between his decease and the erection of his monument; 1. the "monument
of Innocent VIII. (d. 1492), by And. and Piet. Pniiajuolo. Then on the r

218 St. Peter's. ROME. The Sacristy.

an altar with Mary's first visit to the Temple , after Romanelli ; adjoining
this to the 1. is a point whence the entire depth of the church may be sur-
veyed, as far as the chapel of St. Michael. Under the arch , to the r. over
the door which leads to the dome, the eye of the English traveller will rest
with deep interest upon the monument of Maria Clementina Sobieski (d.
1735 at Rome), wife of Charles Edward the young Pretender , and to the 1.
the tomb of the last of the Stuarts, by Canova (1819), with busts of 'James III.'
and his sons Charles Edward, and Henry , better known as Cardinal York.
In the last chapel on the r. is a font consisting of the cover of a sarcopha-
gus from the mausoleum of Hadrian. Over the altar , Baptism of Christ,
after Maratta.

The Sacristy (entrance by the grey marble portal on the 1.
immediately before the transept is reached ; it may be visited
most conveniently at the same time as the grottoes, 9 — 11 a. m.),
erected in 1775 by Pius VI. from designs of C. Marchionne,
consists of 3 chapels in a corridor adorned with ancient columns
and inscriptions. At the entrance the statues of (r.) St. Peter
and (1.) St. Paul, of the 15th cent., which formerly stood in the
Piazza of St. Peter. The central chapel, Sagrestia Comune, octa-
gonal in form, is embellished with 8 columns of bigio from the
villa of Hadrian at Tibur. A guide ('/2 ft-) is here found to show
the others. L. the Sagrestia dei Canonici, with the Cap. dei Canoni-
ci, altar-piece by Franc. Penni (Madonna with SS. Anna, Peter,
aud Paul), opposite to which a * Madonna and Child by Giulio
Bomano. Adjacent is the Stanza Capitolare, containing *pictures
from the former Confessio , by Giotto (Christ with a cardinal.
Crucifixion of Peter, Execution of Paul), and * fragments of the
frescoes by Melozzo da Forli from the former dome of SS. Apos-
toli (angels with musical instruments and several heads of apostles).
On the r. the Sagrestia de Benefiziati , with altar-piece by Mu-
ziano, the Delivery of the Keys. Contiguous is the Treasury of
St. Peter's ,. containing jewels, candelabra by Benvenuto Cellini
and Michael Angelo , the dalmatica worn by Charlemagne at his
coronation, etc. Over the sacristy are the Archives of St. Peter's
with ancient MSS., e. g. Life of St. George, with miniatures hy
Giotto; also a few classical authors. The treasury and archives
are not always accessible.

The Sagre Grotte Vaticane hardly now merit a visit (per-
messi granted by Msgr. Teodori in the sacristy on Sunday mor-
nings; ladies require special permission from the Pope; sacris-
tan i/2 &.). They consist of passages with chapels and altars
beneath the pavement of the present church (entrance by the
pillar of St. Veronica, beneath the dome). The most interesting
of these, however, the 'Grotte Yecchie', have not been accessible
since 1867.

The 'Grotte Nuove' only are now shown. Here are preserved
numerous reliefs of the 15th cent, from the tombs of the popes,
among them a Madonna with St. Peter and St. Paul by Mino da
Fiesole. Reliefs from the tomb of Paul II. , Hope, Faith, Charity,
and the Last Judgment. On the 1. side, by the sides of the

St. Peter's. ROME. The Dome. 219

entrance to the shrine, marble * reliefs, representing the martyrdom
of Peter and Paul , from the tombstone of Sixtus IV. Opp. the
entrance of the shrine the large * sarcophagus of the prefect
Junius Bassus (d. 359), with admirable sculptures from the Old
and New Testament, found here in 1595. The Confessio, or Shrine
of St. Peter and St. Paul , situated in the centre of the circular
passage, is sumptuously decorated with gold, jewels, etc. Over
the altar, consecrated in 1122, are two ancient 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 cent.

The ascent of the Dome is permitted on Thursdays 8 — 10 a.
m. ; visitors apply at the sacristy. Eight flights of broad 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
octagonal chambers in the pillars which support the dome con-
tains a *model of the church by Michael Angelo and his prede-
cessor Ant. da S. Oallo , for admission to which a separate per-
mission must be obtained through an ambassador or consul ; here,
too, a model of the ancient throne of St. Peter is preserved. The
dome rises 318 ft. above the roof, and is 652 ft. in circum-
ference. The huge hoops of iron are here seen, by which the
dome was strengthened in the 17th cent., being then considered
in a dangerous condition. The gallery within the dome affords
a striking view of the interior. An easy staircase ascends be-
tween the external and internal walls of the dome to the * Lan-
tern . whence a view of the entire church and its environs , and
in favourable weather of the Campagna from the mountains to
the distant sea, is obtained. A narrow iron staircase, admitting
one person only at a time , ascends to the copper ball on the
summit, which can contain 16 persons, but affords no view.

The coronation of the new pope, as well as the canonisation
of a new saint, always takes place at St. Peter's. At Christmas,
Easter, and on the festival of SS. Peter and Paul (June 29th),
the Pope used to celebrate high mass here in person, but has not
officiated since the Italian occupation. The most important of
the other festivals have already been enumerated (p. 88) , the
remainder will be found in the Roman calendar. On Easter-day
and June 28th the dome, the facade, and the colonnades were
under the papal regime illuminated in the evening by 4400
lamps, throwing the lines of the architecture into singularly pro-
minent relief; and iy4 hr. after sunset this illumination was
exchanged with great rapidity by 400 workmen for a blaze of
torch-light. This remarkable spectacle, however, will probably
never again be witnessed.

220 Cimeterio dei Tedeschi. ROME. 5. Onofrio.

Ascending by St. Peters, to the 1. beyond the colonnades,
the visitor reaches (on the 1. before the sacristy is reached) the
Cimeterio dei Tedeschi, the most ancient Christian burial-ground
instituted by Constantine, and filled with earth from Mt. Calvary.
In 1779 it was granted to the Germans by Pius VI. Near it is
the church of >S. Maria della Pitta in Campo Santo.

The visitor may now quit the cemetery by the egress on the
r. , and walk round St. Peter's in order to acquire a distinct
conception of its vast proportions.

In the second street ascending to the 1. behind the colonnades
is situated (1.) the Palace of the SS. Ufficio , or seat of the
Inquisition, now converted into barracks. That tribunal was
established in 1536 by Paul III. by the advice of Card. Carafla,
afterwards Paul IV., and this edifice allotted to it by Paul V.

The Long ara.

The Borgo is connected with Trastevere by the Via della
Longara, % M. in length, constructed by Sixtus V. The Borgo
is quitted by the Porta di S. Spirito , begun by Ant. da San
Gallo. Near the gate the steep Salita di San Onofrio ascends to
the r. (then to the 1. where the street divides) in 5 min. to

*S. Onofrio (PI. II, 7), on the slope of the Janiculus, erected

in 1439 by Niccolo da Forca Palena in honour of the Egyptian

hermit Honophrius ; adjoining it is a monastery of the order of

St. Jerome. The church and cloister are approached by a hall

borne by 8 columns, where in the lunettes are frescoes from the

life of St. Jerome by Domenichino , protected by glass. If the

church is closed, visitors ring at the door of the monastery (r.),

through which access may be obtained.

The 1st Chapel on the 1. , restored by Pius IX. , contains the tomb of
the poet Torquato Tasso (by de Fabris, 1657) , who died in this monastery
in 1595. In the 3rd chapel the tombstone of the linguist Card. Mezzofanti
(d. 1849). The 2nd chapel on the r. contains a Madonna, altar-piece by
Ann. Caracci. At the extremity of the r. wall: monument of Archbp. Sac-
chi (d. 1502); in the lunette a Madonna by Pinturicchio. The tribune con-
tains restored frescoes, the upper attributed to Bald. Peruzzi , the lower to
Pinturicchio, probably both by Peruzzi. They are unfortunately much injured
by retouching; thus the raised arm of the child has been entirely spoiled.

Ladies are not admitted to the monastery. A passage on the
first floor contains a **Madonna with the donor, a fresco by
Leonardo da Vinci. The cell is still shown in which Tasso re-
sided, when about to receive the laurel on the Capitol, and died
April 25th, 1595. It contains his bust in wax, taken from the
cast of his face , his autograph , etc. In the garden (ladies may
enter by a side-door) of the monastery, near some cypresses, are
the remains of an oak (destroyed by lightning in 1842), under

Palazzo Salviati. ROME. Villa Farnesina. 221

■which Tasso was in the habit of sitting. Admirable *view of the
city, and retrospect of St. Peter's.

Those desirous of proceeding hence to Trastevere may in
descending select the shorter and steeper road to the r.

To the r. in the Longara is the extensive lunatic-asylum
ereced by Pius IX., with long inscription.

Farther on, 1. the new chain-bridge (1 soldo) ; on the opposite
bank S. Giovanni dei Fiorentini (PI. II, 10). R. the extensive
Pal. Salviati with handsome court; the pictures formerly here
are now for the mo>t part in the Rorghese Gallery , Prince Ror-
ghese having inherited the palace and sold it to the government,
who have established the civic archives in the building. The
adjacent garden, skirted by the street, was converted by Gre-
gory XVI. in 1837 into a Botanical Garden (visitors ring at the
small door on the r.), which belongs to the Sapienza (see p. 150),
and contains many rare and beautiful trees and plants, the skeleton
of a whale (64 ft. long) , skeleton of a crocodile , etc. About
10 min. walk from the Porta S. Spirito is situated the small
church of S. Giaeomo alia Lungara , said to have been founded
by Leo IV. , altered in the 17th cent. The adjoining convent
is occupied by nuns who have been reclaimed from a career
of vice.

About 5 min. farther, 1. opposite the Pal. Corsini, is the

* Villa Farnesina (PI. II, 11) (admission on the 1st and
15th of every month, 10 — 3 o'clock, i/2 fr0> erec ed in 1506 by
Bald. Peruzzi for Agostino Chigi, the property of the Farnese fa-
mily from 1580 until lately, and now that of the ex-king of Naples.
This small palace is one of the most pleasing renaissance-edifices
in Rome, simple, and of symmetrical proportions. Owing to the
work of restoration now in progress the upper story with the
celebrated frescoes , especially the Nuptials of Alexander and
Roxana, is inaccessible. The principal space on the basement-
floor was originally an open hall , but is now closed with large
windows in order to protect the paintings. The ceiling was de-
signed by Raphael (1518 — 1520), and deeorated by his pupils
G. Romano and Franc. Penni with ** 12 representations from the
myth of Pysche , beginning with the short wall to the 1. , and
continued on the wall opposite the entrance.

Raphael adhered to the charming fable of Apuleius, which may be
briefly related as follows. A king had three daughters , the youngest of
whom, Psyche, 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, disobeys 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. Mean-
while \ enus has been informed of her son's attachment, imprisons him, and

222 Villa Farnesina. ROME. Palazzo Corsini.

requests Juno and Ceres to aid her in seeking for Psyche, which both god-
desses 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 , however , with the aid of friends she is enabled to
perform. At length she is desired to bring a casket from the infernal re-
gions (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 r.). The messenger of the gods then conducts Psyche to Olympus
(10) , she becomes immortal , and the gods celebrate the nuptial-banquet
(ceiling-painting on the 1.). In this pleasing fable Psyche evidently repre-
sents the human soul purified by passions and misfortunes, and thus fitted
for the enjoyment of true and celestial happiness.

The garlands which surround the different paintings are by Giov. da
Vdine. The frescoes , having suffered from exposure to the atmosphere,
were retouched by Maratta. The blue ground, which was originally of a
much warmer tint, as is apparent from the few portions still unfaded, was
most seriously injured. The whole nevertheless produces a charming and
brilliant effect owing to the indestructible beauty of the designs. The felicity
with which the scenes have been adapted to the unfavourable spaces is
also remarkable.

The 'ceiling of the adjoining Loggia towards the garden, which was
likewise formerly exposed to the open air , was decorated and painted by
Baldassare Peruzzi (representations of Perseus and Diana). The lunettes
contain scenes from the Metamorphoses, the first Roman work of Seb. del
Piombo. The colossal head in the lunette on the 1. lateral wall is said to
have been drawn by Michael Angelo in charcoal , whilst in vain seeking
Dan. da Volterra who was also engaged here, but is more probably by Pe-
ruzzi. On the entrance-wall Raphael, in 1514, painted with his own hand
the "Galatea, borne across the sea in a conch, surrounded by Nymphs,
Tritons , and Cupids , one of the most charming works of the master.
The Polyphemus adjoining, to the 1., was painted by Seb. del Piombo,
but was" 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 partially
successful.

Opposite is the * Palazzo Corsini (PI. II, 11), formerly the
property of the Riarii, purchased by Clement XII. for his nephew
Card. Neri Corsini in 1729, altered by Fuga, and in the 17th
cent, the residence of Queen Christina of Sweden, who died
here, April 19th, 1689. A double staircase ascends from the
principal portal to the 1st floor, where the Picture-OaUery is
situated (admission on Mond. , Thursd. , and Sat. , and also on the
days on which Villa Farnesina is accessible, 9—3 o'clock l/o fr-i
the custodians are well-informed and obliging). Among a large
number of mediocre and inferior works are a few pictures of rare
merit. Catalogues in each room.

1st Room. 1, 5. Landscapes, Bloemen (Orizzonle); 2, 4. Landscapes,
Lovatelli. This room also generally contains a small Holy Family by Bal-
toni. By one of the walls a well-preserved ancient sarcophagus with sea-
gods, from Porto d'Anzio. — 2 n d R. : 4. Holy Family, Bassano; 12. Ma-
donna in a glory, Eliz. Sirani; 15. Landscape, G. Poussin (?); IT, 19. Land-
scapes with cattle, Berghem; 20. Pieta, Lod. Caracci. On the walls a num-
ber of ancient heads, some of which merit examination. — To the r. is tn^
3rd R. : 1. Ecce Homo, Guercino ; 4, 5. Wharf, Peters; 17. Madonna, Ca-\
ravaggio ; s23. Evoninc T,and«r.ane. Both : 26. Madonna, Ffa Bartolommeo ;

Palazzo Corsini: ROME.f Porta Settimiana. 223

43j, Martyrdom of two saints, Saraceni; |4. Julius II., after Raphael; 50..
"Philip II. of Spain), Titian; 55. Kitchen-scenes, Dutch School ; 61. Holy Fa-)
mily, Vasari; .52^ Vanity, Saraceni; 84. Cavalry skirmish, Borgognone ; $S. t
Ecce Homo, C. Dolce. — 4th R. : "11. Herodias, Guido Rent; 16. Madonna,
by the same; 22. Christ and Mary Magdalene, Baroccio; 27. Heads as stu-
dies , Lod. Caracci ; 35. Four heads , Parmeggianino ; 40. Portrait of his
daughter, Maratta; 41. Female portrait, after Raphael, copy of that in the
Tribune at Florence ; 43. Madonna, Maratta ; 44. Hare, A. Diirer ; 47. Land-
scape with the judgment of Paris, designed by Raphael, Poelemburg (?) ;
also 11 small pictures from military life, erroneously attrib. to Callot. This
room likewise contains «,n ancient marble chair with reliefs , found near
the Lateran. On a table stands the "Corsinian vase in silver , with repre-
sentation of the atonement of Orestes in chased work. Two emblematical
marble statuettes, Hunting and Fishing, by Tenerani. — 5th R. , where
Christina of Sweden is said to have expired : Decorations of the ceiling of
the school of the Zuccheri. 2. Holy Family, Perino del Vaga; SJA. Annun-
ciation, Maratta; 20. Polyphemus and Ulysses, Lanfranco; 23rjladonna,
Franc. Albano; 44. Holy Family, designed by Michael Angelo, Marc. Venusti.
— 6th R. , containing an interesting collection of portraits, most of which
are worthy of notice: 19. Male portrait, Holbein, much retouched; "'20.
Mons. Ghiberti, 0. Romano ; "22. Old woman, Rembrandt (?) ; 23. Male por-
trait, Qiorgione; 26. Portrait, Span. Sch.; "32. Portrait, Van Dyck; "34. Na-
tivity of Mary, after Durer's woodcut; '-'43. Cardinal, Germ. Sch. (erroneously
attrib. to Diirer) ; 47. Portrait of himself, Rubens ; 50. Card. Alex. Farnese,^
Titian (?). — 7th R. : -11. Madonna, Murillo; "13. Landscape, G. Poussin;*
21. Christ as a boy in theTemple , L. Giordano; "22, "23, "24. Descent of
the Holy Ghost, Last Judgment, Ascension, Fiesole; 31, 32. Landscapes, N.
Poussin. — 8th R. . 6. Landscape, Claude Lorrain (?); "7. Landscape, G.
Poussin ; 10. History of Niobe, design in the form of a frieze , Polidoro da,
Caravaggio; 11. Holy Family, N. Poussin; 12. St. George, Ere. Grandi; 13»I
La Contemplazione, Guido Reni; "15, 21, 23. Landscapes, G. Poussin; 24. St.^
Jerome, Guercino ; 25. St. Jerome , Ribera. This room also contains two '
marble busts, portraits of members of the Corsini family. The adjoining!
cabinet contains pictures of the older Florentine and Sienese schools, most;
of them of little value and badly preserved. 23. Madonna, Gher. Stamina ;
26. Madonna, Spagna. — 9 th R. : 2. Interior of a stable, Tenters; 8. Pieta,
Lod. Caracci , sketch of No. 20 in the 2nd R. ; 9. Innocent X. , Velasquez
(copy of the picture in the Pal. Doria, p. 118); "28, 29. Battles, Salv. Rosa;
30. Female heads, Giorgione; 36. Portrait, master unknown; 49. Madonna,
Gherardesca da Siena. In the adjoining private apartment, opened by the
custodian if requested : ancient mosaic of two unmanageable oxen with a
plough and their driver; two ancient portrait-statues; also a bronze relief
of the Rape of Europa, attributed to Benvenuto Cellini.

The Library of this palace (entrance from the street by the
last door on the r.) , founded by Card. Neri Corsini , one of the
most extensive in Rome, is open daily (Wednesdays excepted) for
four hours before Ave Maria. It comprises (in 8 rooms) a number
of MSS. and printed works of great value, and a Collection of
Engravings, one of the largest in the world.

The spacious and beautiful * Garden extends behind the palace
on the slopes of the Janiculus. The heights command an admi-
rable *view of Rome.

A short way beyond these palaces the Via della Longara is
terminated by the Porta Settimiana (PI. II, 11), a gate in the
older wall of Trastevere, preserving by its name a reminiscence
of the gardens of Septim. Severus which were situated in the

224 Trastevere. ROME. S. Pietro in Montorio.

Trastevere.

This quarter of the city is inhabited almost exclusively by the
working classes, among whom well-built and handsome individuals
of both sexes are often encountered. The inhabitants of Trastevere
maintain that they are the most direct descendants of the ancient
Romans, and their character differs in many respects from that
of the citizens of other quarters.

Trastevere is connected with the city by three bridges, the
most N. of which is the Ponte Steto (PI. II, 11), constructed by
Baccio Pintelli under Sixtus IV., in 1473. and named after that
pope. It occupies the site of the Pons Aurelius , destroyed in
the 8th cent., and commands an interesting view.

To the r. the Via di Ponte Sisto leads in 3 min. to the Porta
Settimiana (see above), outside of which the broad Via delle
Fornaci ascends to the 1. The latter leads in 5 min. to the
point where the ascent becomes more rapid, and whence a carriage-
road winds up to S. Pietro in Montorio, the Acqua Paola, Porta
S. Pancrazio, and Villa Pamfili. After an ascent of 3 min. more,
by a direct footpath, the traveller arrives at

S. Pietro in Montorio (PI. II, 12), erected in 1300 by Fer-
dinand and Isabella of Spain, from designs by Baccio Pintelli, on
the :pot where St. Peter is said to have suffered martyrdom.
The campanile and tribune were almost entirely destroyed during
the siege of 1849.

The 1st -Chapel on the r. was decorated 'by Seb. 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 1. and St. Francis on the r. ; 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, Paul healing Ananias, is by Vasari. The high-altar was
once adorned by Raphael's Transfiguration. The last chapel on the 1. con-
tains an altar-piece by Dan. da Volterra (V), Baptism of Christ; in the 4th
an Entombment by a Dutch master; the altar-piece and ceiling of the 3rd
were painted by pupils of Perugino ; in the 2nd are sculptures of the school
of Bernini ; in the 1st St. Francis by G. de' Vecchi. By the wall near the
door, the tomb of St. Julian, archbp. of Ragusa, by 6. A. Dosio, 1510.

In the court of the monastery rises the * Tempietto , a small
circular structure with 16 Doric columns, erected in 1502 from
Bramante's designs , on the spot where the cross of St. Peter is
supposed to have stood. The interior contains a chapel with a
statue of St. Peter, and beneath it a second chapel, an opening
in the floor of which indicates the spot where the cross is said
to have stood.

The piazza in front of the church (197 ft.) commands a
magnificent **view of Rome and the environs, which may be
admirably surveyed from this point. The more important places
are here enumerated in order from r. to 1. , except where the
contrary is stated. S. the Tiber , crossed by the iron-bridge of
the railway to Civita Vecchia ; beyond it the extensive basilica of

Trastevere. ROME. S. Pietro in Montorio. 225

S. Paolo fuori le Mura. Then a portion of the city-wall, in front
of it the green Monte Testaccio , the cypresses and tombstones
of the Protestant burial-ground , the pyramid of Cestius, and the
Porta S. Paolo. Nearer rises the Aventine, its base washed by
the Tiber (not at this point visible), with the three churches of
S. Maria del Priorato, S. Alessio, and S. Sabina. Beyond are the
Alban Mts., with Mte. Cavo on the r., and Frascati 1. (comp.
p. 103) ; in the foreground on this side of the river is the
hospital of S. Michele, and in the immediate vicinity the extensive
new tobacco-manufactory. On the Caelius , the Villa Mattei and
S. Stefano Rotondo , above which , on the extreme spur of the
Alban Mts. , Colonna; between this and the Sabine Mts. near
Palestrina , the more distant Volscian Mts. Then the Palatine,
with the ruins of the palaces of the emperors (the papal excava-
tions) and the beautiful cypresses of the former Villa Mills, above
which rise the statues on the facade of the Lateran. Next, the
Colosseum, the three huge arches of the basilica of Constantine;
then the Capitol with the Pal. Caffarelli, the tower of the sena-
torial palace , a portion of the facade of the Capitoline Museum,
and the church of Araceli; the two domes and campanile above
these belong to S. Maria Maggiore on the Esquiline. Farther on,
near the cypresses, the spacious papal palace on the Quirinal, in
front of which, near a bright-looking dome, rises Trajan's column;
more towards the foreground the church del Gesu with its dome,
beyond which is the M. Gennaro. Then on the Pincio, the most
N. of the Roman hills, the bright Villa Medici, and to the r. of
it S. Trinita de' Monti , rising with its two towers above the
Piazza di Spagna ; farther to the r. the casino of the Villa Ludo-
visi. Nearer, not far from the Tiber, rises Pal. Farnese with the
open loggia. To the r. of it the spiral tower of the Sapienza,
farther r. a portion of the dome of the Pantheon , concealed by
the dome-church of S. Andrea della Valle, to the r. of which the
column of M. Aurelius in the Piazza Colonna is visible. Again
to the 1. 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 ridge of
Soracte. On this side of the Tiber the castle of S. Angelo,
beyond it the heights of Baccano. By the chain-bridge stands
S. Giovanni de' Fiorentini. Farther off, M. Mario with the Villa
Mellini; finally at the extreme angle to the 1. rises the dome of
St. Peter's. In Trastevere, at the base of the hill, is situated
the church of S. Maria in- Trastevere , the bright campanile to
the 1. of which belongs to S. Cecilia.

Descending from S. Pietro in Montorio in a straight direction,
passing through the Vicolo della Frusta on the r., and entering
the Via de' Fenili on the 1., the traveller reaches the Piazza di
S. Maria (p. 229").

B* 15

226 Trastevere. ROME. Arqua Paola.

The street which continues to ascend the hill leads in 2 miu.
to the Acqua Paola (Piazza del Fontanone). The precipitous old
road (now used by foot-passengers only) leads from the loot of
the hill, passing several mills diwen by the aqueduct, which it
then reaches to the 1. (5 min.).

This aqueduct is the ancient Aqua Trajana, 35 M. in length
supplied by the Lago di Bracciano (p. 297). It had fallen to
decay, but was restored by Fontana and Maderno in 1611 under
Paul V., who caused the great fountain to be decorated with the
divided columns from the Temple of Minerva in Trajan's forum;
the massive basin was added under Innocent XII. The view is
much more obstructed by the surrounding buildings than that
from S. Pietro below , but is worthy of notice on account of the
various objects more distinctly seen hence (thus the Pantheon).

The main road, continuing to ascend, reaches after 5 min. the
Porta di 8. Pancrazio , on the summit of the Janiculus, adjacent
to the ancient Porta Amelia. It was taken by storm by the French
under Oudinot in 1849, and renewed in 1857 by Pius IX. The
surrounding walls and gardeners' dwellings had suffered serious
damage on that occasion. In a straight direction the entrance to
the Villa Pamfili (see below) is reached hence in 3 min.

From this gate to the Porta Portese (p. 259) is a pleasant
walk of 1/2 nr'! DU* n°t recommended in the reverse direction. The
walls, restored in 1849, are skirted ozi the exterior for 12 min.;
the road then descends, and soon reaches a circular plateau affording
a charming *view of the Campagna and the deserted S. quarters
of the city. From a second plateau lower down the view extends
over the modern city as far as the Pincio. The road leads hence
to the gate in 10 min.

The *Villa Doria Pamfili (PI. II, 9), accessible on Mondays
and Fridays to pedestrians and two-horse carriages (5 soldi as the
grounds are quitted ; carriages more in proportion) , is situated
3 min. walk from the Porta S. Pancrazio on the summit of the
Janiculus , commanding an extensive and uninterrupted prospect.
The undulating grounds were skilfully laid out by Algurdi, by
order of Prince Camillo Pamfili, nephew of Innocent X. The pre-
sent proprietor is Prince Doria. This is the most extensive and
delightful of the Roman villas, and is termed by the Italians Bel-
respiro. Considerable damage was occasioned by the siege of 1849.

From the entrance the carriage-road passes under a triumphal
arch and leads in 8 min. to the entrance of the Casino. Here
to the r. is a terrace affording a beautiful *view of (r.) the
Campagna, (1.) M. Mario, and 8t. Peter's, between which Soracte
bounds the horizon.

Visitors ring at the door to the 1. (}/■> fr. on leaving) in order
to obtain access to the *('asino (built by Algardi). The external
walls are adoi""'1 with rpliefs (some of them ancient) and statues.

Junkulus. UOME. Villa Doria Pamfili. 227

The vestibule contains several fine female statues. In the
rooms a few antiques: in the 1st, r. Cybele, riding on a lion;
in the 3rd a female statue , in style resembling the ^Ethra (or
Penelope, or Electra) in the Villa Ludovisi. The balcony of this
room affords a pleasant survey of the flower-garden. In the circular
billiard-room the statue of an Amazon etc.

The rooms of the 1st floor contain views of Venice by Hein-
tius, of the 17th cent. The staircase ascends to the platform of
the villa, where a fine *panorama is enjoyed of the grounds and
environs. The sea is said to be visible in cleaT weather.

From the Casino the visitor proceeds to inspect the * Colum-
baria (r., among the trees), discovered in 1838, and situated on
the ancient Via Amelia. One of them is well-preserved, and con-
tains some interesting paintings (Prometheus delivered by Hercu-
les, Death of the children of Niobe, etc.)

The stair by the Casino descends to the flower-garden, where
the camellias are particularly fine ; permission to visit it must be
obtained of the Principe (Pal. Doria, in the Corso).

The road by which the Casino has been reached turns to the
1. skirting a meadow, carpeted in spring with anemones. In its
centre stands an ara, with representations of the gods, and Ant.
Pius sacrificing to the Penates. Alter 5 min., where it inclines
to the r. , a beautiful *view is obtained of the Alban Mts. and
the Campagna ; it then proceeds in numerous windings, at first
skirting the celebrated grove of pines, to a pond with swans
(10 min.), and along the bank to the fountain by which it is
supplied (5 min.). The Casino may now be regained either by
the direct path, or by the carriage-road, which leads in 4 min.
to the hot -houses (r.), and the pheasantry (1.), containing
beautiful silver-pheasants. On the road-side (1.), 50 paces farther,
a monument was erected in 1851 by Prince Doria to the memory
of the French who fell and were interred here.

The island in the Tiber (Isola Tiberina, or di 8. Bartolommeo)
was once traversed by the Pons Sublicius, the most ancient means
of communication between Rome and its suburb on the Janiculus.
At the present day it is crossed from the Piazza Montanara (p. 164)
by the Ponte de' Quattro Capi (PI. II, 17) , so named from the
four-headed figures on the balustrades, constructed B. C. 62 by
L. Fabricius, as the inscription records. Pleasing view.

On the island immediately to the r. is the church of S. Gio-
vanni Colabita (PI. II, 17), which, as well as the neighbouring
monastery and hospital, belongs to the Brothers of Charity (who
readily receive strangers who have fallen ill). Farther on, to the
I., is a small piazza, embellished in 1869 with a monument to
h.S. John, Francis, Bartholomew, and Paulinus. Here, perhaps

228 Ponte S. Bartolommeo. ROME. Ponte Rotto.

occupying the site of an ancient temple of jEsculapius, is situated
the church of S. Bartolommeo (PL II, 18), erected ahout the
year 1000 by the Erap. Otho III. in honour of St. Adalbert of
Gnesen, and erroneously named S. Baitolommeo. The emperor
had desired the Beneventans to send him the relics of that
saint, but received those of St. Paulinus of Nola in their stead.
The present church is uninteresting; facade by Lunghi, 1625.
The interior contains 14 ancient columns ; in the choir, remains
of an early mosaic. In the centre of the steps leading to the
presbyterium is the mouth of a fountain of the 12th cent., of
the sculptures on which the figure of Christ with a book in the
hand, and the heads of the two side-figures are still distinguished.

In the small garden of the monastery (entrance to the r. by
the church) a portion of the ancient enclosure of travertine is
seen , which imparted the appearance of a ship to the island.
An obelisk represented the mast. The figure of a snake hewn on
the bow of the ship is a reminiscence of the story that the
Romans, when sorely afflicted by the plague, sent for ^Esculapius
from Epidaurus B. 0. 293, and that a snake, a reptile sacred to
the god, concealed itself in the vessel, and on reaching the har-
bour escaped to this island , which was dedicated to ^Esculapius
in consequence.

The island is connected with Trastevere by the ancient Pom
Cestius (Gratianus), now Ponte S. Bartolommeo (PL II, 18), erected
under Augustus, and, according to the lengthy inscription on the
r. side, restored by the Emperors Valentinian and Gratian. Plea-
sant view to the 1. The establishment of the wooden mills in
the river in the direction of Ponte Sisto dates from the siege of
Belisarius, when the Goths destroyed the aqueducts, thus render-
ing the mills on the Janiculus useless. In a straight direction
the Via della Longara leads to the vicinity of the

Ponte Eotto (PL II, 18), probably the ancient Pons Mmiliw,
built B. C. 181, which after frequent destruction from inundations
was not again restored after 1554. A chain-bridge (1 soldo) now
supplies the place of the missing arches (comp. p. 184).

From this point to the 1. to S. Cecilia (see p. 230). To the
r. the traveller follows the Via della Lungarina and its straight
prolongation the Via della Lungaretta. After 6 min. a small piazza
is reached, to the 1. in which is the side-entrance to S. Crisogono,
a basilica with aisles, a portico, and straight beams, of the 12th
cent., frequently restored (for the last time in 1626). It is in-
teresting on account of its fine old mosaic pavement, and ancient
columns, especially the two of porphyry supporting the triumphal
arch , which are the largest in Rome. The ceiling-paintings of
the transept are by Arpino. The mosaic on the wall of the tn-
buna represents the Madonna between SS. Chrysognus and James.
In 1866 and 6Z. an .excubitorium _of the VII. cohort of the vigiles

S. Maria in Trastevere. ROME. 8. Francesco a Ripa. 229

(a station of the Roman firemen) was excavated near the Piazza
di S. Crisogono; a small mosaic-paved court-yard, with a well
in the centre, and several rooms with small mural paintings are
shown. On the walls are numerous inscriptions of the 3rd cent.

Immediately beyond the church in the principal street is the
gaudily-painted hospital (for cutaneous diseases) of <S. Gallicano,
presided over by a professor of the Sapienza.

After 9 min. the Piazza di S. Maria is reached, with a foun-
tain, and the church of

*S. Maria in Trastevere (PI. II, 12), said to have been founded
by Calixtus I. under Alex. Severus , on the spot where a spring
of oil miraculously welled forth at the time of the birth of
Christ. It is mentioned for the first time in 449, was re-erected
by Innocent II. (1140), and consecrated by Innocent III. in 1198.
The present portico was constructed by C. Fontana under Cle-
ment XI. in 1702. The edifice is now undergoing repair. In
front are mosaics of Mary and the Child, on either side the small
figure of a bishop (Innocent II. and Eugene III.) and 10 virgins,
eight of whom have burning, and two extinguished lamps, a work
of the 12th, largely restored in the 14th cent. The portico con-
tains the remains of two Annunciations, one attributed to Caval-
lini (entirely repainted), and numerous inscriptions ; by the lateral
wall on the r. is a Christian sarcophagus with representation of
Jonah, and the tomb of the librarian Anastasius.

The interior contains 22 ancient columns of unequal sizes ; some of the
Ionic capitals were formerly decorated with heathen deities, but these were
removed during the restoration of the church in 1870. The ceiling, de-
corated with richly-gilded stucco , was designed by Domenichino. The oil-
painting on copper in the centre, a Madonna surrounded by angels, is by
the same master. The chapels contain little to detain the traveller. On the
last pillar (r.) of the nave are two ancient mosaics of skilful workmanship,
one of which represents aquatic birds. The transept lies 7 steps higher ;
by the latter an inscription Font olei, indicating the alleged site of the spring
of oil. In the transept on the 1. are the tombs of two Armelini and an
ancient Christian relief of the annunciation to the shepherds. Opposite is
an altar erected to St. Philip and St. James by Card. Philip of Alencon,
r. his tomb (d. 1397) ; 1. tomb of Card. Stefaneschi (d. 1417) with recumbent
statue by Paolo Romano. The mosaics of the arch , restored by Camuccini,
are in the form of a cross : Alpha and Omega , below the symbols of the
Evangelists ; r. and 1. Isaiah and Jeremiah. On the vaulting Christ and the
Virgin on thrones, 1. St. Calixtus, St. Lawrence, Innocent II., r. St. Peter,
St. Cornelius, Julius, Calepodius ; beneath, the 13 lambs and representations
from the life of Mary, after Vasari by Cavallini; in the centre of the wall
a mosaic bust of Mary with St. Peter, St. Paul, and the donor Stefaneschi.
The sacristy contains a Madonna with SS. Rochus and Sebastian , attributed
to Perugino, and a fragment of ancient mosaic (ducks and fishermen).

The Via del Cimiterio and Via de' Fenili lead hence direct
to S. Pietro in Montorio (p. 224). The Via di S. Francesco de-
scends to the 1. to the piazza of that name, in which the church
and monastery of S. Francesco a Ripa are situated. St. Francis
resided in the latter for some time. The church was built in
1231, and modernised in the 17th cent. The last chapel on the 1.
contains the recumbent statue of St. Lodovica Albertoni by Bernini.

230 S, Cecilia in Trastevere. ROME. Ospizio di S. Michele.

From the Ponte Rotto the Via de' Vascellari to the 1., and then
the Via di S. Cecilia to the r. lead to

S. Cecilia in Trastevere (PI. II, 15), originally the dwelling-
house of the saint, founded by Paschalis I., entirely reconstructed
by Card. Franc. Acquaviva in 1725. It is approached by a spacious
anterior court, adorned with an ancient vase, and a portico rest-
ing on 4 columns of African marble and red granite.

The columns which formerly supported the nave were in 1822 replaced
by buttresses. To the r. of the entrance is the tomb of Ferd. Adam (d. 1398).
The beautiful high-altar in pavona/.zetto was constructed by the Florentine
Arnolfo del Camtrio in 1283; adjacent is an ancient candelabrum for the
Easter-candle ; beneath the high-altar the * statue of the martyred S. Cecilia
by Stef. Maderno. The tribune contains ancient "mosaics (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 r. an ancient picture of Christ on the Cross; the 2nd Chapel, some-
what receding from the church , is said to have been the bath-room of St.
Cecilia , the pipes of which are still seen in the wall. The opposite door
leads to the sacristy, the vaulting of which is adorned with the Four Evan-
gelists by Pinturicchio. In the last chapel on the r. of the altar: Madonna
with saints, a relief of the 15th cent. ; on the r. wall are preserved the re-
mains of mosaics of the 12th cent, detached from the facade of the church.
Descent to the lower church by the tribune. The neighbouring convent be-
longs to Benedictine nuns.

In the direction of the gate, the next transverse street to the
r. leads to S. Maria dell' Orto, designed by G. Romano in 1512;
facade 1762. The interior is overladen with stucco and gilding.
Adjacent is the government tobacco-manufactory, erected in 1863.
The street to the 1. leads to >S. Francesco.

The transverse street to the 1. from S. Cecilia leads to the
Ripa Grande with the harbour for the river-vessels ; pleasant view
of the Marmorata and Aventine. To the r. stands the extensive
Ospizio di S. Michele, founded in 1689 by Tommaso Odescalchi.

After his death it was extended by Innocent XII. , and combined with
other establishments, now comprising a work-house, reformatory, house of
correction, and hospice for the poor. Invalids of both sexes are here provi-
ded for, and other indigent persons are furnished with work. Poor and
orphan children are instructed in various trades and arts; boys are after-
wards discharged with a donation of 30, girls with 100, and if they become
nuns with 200 scudi. The establishment possesses several churches, spacious
work-rooms, and apartments for the sick; the revenues exceed 50,0000
scudi annually.

At the end of the Kipa Grande is the Dogana, passing which
(on the r.J the traveller reaches the Porta Fortese, whence the
road to Porto (p. 299) leaves the town.

The Vatican.

This, the most extensive palace in the world, was originally a dwelling-
house for the popes, erected by Symmachus near the anterior court of the
old church of St. Peter, and subsequently gradually extended. Charlemagne,
when in Rome, is believed to have resided here. This building having fallen
to decay during the tumults of the following centuries, Eugene III. erected
a palace near St. Peter's, which was greatly enlarged by Nicholas III. The
Vatican did not, however, become the usual residence of the popes until
after their return from Avignon, when the Lateran was deserted. After the
death of Gregory XI. the first conclave was held in the Vatican in lo7b,

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The Vatican. KOMK. Cortile di S. Damaso. 231

vvlrich resulted in the schism. In 1410 John XXIII. constructed the covered
passage to the castle of S. Angelo. In 1450 Nicholas V., with a view to
render the Vatican the most imposing palace in the world , determined to
unite in it all the government-offices and residences of the cardinals. The
small portion completed by him, afterwards occupied by Alexander VI. and
named Tor di Borgia, was extended by subsequent popes. In 1473 the Six-
tine Chapel was erected by Sixtus IV., and about 1490 the Belvedere, or
garden-house, by Innocent VIII. Bramante, under Julius II., united the
latter with the palace by means of a great court, which under Sixtus was
divided by the, erection of the library into two parts, the anterior court and
the Giardino della Pigna. The Loggie round the Cortile di S. Damaso were
also constructed by Bramante. In 1534 Paul III. founded the Pauline Chapel,
Sixtus V. the Library and the present residence of the popes, which last
was completed by Clement VIII. (1592-1605). Urban VIII. erected the
Scala Regia from Bernini's design , Pius VII. the Braccio JVuovo for the
sculptures, Gregory XVI. the Etruscan Museum, and Pius IX. has 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.
Thus the palace now possesses 20 courts, and is said to comprise 11,000 halls,
chapels, saloons, and private apartments.

The works of art in the Vatican are accessible daily, 8 — 11
and 2 — 4 o'clock , except on Sundays and high festivals (per-
messo necessary, see p. 93; fee V2 fr-> frequent visitors 5
soldi). On Holy Thursday all the collections are open to the
public during the whole day. Artists and scientific men who
desire to sketch or take notes in the museums and library must
address a written request for permission to the maggiordomo (best
through the medium of their consul or ambassador) (p. 87).

The principal approach to the Vatican is at the extremity of
the r. colonnade of the Piazza of St. Peter, ascending immediately
beyond the Swiss guard by the staircase , which was originally
open , but covered by Pius IX. This leads to the Cortile di
S. Damaso, a court which derives its appellation from the foun-
tain of St. Damasus erected here by Innocent X. It is bounded
on three sides by the Loggie of Bramante, formerly open, but
now closed with windows for the protection of the frescoes. On
the r. is the wing occupied by the Pope ; on the 1. a door with
the inscription Adito alia Biblioteca ed al Museo leads to the stair
which ascends to the Loggie of Giov. da Udine (extensively but
judiciously retouched) on the first floor, and those of Raphael on
the second (p. 234). The first door to the 1. in the loggie of
the first floor leads to the Sala Ducale and the Sistina. By the
door at the extremity facing the visitor the Galleria Lapidaria
and the Museum of Statues (p. 239) are entered. At present,
however , this principal entrance is only used as an approach to
the Library (p. 234). The Sixtine Chapel is reached from the
entrance by passing the Swiss guard, ascending the Scala Regia
in a straight direction , and passing through a door to the stair
on the r. Here on the first floor is a side-entrance to the
chapel, indicated by a notice. The stair just mentioned ascends
to the Stanze and Loggie of Raphael on the 2nd floor (p. 250), a
visit to which can thus conveniently be combined with the Sistine.

232 The Vatican. ROME. Sala Regia.

Sala Ducale. Sala Regia. ** Cappella Sistina.
Cappella Paolina.

The Sala Ducale, constructed by Bernini, is decorated on
the ceiling with frescoes, and beneath them with landscapes by
Brill. The opposite door leads to the

Sala Regia. [This hall forms the -vestibule of the Sixtine
Chapel, and on the occasion of ecclesiastical festivals in the latter
is approached by the Scala Regia, the magnificent staircase
ascending at the end of the corridor to which the arcades of the
Piazza of St. Peter lead to the r. (by the equestrian statue of
Constantine, by Bernini). The Scala was constructed by Ant. da
San Gallo, and restored by Bernini under Alexander VII. The
round vaulting is supported by Roman columns.] The Sala Regia,
originally destined for the reception of the ambassadors of foreign
powers, was designed by Ant. da Sangallo ; cornicings of the
ceiling by Perino del Vaga, over the doors by Dan. da Volterra.

The mediocre frescoes of Vasari, Salviati, and the Zuccari, according to
the titles inscribed beneath, represent (on the window-wall, r.) scenes from
the Night of St. Bartholomew (the inscription Strages Hugenotlorum etc.,
which was once under them, has been obliterated). On the wall (the door
in which leads to the Sixtine) opposite the entrance , the alliance of the
Spanish and Venetians with Paul V. , battle of Lepanto in 1571 ; on the
narrow wall, Gregory VII. acquitting Henry VI. (door to the Pauline), con-
quest of Tunis; on the entrance-wall, Gregory XI. returning from Avignon,
Alex. III. absolving Fred. Barbarossa.

The ** Sixtine Chapel was erected under Sixtus IV. by
Baccio Pintelli in 1473; length 132ft., width 45 ft., 16 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 on festive occasions hung with Raphael's
tapestry; the upper part (with the exception of the wall of the
altar) is decorated with interesting frescoes by Florentine masters
of the 15th cent.

They represent parallel scenes from the life of Christ (r.) and Moses (1.),
beginning at the altar, and meeting on the entrance-wall. Lett: 1. (by the
altar) Moses with his wife Zipporah journeying to Egypt, Zipporah circum-
cises her son , attributed to Luca Signorelli ; 2. Moses kills the Egyptian,
drives the shepherds from the well, kneels before the burning bush, Sandro
Botticelli; 3. Pharaoh's destruction in the Red Sea, Cosimo Rosselli; 4. Moses
receives the Law on Mt. Sinai, Adoration of the calf, by the same; 5.
Destruction of the company of Korah, and that of the sons of Aaron, S. Bot-
ticelli; 6. Death of Moses, L. Signorelli. Adjoining the latter, on the en-
trance-wall : Contest of the Archangel Miohael for the body of Moses , by
Salviati, now entirely repainted. Right: 1. Baptism of Christ, Perugino;
2. Christ's Temptation, S. Botticelli; *3. Vocation of Peter and Andrew,
Horn. Ghirlandajo; 4. Sermon on the Mount, Cure of the lepers, C. Rosselli.
Then on the entrance-wall : Resurrection of Christ, originally by D. Ohir-
landajo, renewed by Arrigo Fiamingo. — On the pillars between the win-
dows 28 popes by S. Botticelli, not easily distinguishable.

The ""Ceiling, decorated with perhaps the most magnificent example
of the pictorial art ever produced, was painted by Mich. Angela in 22 months
(1508—11). The fundamental idea of the work is the preparation of the
world for the Advent of Christ. In the centre of the ceiling are seen the
Creation, Fall, and Deluge, with the sacrifice and mockery of Noah; around

The Vatican. KUiWK. Sixtine Chapel. 233

are the figures of the prophets and sibyls , who predicted and proclaimed
the Messiah's Advent, and the ancestors of Christ who expected him. These
the principal pictures are combined by a judicious architectural arrange-
ment so as to form an exquisite whole , enlivened moreover by numerous
accessory figures, relief-medallions, children as bearers of entablature, etc.,
and worthy of the most minute and repeated inspection. In the centre of
the ceiling (seen from the altar) are the following 9 sections: 1. God the
Father separates light from darkness ; 2. Creation of the sun and moon ;
3. Separation of the land from the sea ; 4. Adam inspired with life •, 5.
Creation of Eve, who turns towards the Lord in an attitude of adoration;
6. The Fall and Banishment from Paradise; 7. Noah's thank-offering after
the deluge; 8. The Deluge (this was painted by Mich. Angelo first, and, as
it afterwards appeared, with figures of too small proportions); 9. Noah's in-
toxication and the derision of his sons.

On the lower part of the vaulting are the ** Prophets and Sibyls
in earnest contemplation, surrounded by angels and genii.

To the 1. of the altar: 1. Jeremiah, in a profound revery ; 2. Persian
Sibyl, reading; 3. Ezekiel with half- opened scroll; 4. Erythra-an Sibyl,
sitting by an open book; 5. Joel, reading a scroll ; 6. (over the door) Zacha-
rias , turning the leaves of a book ; Delphian Sibyl , with open scroll ;
8. Isaiah, his arm resting on a book, absorbed by divine inspiration; 9.
Cumaean Sibyl, opening a book; 10. Daniel, writing; 11. Libyan Sibyl,
grasping an open book ; 12. (above the Last Judgment) Jonah sitting beneath
the gourd.

In the pointed arches and lunettes of the vaulting are the ancestors of
the Saviour in calm expectation. In the 4 corner-arches : on the altar-wall,
r. the Israelites in the wilderness with the brazen serpent , 1. king Ar-
taxerxes, Esther, and Haman. On the entrance-wall, 1. David and Goliath,
r. Judith. Nearly 30 years later than this ceiling Michael Angelo painted
on the altar-wall the "Last Judgment, 64 ft. in width, completed under
Paul III. in 1541. Careful and protracted study alone will enable the spec-
tator to appreciate the details of this vast composition , which is unfortu-
nately blackened by the smoke of centuries, unfavourably lighted, and par-
tially concealed. To penetrate into the religious views and artistic designs
of the talented master is a still more arduous task. On the right of the
figure of Christ as Judge hover the saints drawn back by devils and sup-
ported by angels , on his left the sinners 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 sufferings ; in the centre Christ
and the Virgin, surrounded by apostles and saints; beneath 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 of Paul III. , 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, instead, to cause some of the figures
to be partially draped by Dan. da Volterra. Clement XII. caused this pro-
cess to be extended to the other figures by Stef. Pozzi, whereby, as may be
imagined, the picture was far from being improved.

j-t. Most of the solemnities in which the Pope participates in person, espe-
cially those of the Holy Week, take place in the Sixtine Chapel (see p. 88).

From the Sala Kegia a door to the 1. enters the Pauline
Chapel (admission from 7i/2 to 9 a. m.j, designed in 1540 by
Antonio da Sangallo, and named after Paul III. , who was then
on the throne. Here also are two frescoes painted by Michael
Angelo when of a very advanced age : 1. the Conversion of
St. Paul r. the Crucifixion of St. Peter ; the other pictures are
by Sabbatini and F. Zuccaro , the statues in the corners by
P. Bresciano. The chapel is employed on the first Sunday in
Advent for the exposition of the host during 40 hrs. , when, as
well as on Holy Thursday, it is brilliantly illuminated.

234 The Vatican. ROME. Raphael's Loggie.

Raphael's **Loggie and **Stanze. *Cappella Niccolina
(di S. Lorenzo).

The same stair which ascends to the Sixtine Chapel on the
first floor also leads to the Loggie of Raphael on the second
■which are entered at the back. The following description
supposes the visitor to approach by the principal entrance (p. 231),
at present temporarily closed , and it therefore begins with the
loggie. The reader is therefore requested to turn to the Stanze
at p. 238 and to make use of the description in the rewerse
order. Before reaching the Stanze the visitor traverses two rooms
with indifferent modern pictures ; then a saloon decorated re-
cently by Podesti, by order of Pius IX. with frescoes relating to
the promulgation of the doctrine of the Immaculate Conception
of Mary. The door in a straight direction leads to the Stanza
dell' Incendio.

The ** second story of the loggie , protected since 1813 by
glass-windows, was adorned from Raphael's designs and under Ms
supervision by Qiulio Romano and Oiovanni da TJdine. The de-
corations consist of stucco-work (in which the influence of the
specimens of this work found shortly before in the Thermae of
Titus is recognisable), of ornamental painting, and of pictures on
the vaulting composed by Raphael. (The first ceiling was painted
by O. Romano, the others by other pupils of Raphael, Franc.
Penni, Perino del Vaga , Polid. da Caravaggio, etc.) Each of
the 13 sections of the vaulting contains 4 quadrangular frescoes,
which are together known as 'Raphael's Bible', and display a rare
fertility of invention and gracefulness of treatment.

The representations of the 12 first vaults are from the Old, those of the
13th from the New Testament. The subjects (beginning to the r. of the
stair) are as follows : I. (over the door) 1. Separation of light from dark-
ness; 2. Separation of land from sea; 3. Creation of the sun and moon;
4. Creation of the animals. II. 4. Creation of Eve ; 1. The Fall; 2. Ba-
nishment from Paradise; 3. Adam and Eve working. III. 1. Noah building
the ark; 2. Deluge; 3. Egress from the ark; 4. Noah's sacrifice. IV. 1.
Abraham and Melchisedek ; 3. God promises Abraham posterity ; 2. Abra-
ham 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 ; 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.
VIII. 1. Finding of Moses; 2. Moses at the burning bush; 3. Destruction of
Pharaoh in the Red Sea; 4. Moses strikes the rock for water. IX. 1. Moses
receiving the tables of the Law ; 2. Adoration of the golden calf, Moses
breaks the tables ; 3. Moses kneels before the pillar of cloud ; 4. Moses
shows the tables of the Law to the people. X. 1. The Israelites crossing
the Jordan; 2. Fall of Jericho; 3. Josuah bids the sun stand still during
the battle with the Ammonites; 4. Joshua and Eleazar dividing Palestine
among the 12 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. XIII. I. Adoration of the shepherds ; 2. Thf
wise men from the East; 3. Baptism of Christ; 4. Last Supper. — Of the

The Vatican. UUMK. Raphael's Stanze. 235

stucco-decorations the. charming small reliefs in the arches of Ithe windows
of the first section may he regarded as a good specimen. Here to the 1.
above, Raphael is first perceived, sitting and drawing, beneath is a grinder
of the colours. Lower down a number of the pupils busied in executing
the master's designs, and below them Fama who proclaims the celebrity of
the work. On the r. an old bricklayer is seen at work, and a similar
figure in the r. curve of the 2nd window , both apparently portraits. The
whole taken collectively affords a charming picture, of the life and habits
of the artists during the execution of the work. — The two other arcades
of the storey, decorated in stucco by Marco da Faennt and Paul Schor, and
painted by artists of the 16th and 17th cent., are far inferior to these loggie.

The ** Stanze of Raphael were decorated during the reign
of Julius II. and Leo X. (1508—1520). For each of the fres-
coes the master received 1200 ducats. When enlered from the
loggie the order is as follows : Sala di Constantino , .Stanza
d'Eliodoro, Camera della Segnatura, Stanza dell' Incendio. They
were seriously injured during the plundering of Home in 1527,
but were restored by Carlo Maratta under Clement XI. They
are here enumerated chronologically.

I. Stanza della Segnatura, so named from a judicial
assembly of that designation which was held here. Its decoration
was undertaken at the instance of Julius II. by Raphael in 1508,
at the age of 25, and completed in 1511. The sections of the
vaulting of the apartment had already been arranged by Sodoma.
On the 4 circular and quadrangular spaces Raphael painted alle-
gorical figures and Biblical and mythological scenes , which in
connection with the paintings in the large lunettes are symbo-
lical of the four principal spheres of intellectual life.

I. Ceiling Paintings. 1. Theology (divinarum rcrv/in notilia) , a figure
among clouds, in the left hand a book, with the right pointing downwards
to the heavenly vision in the Disputa beneath; adjacent, the Fall of man;
2. Poetry (numiue afflatur), crowned with laurels, seated on a marble, throne
with book and lyre; adjoining it, the Flaying of Marsyas ; 3. Philosophy
(causarum cognitio) , with diadem , two books (natural and moral science)
and a robe emblematical of the four elements; adjoining it, the Study of
the heavenly bodies; 4. Justice (jus suum unicuique tribueni), with crown,
sword, and balance; adjacent, Solomon's Judgment.

II. Frescoes on the Walls. Beneath Theology : 1. The Disputa, so-called
from the picture having been regarded as the representation of a dispute
respecting the sacrament (Disputa del Sagramento). It is divided into two
sections : in the centre of the upper , Christ between Mary and John the
Bapt., above him a glory of angels, and God the Father imparting a blessing
with his right hand; beneath Christ the dove, surrounded by 4 small angels
who hold the 4 Gospels. Then on either side of Christ : 1. St. Peter, Adam,
St. John, David, St. Stephen, and a saint half concealed by a cloud ; r. St. Paul,
Abraham, St. James, Moses, St. Lawrence, St. George; above both series
hover three angels. Beneath, to the r. of the altar on which the monstrance
is placed : Petrus Lombardus (?) with uplifted right hand , turning towards
St.. Ambrose who is seated beside him and looking upwards ; in the back-
ground between the two a white-robed monk. Farther to the r. is seated
St. Augustine , dictating to a youth , behind him a black monk , perhaps
Thomas Aquinas. Then Pope Anacletus with the martyr's palm ; Card.
Bonaventura, reading. Adjacent, more towards the front, Pope Innocent 111.,
in the background Dante; in the foreground an anciently attired figure of
unknown import; the black-hooded monk, to the r. of Dante in the back-
ground, is Savonarola. The import of most of the figures on the 1. of the
altar is less apparent: first is perceived a white -robed monk (St. Bern-

236 The Vatican. TTOME. Raphael's Stanze.

hard?), turning towards St Jerome, who is in a sitting posture, with the
lion ; at his feet lie his translation of the Bible and cardinal's hat ■ beside
him sits Gregory I. The remaining figures cannot now be interpreted; the
Dominican to the 1. at the extremity has been thought to represent Fie'sole
the old man with a book, leaning on the balustrade, Bramante. '

In the socle beneath the picture (added by Perino del Vaga under
Paul III.) , from 1. to r. : Heathen sacrifice ; St. Augustine finding a child
attempting to exhaust the sea; the Cumsean Sibyl showing the Madonna to
Augustus ; allegorical figure of the apprehension of divine things.

Beneath Poetry : 2. The Parnassus (r. of the Disputa). In the centre
above , Apollo in a grove of laurels , with a violin (perhaps in honour of
Giac. Sansecondo, a celebrated violinist of that period), and the Muses.
The interpretation of the poets who environ this group is somewhat un-
certain : 1. Homer, Dante, Virgil, beneath them the sitting female figure of
Sappho, beside her Petrarch and perhaps Corinna, Alcseus and Anacreon-
r. Tebaldeo (?), Boccaccio, the fifth Sannazaro , in front the seated figure
of Pindar (?), and Horace (?) approaching. Under these in grisaille: 1.
Alexander causes the poems of Homer to be placed in the grave of Achilles-
r. Augustus prevents the burning of Virgil's ^Eneid.

Beneath Philosophy : 3. The so-called School of Athens , a representation
of the different branches of ancient philosophy and their expounders, but the
meaning of many of the figures is not precisely known. The scene is a
beautiful vaulted hall (said to have been designed by Bramante); in front
of it a stage approached by steps serves to unite the expressive and life-
like groups of which the assembly is composed. The niches in front of
the building contain statues of Apollo and Minerva. In the centre of the
foreground are the two chief representatives of ancient philosophy : 1. Plato
with upraised right hand, in his left his Timseus ; r. Aristotle , holding his
Ethics and pointing forwards. Around them are grouped a circle of attentive
hearers. The group farther 1. shows Socrates conversing with his pupils,
among whom is a young warrior, probably Alcibiades. Lying on the steps
in the centre is Diogenes ; the groups to the r. on the platform and steps
are perhaps the advocates of the Epicurean and Sceptic doctrines. The old
man seated in the group to the 1. in the foreground , showing a boy a
tablet with the principles of musical rythm, is Pythagoras; looking over
his book is the Oriental Averroes (?) ; seated beside him to the J. with ink
and pen, Empedocles ; r. Anaxagoras , turning towards him; the white-
robed youth behind him bears the features of Francesco della Rovere, Duke
of Urbino. The last sitting figure on the r. in this group is supposed to
represent Heraclitus ; it is wanting in the cartoon at Milan. The wreathed
figure to the 1. of Empedocles is said to be Democritus. In the group r., in
the foreground, the figure stooping to the earth and engaged in geometrical
demonstration is believed to be Archimedes (bearing the features of Bramante);
the youth standing with half- raised hands is said to be the portrait of
Federigo II. of Mantua. The bearded man with a globe, farther r., is Zo-
roaster; another, crowned, and also with a globe, is Ptolemseus. The two
last heads to the r. in the foreground are portraits of Eaphael and his
master Perugino.

In the socle beneath the picture, in different shades of brown, by Perino
del Vaga (from 1. to r.): Allegorical figure of Philosophy; Magicians con-
versing about the heavenly bodies; Siege of Syracuse; Death of Archimedes.

Beneath Justice : 4. Over the window the three cardinal virtues : Pru^
dence with double visage looking to the future and the past, r. Moderation^
1. Strength. Beneath , at the side of the window , the administration o
ecclesiastical and secular law; r. Gregory IX. (with the features of Julius II.)
presenting the Decretals to a jurist (surrounded by numerous portraits; to
the 1. in front Card, de Medicis , afterwards Leo X.). In the socle beneath
(by Perino del Vaga): Moses brings the tables of the Law to the Israelites;
1. Justinian entrusts the Roman Code to Tribonian. In the socle beneath:
Solon's address to the Athenian people (V).

The door adjoining the 'School of Athens' leads to the following apart-
ment, which derives its appellation from one of the pictures it contains.

The Vatican. ROME. Raphael's Stanze. 237

II. Stanza d'Eliodoro, painted in loll — 1514, represents
the triumph and divine protection of the church , with reference
to the age of the warlike Julius II. and the elevation of Leo X.
On the ceiling 4 paintings from the old Covenant : Jehovah ap-
pears to Noah, Jacob's Vision, Moses at the burning bush, Sacri-
fice of Isaac. On the walls 4 large paintings :

1. Beneath Moses at the burning bush : Miraculous Expulsion of Helio-
dorus from the Temple at Jerusalem by a heavenly horseman (Maccab. 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 himself, a second shouts , a third strives to
secure his booty; in the background the high-priest Onias praying; 1. in
the foreground women and children, Pope Julius II. on his throne (the hind-
most of the two chair-bearers is the celebrated engraver Marcantonio Rai-
mondi). The entire composition is remarkable for its admirable vigour of
expression.

2. Beneath the Sacrifice of Isaac : The Mass of Bolsena. An unbelieving
priest is convinced of the doctrine of transubstantiation by the bleeding
host , a miracle said to have taken place at Bolsena in 1263 ; beneath are
women and children ; opposite the priest , Julius II. kneels with calm
equanimity; the wrathful cardinal is Riario (founder of the Cancelleria).
This painting, an allusion to the conviction of doubters in the infallibility
of the Church, is probably the most perfect of Raphael's frescoes with re-
spect to execution.

3. Under Noah : Atlila driven back from Rome by Leo I. , in allusion to
the expulsion of the French from Italy after the battle of Kovara in 1513.
The pope with the features of Leo X. is seated on a white mule, around
him cardinals and attendants on horseback, above him St. Peter and St. Paul
enveloped in a brilliant light and distinctly beheld by Attila and his Huns,
who are struck with terror at the apparition. To the r. of this:

4. Beneath Jacob's Vision: The Liberation of Peter, in three sections.
Over the window Peter in the dungeon sleeping between the watchmen and
awakened by the angel ; r. he is conducted away, 1. the watchmen awake.
On the socle under the pictures , eleven Caryatides and four statues are
painted in grisaille. They are symbolical of a life of peace, and distinctly
characterised by the inventive fertility of Raphael, notwithstanding consider-
able restoration. The paintings in different shades of brown between these,
of similar import with the large figures , have been still more extensively
retouched.

These two apartments were painted by Raphael unaided, and
his progressive freedom and decision of touch may be distinctly
observed. In the two following rooms he painted the conflagration
of the Borgo only (with the exception of a few figures on the l.J ;
the other pictures were executed from his designs, those of the
first room under his personal supervision , those of the second
after his death.

III. Stanza delV Incendio, beyond the Stanza della Seg-
natura, is entered by the door on the r. adjoining the Disputa.
The ceiling-paintings are by Perugino , those on the walls , re-
presenting scenes from the reigns of Leo III. and Leo IV., were
executed in 1517.

Over the window: 1. Oath of Leo III., sworn by him in presence of
Charlemagne (with the gold chain, his back turned to the spectator), in
order to exculpate himself from the accusations brought against him, by
Perino del Vaga. R. of this, on the entrance-wall: 4. Victory of Leo IV. over
the Saracens at Ostia, executed by Giov. da Udine. The pope has the features

238 The Vatican. ROME. Cappella Niceolina.

of Leo X., accompanied by Card. Julius de Medici (Clement VII.), Card.
Bibiena, and others. On the socle beneath : Ferdinand the Catholic, and the
Emp. Lothaire. 3. Tncendio del Borgo , conflagration of the Borgo, whence
the name of the room ; Leo IV. appears in the background in the loggia of
the old church of St. Peter, near which the fire raged, and by his blessing
arrests the progress of the flames. In the foreground are admirable lifelike
groups of terrified people escaping or praying. Underneath: Godfrey de
Bouillon and Aistulf. 4. Coronation of Charlemagne in the former Church
of St. Peter. Leo III. has the features of Leo X. , the emperor those of
Francis I. of France. Beneath : Charlemagne.

IV. Sala di Constantino. The pictures of this saloon
were executed under Clement VII. by Qiulio Romano, aided by
Franc. Penni and Baf. del Colle. Raphael probably caused the
two allegorical figures of Justitia and (Jomitas to be painted under
his own supervision. They are in oils, whilst the others are al
fresco. He also left a cartoon of the Battle of Constantine, and
a drawing of Constantine'* address to his army. The rest of the
the composition is probably due to G. Romano.

On the long wall : 1. Battle of Constantine against Maxentius at Ponte
Molle, the emperor advancing victoriously, behind him flags with the cross,
Maxentius sinking in the river, flight and defeat on all sides, painted by
G. Romano. This fine composition is full of expression and vigour, but the
colouring is less successful. On the 1. side of the picture Silvester I. be-
tween Faith and Religion ; r. Urban I. between * Justice and Charity.

2. Baptism of Constantine by Silvester I. (with features of Clement VII.) in
the baptistery of the Lateran , by Franc. Penni. L. of this : Damasus I.
between Prudence and Peace; r. Leo I. between Innocence and Truth.

3. (on the window-wall) Rome presented by Constantine to Silvester /., by Rat',
del Colle; 1. Silvester I. with Fortitude, r. Gregory VII. (?) with Power ('/).

4. Constantine'' s Address to his warriors respecting the victorious omen of the
cross, designed by Raphael (?), and executed by G. Romano, who added
the dwarf (perhaps Gradasso Kerettai of Uorcia, dwarf-chamberlain of Card.
Hippol. de Medici) and several other figures. On the 1. Peter between the
Church iind Eternity, r. Clement I. between Moderation and "Urbanity.
The socles contain scenes from the life of Constantine, from G. Romano's
designs. The ceiling (completed under Sixtus V.) bears an allegory of the
victory of Christianity over paganism. On the other wall landscapes of
Italy with corresponding allegorical figures in the lunettes.

One of the custodians of this saloon , when desired C/2 fr.),
shows the neighbouring * Cappella di Niccolo V., erected by
Nicholas V. and decorated by Fra Angelica 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 upper series represents scenes from the life of St. Stephen : 1. (r.
of the door) Stephen consecrated deacon by Peter; 2. He distributes alms
as deacon; 3. He preaches; 4. He is brought before the council at Jeru-
salem ; 5. He is dragged away to his martyrdom; 6. His death by stoning.
Beneath, in the same order, scenes from the life of St. Lawrence: 1. He is
consecrated deacon by Sixtus II. ; 2. Sixtus (with the features of Nicho-
las V. ?) gives him treasures for distribution among the poor; 3. Distribution
of the same; 4. The saint is condemned by the emperor ; 3. His martyrdom.
Also on the wall below: 1. St. Bonavcntura, r. St. Johannes Chrysostomus.
In the vaulting: I. St. Augustine, r. St. Gregory. On the lower part of the
r. wall: 1. St. Athanasius, r. St. Thomas Aquinas. On the vaulting: 1. St.
Leo, r. Ambrose. On Hie ceiling the A evangelists.

The Vatican. KUMK. Braccio Nuovo. 239

Museum of Statues.

Galleria Lapidaria. Museo Chiarumonti. Braccio\Nuovo. Museo Pio-Clementino.
Museo Gregoriano.

The Vatican Collection of antiquities, the finest in the world, was com-
menced by the Popes Julius II., LeoX., Clement VII., and Paul III. in the
Belvedere, erected by Bramante under Julius II., and commanding a magni-
ficent view of Rome. Here, for example, were preserved the Torso of Her-
cules, the Apollo Belvedere, and Laocoon. Clement XIV. (Ganganelli, d. 1774)
determined to institute a more extensive collection, in consequence of which
the Museo Pio-Clementino arose under him and his successor Pius VI. The
museum was arranged by the celebrated E. Q. Visconti. It was despoiled of
its costliest treasures by the French in 1797, most of which, however, were
restored to Pius VII. in 181ti after the Treaty of Paris. Pius VII. extended
the collection by the addition of the Museo Clnaramonti and (in 1821) the
Braccio Nuovo; Gregory XVI. added the Egyptian and Etruscan Museums.
Admission see p. 231. Complete French and Italian catalogues are sold at
the door for 4 fr.

The principal entrance is in the Cortile di S. Damaso (PI. I,
4), in the 1. wing, by a door with the inscription: Adilo alia
Biblioteca ed al Museo; the stair is then ascended, and the door
of the museum reached at the extremity of the loggia on the first
floor. (With regard to the side-entrance at present employed
see p. 231. The description is arranged for those approaching
by the principal entrance. The Sala della Biga, situated over
the side entrance, see p. 245}. The museum commences with a
corridor 29 ft. in width and 2263 ft. in length, the first half of
which, the Galleria Lapidaria, is a collection, begun by Clement
XIV. and Pius VI., and extended by Pius VII. , of 3000 hea-
then (r. and 1. at the commencement) and ancient Christian (be-
ginning with the 7th window on the 1.) inscriptions of all kinds,
immured in the walls under the supervision of Gaetano Marini,
the learned founder of the modern science of Latin epigraphy ;
it also contains ancient cippi , sarcophagi, and statues. The last
and smaller door on the 1. at the extremity of this gallery is the
entrance to the library (p. 250). The second half of the corri-
dor, separated from the first by an iron gate, contains the Mu-
seo Chiaramonti.

The visitor should first proceed to the left to the * Braccio
Nuovo, constructed by Baph. Stern under Paul VII. in 1821 ; it
is 238 ft. in length, adorned with 14 ancient columns of cipollino
and giallo antico, alabaster and Egyptian granite, and lighted
from above. It contains 40 statues and about 80 busts, of which
the following are especially worthy of inspection.

Right: Ho. :'5. Caryatide, probably one of those executed by Diogenes
for the Pantheon, restored by Thorwaldsen ; 8. Commodus in hunting -cos-
tume with spear; 9. Barbarian head; 11. Silenus with the infant Bacchus;
s14. Augustus, found in 1868 near Prima Porta in the villa of Livia, one
of the best statues of the emperor, bearing distinct traces of painting. In
front of it, on the ground, a mosaic from Tor Marancio, Ulysses with the
Sirens and Scylla; 17. Statue of a physician (perhaps Antonius Musa, cele-
brated for his cure of Augustus) , under the form of ^isculapius ; 20. So-
called Nerva (head modern); 23. So-called Pudicitia, from the Villa Mattei,

240 The Vatican. ROME. Museo Chiaramonti.

head and r. band 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; 38. Ganymedes (?), found at Ostia, attrib. to Phsedimus
fountain - figure ; 39. (in the centre) beautiful black vase of basalt , with
masks etc.; 41. Satyr, playing on the flute; 44. Wounded Amazon; 47. Ca-
ryatide; 48. Trajan; 50. Diana beholding the sleeping Endymion; 53. Euri-
pides; 60. So-called Sulla; "62. Demosthenes, found near the ancient Tus-
culum. Standing alone: *67. Apoxyomenos (scraper), an athlete cleaning
his right arm with a scraping-iron, after Lysippus, found in the Vicolo delle
Palme in Trastevere in 1849. Near it, to the 1.: "71. Mourning Amazon
apparently a. copy from an older work of the best period, arms and feet
restored by Thorwaldsen; 81. Hadrian; 83. Juno, erroneously restored as
Ceres (head new); 86. Fortuna with cornucopia and rudder, from Ostia;
'89. So-called Hesiod; 92. Venus, risen from the sea; "94. Spes, errone-
ously restored as Proserpine; 96. Mark Antony; 97, 99, 101, 103, 105. Ath-
letes ; 106. Bust of the triumvir Lepidus. On the ground in this semicircle
(behind the Nile) a mosaic with the Ephesian Diana, from Poggio Mirteto.
'109. Colossal group of the Nile, surrounded by 16 playing children, emble-
matic of the 16 yds. which the river rises ; at the back and sides of the
plinth a humorous representation of a battle of the pygmies with the cro-
codiles and hippopotami , found near S. Maria sopra Minerva in the time
of Leo X.; 111. Julia, daughter of Titus (see No. 26); 112. Head of Juno
(so-called Juno Pentini) ; "114. So - called Minerva Medica , or Pallas
Giustiniani (the family to whom it formerly belonged), in Parian marble;
117. Claudius; 118. Barbarian head; "120. Satyr reposing, after a celebrated
work of Praxiteles (a better copy in the Capitoline Museum); 123. L.
Verus ; "126. Athlete , erroneously restored with a discus , subsequently
recognised as a copy of the Doryphoros (spear- bearer) of Polycletes ; 129.
Domitian, from the Pal. Giustiniani; "132. Mercury, restored by Canovs,
the head ancient, originally belonging to a different figure.

* Museo Chiaramonti.

This collection comprises 30 sections , containing upwards of 700 sculp-
tures in marble, many of them small and fragmentary. Especially worthy
of notice : Section I. r. No. 2. Sitting Apollo ; 6. Autumn, from a sarcophagus,
found at Ostia; 1. 13. Winter, from the sarcophagus of P. jElius Verus.
II. r. 14, 16. Muses. III. r. 28. Head of an Amazon ; 29. Head of a female
Faun; 1. 55. Torso of a Hebe. IV. r. 63. Minerva; 1. 107. supposed to be
Julius Csesar. VI. r. 120. So-called Vestal Virgin from Hadrian's villa;
121. Clio; 122. Diana. VII. r. 130. Eelief, badly executed, a pleasing
representation of the sun and moon as the leaders of souls ; 144. Bearded
Dionysus; 1. 166. Ancient Apollo. VIII. r. "176. Daughter of Niobe, found
at Tivoli, of superior Greek workmanship ; 1. 179. Sarcophagus of C. Julius
Euhodus and MetiliaActe, with representation of the myth ofAlcestis;
181. Hecate; under it, "182. Ara of Pentelic marble, with Venus and Bac-
chanalian representations. IX. r. 186. Greek equestrian relief; 197. Head
of Roma (eyes renewed) , found at the ancient Laurentum ; 1. "229. Two
heads of Silenus as a double statue ; under it , 230. Large cippus , Night
with Death and Sleep (?). X. r. 241. Nymph nursing the infant Jupiter ;
1. 244. Colossal mask of Oceanus, used once as mouth of a fountain; 240.
Polyhymnia. XI. r. 254. Venus ; 255. Jupiter Serapis ; 259, 263. Beautiful
unknown portrait- heads; 1. 285. Apollo with a hind, in imitation of the
ancient style; 287. Sleeping fisher-boy. XII. r. 294. Hercules, found in 1802,
restored by Canova. XIII. r. 300. Fragment of a shield with 4 Amazons,
copy of the shield of Athene Parthenos by Phidias; 1. 338. Boy from »
group of players. XIV. r. 352. Venus Anadyomene; 353. Nymph; 354. Venus.
XV. r. 360. Ancient relief of three draped Graces , copy of a work of So-
crates, fragments of which have been found on the'Acropolis at Athens;
369. Unknown portrait -head; "372. Greek relief with fragment of a rider.
1. 392. Hadrian. XVI. r. 400. Tiberius, sitting, found at Veii in 1811; r;

The Vatican. ROME. Museo Pio- Clementine 241

401. Augustus, also found at Veii. XVII. r. 417. Bust of the youthful
Augustus ; 418. Julia (?), daughter of Augustus, found at Ostia ; 420. A. Head
of Vulcan, found in 1861 on the*, erection of the column of the Immacolata
in the Piazza di Spagna; 4\>2. Demosthenes; 1. 441. Alcibiades (?). XX. r.
493. Portrait - statue of a hoy; 494. Tiberius, colossal sitting statue, found
at Piperno in 1796; 495. The so-called bow-bending Cupid; 1. 497. Represen-
tation of a mill; "498. Drowsy spinster (V). XXI. r. 510. A., 512. A. so-called
Varro; '513. A. Head of Venus in Greek marble, found in the Thermse of
Diocletian. XXII. r. 544. Silenus ; 1. 547. Isis. XXIII. r. 550. Square marble
slab with shield of Medusa in the centre: 563. Unknown portrait -bust.
XXIV. r. 587. The elder Faustina, as Ceres; 588. Dionvsus and a satyr;
589. Mercury; 1. 591. Claudius. XXV. 1. 606. A. Head (if Neptune in Pen
telic marble from Ostia. XXVI. r. 636. Hercules with Telephus. XXVII.
r. "644. Dancing women ; 652. A. Head of a Centaur ; 655. Narcissus (errone-
ously restored). XXVIII. To the r. (without a number), a colossal statue
of Antoninu3 Pius (formerly in the Sala Rotonda). XXIX. r. 693. Wreathed
head of the youthful Bacchus ; 698. Cicero, from Roma Vecchia ; 701. Ulysses
handing the goblet to Polyphemus; 1. below, -Torso of an ancient Pene-
lope , in a sitting posture , of finer workmanship than the better preserved
statue in the Galleria delle Statue. XXX. r. 732. Hercules reclining
(freely restored).

The door to the 1. at the extremity leads to the Giardino
della Piyna , where numerous fragments of statues and reliefs
are preserved. On the r. the colossal Pine-cone from the mau-
soleum of Hadrian, now the Castle of S. Angelo, the summit
of which it is said once to have formed. In the centre is the
basement of the column erected to Anton. Pius , which stood
near Monte Citorio; it is adorned with the Apotheosis of An-
toninus and Faustina and processions of warriors. L. a colossal
portrait - head in marble. With the consent of the custodian
(l/2 — 1 fr.) '11 Boscareccio\ or the larger Garden of the Va-
tican , may be visited hence. It extends from the Belvedere
to the walls of the Leonine city, and is beautifully laid out in
the Italian style. To the 1. of the entrance, at the base of an
eminence planted with trees, stands the Casino of Pius IV., built
by Pirro Ligorio in 1560, a garden-house sumptuously decorated
with sculptures , mosaics , and pictures , where the Pope occa-
sionally grants an audience to ladies.

At the extremity of the Museo Chiaramonti a short stair (at
the end of which to the 1. is an entrance to the Egypt. Museum)
leads to the

** Museo Pio - Clementino , the real nucleus of the Vatican
collection, containing a number of the most celebrated antiques.
Respecting its foundation, see p. 239.

The museum comprises 11 departments. The Vestibule of the
Belvedere, divided by two arches into three halls, is first entered.

In the centre of the first is the celebrated ;:Torso of Hercules, executed,
according to the inscription , by Apollonius of Athens , who probably lived
in the 1st cent. B. C. ; it was found in the 16th cent, near the theatre of
Pompey (Campo de' Fiori). Opp. the window is the "Sarcophagus of L.
Corn. Scipio Barbatus , great-grandfather of the illustrious Africanus, and
consul B. C. 298, of peperine- stone, with a very remarkable inscription in
Saturnine verses, which record his liberality and achievements ; it was found

Baedeker. Italy II. 3rd Edition. 16

242 The Vatican. ROME. Cortile di Belvedere.

in 1780 in the tomb of the Scipios on the Via Appia (Vigna Sassi, see p 193)
at the same time as that of his son L. Corn. Scipio, consul B. C. 259 and
that of P. Corn. Scipio (son of Airicanus), flamen dialis, all of whose in-
scriptions are immured around. The bust on the sarcophagus has been
groundlessly regarded as that of the poet Ennius. In the Round Vestibule a
Basin of marble (pavonazzetto). Beneath No. 7 is a cippus with relief of a
Diadumenos, or youth placing a bandage round his head, which conveys an
idea of the celebrated statue of Polycletes of the same name. On the bal-
cony to the r. an ancient 'Wind-indicator, found in 1779 near the Colosseum.
From this point a remarkably line "view of Rome with the Alban and Sa-
bine Mts. is enjoyed. A ship in bronze below the balcony contains a foun-
tain. In the adjoining cabinet facing the visitor is a * Statue of Meleager
a good work of the imperial period , found about 1500 outside the Porta
Portese. L. a colossal bust of Trajan ; above it a late relief, characteristic
of the decline of art.

To the 1. in the central hall is the entrance to the

Cortile di Belvedere, an octagonal court constructed by Bra-
mante. It is surrounded by arcades, separated by four apart-
ments in which several of the most important works in the col-
lection are placed. In the court a fountain with ancient embou-
chure, above the arcades eight ancient masks, by the walls eight
sarcophagi and sixteen statues.

In the hall , r. and 1. of the entrance : 27, 28. Reliefs with Satyrs and
griffins, once forming a trapezophorus (support of a table). 28. Large sar-
cophagus with dancing satyrs and Bacchantes, found in 1777 whilst the foun-
dations for the sacristy of St. Peter's were being laid. 30. Sleeping nymph,
a fountain-figure. Two baths of black and green basalt. Then to the r. the

GabineUo di Canova. Perseus by C'anova; the pugilists Kreugas and
Damoxenus, by the same. In the small niches: 34. Mercury; 35. Minerva.
In the following hall: r. 37. Sarcophagus with Bacchus and Ariadne in
Naxos ; r. 38. Relief of Diana and Ceres contending with the Titans and
Giants, found in the Villa Mattei; 1. 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.

Second Cabinet (delV Antinoo). "53. Mercury, once erroneously regarded
as an Antinous; 1. 55. Relief of a procession of priests of Isis; r. 61. Sar-
cophagus with Nereids with the arms of Achilles; on it the torso of a
Nereid; r. 64, 65. at the sides of the entrance to the Sala degli Animali,
two Molossian hounds.

Third Cabinet. ""Laocoon with his two sons entwined by the snakes,
by the three Rhodians Agesander, Polydorus, and Atkenodorus, once placed
according to Pliny, in the palace of Titus , discovered under Julius II. in
1506 near the Sette Sale , and termed by Mich. Angelo a 'marvel of art'.
The work is admirably preserved , with the exception of the three up-
lifted arms which have been incorrectly restored by Giov. da Montor&oli.
In the delicacy of the workmanship, the dramatic suspense of the moment,
and the profoundly expressive attitudes of the heads , especially that of the
father, it is the grandest representative of the Rhodian school of art.

In the hall : r. 79. Raised relief of Hercules with Telephus , and Bac-
chus leaning on a Satyr; 80. Sarcophagus with weapon - bearing Cupids;
81. Rom. sacrificial procession after a victory. In the niche: "85. Hygeia;
88. Roma, accompanying a victorious emperor , probably belonging to a tri-
umphal arch.

Fourth Cabinet. Right, **91. Apollo Belvedere, found at the end of the
15th cent, near Porto d'Anzio , the ancient Antium. According to the most
recent interpretation the god, whose left hand has been restored, originally
held in it not the bow , but the tegis (as has been discovered from com-
parison with a bronze), 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. The statue is of Carrara marble- (Comp. Childe Harold's Pil- IV,

The, Vatican. ROME. mil of the Busts. 243

161). L. relief: Women leading a bull to the sacrifice (the 1. half entirely
modern).

The court is now crossed to the opposite entrance of the

Sala degli Animali, containing a number of animal pieces in white and
coloured marble, most of them modern or freely restored ; the greater part
of the floor is covered with ancient mosaics. To the 1., on the wall of the
egress, 194. Pig and litter ; 202. Colossal camel's head as the aperture of a
fountain; 208. Hercules withGeryon; 210. Diana, badly restored ; 213. Her-
cules and Cerberus; 220. Bacchanalian genius on a lion; 228. Triton car-
rying off a nymph. Beneath, on an oval sarcophagus -cover, triumphal
procession of Bacchus; 223. Minotaur; r. 116. Two playing greyhounds;
124. Sacrifice of Mithras; 134. Hercules with the slain Neniean lion; 137.
Hercules slaying Diomedes; 138. Centaur with a Cupid on his back. (Ad-
jacent is the entrance to the Galleria delle Statue.) 139. Commodus on
horseback (Bernini's model for the statue of Constantine in the 1'ortico of
St. Peter's); 151. A sheep sacrificed on the altar; 153. Small group of a
shepherd resting, with goats; 107. (in the next window) Relict of cow
and calf.

Galleria delle Statue, converted from a summer-house of Innocent VITI.
into the present hall by Clement XIV. and Pius VI. The lunettes still
contain the remains of paintings by Pinluricrlno. The statues have been
admirably arranged by Emtio Quir. VisconU. — R. of the entrance, No. 248.
Clod. Albinus, the opponent of Septim. Severus. The statue stands on an
interesting cippus of travertine (ftmnd 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 Gerniauicus, was burned. *250. Eros of Praxiteles (term-
ed II Oenio del Vaticano) , found near Centocelle on the Via Lahicana; on
the back are the traces of wings; above it, 249. Relief, attrib. to Mich.
Angelo: Cosmo I. aiding Pisa; 251. So-called Doryphorus; ,:"253. Triton,
upper part only, found near Tivoli; 2o5. l'aris, copied from a fine original;
256. Youthful Hercules; 257. Diana (relief); 258. Bacchus; 259. Figure with
male torso, probably Apollo, incorrectly restored as Pallas (so-called Minerva
Pacifera) with the olive-branch; 260. Greek tomb-relief; '261. Mourning
Penelope, an imitation of the more ancient style, on the pedestal a relief
of Bacchus and Ariadne; 263. Relief of Victoria in a quadriga; 264. Apollo
Sauroctonos , lying in wait for a lizard, in bronze, after Praxiteles; '265.
Amazon, from the Villa Mattei, probably a copy of a work by Strongylion;
267. Drunken satyr; 268. Juno, from the Thermae of Oti-icoli; 269. Relief,
Jason and Medea (V); 270. Urania, from Tivoli, freely restored; !271. and
390. (one on each side of the arch which leads into the following room of
the busts) Posidippus and Menander, two admirable portrait-statues of these
comic dramatists, in Pentelic marble, perhaps original works of C'epMsodo-
lus, son of Praxiteles, from the theatre at Athens, found at Rome under
Sixtus V. near S. Lorenzo in Paneperna, where the;1 were long revered as
.saints. The visitor now passes between these statues and enters the

Hall of the Busts, which, in addition to the busts of the emperors,
contains a number of valuable works in four sections , recently arranged.
As the original numbers have not yet been replaced by new ones, the most
interesting objects are enumerated in their order from r. to 1. — I. r.
281. Hadrian; 276. Nero as Apollo Citharcedus, with laurel-wreath;
273. Augustus, with chaplet of ears of corn. Below, 290. Caracalla. — II.
above 298. 'Zeus Serapis , in basalt. Below, 303. Apollo ; 307. "Saturn ;
308. Isis; 311. 'Head of Menelaus , from the group of Menelaus with the
body of Patroclus (or Ajax with the body of Achilles), found in 1772 in the
villa of Hadrian, a duplicate of the Pasquino group (see p. 157); at the
same time as this head, the 'bones of the body by the window ofethe first
section were also found. — III. Above, 315. Satyr. In the central niche:
'Zeus, formerly in the Pal. Verospi. To the 1. above, 329. Barbarian; 338.
Hermes (holes for the wings near the head). — IV. In the niche: Praying
woman, a so-called Pieta; under it an interesting sarcophagus, adorned
with Prometheus and the Fates, perhaps of Christian workmanship; beside
it, to the 1. below, Antinous. — In I. below 376. Head of Pallas from the

16*

244 The Vatican. ROME. Sala delle Muse.

Castle of St. Angelo; 382. and 384., anatomical representations in marble.
By the entrance, 'Roman man and woman , tomb-relief (Niebuhr's favourite
group, imitated on his tomb at Bonn by Ranch).

The Galleria delle Statue is now re-entered and Menander passed :
392. Septim. Severus ; 393. Girl imploring protection, erroneously regarded
as a J>ido, the original in the Pal. Barherini (p. 129); 394. Neptune Verospi ;
393. Apollo Citharcedus, archaic ; 396. Wounded Adonis (the hand of which
the figure bears traces was probably that of a Cupid dressing the wound);
397. Reclining Bacchus from the Villa of Hadrian; 398. Macrinus, suc-
cessor of Oaracalla. In front of it , in the centre , a large alabaster basin
found near SS. Apostoli ; 399. ^Ksculapius and Hygeia, from Palestrina-
400. Euterpe; 401. Mutilated pair from the group of Niobe, a son and a
daughter, found like the Florentine statues near Porta S. Paolo ; 405. Nymph;
406. Copy of the Satyr of Praxiteles. In the window-niche: 422. Giustiniani
fountain -enclosure with Bacchanalian procession, modern copy from the
original in Spain. (Adjacent is the entrance to the Gabinetto delle Maschere.]
In the centre: 462. Cinerary urn of oriental alabaster, found with the in-
scriptions Nos. 248, 408, 410, 417, 420, which once contained the remains
of a member of the imperial Julian family. On the narrow side: "414.
Sleeping Ariadne , formerly taken for Cleopatra , found in the reign ol
Julius II.; beneath it, "Sarcophagus with battle of the giants. At the sides:
■412, 413. The Barberini Candelabra, the largest and finest extant, found
in Hadrian's villa, on each three reliefs, (1.) Jupiter, Juno, Mercury, and (r.)
Mars , Minerva, Venus; 416. Relief of the forsaken Ariadne, similar in ex-
pression to the large sattue; 417. Mercury; 420. Lucius Verus.

Gabinetto delle Maschere , adjoining the window - niche , closed , appli-
cation must be made for admittance to the custodian 0k ^r-)\ on Mondays
access is denied. The cabinet derives its appellation from the 'Mosaic on
the floor , adorned with masks etc. , found in 1780 in Hadrian's villa. 428.
So-called Relief of the apotheosis of Hadrian; 429. Stooping Venus, in the
bath ; -431. Torch-bearing Diana. Wall opp. entrance : 432, 434. and on the
opp,. side 441, 444. Reliefs of the exploits of Hercules; 433. Satyr of rosso
antico, copy in the Capitoline; 435. Worshipper of Mithras. Window-wall:
438. Minerva, from Hadrian's villa; 439. Bathing- chair, of rosso antico,
formerly in the court of the Lateran. In the window : 440. Relief of Bac-
chanalian procession. Entrance- wall : 442. Apollo. A door (which the
custodian opens if desired; leads hence to the Loggia Scoperta (containing
a few unimportant reliefs and busts), which commands a charming view of
M. Mario and Soracte to. the 1., and the Sabine Mts. to the r.

Sala delle Muse (entered from the central passage of the Sala degli
Animali), a magnificent octagonal saloon with cupola, and adorned with 16
columns of Carrara marble, containing many remarkably tine Greek portrait
heads. In the ante-room: 489. Relief (above, on the r.), Dance of the Co-
rybantes; r. 490. Statue of Diogenes; r. 491. Silenus ; r. 492. Sophocles, the
only portrait accredited by an inscription (unfortunately mutilated); 1.
(above) 493. Relief of the birth of Bacchus; 1. 494. Greek portrait- figure;
4S5. Bacchus in female attire; 496. Hesiod. In the saloon: (r.) 598. Epi-
curus; 499. Melpomene, Muse of tragedy. The statues of the Muses preserv-
ed here , with the exception of Nos. 504 , 520, were found with the Apollo
at Tivoli in 1774. - 500. The Stoic Zeno; 503. The orator iEschines; 502.
Thalia, Muse of comedy; 504. Urania, Muse of astronomy; 505. Demosthenes;
507. The Ovnic Antisthenes; 508. Polyhymnia, Muse of higher lyric poetry;
509. The Epicurean Metrodorus. Opp. to this, 1. 510. Alcibiades; 511. Ter-
psichore, Muse of dancing ; 512. Sleeping Epimenides ; 515. Socrates ; 514.
Calliope, Muse of epic poetry; "516. Apollo Musagetes, in a long robe, with
an air of poetic rapture , standing on an altar with representation of the
Lares; 518. Erato, Muse of erotic poetry; 517. Themistocles (?); 519. Zeno
theEleatic; 520. Euterpe, Muse of music; 521. Euripides. In the approach
to the next room: r. 523. Aspasia, so-called from the modern inscription
nri the base; 524. Sappho (doubtful); '525. Pericles; 1. 528. Bias, the
misanthrope of the seven wise men; 530, So-called Lycurgus; 531. Penan-
der of Corinth.

The Vatican. ROME. Sala della Biga. 245

Sala Rotonda, erected under Pius VI. by Simonetti alter the model of
the Pantheon, contains an admirable "Mosaic, found in 1780 in the Therms
at Otricoli, with Nereids, Tritons, Centaurs, and masks. In the centre a
magnificent basin of porphyry from the Baths of Diocletian. On either side
of the entrance, 538, 537. Comedy and Tragedy, from Hadrian's villa. In
the saloon, r. 539. Bust of Zeus from Otricoli, the finest and most celebrat-
ed extant ; 540. Antinous as Bacchus (drapery modern , probably originally
of metal), from Hadrian's Prsenestine villa; 541. Faustina, wife of Ant.
Pius; !'542. Female statue restored as Ceres; 543. Hadrian, from that em-
peror's mausoleum (S. Angelo); '544. Hercules, colossal statue in gilded
bronze (12 ft. in height), found in 1864 immured in the foundations of the
Pal. Righetti , near the theatre of Pompey ; 545. Bust of Antinous ; -550. So-
called Barberini Juno; 547. Sea-god, found near Pozzuoli; 548. Nerva, on
the pedestal a fine, hut not easily interpreted relief; 549. Jupiter Serapis;
without a number, statue of Claudius as Jupiter, found in 1865 at Civita
Lavinia, the ancient Lanuvium; 551. Claudius; 552. JunoSospita, from
Lanuvium, a reproduction during the period of the Antonines of an ancient
Latin image; 553. Plotina, wife of Trajan; 544. Julia Domna, wife of
Septim. Severus; 555. Genius of Augustus; 556. Pertinax.

Sala a Croce Greca, constructed by Simonetti, in the form of a Greek
cross, as its name signifies. On the floor are three ancient mosaics. In the
centre a head of Pallas, found in 1741 in the Villa Ruffinella, near Fras-
cati. By the stair, between the two sphynxes, a "'Flower-basket from Roma
Vecchia. II. of the entrance: 559. Augustus; 564. Lucius Verus; 566. Large
sarcophagus in porphyry, of Constantia, daughter of Constantine the Great,
from her tomb, subsequently church of S. Costanza, near S. Agnese ; it is
adorned with vintage -scenes, in allusion to the Vineyard of the Lord (the
vaulting of the tomb is adorned with mosaics of similar style and import);
567. Priestess of Ceres; 569. Clio; 570. The elder Faustina; '574. Venus,
perhaps a copy of the Cnidian Venus of Praxiteles, drapery of metal mo
dern; 578, 579. Egyptian Sphynxes; 1. 581. Trajan; 582. Apollo Citharosdus,
restored as a Muse; 589. Sarcophagus of St. Helena, mother of Constantine,
from her tomb near Torre Pignattara, transferred to the Lateran by Ha-
drian IV., and hither by Pius VI.; 592. Augustus. By the stair: r. 600. Re-
cumbent river-god , said to have been restored by Mich. Angelo (opp. is an
entrance to the Egyptian Museum). The stair (with 20 antique columns from
Preeneste) is now ascended, leading to the r. to the

Sala della Biga, a circular hall with a cupola, named after the admirable
(No. 623) "Biga, or two -horse chariot, preserved here. The body of the
chariot, richly adorned with leaves, which for centuries was employed as
an episcopal throne in S. Marco, and a portion of the r. horse are alone
ancient. "608. Bearded Bacchus, inscribed 'Sardanapallos' ; "610. Bacchus as
a woman; 611. Combatant, in the head resembling Alcibiades, in position a
figure of the group of Harmodius and Aristogeiton ; 612. Draped statue, from
the Palazzo Giustiniani in Venice; 614. Apollo Citharcedus; "615. Discobo-
lus, of the Attic school, perhaps after Alkamenes; 616. Portrait-statue of
Phocion (?), Epaminondas, or Aristomenes ; "618. Discobolus of Myron, the
original was of bronze; head modern, and inaccurately replaced; it should
have been turned to the side, as the excellent copy in the Pal. JVlassimi
(p. 156) shows; C19. Chariot-driver; 621. Sarcophagus relief, race of l'elops
and (Enomaus ; 622. Small Diana. If this saloon is quitted on the r. , the
visitor proceeds in a straight direction from the stair to the

Galleria dei Gandelabri, a corridor, 320 ft. in length, in six depart-
ments, containing chiefly small and fragmentary sculptures. I. On the r.
and 1. of the entrance: 2, 66. Birds' nests and children; r. "'19. Boy stooping
over dice or something similar; r. 31, 1. 35. Candelabra from Otricoli, the
former with Satyr, Silenus, and Bacchante, the latter with Apollo, Marsyas,
and the Scythian ; 1. 45. Head of young Satyr ; 1. 52. Sleeping Satyr , of
green basalt. — II. On the r., 74. Pan extracting a thorn from the foot of
a Satyr, a fountain-figure; 81. Ephesian Diana, from the villa of Hadrian;
82. Sarcophagus , with the murder of iEgistheus and Clytemnestra by Ores-
tes ; r. 93, 1. 97. Candelabra, from S. Costanza; 1. 104. Ganymede with the
eagle; 1. 112. Sarcophagus-relief of Protesilaus and Laodamia; 117, 118.

246 The Vatican. ROME. Raphael's Tapestry,

Boy with hydria, fountain figure; -119. Ganymedes, carried oft' by the
eagle, copy of a celebrated work by Leochares. - III. On the r., 131. Mosaic
with dead fish, dates, etc. ; 134. Sophocles, sitting; 1. 141, 153. Bacchus with
the panther ; 145. Satyr with the infant Bacchus. — IV. On the r. 157, and
1. 219. Candelabra from S. Costanza; r. 168. Roman matron, draped statue;
r. 173. Sarcophagus: Ariadne discovered by Bacchus; r. 177. Old beggar; r.
184. Goddess of Antioch ; 187. Candelabrum with Hercules' theft of the tri-
pod (Hercules, Apollo, Dionysus); 190. Candelabrum with Bacchanalian
dance, from Naples , a cast from the original in Paris ; 1. 194. Boy with a
goose; 200. Antique Apollo (inaccurately restored); ]. 204. Sarcophagus with
the children of Niobe; 208. Marcellus (?), nephew of Augustus; 210. Marble
vessel with Bacchanalian dancers. — V. On the r. , *222. Female runner,
from the villa of Hadrian; r. 234. Candelabrum, with Minerva, Jupiter,
Venus, and Apollo, from Otricoli; 1. 240. Negro-boy with hath - apparatus.
— VI. On the r. 253. Sarcophagus with Luna and Endymion; r. 257. Ga-
nymedes; 1. 264. Daughter of Niobe; 1. 269. Sarcophagus with the rape oi
the daughters of Leucippus by the Dioscuri; upon it, Statue of a fighting
Gaul, from the votive ottering of king Attains on the Acropolis of Athens.
[This gallery is adjoined by another in which some of the tapes-
try of Raphael is preserved.

The * Tapestry of Raphael (lGli Arazzl' , because manufactured
at Arras in France) was executed from cartoons drawn by
Raphael in 1515 and 1516, seven of which were purchased 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 ad-
mirable works of the great master. Each piece of tapestry,
wrought with great skill in wool, silk, and gold, when complete cost
about 700 pounds. They were originally destined for the lower
and unpainted portion of the walls in the Sixtine Chapel. They
are now greatly damaged and faded, especially in the fleshtints.

The designs on the socle in bronze-colour partly represent scenes from
the life of Leo X. whilst Card, de Medici. The decorations and ara-
besques which surround the principal designs are chiefly by Raphael's pupil
Gioo. da Undine. During the siege of Rome in 1527 the tapestry was se-
riously injured and carried off, but was restored to Julius III. in 1533. In
1798 it fell into the hands of the French, and was sold to Genoese Jews,
from whom it was repurchased by Pius VII. in 1808. It is preserved in
the passage adjoining the gallery of the candelabra, accessible to the public
on Mondays (see above): *1. r. Conversion of St. Paul; ,:2. 1. St. Peter recei-
ving the keys; '3. r. St. Paul healing the lame man in the Temple ; *4. I. Mira-
culous draught of fishes; *5. I. The people of Lystra about to offer sacrifice
to Paul and Barnabas ; 6. r. Duplicate of No 2; '7. 1. Paul preaching 'at
Athens; 8. 1. Christ appearing to Mary Magdalene; 9. 1. The supper at Em-
maus; 10. 1. Presentation of Christ in the Temple; "11. r. Slaughter of the
Innocents, on three pieces of tapestry ; 12. 1. Adoration of the shepherds ; 13. 1.
Ascension; 14. 1. Adoration of the Magi; "15. r. Stoning of Stephen; 16. 1.
Resurrection; 17. r. Religion between Justice and Mercy; 18. 1. Descent of
the Holy Ghost. The three others formerly here ("Death of Ananias, 'Ely-
mas struck with blindness, *Paul in prison at Philippt) were removed in
May, 1870. Those indicated with asterisks are from the cartoons of Ra-
phael; the others may possibly have been executed from small sketches by
the same master, but the designs used by the tapestry-workers are believed
(o have been drawn by Flemish artists.

The gallery of the tapestry is adjoined by the Galleria Geo-
(irafica, a passage 530 ft. in length, with maps designed by the
Dominican Ignazio Dante, and executed by his brother Antonio

The Vatican. ROME. Etruscan Museum. 247

under Gregory XIII. in 1580; ceiling-paintings by Tempesta and
others; also a number of ancient busts, some of them valuable.]
The *Museo Gregoriano of the Etruscan Antiquities, founded
by Gregory XVI. in 1836, occupies 12 rooms, also on the upper
story. A stair is ascended from the entrance to the gallery of
the candelabra, and the door reached to the r. (visitors knock,
1/2 fr.). The museum comprises a number of antiquities excavated
principally in 1818—36 in the Etruscan cities Vulci, Toscanella,
etc.: statues, paintings, vases, golden ornaments, and various
domestic utensils of bronze, extremely interesting as forming a link
in the history of Italian art , and affording some insight into
the habits of the still enigmatical Etruscans. Of the numerous
and chiefly small objects the following deserve special attention :

(To the 1. by the loggia in the space before the door is a relief of Me-
dea; r. by the door another with a contest of Hercules.)

1st Room: Three sarcophagi of terracotta with life-size figures of
the deceased on the covers. On the walls numerous portrait-heads in terra
cotta, of peculiar formation. Then the — 2nd R. is entered to the r. One
of the larger sarcophagi on the 1. is of travertine, adorned with an almost
flat relief of a chariot with a bearded man and musicians, on which
traces of painting are visible; numerous smaller cinerary urns, some of
them of alabaster with mythological reliefs, from Chiusi and Volterra. —
3rd R. : In the centre a large sarcophagus of tuffstone with recumbent
figure and reliefs of the murder of Clytemnestra , sacrifice of Iphigeneia,
Eteocles and Polynices, Telephus and Orestes. Beyond this a fine frieze in
terracotta, recently discovered at Cervetri. In the corners are small and
strange-looking cinerary urns in the form of houses, perhaps Celtic, found
beneath the lava between Albano and Marino. — 4th R. : containing terra-
cottas. '-'Mercury; on either side fragments of female figures with rich dra-
pery, from Tivoli. R., beneath, a relief in stucco of Venus and Adonis,
Cupid dressing the wound of the latter; 1. a relief of Jupiter, Neptune, and
Hercules; on the walls reliefs, cinerary urns, architectural. fragments. By
the window small terracottas.

The four following rooms contain the Collection of Vases. These painte'd
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 imitated the earlier Greek vases
with black, as well as the later with red figures, often without a just ap-
preciation of the subjects, and with an obvious preference for tragic scenes,
especially murders. An exhaustive examination of the details will be under
taken by the scientific only ; the most, interesting objects only need be here
enumerated. — 5th R. : By the walls a great number of vases with the
same decorations from Vulci; on the column towards the window a large
"vase with whitish ground and coloured designs, representing the delivery
of the infant Bacchus to Silenus; by the window 1. a humorous represen-
tation of Jupiter and Mercury's visit to Alcmene ; in cabinets objects in cry-
stal from Palestrina. — 6th R. : In the centre four remarkably fine vases,
on the first, with three handles, a poet and six muses. Towards the pos-
terioriwall : 'Achilles and Ajax playing at dice (with the name of the ma-
nufacturer Exekias). In the centre a vessel of great antiquity, with repre-
sentations of animals. On the second to the 1. near the window-wall is
-Hector's Death. The sixth by the entrance-wall represents two men with
oil-vessels and the inscriptions : '0 Father Zeus', would that I were rich',
and: 'It is already. full and even runs over'. Over the doors are mosaics
from Hadrian's villa. By the second window two basins with ancient Latin
inscriptions. — 7th R. : Arched corridor. In the first, niche a large vase
of S. Italy. In the second 'Minerva and Hercules , from Vulci. To the r.

248 The Vatican. ROME. Egyptian Museum.

and 1. of these, imitations of the prize-vases of the Panathensean games at
Athens, with Athene between two fighting-cocks. Then the sixth : "Hector
bidding farewell to Priam and Hecuba. The third niche contains a vase of
S. Italy; to the 1. of it 'Achilles and Briseis. — 8th E. : containing an
extensive collection of graceful and delicately painted goblets, placed on
appropriate stands. The cabinet contains small vases, some of them of ir-
regular form. On the wall above are copies of paintings in a tomb at Vulci,
showing that Etruscan art was at this period completely Hellenised. Be-
neath, as the imperfectly interpreted inscriptions appear to indicate , is an
historical scene , an adventure of Mastarna (Serv. Tullius) and Cselius Vi-
berna, besides mythological representations (Cassandra, Achilles slaying the
victim for the funeral-sacrifice of Patroclus).

Visitors now return to the sixth room, in order thence to reach the
— 9th Room on the r., where bronzes of every description, domestic imple-
ments , weapons, ornaments, jewellery, etc. are arranged. By the wall to
the r. the statue of a warrior, with TJmbrian inscription, found at Todi in
1835; opposite a bed, and boy with a bulla sitting. On the wall as far as
the window , helmets , shields , mirrors with engraved designs. By the r.
window a cista of bronze from Vulci, with Amazon battles in embossed
work, which when found contained articles of the female toilet. — Then
by a door on the r. to the 10th R. , or corridor, where water-pipes, boy
with a bird in bronze, etc. are preserved. — 11th R. . contains all kinds of
vases, as well as copies of tomb-paintings from Corneto and Vulci, invalu-
able in the study of early Italian art. The most ancient grade is repre-
sented by the paintings on the narrow sides of the saloon (excepting the
scene over the door) , which resemble early Greek designs , but are ruder
and more destitute of expression. The next grade 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,
especially in the heads, which are all in profile, are observable. These
paintings, like the preceding, also represent games and dances performed in
honour of the dead. The third and fully developed period is represented
by the picture, over the door, of Pluto and Proserpine (the latter full-face),
which may probably be regarded as coarval with those in the 8th room.
The visitor now returns to the 9th R., where immediately to the r. by the
windows is a glass cabinet with votive objects, found at the mineral springs
of Vicarello, near the Lago di Bracciano : golden ornaments, silver goblets,
polished stones. In front of the 2nd window a cabinet with objects exca-
vated at Pompeii in presence of Pius IX. ; among them an "equestrian relief
in marble. The turning glass-cabinet in the centre contains "golden orna-
ments; in the upper section are arranged those found in 1836 in a tomb at
• ervetri , in the lower similar objects from other tombs. These show the
great skill and taste in workmanship of this kind, to which the magnificence-
loving Etruscans had attained , and the chains , wreaths , rings , etc. afford
models which are rarely equalled by Roman jewellers of the present day
(see Castellani , p. 86). By the 3rd window is a second , but less perfect
cista, adorned with engraving. By the wall a large arm in bronze, nume-
rous mirrors with designs, a restored biga, behind it a male bust; in the
cabinet small bronzes. By the fourth wall : candelabra, kettles, shields ; in
the centre a brazier with tongs and poker. — In the 12 th R., on the 1., is
an imitation of an Etruscan tomb, wilh three burial recesses, vases, etc. ; at
the entrance two lions from Vulci. The cabinet in the centre contains
bronzes from Veii; by the window small ornaments and objects in glass.
Also several Chinese curiosities.

The Egyptian Museum ("entrance at the bottom of the stair
which descends to the r. from the Galleria dei Candelahri; the
custodian admits visitors on application] is below the Etruscan,
in the so-called Torre de Venti. Pius VII. purchased the nucleus
of the collection from Andrea Gaddi, and greatly extended it; so
also Gregory XVI. The grotesque and awkward specimens of

The Vatican. ROME. Picture Gallery. 249

Egyptian art may be glanced at by the traveller, lor the sake of
comparing them with those of the Hellenic and Italian , but the
museum contains few objects of great interest.

1st Room: Coptic inscriptions, hieroglyphics, cuneiform characters.
By the entrance- wall a small reproduction of the Nile in the lliaccio Nuovo
(p. 240). Model of a pyramid. —2nd R. : MSS. on Papyrus. - ilrd R. : Idols
and ornaments; scarabees (stones cut in the shape of beetles); in the cahi-
net 1. of the window Athenian and Ptolemaic silver coins. — 4th and Oth R.:
Several mummies of animals, scarabees, bronzes of animals (ibis, cats, etc.).

— 6th R. : Eight statues of the goddess Pascht (Isis), from the ruins of Carnac,
ten mummies, and two coffins of stone. —7th R. : Small idols and vases of
alabaster. — 8th R. : The objects collected here are from Hadrian's villa at
Tibur, of Roman workmanship in the Egyptian style: Opp. the entrance:
'Colossal statue of Antinous , the favourite of Hadrian, in white marble.
On the r. the Nile , in black marble. 9th K. : -'Egyptian colossal statues :
(1) Mother of Rhamses (Sesostris), in black granite, between (2) two lions
of basalt, from the Thermic of Agrippa, which formerly long adorned the
Fontana di Termini; (3) by the entrance-wall, in the centre: Ptolemy Phi-
ladelphia, to the 1. of him, his (^ueen Arsinoe , in red granite (from the
gardens of Sallust). :10th R. : Three coffins of mummies in green basalt,
and four in painted wood. (Egress into the Sala a Croee Greca.)

** Picture Gallery. * Library. Mosaic Manufactory.

The **Picture Gallery (principal approach: the lower court
is crossed, and on its farther side a door to the extreme 1. en-
tered ; three stairs are then ascended ; present entrance by the
door to the 1. in the loggia which is entered from the Sala di
Constantino; the loggia is then entered to the 1., where visitors
ring at a door on the 1. side) was founded by Pius VII., who
here collected the pictures restored by the French in 1815, most
of which had been taken from churches, and added a few more
(access daily, 8 — 11 and 2 — .S1/^ o'clock; 1/'2 h"0- The pictures
are not numbered , but are furnished with notices of the sub-
jects and the names of the artists.

1st Room on the 1. : St. Jerome, coloured sketch by Leonardo da Vinci;
'Annunciation, Adoration of the Magi, Presentation in the Temple, Raphael,
predella to the Coronation of Mary in the 3rd II.; Christ and Thomas, Guer-
cino ; :;The dead Christ and 31. Magdalene who anoints his wounds, Andrea
Mantegna; Madonna with St. Jerome, Franc. Francia. On the window- wall:
Scenes from the life of St. Nicholas of Bari, Fra Angelico da Fiesole; Small
Madonna with angels on a gold ground, by the same; Adoration of the she-
pherds, Murillo; Miracles of St. Hyacinth, Benozzo Gozzoii ; Return of the
Prodigal, Murillo; Nuptials of the infant Christ with St. Catharine, also by
Murillo (these three Murillos were presented to Pius IX. by Queen Isabella);
The saints Benedict, Scholastica, and Placidus , Perugino; ;Madonna with
St. John and St. Catherine, on the 1. St. Peter and St. Paul (fine colouring),
Bonifazio; 'Faith, Hope, and Charity, Raphael, predella of the Entombment
in the Pal. Borghese ; Madonna, St. Joseph and St. Catharine, Garofalo.

— 2nd R. : On the entrance-wall: r. Communion of St. Jerome, Domeni-
chino. Wall of egress: :: "'' The Transfiguration of Raphael, his last great
work, painted for Card. Giulio de' Medici (afterwards Clement VII.), till
1797 in S. Pietro in Montorio. The upper part is by Eaphael's own hand:
Christ hovering between Moses and Elias; Peter, James, and John prostrate
on the ground, dazzled by the light. The lower half (much darkened by age),
where the other disciples are begged to heal the possessed boy, was partly
executed by Raphael's pupils. The figures above, to the 1., in an attitude
of adoration, are St. Lawrence and St. Julian. On the short wall: "Ma-

250 The Vatican. ROME. Library.

donna of Foligno, painted by Raphael in 1512 ; in the background the town
of Foligno, into which a bomb falls; r. beneath, St. Jerome recommends to
the notice of the Madonna Sigismondo Conti , secretary of Julius II., who
ordered the painting for S. Maria in Araceli , whence it was transferred to
S. Anna delle Contcsse in Foligno ; to the 1. St. Francis and John the Bap.
tist. The transference (undertaken at Paris) of the picture from wood to
canvas has rendered retouching necessary. — 3rd E. : On the entrance-
wall: Madonna and Saints, Titian,; St. Margaret of Cortona, Guercino.
R. long- wall. Martyrdom of St. Lawrence, Spagnolelto; M. Magdalene,
Guercino ; Coronation of the Virgin , painted by Bern. Pinturicchio for
the church delle Fratte at Perugia; beneath are the Apostles, St. Francis,
St. Bonavcntura, and 3 Franciscans; Resurrection, Perugino; the sleeping
youth r. in the foreground is said to have been painted by Raphael ; As-
sumption of the Virgin, designed by Raphael for the monastery of S. Maria
di Monte Luco near Perugia, the upper half painted by G. Romano, the lower
by Franc] Pcnni (il Fallorc); Adoration of the infant Christ, School of
Perugino ; Joseph's head is said to be by Raphael , other figures by Spagna
(formerly in La Spineta near Todi) ; "Coronation of the Virgin, painted
by Raphael in 1502 in Perugiiio's school, for S. Francesco at Perugia;
:Madonna on a throne with Laurentius, Ludovicus, Herculanus, and Constan-
tius, the guardian saints of Perugia, by Perugino; Madonna, Sas&ofer-
rato. Narrow wall: Entombment, Caretcaggio. On the window-wall:
Uogc of Venice, Titian; Two large paintings in several compartments by
A'iccold Alutiiio, Crucifixion of Christ and Coronation of the Virgin. Between
these: "Fresco from the former library of the Vatican, Melozzo da Forli,
representing Sixtus IV. the donor, with Card. Giul. della Rovere (Julius II.)
and his nephew Pictio Riario; before him kneels Platina, prefect of the
library. -■- 4th R. : Entrance-wall: Martyrdom of Processus and Marti-
nianus, Valentin; Crucifixion of St. Peter, Guido Rem; Martyrdom
of St. Erasmus, N. Poussin. R. wall: Annunciation, F. Baroccio;
Mass of Gregory the Great, A. Sacchi (there are mosaic copies of these
three pictures in St. Peter's) ; St. Michelina , Baroccio. Window-wall : Ma-
donna with the saints Jerome and Bartholomew, Morclto da Brescia; Vision
of St. Helena, Paolo Veroitrse. L. wall: Madonna; beneath, St. Thomas and
St. Jerome, Guido Rent ; Christ in a glory, Corrcggio (V or perhaps Caracci);
Madonna, Cesare da Seslo; St. Romuald, A. Sacchi.

* library (visitors knock at the last small door on the 1. in
the (lalleria Lapidaria; open daily 8 — 11 o'clock, Sundays and
high festivals excepted; 72—1 fr.). At a very early period the
popes began to collect documents which gradually formed the
Archives, mentioned for the first time under Damasus I. , and
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 11 rooms,
in addition to the great library-hall. Over the door is the in-
scription: Paulli Papae V. Archivium. The Archives comprise a
number of the most interesting and important documents, espe-
cially of the middle ages, registers of the papal acts, letters of
the popes from Innocent III. to Siitus V. in 201G vols., corres-
pondence with nuncios and foreign nations, etc.

Besides this collection of documents the popes possessed their
private libraries. The Public Library was first instituted by
Nicholas V., and then consisted of 9000 vols.; Giov. Tortelli was
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

The Vatican. ROME. Library. 251

Sixtine Chapel for the collection, appointed I'latina (1475) director, and set
apart definite revenues for its maintenance. Thus endowed, it increased stead-
ily, and the allotted space became mure and more inadequate to its require-
ments, until in 1588 Sixtus V. caused the present magnificent edifice to be
erected by Dora. Fontana, intersecting the great court of Bramante. To this
ever-increasing collection several considerable libraries have been added by
purchase, or donation, some of which are numbered and preserved separately.
In 1623 the Elector Maximilian presented to the Pope the JHbliotheca Pala-
tina of Heidelberg, when the town was taken in the Thirty Years' War; in
1657 the Bibl. Urbinas, founded by Duke Federigo da Montefeltro, in 1690
the B. Reginensis, 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 possesses nearly 24,000 MSS., of
which about 17,000 are Latin, 3450 Greek, and 2000 Oriental.
Of the latter a printed catalogue has been published (1750 — 50),
continued by A. Mai. Also about 50,000 printed books. The
principal director is a cardinal, at present Tosti , who in ordi-
nary business is represented by two custodians, the Monsignori
di San Marzano and Martinucci ; besides these there are 7 scrit-
tori and several subordinate officials (scopatori). The advantage
of using the library is greatly circumscribed by numerous holi-
days, for it is not available on more than 200 days in the year,
as well as by the short space allowed for work daily (9 — 12
o'clock). Permission to use it is best obtained through the
traveller's ambassador, stating the branch of study contemplated.

An Antechamber is first entered, containing framed papyrus-scrolls and
a facsimile of the two columns from the Triopium of Herodes Atticus on
the Via Appia, with an imitation of the ancient Italian characters, the ori-
ginals of which are in Naples. Here and in the following reading-room are
suspended the portraits of the cardinal-librarians. The Great Hall, 240 ft.
long, 52 ft. wide, 31 ft. high, supported by 6 buttresses, constructed by
Fontana and paved with marble by Pius IX., is now entered. The paintings
(of the 17th cent.) are gaudy and unattractive. By the walls and round the
pillars are 46 small cabinets containing the MSS. , the most celebrated of
which are preserved in two glass-cases in the r. wing of the hall. Most of
the ancient busts placed on the cabinets are of no great value. In the 1st
are the MSS. of the Creek New Testament (5th cent.), id' Virgil (5th cent.),
and Terence (the so-called 'Bembinus', of the 4th cent.); also autographs of
Petrarch and Tasso. In the 2nd the celebrated palimpsest of the Republic
of Cicero, Dante with miniatures by Oiulio Ctocio, the ritual of Card. Otto-
buoni, breviary of King Matthias Corvinus, etc. Between the pillars are
placed a number of gifts presented to the popes : malachite vase, presented
by Emp. Nicholas to Gregory XVI.; the font of Sevres porcelain, in which
the ex-imperial prince was baptised, presented by Napoleon HI. to Pius IX. ;
vase of Scottish granite, gift of the Duke of Northumberland to Card.-An-
tonelli; two vases of Berlin porcelain, presented by Fred. William IV.;
vase of Sevres porcelain , presented by Charles X. ; a cross of malachite,
from Prince Demidoff. Behind a railing two candelabra, presented by Na-
poleon I. to Pius VII. To the r. at the extremity of the hall is the door
to the Archives. Adjacent to this hall, and parallel with the Galler. Lapi-
daria and the Mus. Chiaramonti , are extensive corridors on the r. and 1.,
to the latter of which visitors are generally first, conducted. The two first
rooms contain the MSS. of the Palatine and Urbino libraries. In the first,
over the entrance, [is represented the Interior of SS. Apostoli ; over the egress,
Interior of the old church of St- Peter ; in the second, over the entrance, the
Erection of the Vatican Obelisk by Fontana (see p. 213); over the egress,
St. Peter's according to Mich. Angelo's design. In the third room, quattro-

252 The Vatican. ROME. Library.

eentists and oriental MSS. ; by the sides of the egress, two ancient portrait-
statues, 1. the orator Aristides , r. Lysias. Then the Museum of Christian
Antiquities. The first 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. To the r. in the first
cabinet are several fine diptychs and triptychs in ivory, of which the first
on the 1. is especially remarkable. The second room , the Stanza de" Pa-
piri , adorned with paintings by Raph. Mengs , is filled with documents on
papyrus of the 5th— 8th cent., lound at Ravenna. The glass-cabinets of the
third room contain a large number of small pictures of the 13th— 15th cent.,
unfortunately not distinctly visible. On the wall of the egress, on the r.,
a Russian calendar in the form of a cross with miniatures, of the 17th cent.;
next to it a large cross of rock-crystal, on which the Passion is represented,
by Valerio Vicentino , presented by Pius IX. To the r. is the entrance to
a collection of Ancient Pictures. On the floor, ancient mosaics. On the r.
wall : Pha'dra and Scjila ; above , Ulysses and Circe ; then the so-called

Aldobrandine Nuptials, one of the finest ancient pictures extant, found in
Rome in 1606; next to it, to the 1., Warrior in armour, found at Ostia in
1868; above it, Ulysses en countering the Lsestrygones : ]., by the egress, Ship
being loaded, found at Ostia in 1867. On the end wall : Pasiphae and Myrrha.
On the 1. wall: Cupids in two-horse chariots; 1. of the latter, Vessel
drawn on a waggon; r. Sacrificial procession before the statue of Artemis,
both from Ostia, found in 1868; above them, the Spies of Ulysses among
the Lsestrygones. Then, above: "Ulysses in the infernal regions; below it,

Canace and an unknown female figure. Tfese six mythological figures uf
women celebrated for their unfortunate love-affairs, are from Torre di Ma-
rancio. The representations from the Odyssey were found on the Esquiline.
— The adjacent cabinet contains a collection of Ancient Tile-stamps and
paintings from the catacombs. — Returning to the third room : r. in the
window, oriental gold and silver plate, a gift from Siam to Pius IX., with
his photograph. The door leads hence to the Collection of Coins, extensively
pillaged in 1797 and 1849 (not now visible), formerly the. Chapel of Pius 7.,
with frescoes by Giorgio Vasari , a carved prie-Dieu of Pius IX., and the
conspicuous portrait of Pius IX. on glass, executed at Aix-la-Chapelle.

The visitor is conducted hence to the Appar tamenti Borgia, occu-
pied by the printed books. (Permission to visit these rooms is obtained,
sometimes with difficulty, from Monsig. Martinucci, who lives above the
library 0 The visitor traverses several undecorated rooms, and then enters
the "apartments embellished with paintings by Pintnricchio, which are among
the finest works of the kind. The subjects are partly allegorical (1st room, arts
and sciences), partly from the history of Christ and the saints. The last room
but one contains a model of a projected church of the 'Immaculate Con-
ception', by Neveu , a French architect. The last large saloon is adorned
with paintings and stucco-work by Giov. da Vdine and Perino del Vaga,
now sadly marred by restoration. The rooms on the r. of the great hall,
also occupied by MSS., are less interesting.

In the 1st Room : MSS. of the Vatican library, in the 2nd those of the
Reginensis (over the entrance , the Harbour of Ostia). 3rd R. . Bibliot.
< Htoboniana. Here and in the following rooms are insipid frescoes from
the -life of Pius VI. and VII. At the entrance to the last room are two por-
phyry columns from the Thermte of Constantine; on the capital of each are
carved two kings. Several cabinets in the last room contain beautiful ancient
and modern ornaments etc.; e. g. in the 2nd cabinet r. oriental bronzes,
and articles in gold, hair found in an ancient tomb, etc. To the 1., by the
closed door of egress, is a bronze 'head of Augustus, the finest extant
portrait-bust of that emperor; r., on the table, a small, finely executed head
of Venus.

The Studio del Mosaico, or papal manufactory of mosaic, is
beneath the gallery of the inscriptions ; entrance in the 1. angle
of the farther side of the Cortile di >S. Daniaso. Perniessi ob-

The Catacombs. ROME. 12. Route. 253

tained through a consul or ambassador. Numerous hands are
here employed in copying celebrated pictures for churches etc.
The material used is a kind of coloured glass, of which there are
no fewer than 10,000 different shades. The papal Armoury and
Mint (La Zecca) near the Vatican also 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 V.

The Catacombs.

Ancient and Christian Rome arc apparently separated by a wide chasm,
if the modern aspect 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 Human structures. This interval is filled up in a significant
manner by means of the Catacombs, or burial-places of the early Chris-
tian centuries, which have recently been rendered specially interesting by
a series of important investigations. Access permitted only in the company
of a guide, from whom the most necessary information may be obtained.
Permessi gratis at the office of the cardinal-vicar, Via ilella Scrofa 70 (PI. I,
13), on personal application (best time 11 — 12 a. in.): a certain day (gener
ally Sunday) and hour are fixed, to which visitors must adhere (gratuity
1—2 fr. for one pers., for a party '/^ fr. each). Awa.v-taper (cerino) should
not be forgotten. The scientific may apply for information on abstruse matters
to the Cav. de1 Rossi.

The term 'Catacombs' is modern , having been extended from those
under S. Sebastiano, to which the topographical designation '■ad catacumbas'
was anciently applied, to the others also. The early Christians designated
their burial-places by the Greek name Covneleria, i. e. resting or sleeping-
places, probably with reference to the hope of the resurrection. The Roman
law, frequently renewed 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 accordingly find their burying-
places situated between the 1st and 3rd milestones beyond the Aurelian
wall, to which Rome had extended long before the construction of the wall
itself. A desire to inter the dead instead of destroying them by fire, as well
as the example of Jewish custom, gave rise to the excavation of subterra-
nean passages, in the lateral walls of which apertures were made for the
reception of the corpses. The formerly prevalent idea that the early Chris-
tians employed ancient sand-pits (arenaria) for this purpose, and extended
them according to requirement, as well as the belief that the different cata-
combs were all connected, has been entirely refuted by modern investigation.
These subterranean passages are proved to have been excavated almost
exclusively for the purposes of Christian interment, in the soft strata of
tufa (tufo granolare), of which most of the hills in the environs of Rome
consist, and which is rarely employed for building purposes. The hard
tuffstone used for building, and the puzzolana, which when mingled with
lime yields the celebrated Roman cement, have been penetrated in a few
exceptional cases only. It is moreover ascertained that, several of these
'cemeteries' were kept within the limits prescribed by the Roman law with
regard to excavations , and therefore enjoyed its protection. The Romans
distinguished between family -tombs and those of more extended societies
(collegia). In both cases the purchase of a definite area was necessary,
within which every tomb was sacred and inviolable above and beneath the
surface. So also the catacombs are partly family-tombs, and partly those of
societies formed by the Christians for the establishment of common burial-
places. The approaches to these vaults were everywhere wide and conspi-
cuous, without the slightest indication of attempt at concealment. An eccle-
siastical supervision of cemeteries is mentioned for the first time about the
year 200, and appears gradually to have extended over all the Christian

254 Route 12. ROME. The Catacombs.

burial places, the different districts of which were distributed among the
deacons. In the 3rd cent, the safety of .the catacombs was frequently en-
dangered, for to them, as well as to the devout who assembled to celebrate
divine service at the tombs of the martyrs, the persecutions of the Christians
extended. Thus a considerable number of cases are recorded in which the
Christians suffered martyrdom in their subterranean places of refuge and
from that period date the occasionally perceptible precautionary measures
such as narrow staircases, concealed entrances, etc. In the 4th cent., however'
peace was restored to the Church and security to the catacombs by Con-
stantine the Great's edict of Milan. Throughout this cent, interments
were here customary, but became rarer towards the commencement of the
5th, and were soon entirely discontinued. The cataeombs, however, as well
as the tombs of the martyrs, still enjoyed the veneration of pilgrims and
the devout. As early as 370 Pope Hamasus caused numerous restorations to
be made, and the most important tombs to be furnished with metrical in-
scriptions; apertures for light were constructed, to facilitate the access of
visitors, and the walls at a comparatively late period decorated with paint-
ings , which differ materially from those of the earliest Christians in sub-
ject and treatment. At the same time, however, during frequent devastations
undergone by the city , the catacombs were also pillaged and injured.
The last extensive restorations were undertaken by John III. in 560—
573. In the 8th cent, it became customary to open the tombs of the
martyrs and distribute their remains among the different basilicas of the
city, and in the 9th the catacombs gradually fell into oblivion, those
under S. Sebastiano alone remaining accessible to the visits of pilgrims.
Traces of renewed visits to a few of the catacombs towards the close of the
15th cent, have been discovered, and in the 16th Bosio undertook com-
prehensive scientific investigations. These, .although never discontinued,
have only within the last thirty years led to important results under the
directions of P. Marchi, and especially those of the Cav. de' Rossi. The
latter has begun to publish the result of his indefatigable labours in a
collection of ancient Christian inscriptions , in a work entitled '•Roma 80I-
lerranea' (1st vol, 1864, 2nd vol. 18C8), and in the 'Bullettino di Archeologia
Christiana.'

The Arrangement of the Catacombs was originally extremely simple.
Narrow passages, 3 ft. in width, and subsequently even less, were excavated
and furnished with recesses in the sides, of the length of the body to lie
interred. The latter were then closed with tablets of marble, and occasio-
nally of terracotta, which at first recorded only the name of the deceased,
with the addition '■in pace'. By degrees these localities were extended; the
passages became narrower and higher, or rose in different stages one above
another. Catacombs originally distinct wrere connected by means of new
excavations , and the complicated nature of these alterations and exten-
sions is to this day perceptible to the eye of the observant. These opera-
tions were carried out by a regular society of Fossores (or diggers) , who
ceased to exist only when the use of the catacombs was discontinued.
Altered times and circumstances naturally exercised a corresponding in-
fluence on the aspect of the catacombs. They originally differed little from
similar heathen localities, and the use of sarcophagi and interment in the
rock without other receptacle were equally customary. Occasionally larger
spaces are found excavated in the walls of the passages, probably as family-
tombs, or for the reception of martyrs, or for certain members of the eccle-
siastical community, an example of the last case being preserved in the
catacombs of Calixtus, destined for the remains of the popes. Finally
chambers are also seen which served for the celebration of divine worship.
'j he opinion is erroneous that this was the original object of the catacombs
(divine service being doubtless performed in private houses in the city),
although it is well ascertained that the Christians occasionally assembled
at the graves of the martyrs for, the purposes of prayer and the cele-
bration of the communion. In order to obtain sufficient space for this,
two corresponding excavations were usually made on each side of the
passage, the two being employed as a single chapel. The tomb of a martyr
was iben griitr;tlly used as a tribune, in lront of which an altar (often

The Catacombs. ROME. 12. lloute. 255

portable) was erected. Light and air were in many cases admitted from
above by means of tluniinaria\ Tbus these chapels, containing, or in im-
mediate proximity to the tombs of the martyrs, formed as it were rallying-
points throughout the entire system, and, as they continued to be objects
of veneration long after the catacombs were disused as burial-places, they
were at a later period often rendered accessible by stairs constructed for
the use of visitors.

The Decoration of the catacombs is one of their most interesting fea-
tures. Christian art in its origin could of course be but an application of
ancient precepts to new subjects. The paintings and sculptures of the ca-
tacombs are therefore in no respect different in style from their contempo-
raries, and with them shared in the precipitate and almost tntal degradation
of art. But, on the other hand, a peculiar significance in the choice and
treatment of the subjects is observable from the earliest period. Compara-
tively few merely historical paintings are found, which have no other object.
in view than the representation of some simple fact from Jewi.sh or Christian
lore. Occasionally a Madonna and Child are observed, most frequently with
the Magi (varying in number), who present their offerings , as in the cata-
combs of St. Calixtus, l)omitilia, and Priscilla ; also a few representations of
martyrdoms etc. 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 raising of
Lazarus, who appears at a door enveloped in his grave-clothes, whilst Christ
(beardless) with a wand stands before it, or by the history of Jonah sitting
under the gourd, then swallowed, and finally rejected by the whale. The
Good Shepherd also frequently appears, with the recovered sheep on his
shoulders, sometimes surrounded by lambs, to whom the apostles preach,
and whose postures are expressively indicative of the different spirit in
which they receive the word (e. g. catacombs of St. Calixtus). Daniel among
the lions is another favourite subject, represented with his hands raised in
prayer, an attitude in which the deceased are themselves often depicted.
This is doubtless in allusion to the frequently cherished hope that the de-
ceased, especially the martyrs, would intercede for their bereaved friends.
Moreover, in addition to the words ('Kequiescat) in Pace1, the exclama-
tions not unfrequently occur: 'Pray for thy husband, for thy son', etc. Fi-
nally a number of the principal representations, which recur often and in
similar style, are connected with the sacraments of baptism and the com-
munion. Ilei e also the same symbolical mode of representation is employed.
For, besides the simple ceremony of baptism, Moses is very frequently seen
in the act of striking the rock, whilst the name of Peter is sometimes at-
tached to his figure, whereby the apostle is doubtless designated as the new
Moses of a new community. Or the baptism takes place in the water flow-
ing fiom the rock; or the water is full of fish, which, by a species of
acrostic, formed an important Christian symbol, the Greek Ix&v^ (fish) con-
sisting of the initial letters of: Jtjoovi Xqioios Qeov Ylui 2unrjQ (Jesus
Christ the Saviour, Son of God). The communion is generally depicted as
an assembly of persons (usually 7) around a table , on which , besides the
bread, a fish also lies, again containing an allusion to Christ. Combined
with this a reference to the miracle of the loaves also frequently appears
(baskets with loaves standing on the ground), an event which in other cases
is expressly represented. These subjects and many others , especially the
traditions of the Old Testament, in which a typical reference to New
Testament history could be discerned, recur continually in the paintings of
the catacombs and in the sculptures on the ancient Christian sarcophagi.
The numerous inscriptions corresponding to these were, as already mention
ed , of a very simple description till the middle of the 3rd cent, after
which they become more lengthy , and contain more elaborate ejaculations
of grief and hope. — For purposes of study, the collection of pictures, in-
scriptions, and sarcophagi in the Christian museum of the Lateran (p. 2U3)
will be found convenient.

The catacombs extend around the city in a wide circle ; the
majority however are concentrated between the Via Salara, No-

256 Route 1-2. ROME. The Catacombs.

mentana, Latina, Appia, and Ostiensis. The number of cemeteries,
exclusive of the smaller, was 26; at the present day, however,
they are only partially accessible. The most important are here
enumerated, and among these the highest interest attaches to the

* Catacombs of Calixtus on the Via Appia, 1 1/4 M. beyond
the Porta S. Sebastiano (PI. Ill, 29). On entering the vigna in
which they are situated , the visitor perceives at a short distance
a small brick structure with three apses. This was discovered by
the Cav. de' Rossi to be the ancient Oratorium S. Callixti in Are-
nariis , and he accordingly induced Pius JX. to purchase the
ground , where his investigations were speedily rewarded by the
most important discoveries. The present entrance to the cata-
combs immediately adjoins this building. A passage with tombs
is traversed, and a *chamber (camera papale, cubiculum pontificium)
uf considerable dimensions is soon reached on the 1., containing
the tombs of popes on the 1., and of Anteros, Lucius, Fabianus,
and Eutychianus on the r. ; in the central wall that of Sixtus II.
(d. 258 as a martyr in the catacombs). In front of the latter
is a long metrical inscription in honour of those interred here,
composed by Pope Damasus about the close of the 4th cent., and
engraved in the elegant and decorated characters which Furius
Dionysius Philocalus , the secretary of that pope , invented spe-
cially for this purpose. On both sides of the entrance externally
a great number of inscriptions have been scratched by devout
visitors of the 4th — 6th cent. A * chamber, open above, which
once contained the Tomb of St. Cecilia, is next entered. Her
remains now repose in the church of S. Cecilia in Trastevere.
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 bear traces of other frescoes. On
St. Cecilia's day (Nov. 22nd) mass is celebrated here, on which
occasion the chapel and the adjoining chambers are illuminated
and open to the public. On the sides of the passages near these
chapels are several tombs adorned with the symbolical represen-
tations of the communion, baptism, etc. above alluded to. Then
the tomb-chamber of Pope Eusebius, with an ancient copy of an
inscription by Damasus, and another with two sarcophagi in which
the remains of the deceased are still seen, one of them preserved
and resembling a mummy, the other almost entirely destroyed.
Finally the tomb of Pope Cornelius may be mentioned , apper-
taining originally to a distinct cemetery (that of Lucina).

The Catacombs of SS. Nereus and Achilleus, or of Domitilla,
on the Via Ardeatina , near the catacombs of Calixtus , perhaps
the earliest excavations of the description , have recently derived
new interest from the discovery of a handsome and evidently
public entrance of substantial brick -work. The architecture and
internal decorations apparently date from the commencement of

The Catacombs. ROME. 72. Route. 257

the 3rd cent. The whole is an extended family-tomb , subse-
quently placed in connection with other catacombs.

The Catacombs of St. Praetextatus on the Via Appia, opposite
those of Calixtus , contain important paintings and monuments
(tomb of St. Januarius), but are not always accessible on account
of the excavations, which are at present zealously prosecuted.

The Catacombs of St. Friscilla, 2 M. beyond the Porta Salara
(PL I, 27), of very early construction, contain interesting paint-
ings , among them a .* Madonna and Child , probably of the be-
ginning of the 2nd cent. They are also interesting in other re-
spects, and well-preserved.

The Catacombs of S. Agnese , outside the Porta Pia , on the
1. side of the Via Nomentana (p. 134), 1ji M. beyond the church
of S. Agnese fuori, are interesting in their construction. One of
the chambers furnished with sevasal seats, was, according to the
most recent assumptions , probably employed for purposes of in-
struction. Several others contain mural paifrtings deviating from
the usual style : Christ between two packets of scrolls , the men
in the fiery furnace, etc. Then in the sides of the passage two
corresponding recesses which served as a place for divine worship,
in one of them a seat for the bishop and benches for the clergy.
Another chapel contains a Madonna of the latter part of the 3rd
cent. An ancient sand-pit connected with these catacombs
distinctly proves by its character that the burial places and are-
naria originally possessed nothing in common.

Tho Catacombs of S. Sebastiano, beneath the church of that
name (p. 262) , the only ones which have never been consigned
to oblivion, are now accessible without permesso.

The Catacombs of S. Alessandro, situated on the Via Nomen-
tana , 7 M. from the Porta Pia (PI. I, 30) , are beyond the circle
of the Roman catacombs , and probably appertained to the small
town of Nomentum (now Mentana). They have been discovered
within the last few years only. Their chief interest arises from
the ruins which they comprise of an originally half-subterranean
oratorium, the traces of which are still distinctly recognised. They
are believed to date from the 5th cent. The apsis contains the
episcopal throne , in front of it the alljjj , beneath which , as an
inscription records, the tomb of PopeJAlexander once lay. This
space is separated from the rest of the church by marble barriers ;
the adjacent ambos are probably of somewhat later date. This
oratory is adjoined by chapels with the tombs of martyrs , and
with these are connected other passages with tombs, some of
which are in a more undisturbed state of preservation than those
in the other catacombs. The construction appears to betoken haste
and poverty, the remains of earlier structures having been almost
exclusively employed throughout.

The Jewish Catacombs, in the Vigna Randanini, to the 1. of

B^deker. Italv II. 3rd Edition. 17

258 Route 13. THE CAMPAGNA.

the Via Appia, i/2 M. from the Porta S. Sebastiano (PI. Ill, 2*),
are more spacious than the Christian , and in some respects dif-
ferent. The tombs generally bear Jewish symbols (the seven-branched
candelabrum etc.). About 200 Greek and Latin inscriptions have
been found here, as well as a sarcophagus. These catacombs are
believed to date from the middle of the 3rd cent.

The Catacombs of Mithras, on the Via Appia (p. 261), owe
their origin to the mysteries of Mithras , an oriental (Persian)
worship of the sun introduced at Rome about one century before
Christ, which subsequently became more prevalent, and was offi-
cially organised by Alex. Severus. Fantastic ceremonies and mys-
terious doctrines invested it with great attraction, and several
Christian features appear to have been eventually incorporated
with it, so that the symbols and arrangements observed here are
not unfrequently analogous to those of the Christian catacombs.

13. Environs of Rome.

The extensive Campagna di Roma, bounded on the N. by the. Ci-
minian Forest, on the W. by the sea, and on the E. by the Apennine chain
of the Sabina, presents an ample field for a number of the most interesting
excursions. The mountains with their picturesque contours, and the wild
and deserted plain, covered in every direction with imposing ruins, especial-
ly those of antiquity, possess attractions of the highest order , which a year
of study could hardly exhaust. — The Campagna, once covered by the sea,
owes its origin to powerful volcanic agency; lava and peperine are fre-
quently encountered, and the red volcanic tufa is everywhere predominant.
A great number of ancient craters may be distinguished , the most impor-
tant of which are the lakes of the Alban Mts., the lake of Bracciano, the
lake of Vico in the Ciminian Forest, and the crater of Baccano. The histo-
rical associations connected with this plain are , however , of still higher
interest than its natural attractions. The narrow strip of land which stretch-
es between the Alban Mts. and the Tiber towards the sea is the ancient
Latium, which victoriously asserted its superiority over the Etruscans on
the K. , 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
prosperous towns, it is now a vast and dreary waste, of which a compara-
tively small part is traversed by the ploughshare. In May, when the malaria
begins to prevail, herdsmen and cattle retire to the mountains , whilst the
few who are compelled to remain behind are doomed to an existence rendered
miserable by continual attacks of fever. The cause of this change dates
from the remote period of the last centuries of the republic , when the in-
dependent agricultural population was gradually superseded by proprietors
of large estates and pastures. This system inevitably entailed the ruin of the
country, for a dense population and high degree of culture alone can avert
the malaria, which is produced by defective drainage and the evaporation
of the stagnant water in undulating and furrowed volcanic soil. In the mid-
dle ages the evil increased. The papal government repeatedly endeavoured
to promote the revival of agriculture , but such attempts cannot be other-
wise than fruitless as long as the land is occupied by farms and pastures
on a large scale. An entire revolution in the present system, energetically
and comprehensively carried out, will alone avail to restore the prosperity
of the land.

Excursions in the Campagna may be performed by carriage , on horse-
back, or on foot, each mode possessing its peculiar advantages. The tra-
veller is particularly cautioned against the hazard of taking cold, owing to

GROVE OF THE ARVALES. 13. Route. 259

the abrupt change of temperature which usually occurs about sunset. Lying
or sitting on the ground in winter, when the soil is extremely cold in com-
parison with the hot sunshine, is also to be avoided. In crossing the fields
care should be taken not to encounter one of the formidable herds of cattle,
•especially in spring ; the same remark sometimes applies to the dogs by
which they are watched, when the herdsman is absent. Predatory assaults
on travellers are of rare occurrence. The longer excursions (p. 271), which
require a whole day at least, are enumerated in their geographical order.
Those whose residence in Rome is sufficiently prolonged should undertake
the excursions in the plain during the winter, and those among the moun-
tains in the warmer season.

The excursions first described are those in the immediate environs,
which occupy a few hours only, and will be found invigorating after a
morning spent in a church or museum. As far as the gates, and about
*\i M. beyond, the roads are bounded by lofty walls, and are consequently
dull and uninteresting. A carriage should therefore be taken as far as
the gates at least (80 c. ; beyond the gates according to agreement). The
sity should , if possible, be regained about sunset. The gates are closed
at 8 p. m.

The principal points of interest only can here be pointed out. Those
who desire to extend their expeditions beyond these limits will find a suf-
ficient indication of the routes among the longer excursions (p. 271). The
Cavaliere Pietro Rosa, superintendent of the French excavations on the
Palatine (p. 180), and at present the most learned investigator of the Cam-
pagna, usually forms scientific parties in spring for the purpose of visiting
historically interesting localities, as Veii (p. 294), Fidenee (p. 269), Hadrian's
Villa (p. 281) etc., and kindly permits strangers introduced to him to join
the excursions.

A. Short Excursions in the Campagna.

The excursions are enumerated according to the order of the
gates from S. to N.

From the Porta Portese (PI. Ill, 15).

Grove of the Arvales. This excursion (occupying about 4 hrs.J
is interesting to the archaeologist only. About 2i/i M. from the
gate, the Via Campana diverges to the 1. from the old Via Por-
tuensis, and follows the bank of the Tiber. Between the 4th
arid 5th milestones it reaches the Vigna Ceccarelli (where the
railway to Civita Vecchia intersects the road), and, farther on,
the stat. Magliana. It has been recently ascertained that the
Vigna Ceccarelli is the site of the sacred grove of the 'Fratres
Arvales'.

The corporation of the 12 Arvales was of very ancient Latin origin,
founded according to tradition by the sons of Acca Larentia ('mother of the
Lares'), the foster-mother of Romulus. The society, whose original object
was to offer a yearly sacrifice to the Dea Dia ('goddess of plenty'), and call
down her blessing on the fields, was entirely remodelled by Augustus. The
three-days' festivities in May, with their ceremonies and sacrifices, were
still celebrated, but a number of other rites were added which related ex-
clusively to the worship of the prevailing dynasty. The homely 'agricultu-
ral brotherhood' became a privileged order , consisting of the relations and
friends of the emperor, whose time was more occupied with prayers for
the prosperity of the imperial house, sacrifices and banquets on the occa-
' sion of victories and birthdays, etc., than with the worship of the Dea Dia.
Records of these festivities were engraved on stone and preserved in the
sacred grove.

17*

260 Route 13. TRE FONTANE. Environs

The first discovery of these records was made in this vigna (then the
Vigna Galetti) in 1570, when, besides 19 fragments of inscriptions , 7 bases
of statues of Roman emperors in their capacity as 'fratres arvales' were
found. Two other inscriptions were excavated here in 1699, and several
other fragments in 1857. This must therefore have been the site of the
sacred grove, which moreover is stated by the inscriptions to have been
situated on the Via Campana, between the 4th and 5th milestones. The
most important discovery , however , was that of an uninjured arval tablet
in 1866, in consequence of which Prof. Henzen of the Archaeological Insti-
tute, with the; aid of funds provided by the king of Prussia, undertook
systematic excavations in the Vigna in 1867 and 1868. The result has been
eminently successful, the number of objects brought to light has been more
than doubled, and a most important source of information with regard to
the history of imperial Rome, not less valuable than the Fasti Consulares
of the Capitol (p. 206), thus obtained. The inscriptions extend from the
reign of Augustus to that of Gordian (3rd cent.) , after which all trace of
the fraternity is lost. It is therefore conjectured that Philip, Gordian's
successor, who was suspected of an inclination for Christianity, formally
dissolved the corporation.

The ancient foundations on which the Casino of the vigna
rests belong to the circular temple of the Dea Dia, which lay in
the middle of the grove. In the plain below the grove (on the
other side of the road) there are remains of the house in which
the fraternity assembled, originally a rectangular building, with a
hall enclosed by rows of columns. The above-mentioned festi-
vities were celebrated here , and sacrifices were offered to the
emperors whose statues adorned the structure. A shed on the 1.
of the house contains the inscriptions brought to light by the ex-
cavations, arranged chiefly by Prof. Henzen. Higher up the hill
lay an ancient Christian burial-place , where considerable remains
of an oratory of Pope Damasus have been discovered. Adjacent
is the entrance to the Catacombs of St. Oenerosa , discovered in
1868 during the excavations. They are of small extent and of
remarkably primitive construction , but are in excellent preser-
vation and merit a visit.

Magliana. Near the station of that name (p. 12) is situated
the dilapidated hunting chateau La Magliana, the property of the
convent of St. Cecilia, once a favourite residence of Innocent VIII.,
Julius II., Leo X., and several other popes. The building, which
is tastefully decorated in the Renaissance style, once contained
frescoes attributed to Raphael, but now removed.

From the Porta S. Paolo (PI. II , 16).

Tre Fontane. The route as far as the gate, the Protestant
Cemetery , the Pyramid of Cestius , and the Church of S. Paolo
fuori le Mura is described at pp. 187 and 190, and may con-
veniently be combined with this excursion. Those who desire to
proceed to the church direct may avail themselves of the omnibus
thither, which starts every 1/2 nr- fr°m tne Piazza di Venezia, at
the back of Gesil (6 soldi), a drive of 23 min.

Opposite S. Paolo a pleasant route of 2 M. diverges to S.

of Rome. VIA APPIA. 13. Route. 261

Sebastiano on the Via Appia (p. 262), and intersects the Via
Ardeatina.

The present route proceeds in a straight direction, and 7 min.
beyond the church divides at the Osteria del Ponticello ; r. the
ancient Via Ostiensis diverges to Ostia (p. 209) , 1. the Via Ar-
deatina Nuova. The latter leads in l/2 hr. to the Abbey delle tre
Fontane (ad aquas Salvias), almost entirely abandoned on account
of the unhealthiness of the situation. A monk who generally
remains here till the evening will be found to act as guide. The
appellation is derived from three springs which are said to have
welled forth when the apostle Paul was executed here , and his
head was observed to make three distinct leaps. The three churches
are approached by an archway bearing traces of painting , which
is believed to have pertained to an earlier church of John the
Baptist. *SS. Vincenzo ed Anastasio, the largest of the churches,
a basilica in the ancient style, was founded by Honorius I., re-
stored in 1221 by Honorius III., as the inscription to the 1. of
the choir records, and has retained much of its antique peculiari-
ties , especially the marble windows over the nave. The portico
contains traces of paintings , among them the portrait of Hono-
rius III. The pillars are embellished with the figures of the
12 apostles, from Marcantonio's engravings of designs by Raphael,
recently badly restored. To the r. of this is the second church, the
circular S. Maria Scala Cozli, so called because the 'vision' here
appeared to St. Bernhard (to whom Innocent III. had presented the
monastery) of a heavenly ladder, on which angels conducted to hea-
ven those whom his prayers had released from purgatory. Its pre-
sent form dates from the close of the 16th cent. The tribune
contains good mosaics by F. Zuccaro: the saints Zeno, Bernhard,
Vincent the deacon , and Vine. Anastasius , revered by Cle-
ment VIII. and Card. Aldobrandini, the finisher of the church. The
third of the churches, S. Paolo alle tre Fontane, stands on the spot
where the apostle is said to have been beheaded, and contains the
three springs already mentioned; on the r. is 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.

From the Porta S. Sebastiano (PI. Ill, 28).

The route by the Via di Porta S. Sebastiano as far as the
gate , and the ruins and edifices situated near it , are described
at p. 191.

Via Appia. The military road, constructed B. C. 212 by the
censor Appius Claudius Csecus, led by the ancient Porta Capena,
near the church of S. Gregorio (in the vigna of which fragments
of the wall of Severus were discovered in 1869), to Capua, whence
it was subsequently extended to Beneventum and Brundisium. In
1850 — 53 it was excavated by order of Pius IX., under the super-

262 Route 13. DOMINE QUO VADIS. Environs

intendence of the minister of commerce Jacobini and the architect
Canina, as far as the 11th milestone, and to this day verifies its
ancient appellation of the 'queen of roads'. It affords perhaps the
finest of all the excursions in the Campagna. Shortly after the
city is quitted, a most magnificent prospect is enjoyed, embracing
the Campagna , the ruins of the aqueducts , and the mountains,
whilst on either side of the road numerous ancient tombs are
situated. But few of the latter are preserved; the remnants of
the others have been carefully restored by Canina, so as at least
to convey an idea of their architecture and decoration. Pedestrians
are recommended to take a carriage (2— 2i/2 fr. for one-horse) as
far as the tomb of Caecilia Metella (p. 263) , and proceed thence
on foot at least as far as Casale Rotondo (p. 264), an excursion
of 4—5 hrs. With this a visit to the ruins in the Caffarella
valley (p. 265) may most suitably be combined by the pedestrian,
who will thus considerably abridge the first and uninteresting
portion of the route.

From the gate the road, the ancient Clivus Martis, descends,
intersected after 4 min. by the railway to Civita Vecchia. About
3 min. farther the brook Almo is crossed, where ruins of tombs
are observed on the r. and 1. After 5 min. more the Via Ar-
deatina diverges to the r. ; on the 1. stands the small church of
Domiue Quo Vadis, so named from the legend that St. Peter,
fleeing from the death of a martyr, here met his Master and en-
quired of him: ' Domine quo vadis?' to which he received the
reply : 'Venio iterum crucifigf ; whereupon the apostle, ashamed
of his weakness , returned. A footprint which Christ is said to
have impressed on the marble is shown here.

A short distance beyond the church a field-road diverges to
the 1., by a small circular chapel, to the Caffarella Valley (p. 265).
The high road now ascends , being enclosed for the next i/2 ^.
by unsightly walls. To the r., H/4 M. from the gate, is the en-
trance to the Catacombs of St. Calixtus (p. 256), furnished with
an inscription and shaded with cypresses. A carriage-road soon
afterwards diverges to the 1., leading by S. Drbano (p. 265) and
the baths of Acqua Santa to (3 M.) the so-called ruins of Roma
Vecchia (p. 264), on the high road to Albano (Via Appia Nuova).
Then, i/i M. from the catacombs, the road reaches the church of
S. Sebastiano, which from a very early period belonged to the
seven churches frequented by pilgrims, being erected over the ca-
tacombs where the remains of so many martyrs reposed. Mention
of it is first made under Gregory the Great. The form was origi-
nally that of a basilica , but in 1612 it was altered by Flaminio
Ponzio and Giov. Vasanzio. The portico is supported by six an-
cient columns of granite. The first chapel on the r. contains a
'footprint of Christ' on stone; the last on the r. was designed by
C. Maratta. Over the high altar a painting by Innocenzo Tacconi,

of Rome. CIRCUS OF MAXENTIUS. 13. Route. 263

pupil of Ann. Caracci. The second chapel on the 1. contains
a good statue of S. Sebastian, designed by Bernini and executed
by Giorgini. A stair on the 1. by the egress descends to the
catacombs (1 fr. ) , which however are uninteresting compared
with those of Calixtus.

A short distance farther, on the opposite side of the road,
lies the * Circus of Maxentius, constructed in 311. It is suffi-
ciently excavated and well-preserved to exhibit the arrangement
of the structure , whioh was destined for chariot-races. Length
1574 ft., breadth 269 ft. Facing the Via Appia was once an ex-
tensive colonnade, behind it a grand entrance, opposite to which
was another in the semicircle which terminated the structure (on
the above-mentioned road, which to the 1. leads to S. Urbano).
At the sides were other gates, of which the first on the r. is sup-
posed to be the Porta Libitina, by which the dead were carried out.
On either side of the first-mentioned main entrance were the car-
ceres, or barriers. The chariots starting hence had seven times to
perform 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 embellished with statues and obelisks
(one of these now stands in the Piazza Navona, p. 154). At the ex-
tremities of this wall stood the metae, or goals. The direction of
the spina was somewhat oblique, with a view to equalise the disad-
vantages of those starting in different positions; for the same rea-
son the carceres are in a curved line. The spectators sat on 10
tiers of steps around , on which about 18,000 could be accom-
modated. — The ruins of a circular building near the circus, on
the Via Appia , are supposed to be those of a temple of Romu-
lus, the son of Maxentius, who died at an early age, and to whose
honour the circus was perhaps also constructed.

The traveller now ascends in 5 min. to the * Tomb of Csecilia
Metella, which forms so conspicuous an object in the views of
Rome and the Campagna, a circular structure , upwards of 60 ft.
in diameter, on a square basement, both of which were originally
covered with travertine. The frieze above is adorned with wreaths
of flowers and skulls of oxen, from which latter the tomb derives
its appellation of Capo di Bove. On a marble tablet facing the road
is inscribed : Caeciliae Q. Cretici Filiae Metellae Crassi , i. e. to
the manes of the daughter of Metellus C'reticus, wife of the trium-
vir Crassus , who was interred here. The interior , now almost
entirely filled up, contained the tomb-chamber of the deceased. In
the 13th cent, the Gaetani converted the edifice into the tower of a
stronghold , and furnished it with pinnacles. 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.

As far as this locality extends a lava-stream which once de-

264 Route 13. TEMPLE OF DEUS REDICULUS. Environs

scer.ded from the Alban Mts. and yielded paving material for the
ancient road. The more interesting portion of the Via now begins,
the ancient pavement is in most places visible , on both sides
continuous rows of tombs skirt the road, most of them, however,
in a ruined state, and the view becomes more extensive at every
step. On the 1. the adjacent arches of the Aqua Marcia and
Claudia are perceived, the latter now partially converted into the
modern Acqua Felice. The road gradually ceases to be bordered
by houses, and 2i/4 M. from the city-gate the entrance to the
excavated portion of the Via Appia , flanked beyond this point
by a dense succession of tombs , is attained. Many of the lat;er
contain reliefs and inscriptions worthy of note. The scenery
continues to be of the most sublime description. On the 1.,
1 '/* ^- ffom tne entrance, a ' casale has been built within
the walls of an ancient church , the so-called S. Maria Nuova.
Beyond it lie the extensive ruins known as Roma Vecehia,
which appear to have belonged to a spacious villa of the Quintilii.
Several of the chambers were employed as baths.

A large tomb on the 1., the site of which is now occupied
by a small farm, 3/4 M. from Roma Vecehia, is termed Casale
Rotondo. It lies by the 6th milestone, and, according to Canina,
was erected for Messala Corvinus , a statesman and poet of con-
siderable reputation under Augustus. This conjecture , however,
is not borne out by sufficient evidence. It may be ascended for
the sake of the fine view it commands. The lofty structure
on the 1., 7 min. farther, on the same side, is an ancient tomb
on which the Arabians and Normans subsequently erected a
tower, named Tor di Selce (tower of basalt).

The prolongation of the Via Appia hence to Albano (7'/'2 M.)
is less interesting. Among the tombs may be mentioned, on the
1., 2 M. beyond Tor di Selce, the circular Torraccio, or Palombaro,
name of deceased unknown. Pedestrians may by crossing the fields
to the 1. from Tor di Selce (or by a field-road 1 M. farther, leading
to the Via Appia Nuova), and intersecting the Via Appia Nuova
(at a point about 6 M. from the city-gate), reach stat. Ciampino
(pp. 271, 276) in 1 hr., and return by one of the trains from
Albano or Frascati (fares lfr. 60, 1 fr., 70 c). At the 11th milestone
the road is intersected by the railway, a short distance beyond
which is the Osteria delle Fratocchie; hence to Albano see p 277.

Temple of the Deus Rediculus. Grotto of Egeria. S. Urbano.
At the small chapel beyond the church of Domine quo Vadis the
field-road (very muddy after rain) to the 1. is taken, leading
for '/-2 M. between hedges. When the open fields are reached,
the road descending to the 1. to the mill is followed. Near the
latter is situated the so-called Temple of the Deus Rediculus, a
Roman tomb of Hadrian's time, on an ancient road which formerly
issued from the now closed Porta Latina. The architecture is

of Rome. S. URBANO. 13. Route. 265

tasteful; the brick ornaments, Corinthian pilasters (on the S. lateral
wall half-columns), and cornicing should be noticed. The interior
(5 soldi) contains two storeys with cross-vaulting.

Returning hence to the road . the traveller may next ascend
the valley of the Almo or Caffarella. The carriage-road is followed
in a straight direction; after 5 ruin, a gate (cancello) is passed
through, immediately beyond which a road diverges to the Tenuta
on the 1. ; 2 min. farther, after a second cancello is passed, the
carriage-road, which should be quitted in order to follow the path
by the brook, ascends to the r. to S. Urbano. This leads to the
so-called Grotto of Egeria, which was here sought for , owing to
an erroneous interpretation of a passage of Juvenal. It is a Nym-
phsum , the shrine of the brook Almo which flows past it , ori-
ginally covered with marble, and erected at a somewhat late
period. A niche in the posterior wall contains t!ie mutilated
statue of the river-god; the niches in the lateral walls were also
once occupied by statues.

The footpath now passes a small, but formerly more extensive
wood on the hill, where, according to the account of the ciceroni,
Numa is said to have, held his interviews with the nymph Egeria,
and ascends to S. Urbano , a Roman tomb of the time of the
Antonines, long regarded as a temple of Bacchus, an object
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 columns, which was probably walled up
during the restoration in 1634 , on which occasion the flying
buttresses were also added. The interior (5 soldi) is adorned
with paintings between the Corinthian 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 Bonizo in the year 1011. On the
posterior wall is Christ on a throne imparting blessings; also
scenes from the lives of Christ, St. Urban, and St. Cecilia. A
stair, now walled up, is said to lead to the catacombs. From the
small wood on the neighbouring hill there is a magnificent pro-
spect of the Campagna and Alban Mts.

The path, partially shaded by trees, and commanding charming
views, leads from S. Urbano in 2 min. to the high road, which
to the r. leads to the Via Appia, above the catacombs of Calixtus,
in 9 min. (p. 262). Or if the high road be followed to the 1.,
it leads in 2 min. to the Circus of Maxentius , which may be
traversed, and the traveller thus reaches the Via Appia below
the Tomb of Caecilia Metella. Those who prefer it may drive as
far as S. Urbano, and descend thence to the Grotto of Egeria.

In the other direction the pedestrian may cross the valley of
the Almo, leaping a few small ditches, and traverse the fields so

266 Route 13. VIA LATINA. Environs

as to reach the Via Appia Nuova (i/4 hr.). The tombs on the Via
Latina, a visit to which may be conveniently combined with this,
lie near the 2nd milestone , near which the pedestrian arrives •
the direction to he followed inclines towards the city.

From the Porta S. Giovanni (PI. II, 33).

Tombs on the Via Latina. The ancient Via Latina diverged
from the Via Appia outside the Porta Capena; the now closed
Porta Latina in the wall of Aurelian was destined for its point of
issue. Like the Via Appia and the other roads emerging from
Rome, it was bordered by tombs on hoth sides, several of which,
interesting especially on account of their decorations , were ex-
cavated in 1862. The route thither is in a straight direction by
the Via Appia Nuova leading to Albano , issuing from the Porta
S. Giovanni, and commanding beautiful views. At the Trattoria
of Baldinotti the road to the 1. leads to Frascati (p. 271). The
high road is followed as far as the second milestone of the present
route, immediately beyond which it is quitted by a road leading
to the 1. to the anc'ent Via Latina, passing the remnants of the
ancient road , where two interesting Tombs are situated (which
may he reached by carriage). The custodian (fee l/% fr. ; for a party
1 — li/2 fr.) is to be found on the spot in winter. That on the
r., with the two recently restored Roman pilasters, consisted of
an anterior court and subterranean tomb , over which the now
re-erected sacellum with two columns arose. The interior of the
chamber is decorated with interesting reliefs in stucco , sea-mon-
sters, nymphs, and genii. The other tomb, beneath a shed opposite,
contains in its single chamber landscapes and mythological paint-
ings , framed in * stucco ornaments , the subjects of which are
principally derived from the Trojan traditions. According to the
inscriptions, both date from the close of the 2nd cent. The third
tomb is uninteresting. A few paces beyond this point, a
charming view is obtained. In the immediate vicinity the foun-
dations of a basilica, dedicated to St. Stephen in the 5th cent.,
have been excavated. From this point it is a walk of 10 min.
only , across the fields, to the Porta Furba , so that these ex-
cursions may be conveniently combined. Travellers by carriage
should direct the driver to proceed thither.

About 3/4 M. farther on the Via Appia Nuova a road diverges
to the cold mineral-baths of Acqaa Santa, and passing the circus
of Maxentius and S. Urbano , leads to the Via Appia near the
catacombs of Calixtus (see p. 262).

Porta Furba. This excursion of 2 — 3 hrs. is pleasanter than
many others, as the view is for short distances only obstructed by
walls (carriage thither from the gate and back, 2 — 4 fr.). From
Porta S. Giovanni a straight direction is followed for 5 min.; at
the Osteria the road to Frascati is entered to the 1., which after

of Rome. TOR DE ' SCHIAVI. 13. Route 267

a short distance is crossed by the railway to Civita Vecchia. To
the 1. the unbroken series of arches of the Acqua Felice is kept
in view, and in front of them the Aqua Claudia and Marcia, run-
ning one above the other, occasionally appear. The Acqua Felice,
completed by Sixtus V. in 1585 , and subsequently frequently
restored, extends from the base of the Alban Mts. near Colonna,
11 M. in length (2/3rds subterraneous), and terminates at the
Fontana di Termini (PL I, 22). The Aqua Marcia, constructed
by the Praetor Q. Martius Rex, B. C. 146, extends as far as the
Sabine Mts., 56 M. in length; its water was considered the
purest in Rome. Over it flows here the Aqua Claudia, erected
A. D. 50 by the Emp. Claudius, extending from the vicinity of
Subiaco , a distance of 58^2 M. — To the r. a view of the Via
Appia with the tomb of Caecilia Metella. 2 M. from the gate the
'Porta Furba' is reached, being an arch of the Acqua Felice, be-
neath which the road leads. An exquisite * prospect is here en-
joyed of the Campagna and the Alban Mts., beyond which rise
the more distant Sabine Mts. Below runs the railway to Naples
and Frascati. About 2 min. from the Porta Furba, the *Osteria
del Pino stands by the pine on the r.

From the Porta Mag giore (PI. II, 35).

Two high roads issue hence : r. the Via Labicana, 1. the Via
Pranestina. On the ancient Via Labicana, which leads to Pales-
trina (comp. p. 287), 3 M. distant, are situated the remains of
the octagonal Monument of the Empress Helena, whose sarcophagus
found here is now preserved in the Vatican. The structure is
termed Torre Pignattara from the earthenware vessels (pignatte)
immured in the vaulting on account of their lighter weight , as
was customary during the period of the empire. It contains little
to arrest the traveller's attention.

Tor de' Schiavi. Outside the Porta Maggiore the ancient Via
Praenestina is followed to the 1. , a little frequented route, but,
as the city is left behind, commanding beautiful views of the
mountains. About 1 M. from the gate the vineyard-walls cease.
Numerous ruins of tombs on the r. indicate the direction of the
ancient route, which affords a more unobstructed view than the
lower level of the road , and may be reached by crossing the
fields. About 2 M. from the city-gate the ruins termed Tor
de' Schiavi are attained. They probably belonged to an extensive
villa of the Gordians. First, to the 1. of the road, is a hexagonal
structure, almost entirely fallen to decay. A column in the centre
and the additional erection on the summit, both mediaeval, impart
a grotesque aspect to the place. Farther on is a circular building
with niches and dome, used in the middle ages as a church, and
decorated with now nearly obliterated frescoes ; beneath (entrance
in the rear) is a vault supported by strong pillars in the centre.

268 Route 13. MEN TANA. Environs

Both of these buildings are conjectured to have been pertinents
of a bath-establishment. Among the extensive ruins on the r.
of the road are a few columbaria.

The road proceeds hence to (12 M.J Gabii , and Palestrina
(comp. p. 287), about 10 M. farther.

3 M. from the city-gate the road, diverging to the 1. (ancient
Via Collatina) and skirting the Ac qua Vergine , leads to *Lun-
ghezza, the ancient Collatia, 10 M. distant, a tenuta (or farm) of
the Duca Strozzi, on the Anio, forming a charmingly shaded oasis
in the Campagna. On this road, 5 M. from Rome, lies the Tenuta
Cervara, with the celebrated Orottoes of Cervara.

From the Porta S. Lorenzo (PI. II, 31).
The road issuing from this gate leads to the church of the
same name (p. 139), and thence to Tivoli (p. 281).

From the Porta Pia (PI. I, 30).

The road issuing hence , the ancient Via Nomentana , passes
the Villa Torlonia and the church of S. Agnese with the adjoining
•catacombs (p. 257). 2 M. from the gate it crosses the Anio by an
ancient, but frequently restored bridge (Ponte Nomentano), sur-
mounted by a tower. This road is also bordered with ancient
tombs. 3 M. from the gate, on the r., is the picturesque and
conspicuous Casale dei Pazzi. Beyond it is a hill on the 1., con-
jectured to be the Mons Sacer celebrated for the secession of the
Plebs. 6 M. farther are the catacombs of Alexander (p. 257).

A short distance beyond the catacombs, a road to the r. diver-
ges to Palombara, situated at the foot of M. Gennaro, 21 M. from
Rome. The road to the 1. leads to Mentana, a village belonging
to the Borghese family, in the vicinity of the ancient Nomentum,
15 M. from Rome, in recent times the scene of a battle between
the Garibaldians and the French and Papal troops, Nov. 3rd, 1867.
The district is in many places extremely bleak, but affords beauti-
ful views of the slopes of the Sabine Mts. From Mentana to
Monte Rotondo 2 M., at the base of which the railway-station
is situated (p. 65).

From the Porta Salara (PI. I, 27).
The Via Salara , a road of very ancient construction , quits
Rome by the bank of the Tiber, and then turns towards the dis-
trict of the Sabines. It passes the Villa Albani (p. 126), and
reaches the Anio about 2'/4 M. from the city-gate. On the hill
to the 1., in the angle which the Anio forms at its junction with
the Tiber, once lay Antemnae, destroyed by Romulus. The sum-
mit commands a noble prospect. A visit to this point is best
combined with that to Acqua Acetosa (see below). The Ponte
Salaro over the Anio, with its 2 arches, was destroyed by Totilas,

of Borne. ACQUA ACETOSA. 13. Route. 269

and subsequently renewed by Narses, but during the invasion of
Garibaldi in 1867 it was again blown up ; the ancient foundation
of tuffstone may be distinguished from the superstructure of tra-
vertine. Beyond the bridge an ancient tomb , built over in the
middle ages, now serves as an Osteria. 5.M. from the gate is the
Villa Spada. From this point to the height on the r. extended
the ancient Fidenae, once allied with Veii against Rome, and only
subdued with its confederate after protracted struggles. Few
traces of the city are now recognisable. The fortress lay on the
hill close to the river , which is now occupied by Castel Giubileo
(6 M. from Rome). The summit affords a beautiful and extensive
*view. The castle was erected by Boniface VIII. in 1300, and is
said to derive its name from a family to whom it once belonged.
The road continues to skirt the river in the plain. 11 M.
from Rome the Scannabechi is reached, recognised as the ancient
Allia, on which the Romans were signally defeated by the Gauls,
B.C. 399. 2 M. farther is the railway-station of Monte Rotondo.

From the Porta del Popolo (PI. I, 15).

Acqua Acetosa. The uninteresting route as far as Ponte Molle,
a distance of I1/2 M. (p. 41), enclosed by houses and walls, should
he performed by carriage (omnibus on Sunday afternoons from
the Piazza del Popolo, 6 soldi; carriage l1^ — 2 fr.).

Immediately to the r. outside the gate is the entrance to the
Villa Borghese (p. 122). After */2 M. the Casino di Papa Oiulio
is reached on the r., whence a field-road leads to Acqua Acetosa
(1^2 M.). This road passes the Villa di Papa Oiulio, erected by
Vignola for Julius III. (on the groundfloor *two rooms with richly
decorated ceilings, worthy of a visit : handsome court with fountain j
V2 fr.)) formerly celebrated for its splendour, but now deserted.

Farther on , following the high road, is S. Andrea on the r. ,
founded by Julius III. in 1527 in commemoration of his delive-
rance out of the hands of the Germans , erected by Vignola in
the finest style of the Renaissance. Shortly before the bridge is
reached is a second chapel of St. Andrew on the r. (comp. p. 41).

Beyond the Ponte Molle is a popular osteria. The present route,
one of the most charming in the Roman Campagna, turns to the
r. immediately before the bridge and skirts the river for !/2 nr->
commanding fine views and leading to the Acqua Acetosa , a
highly-prized mineral-spring, enclosed by a building erected by
Bernini, under Alexander VI.

A more direct route (2 M.) leads hence to the city between
fences and garden-walls , passing the Villa di Papa Giulio (see
above).

A more attractive, but longer return-route is by the height
of Antemnae and the Via Salara (4^2 M.), see p. 268. A field-
road is followed, which often entirely disappears, leading at first

270 Route 13. MONTE MARIO. V Environs

to the 1. in the plain by the river, then ascending the hill,
■where it runs at a considerable height above the Anio, and reaches
the bridge of the Via Salara (comp. p. 268).

Beyond the Ponte Molle the Via Cassia (p. 295) diverges to
the 1., and the Via Flaminia to the r. in the vicinity of the river.
By the latter ah attractive excursion may be made to Prima Porta
(p. 68), 7 M. from Rome. One-horse carriage 5 — 7 fr. About 2 M.
from the Ponte Molle the tufa hills begin to rise. In the first
of these is an interesting rock-tomb of the Nasones , containing
greatly damaged stucco-decorations. * Magnificent view from the
top. If the valley , which stretches to the 1. on this side of
the same hill, be followed for about 2 M., the traveller reaches
the Vol di Pussino, named after a painter of that name, with a
picturesquely situated 'tenuta'. On the r. of the road are the
ruins of an ancient tomb, termed Tor di Quinto.

Immediately to the 1. of the bridge a carriage-road, at first
skirting the river, leads to Porta Angelica; after 3/4 M. a road
ascends thence to the r. to the Villa Madama (see below).

From the Porta Angelica (PI. I, 8).

Monte Mario. Two principal routes issue from this gate: r.
that in the plain, finally skirting the river, to Ponte Molle, 2 M.,
unattractive; 1. that to M. Mario. This mountain is the N. emi-
nence of the range of hills which form the Janiculus; in ancient
times it was termed Clivus Cinnae , in the middle ages Monte
Malo ; its present name is derived from Mario Mellini, the pro-
prietor in the time of Sixtus IV. of the villa mentioned below.
After passing several osterie , which are favourite resorts of the
lower classes in October, the base of the hill is reached (1 M.);
the carriage-road ascends by long windings , which may be cut
off by means of steep footpaths. A fine view is obtained from
the road on the summit, but is far surpassed by the prospect
from the villa. The road passes (1.) the church of 5. Maria del
Rosario, and beyond it (r.) the chapel of 5. Croce di M. Mario,
and then (by a pine-tree) reaches the entrance to the Villa Mellini
(fee */2 fr- f°r eacn person). Traversing an avenue of oaks , the
visitor arrives at the avenue passing the villa and extending along
the brow of the hill to its culminating point. The view is
unbounded on every side, embracing Rome, the Campagna, and
the mountains as far as the sea. Near the villa is an *Osteria
commanding a beautiful view.

Villa Madama. The above-mentioned carriage-road to Ponte
Molle is followed for l1/-2 M., when a road to the 1. leads direct
to the villa. It was erected by 6. Romano from Raphael's designs
for Card. Giulio de' Medici (afterwards Clement VII.). It subse-
quenily came into the possession of the Farnese family, then
into that of the kings of Naples ; it was formerly in a dilapidated

of Home. FRASCATI. 13. Route. 271

condition , but is now at least preserved from ruin. It contains
a picturesque , overgrown fountain-basin , and a fine loggia with
frescoes by 6. Romano and Giov. da Udine (7-2 fr.). Beautiful
view.

B. Longer Excursions from Borne

to the Mountains and the Sea.

The Alban Mountains.

The railways to Frascati and Albano render the Alban Mts. so easily
accessible from Rome , that even those whose time is limited may con-
trive within a single day to obtain a glimpse at some of the most interest-
ing points. Rome should, if possible, be quitted in the evening, in order
that the excursion may be commenced at an early hour on the following
morning.

Time necessary for Frascati, the villas, and Tusculum 13|4 — 2 hrs., thence
to Rocca di Papa (p. 275) 1 hr. (guide necessary , 1 fr.), ascent of Monte
Cavo 3J4 hr., descent 20 min., to Nemi 13|4 hr., Genzano 13[4 hr., Ariccia 1\z
hr., Albano ilt hr., i. e. 7 — 8 hrs. (without halt), which may be somewhat
diminished if the route from Rocca di Papa direct to Albano by Palazzuola
(p. 276) be taken. In the reverse direction, beginning with Albano, the ex-
cursion occupies about the same time. If the excursion be made by Gen-
zano and Nemi , Castel Gandolfo (p. 278) should be visited first. Those
whose time permits will of course find it far more enjoyable to devote se-
veral days to a tour among these mountains. The only good inns are at
Frascati and Albano, but the smaller villages afford accommodation for the
night in case of necessity. For a stay of several days Albano is recommend-
ed, as a number of the most beautiful excursions are most conveniently
accomplished thence.

The traveller is recommended to hire a donkey at Ariccia (where the
best are to be had), or at Frascati; charge, with guide 4 — 5 fr. daily;
guide alone 2 — 2i|o fr. A precise programme of the excursion should be
agreed upon with the guides , as they are apt to abridge the journey to
the traveller's disadvantage. A supply uf provisions for the expedition
will also be found desirable. Carriages may be hired at Frascati and
Albano , but the most interesting routes are only practicable for pedestrians
and riders.

For a visit to the Alban Mts. the stations of Marino (p. 274) and Civita
Lavinia (p. 279) are also available.

Frascati.

Railway in 1/2 hr., fares 2 fr. 45, 1 fr. 55. and 1 fr. 5 c. ; 3—4 trains
daily. Comp. remark p. 276. Journey to stat. Ciampino see p. 277. Here
the main-line to Albano and Naples proceeds to the r. The train to Fras-
cati gradually ascends , passes through a tunnel , and stops at the station,
1 M. distant from the town. Omnibus thither 5 soldi. Frascati with its
villas does not become visible until the last winding of the road is reached.
The pedestrian may reach the town more expeditiously by ascending the
hill to the 1.

Vetturini also convey passengers to Frascati twice daily from the
Tre Re near S. Marco (PI. II, 16) in 2>|2 hrs., fare 2—3 fr. , but this mode
of travelling cannot be recommended. One-horse carriage about 15 fr. and
gratuity.

Guides and Proprietors of Donkeys proffer their services on the arrival
of the stranger. Guide to Tusculum and the villas (necessary only when
time is limited) l1^ fr., donkey about the same. The route is to the villas
Aldobrandini (p. 272) and Ruffinella (p. 272) , returning by the monastery
of Camaldoli (p. 273) and the villas Mondragone (p. 272) and Taverna (p. 272).
The traveller desirous of immediately continuing his route to Albano may

272 Route 13. FRASCATI. Environs

proceed from Tusculum (guide necessary as far as Nemi or Palazzuola.
about lij2 fr.), by a forest-road to Rocca di Papa (p. 275), without returning
to Frascati. A visit from Frascati to Tusculum and the villas and back
requires 2'|2 — 3 hrs.

Frascati (* Albergo di Londra in the piazza, charges according
to agreement; Trattoria Campana, adjacent to the hotel), with
its charming -villas, in a healthy and invigorating situation on
the slope of the mountains, is a favourite summer-resort. Apart-
ments may he hired at several of the villas {Villa Piccolomini,
V. Falconieri, V. Muti, etc.). The town itself, uninteresting and
of comparatively modern origin, arose, after the ancient Tusculum
had been destroyed by the Romans in 1191, on the ruins of an
ancient villa, overgrown with underwood (frasche), whence its
appellation. The older cathedral of 8. Rocco was erected in 1309,
that of S. Pietro in 1700 under Innocent XII. The latter contains,
1. of the high- altar, a memorial-tablet of Charles Edward the young
Pretender, grandson of James II., who died at Frascati, Jan. 31st,
1788. The Church of the Capuchins above the town possesses a
few pictures. A circular tomb below the Villa Piccolomini is erro-
neously called that of Lucullus.

The shaded and well-watered villas , always accessible to the
public, constitute the great charm of Frascati. Villa Piccolomini,
above the town , was once the residence of the erudite Cardinal
Baronius. The magnificent * Villa Aldobrandini, now the property
of the Borghese, was erected for Cardinal Pietro Aldobrandini,
nephew of Clement VIII., from the designs of Giac. della Porta.
It 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 semicircular building.
V. Montalio , erected by the Peretti , came into the possession
of the Propaganda in 1835. * Villa Ruffinella (or Tusculana), of
the 16th cent., formerly the property of Lucian Buonaparte, sub-
sequently of Maria Christina, Queen of Sardinia, now belongs to
King Victor Emmanuel. Here in November, 1818, Lucian was
attacked and plundered by robbers , an event admirably described
in Washington Irving's 'Adventure of the Artist'. The celebrated
villa of Cicero is generally believed to have occupied this site.
Inscriptions and antiquities found in the neighbourhood are shown.
Villa Conti, outside the Porta S. Pietro, the property of the Duca
Marino Torlonia , brother of the banker , possesses fine fountains
and beautiful points of view. Villa Taverna, on the route to
Camaldoli , and the neighbouring Villa Mondragone, erected by
Cardinal Altemps under Gregory XIII. , both the property of the
Borghese, are surrounded by delightful gardens and points of view.
The latter is now fitted up by the Jesuits as an educational
establishment. Villa Falconieri, the oldest in Frascati, founded
about 1550 by Cardinal Ruffini , erected by Borromini, possesses
pictures by C. Maratta etc., and stands in shady gardens.

of Rome. TUSCULUM. 13. Route. 273

A shaded road , partly ancient , leads above the villas Mon-
dragone and Ruflinella in '/2 nr- *°

Tnsculum, a town of great antiquity, the foundation of which
is traditionally ascribed to Telemachus, son of Ulysses, the birth-
place of the elder Cato and a favourite residence of Cicero. The
castle on the summit of the hill was in the middle ages occupied
by a warlike race of counts , who were generally in league with
the emperors against the Romans. The latter were signally de-
feated under Frederick I., May 30th, 1167, in retaliation for which
they took possession of, and entirely dismantled the castle under
Celcstine III. in 1101. Nothing therefore now remains of the an-
cient Tusciilum but a heap of ruins. In ascending from the Villa
Ruftinella, the traveller soon obtains a view of the Amphitheatre,
outside the town-walls. It is 338 ft. in length, 170 ft. in breadth,
and is termed by the guides Scuola di Cicerone. It was exca-
vated , as an inscription records , in presence of Maria Christina,
dowager Queen of Sardinia, on the occasion of the arrival of Gre-
gory XVI., Oct. 7th, 1839. The so-called Villa of Cicero, exca-
vated in 1861 by Prince Aldobrandini, is next reached. On the r. is
the ancient Forum and the * Theatre, excavated by Lucian Buona-
parte, and remarkably well preserved; adjacent is a small building
resembling a theatre, probably used as a lecture-room. In the rear
is situated a Reservoir (piscina) in four compartments. Here the
guides are generally desirous of returning, but the castle, which
is easily reached on the back of a donkey, should by all means be
ascended. The ancient *('astle (arx) stands on an artificially hewn
rock, now surmounted by a cross, '212 ft. above the town. Two
gateways and the direction of the walls are still distinguishable.
The *view from the summit is splendid. On the r. Cainaldoli
and Monte Por/.io, farther distant the Sabine Mts. , with Tivoli
and Monticelli , then Soracte and the Ciminian Mts., towards the
sea the broad Campagna with its aqueducts, Rome, and the dome
of St. Peter's, 1. the Alban Mount (M. Cavo) , Castel Gandolfo,
Marino, and Orotta Ferrata. Descending and turning to the r. ,
the traveller will perceive a fragment of the ancient wall , and
adjoining it a * Reservoir of very early and peculiar construction,
formed of massive blocks, and vaulted in an almost pointed arch.
On the return-route the monastery of Camaldoli, founded by
Paul V., as well as the villas Mondragone, Taverna, and Falconieri
(p. 272), may be visited.

Grotta Ferrata, 3 M. from Frascati, is reached by two routes,
by the carriage-road to Marino , or by a shorter path through the
woods, leading to the 1. below Villa Conti, outside Porta S. Pietro.
This Greek monastery of the Hasiliaus was founded by St. Nilus
under Otho III. in 1002. In the 15th cent, it was the property
of Cardinal Giuliani) della Rovere , afterwards Pope Julius II.,
who fortified it with moats and towers. Of the old Church the

Eai 18

274 Route 13. MARINO. Environs

vestibule alone remains, containing (r.J a beautiful statue of the
Madonna. The Portal, with arabesques and a Greek inscription,
dates from the 1 1th cent. ; over the door mosaics of the Saviour
Madonna, and St. Basilius. The present church, re-erected by
Cardinal Guadagui in 1754, contains nothing worthy of mention.

From the r. aisle the Chapel of St. Nilus is entered, decorated
with *frescoes from the life of the saint by Domenichino, in 1610
when 28 years of age. At the entrance of (he chapel, on the 1.
is represented the meeting of the saint with Otho III. ; the atten-
dant in green, holding the emperor's horse, is Domenichino him-
self; to the r. of the horse, Guido Reni is also represented in a
green costume, and behind 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 r. St.
Bartholomew arrests the fall of a column, thus saving the lives of
the surrounding workmen. At the altar on the 1. : St. Nilus heals
a boy possessed by an evil spirit with oil ■from a lamp of the Ma-
donna. On the r.: the Madonna presenting a golden apple to St. Ni-
lus and St. Bartholomew. In the lunette : Death of St. Nilus. Out-
side the chapel : St. Nilus calming a storm by which the harvest is
endangered; the saint kneeling before the cross. On the ceiling:
Annunciation. The frescoes were restored in 1819 by V. Camucci-
ni , at the cost of Cardinal Consalvi , who died , of poison it was
believed, as abbot of Grotta Ferrata in 1824. A monument of the
cardinal and several ancient sculptures are shown in the handsome
Abbey. The small Madonna over the altar is by Ann. Caracci;
a bust of Domenichino is by Teresa Benincampi , a pupil of
Canova. Fairs held here on March 28th and Sept. 8th attract
numerous peasants from the neighbourhood , as well as strangers
from Rome.

Marino, a small town celebrated for its potent and excellent
wine, is picturesquely situated on an eminence of the Alban Mts.,
1730 ft. in height, occupying the site of the ancient Castrimanium.
In the middle ages it was a stronghold of the Orsini , who here
defended themselves against their enemies, especially the Colonna,
until the latter under Martin V. in 1424 captured Marino, which
they still possess. It contains a Corso , the principal street, a
Fountain, and a Cathedral dedicated to St. Barnabas. The church
of S. Trinith , 1. of the Corso , possesses a picture representing
the Trinity by Ouido Reni. In the church of the Madonna delle
Orazie , St. Rochus by Domenichino. In the Cathedral a badly-
preserved St. Bartholomew by Guercino. The town is reached
by a beautiful route of 4 M. from Grotta Ferrata. The station
on the Rome and Naples line is situated in the Campagna , 3 M.
distant (3 trains daily; fares 2 fr. 5 , 1 fr. 30, 90 c). From
Marino a shady road, commanding extensive views, leads through
the well-wooded valley (Parco di Colonna) of the ancient Aqua

of Rome. MONTE CAVO. 13. Route. 275

Ferentina , often mentioned as a rallying-point of the Latins , to
(he Alban lake, and by Castel Gandolfo to (3 M.) Albano.

Field and forest-paths (guide necessary, 1 — l1/^ *r-) lead from
Tusculum in l'/a hr. to Rocca di Papa, and thence in 3/i hr.
to the summit of Monte Cavo (descent in 20 min. ). The distance
hither from Albano by Palazzuola (p. 276) is about the same.

Rocca di Papa, situated on the brink of the great crater of
Campo d'Annibale (see below), in the midst of beautiful forest-
scenery, is a small town with 2500 inhab. , well adapted for a
summer-residence on account of its altitude. It contains no inn.
The two Trattoria are scarcely tolerable. Apartments, however
(even for one night), may be heard of at the Caffe del Qertio,
in the upper part of the town.

From the Caffe the nairow Via di Monte Cavo ascends to the
r. ; at its extremity the turn to the 1. is taken , and after a few
minutes a footpath ascended on the r. Here to the 1. is situated
the great crater of Campo d' Annibale , a name derived from the
unfounded tradition that Hannibal once pitched his camp here
during his campaign against Rome. It is more probable that the
Romans were encamped here at that period, to repel the attacks
of the Carthaginians.

The wooded summit of Monte Cavo is soon attained by means
ot the well-preserved and shady Via Triumphalis, an ancient road,
paved with basalt, by which the generals to whom the senate
refused a triumph at Rome , ascended this height and celebrated
one on their own responsibility. From two open spaces, about
three-quarters of the way up , a better * view than from the top
is obtained of Marino on the r., the Lago d Albano, Ariccia with
the viaduct, Genzano, the Lago di Nemi, and Nemi itself.

On the summit of the mountain, the Mons Albanus of anti-
quity , nearly 3200 ft. above the sea-level , stood the venerable
sanctuary of the Latin League, the Temple of Jupiter Latiaris,
where the sacrificial festival of the Feriae Latinae was annually
celebrated. Its ruins, 254 ft. in length, 127 ft. in breadth, with
columns of white and yellow marble , were in a state of tolerable
preservation till 1783 , when Cardinal York, 'the last of the
Stuarts', converted them into a Passionist monastery. A portion
only of the ancient foundations is preserved on the S. F. side
of the garden-wall. The * view from several different points is
incomparable. It embraces the sea, the coast from Terracina to
Civita Vecchia , the Volscian and Sabine Mts. , Rome and the
Campagna with a number of towns and villages , and below the
spectator the beautiful Alban Mts. (comp. p. 271J. The distant
view, generally obscured by mist, is seen to the best advantage
immediately before sunrise, after sunset, or after a passing shower
has cleared the atmosphere. No refreshments are to be had on
the summit. The inhospitality of the monastery is frequently

18*

27G Route 13. PALAZZUOLA. Environs

complained of. In case of necessity, rough accommodation for
the iiiiiht may be obtained if well paid for.

Returning to the Campo d'Annibale, the traveller then passes
above Itocca di Papa, and soon readies the chapel of the Madonna
del Tufo in the midst of wood, whence a fine view of the Alban
Lake and the plain is enjoyed. From Monte Cavo to Albano 2,
to Nemi (with guide) by a beautiful forest-road in li/2 hr.

Palazzuola and the Alban Lake. The latter, about 6 M. in
circumference, is the crater of an extinct volcano, presenting a
somewhat sombre and melancholy aspect , although its banks arc
well cultivated. It is fed by abundant subterraneous springs, and
drained by an outlet of very ancient construction below Castel
Gandolfo (p. 278).

On the K. bank of the lake stands the Franciscan monastery
of Palazzuola, dating from the 13th cent. The garden contains
a remarkable rock-tomb in the Etruscan style , respecting which
little is known.

Above the monastery, on the narrow ridge between the base
of Monte Cavo and the Alban Lake , once lay in a prolonged
line, as its name indicates, the city of Alba Longa, of which
no traces now remain. It may be observed , however , how the
rocks towards Palazzuola have been hewn perpendicularly, in order
to render the town more impregnable. The foundation of Alba
Longa belongs to a pre-historic period . although tradition has
attributed it to Ascanius, the son of yEneas. It was the ancient
capital of the Latin League , of which it constituted the politi-
cal and religious centre. At an early period, however, it was de-
stroyed by its younger rival on the banks of the Tiber, after which
the ancient festivals of the League on the Alban Mt. alone con-
tinued to be celebrated.

From Palazzuola by the lake and the Capuchin monastery to
Albano is a beautiful walk of 2y2 M. From Albano to the station
3 M. (omnibus see below).

Albano.

Railway in 3|4 — 1'|4 lir. ; four trains daily; fares 3 fr. 30, 2 IV. 5, 1 fr.
40 c. Travellers are recommended to be at Hie station ' |s hr. before the
advertised time of starting.

Soon after quitting the city the train diverges from the line to Civita
Vecchia; 1. is the Porta S. Lorenzo (j). 136), r. the row of arches of the
Acqua Felice (p. 2G7), then the tombs of the Via Appia (p. 201). To the
J. the Sabine and Alban Mts. ; at the foot of the latter Fraseati is a con-
spicuous object. At stat. Ciampiiio the line to Fraseati diverges to the 1.,
whilst the S. line approaches the Alban Bits. Stat. Marino lies on the near-
est chain of hills on the 1.; above it, on the mountain, Rocca , adjoining
which on the r. rises Monte Cavo (p. 275) with the white monastery-walls.
A cutting is then passed through, and to the 1. on the olive-clad hill appears
Castel G.mdolfo (p. 278), immediately beyond which Albano and Ariccia,
connected by a viaduct 41X1 paces in length, are visible in the distance. These
two towns possess stat. La Ctscina in common, in a lonely and unattractive
situation.

of Rome. ALISANO. 13. Route. 277

An omnibus, witli 16 seats (8 interior, k cabriolet, 4 outside; view
from latter alone) at l\i fr. each, runs from the station to the town of
Albano, 2'j2 M. distant. A seat should be speedily secured , as the demand
is generally great. The ascent (which is performed almost as expeditiously
on foot) is picturesque, although there are few distant views. The ruins
of Castello Savelli soon appear on the r. ; La Turri, or Torretta , on the 1.
A magnificent view of Ariccia is then obtained, with the ancient castle
(p. 278) on the r., and the imposing viaduct (p. 278) on the 1., and farther
to the 1., Albano ; to the r. by the entrance to the town stands the Villa Lon-
campa. The omnibus stops near the Hotel do i'Europe.

Those who are desirous of combining a visit to the Via Appia (p. 2G1)
with an excursion to Alhano are recommended to engage a carriage for the
entire route (one-horse 15-20, two-horse 20—25 fr., and gratuity); the last
portion of the route, however, is uninteresting. — Vetlurini also convey
passengers to Albano twice daily from the Teatro Argentina (PI. II, 13) in
2'j't hrs., fare 2'|2 fr., but these conveyances are neither very clean nor
comfortable.

The High Road, the Via Appia Nuova , quits Rome by the Porta S.
Giovanni (PI. II, 33); the ancient Via Appia (p. 2GI) is somewhat longer.
The two unite at the Fratocchie, at the 11th milestone (of the new road).
On the 1. side of the road f'lodius once possessed a villa; to the r. in the
valley lay Hm'illac, a colony of Alba Longa, with a sanctuary of the Gens
Julia, where the remains of a theatre and circus may still be traced. Rem-
nants of walls and tombs arc seen on both sides of the road. A large square
structure, about 32 ft. in height, with three niches, was long erroneously
regarded as the tomb of C'lodius. As the height is ascended, a fine survey
of the Campagna, the sea, and Rome may he enjoyed. Near the gate of
Albano, at the Uth milestone, is seen the shell of a large tomb, supposed
to be that of i'ompey. To the 1. the road traverses the so-called Lower-
Gallery to Cartel Gandolfo; on the r. lies the Villa Altieri.

Albano ('"Grand Hotel de Paris, R. and A. 4 fr. ; * Albergo di
Roma, in the Palazzo Feoli; Europa or Posta, R. and A. 3 fr.,
'vino del paese' 15 soldi, a cafe' on the ground-floor; Hotel de
Russie at the Porta Romana, pension (5 fr., charges nowhere fixed),
a small town and episcopal residence in a lofty and healthy situa-
tion , and a favourite resort of Romans and strangers from June
to October, occupies the site of the ruins of the villa of Pompey
and the extensive grounds of the Albanum of Domitian. Between
S. Paolo and the Capuchin monastery lay an Amphitheatre , the
scanty remains of which are seen from the road. The church of
8. Maria della Rolonda stands on the foundations of an ancient
circular temple. The ruins in the street of Gesil e Maria are
supposed to be the remains of baths. The Via Appia intersects
Albano in a straight direction. Immediately beyond the town, 1.
of the ancient road (r. of the new) .stands a * Tomb in the Etruscan
style, consisting of a massive cube, fi'2 ft. in width, 2f) ft. in
height, surrounded by 4 (of which 2 only are standing) obtuse
cones; in the centre a fifth. It was formerly believed to be the
tomb of the Iloratii and Curiatii, and now, with no better foun-
dation, is regarded as that of Aruns, a son of Porsena, who was
killed near Ariccia.

Albano is mentioned as early as 4G0 as the seat of a bishop,
then again in the 11th cent, in the contests of the popes with
Home. In the 13th cent, it belonged to the Savelli, from whom

278 Route 13. ARICOIA. Environs

it came into the possession of the papal government in 1697.
Albano is recommended as a summer-residence on account of the
charming excursions which the environs afford, but in the hottest
season is not altogether exempt from fever. The picturesque
costume of the Albanian peasant-women (on Sundays) is cele-
brated. The wine of Albano enjoyed a high reputation in ancient
times, and is mentioned by Horace.

From Albano by Palazzuola to Monte Cavo 2 hrs. (see p. 276);
if a visit be paid to the emissarius (see below) beneath Castel
Gandolfo, 2 hrs. additional are required. To the N.W. of Albano,
8/4 M. distant (the road to the r. leads to Palazzuola , whereas
the shady road to 1. by the lake, the *Galleria di Sopra, or 'upper
gallery', is now followed ; lower gallery see below) is situated the

Castel Gandolfo, the property of the Savelli in the middle
ages, that, of the Popes since 1596. Here Urban VIII. erected
from designs of Carlo Maderno the extensive Palace , which is
occupied by the popes (by Pius IX. also) as a summer residence.
Its sole attraction is the charming situation. The path to the
emissarius descends shortly before the village is reached ; the
custodian, however, must be first summoned from the latter. The
descent occupies nearly 1/4 nr- The Emissarius , or tunnel by
which the Alban Lake is drained, is a vast and imposing work.
According to tradition it was made by the Romans B. C. 397,
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 structure of massive blocks,
resembling a nymphsum. The channel itself is 5 — 10 ft. in height,
and issues 3/4 M. below Albano by the village of La Mola, where
the water is employed as a motive power for mills, thence de-
scending to the Tiber. The custodian floats lighted pieces of candle
cm boards down the stream , in order to impress visitors with an
idea of its great length (fee 1 fr. , for a party more in proportion).

From Castel Gandolfo (he so-called Lower Gallery leads to
Albano in l/2 hr. From the Emissarius to Marino 3 M.

Ariccia (Lat. Aricia~) , the first station on the "Via Appia ac-
cording to Horace (Sat. I, 5), % M. to the W. of Albano, is
separated from it by a valley, which is crossed by an imposing
* Viaduct, erected by Pius IX. in 1846' — 63, 400 paces in length,
arid 204 ft. in height, and consisting of three series of arcades
of 6, 12, and 18 arches respectively, one above the other. To
the 1. a view of the Chigi park (see below), r. the extensive
plain as far as the sea. To the 1. at the extremity of the bridge
is the Palazzo Chigi, erected by Bernini, with a *park containing
line old timber, and kept as much as possible in a natural
condition. Permission to visit it should be applied for at the
Palazzo Chigi at Rome (p. 114), but access is occasionally ob-
tained without this formality (fee l/2 — 1 fr.).

of Rome. GENZANO. 13. Route. 279

The ancient town of Aricia, a member of the Latin League,
lay towards the S. , in the Valle Aricciano , an extinct crater
below the modern town , which occupies the site of the former
Arx or citadel. At the base of the hill the ancient "Via Appia,
supported by massive substructures which are still visible, runs
as far as the vicinity of Genzano. A circuit of '/2 nr- by the
valley, instead of the direct route from Albano to Ariccia, is
interesting. Ariccia was purchased in 1661 from the Savelli, its
medieval proprietors, by the Chigi, who are the lords of the soil
to this day. It is a favourite summer resort on account of the
proximity of the woods. Ariccia and (lenzano are celebrated for
the beauty of their women.

Genzano. The ancient Via Appia (see above) may be followed
from Albano through the valley of Ariccia, but the route to
Genzano (3 M. , from Ariccia about 2 M.) by the Via Appia
Nuova, traversing the mountain-ridge and passing through Ariccia
is preferable. This road is picturesque and shaded, and crosses
i viaducts which command beautiful views. Near Genzano it
divides, descending 1. to a Capuchin monastery and the Lake of
Nemi , r. to the town , whilst the avenue in a straight direction
leads to the Palazzo Cesarini , whence a view of the charming
lake is obatined. The opposite garden is well worthy of a visit,
if time permit (admittance readily granted on personal application
at the dwelling-house near it).

The situation of Genzano (popul. 5000; excellent wine) is its
sole attraction. Numerous visitors in summer, but no good inns.
Intermittent fever is moreover not uncommon here. In the piazza,
opp. the fountain, there is a good wine-house.

At Genzano, on the 8th day after Corpus Christi, the cele-
brated Infiorata di Genzano, or flower-festival, is celebrated, and is
accompanied by a procession, fireworks, and popular amusements.
These festivities have been lately revived after an intermission
of some years.

From Genzano a visit may be paid to Civita. Lavinia (3 M.), the an-
cient Lanuviuw , celebrated for its worship of Juno Sospita, situated on a
W. spur of the Alban Bits. At the W. end of the town are a few remnants
of the ancient walls; in the piazza a sarcophagus and several fragments
from tombs and villas in the neighbourhood. The town , now a poor and
insignificant place, commands line views of the Campagna towards the sea.
Below it, about 'U hr. distant, is a railway-station ; three trains daily, fares

4 fr. 45, 3 fr. 55, 2 fr. 15 c.

By the high road Velletri is 9 M. distant. It may, however, be reached by
a nearer and more picturesque route in li|2 hr. (with guide). Velletri ("Gallo,
with trattoria), the ancient Velilrae, a town of the Volsci which became sub-
ject to Rome in 338, celebrated for its wine, is picturesquely situated on an
eminence of Monte Artcmisio. The town , with its narrow and crooked
streets and 12,000 inhali. , is the residence of the Bishop of Ostia (p. 300).
The loggia of the Palazzo Lancelotti commands an extensive 'view. — The
railway-station (p. 292) is i|2 M. from the town ; four trains daily , fares

5 fr. 65, 4 fr. 50, 2 fr. 75 c.

Nemi and the Lago di Nemi. The former is reached from

280 Route 13. ink Ml. Environs

Oenzano in 3j4 hr. A road thither, partly ancient, descends to
the Capuchin monastery and skirts the lake. The high road, how-
ever, skirting the upper margin of the lake, is preferable. —
The *Lago di Nemi is an extinct crater, about 3 M. in circum-
ference, and like the Alban lake, which lies about 100 ft. lower
of considerable depth (300 ft.). Its outlet is also formed by an
artificial emissarius. The precipitous lava -walls of the crater,
318 ft. in height, are admirably cultivated. In ancient times it
was termed Lacus Nemorensis , and occasionally the 'mirror of
Diana', from a temple , the substructures of which have been
discovered below Nemi , and from a grove sacred to the goddess,
whence the present appellation is derived. Tiberius (or Trajan)
constructed a magnificent vessel on this lake, a beam of which
is preserved in the Museo Kircheriano at Rome (see p. 116).
The water is beautifully clear, and rarely ruffled by wind; the
whole presents an exquisite picture, the gem of the Alban Mts.
Nemi is a small mediaeval town with an ancient fort. The
verandah of the inn commands a delightful *view of the lake and
the castle of Genzano, beyond them a venerable watch-tower, then
the extensive plain and the sea. Nemi is a suitable spot for
passing a night; inn tolerable and not dear. — From Nemi to
Monte Cavo (p. 275) guide (1 — l'/2 fr-) necessary on account
on the intricacy of the numerous forest-paths (I'/i nr-)> to Albano
somewhat farther.

The Sabine Mountains.

The chain of the Apennines , which descend abruptly and bound the
Roman plain on the E., termed Sabine Mts. from their ancient inhabitants,
are replete with the highest interest for lovers of the picturesque. The for-
mation is limestone, differing entirely from that of the volcanic Alban Mts.;
the altitude considerably greater, attaining to 5000 ft. Owing to the want
of railway-communication, the characteristics of city-life, which produce an
unpleasing impression at Frascati and Albano , are here entirely absent,
excepting at Tivoli. Attempts at extortion are, however, not unknown, and
the traveller should be on his guard here, as well as in other parts of Italy.
As a rule the inns are good and not expensive, and instead of the usual dis-
tasteful bargaining, it may suffice for the stranger to remark that he ex-
pects the 'prezzi soliti degli araici di cttsa1 (usual charge 'en bloc' for board
and lodging 4—5 fr., and i|2 fr. as gratuity). Those whose time is short must
be satislied with a visit to Tivoli; but, if possible, 4 days at least should
be devoted to the Sabine Mts. , and may best be employed as follows: 1st
day by Frascati to I'alestrina, 2nd to Olevano, 3rd to Subiaco, 4th to Tivoli,
5th back to Rome. The entire expedition may be accomplished by carriage,
but some of the excursions at least should be undertaken on foot or on a
donkey. The public conveyances cannot be recommended when ladies are
of the party, in which case a private vehicle should be hired. Best sum-
mer-quarters at Tivoli ; Subiaco and Olevano are also agreeable.

Tivoli.

Distance 16i|_> M. One-horse carr. 15—20 fr., two-horse 25 fr., fee 2—3 fr.
During Easter the charges are rather higher. The carriages at the hotels are
more expensive (30—40 fr.), but generally drive more rapidly, an advantage
which will be highly appreciated on the hot and dusty high road.

of Rome TIVOLI 13. Route. 281

Vetturini convey passengers tu Tivoli twice daily (5 a. m. and at noon),
returning from Tivoli at noon, in 4—5 his., fare 2l\2 fr. ; not to be recom-
mended. Tliose who wish to visit Hadrian's villa (see below), the grottoes,
cascades, and Villa d'Este, and return to Kome in the evening should start
at daybreak. — A railway from Ciampino (p. 27G), near Frascati, to Tivoli,
passing the recently erected baths of the Albula, has for some years been
projected, but not yet commenced.

Tibur , with its shady valleys and murmuring cascades, was the most
popular summer -resort of the ancient Romans, as Horace among others
testifies, and to this day attracts a multitude of visitors during the season.
A line day in April or May, when the vegetation and blossoms are in their
freshest beauty, is Ihe most favourable period for this excursion.

Rome is quitted by the Porta S. Lorenzo (PL II, 31), imme-
diately beyond which is the church of that name on the r. ; the
road then descends into a ravine, and at the Osleria di Pietrnlata
crosses the Ancona railway. Fine retrospect of Rome and St. Peter's.
The route, generally identical with the ancient Via Tiburtina,
crosses the Anio, here called Teverone , by the Ponte Mammolo
at the 4th milestone. The river, formerly navigable, rises in the
mountains near Filettino, passes Subiaco , Yicovaro, and Tivoli,
where it forms the celebrated cascade, and falls into the Tiber at
Ponte Salaro near Rome (p. 268). The bridge derives its name
from Mammaia, mother of Alexander Severus. To the r. an un-
dulating district with ancient towers. At the (7 M.)

Osteria del Fornaccio a road diverges to the 1. to the pictu-
resquely situated village of Monticclli, with castle and cloister. A
few min. later, at the Osteria delle Capannacee, the road reaches
its culminating point between the Ponte Mammolo and Ponte Lucano
(see below). Farther on, L, Castel Areione, an ancient stronghold
of robbers. Beyond it the calciferous Ixiyo de' Tartari , now
dried up. Then, somewhat farther, a sulphureous odour betrays
the proximity of tin: Aquae Albulae, baths greatly frequented in
ancient times, now less popular (bath-house erected in 1802).
A channel constructed by Card. Ippolito d'Este conducts the water
from the three small sulphureous lakes to • the Tiber. In the
vicinity are the quarries of travertine (lapis Tiburtinus) which
have yielded the material for the structures of ancient , as well
as modern Rome, both for the Colosseum and St. Peter's. About
l'/j M. farther the Anio is crossed by the Ponte Lucano; near
it is the well -preserved Tomb of the Pluutii , dating from the
early empire, similar to that of Caicilia Metella (p. 263).

Immediately beyond the river the road again divides : that to
the 1. ascends to the town through olive - plantations , a conside-
rably shorter route for the pedestrian; that to the r. leads to the
villa of Hadrian, 1 M. distant, now the property of the Rraschi
family at Rome, from whom permission to visit it must be obtained
(fee for 1 pers. ^2 — 1 fr. ; at the gate a few soldi); an additional
fee (1 — 2 fr.), however, is sometimes as efficacious as a pcrmesso.

The *Villa of Hadrian stands on the slope of the heights of
Tivoli (-whence it is '/-2 '"'• walk), and with its pertinents once

282 Route 13. TIVOLI.

Environs

occupied an area of several square miles. The emperor here laid
out magnificent grounds, without rival in the lioman empire, con-
taining palaces, theatres, a circus, academies, etc., where he might
repose after the labours of government. These sumptuous struc-
tures stood till the 6th cent. , when they were destroyed by the
Goth Totila. Innumerable works of ancient art, subsequently ex-
tricated from the ruins , now adorn churches and museums. Of
the buildings themselves extensive remains still exist, to which
various names are applied by the guides.

The oldest edifice, the Palace of Hadrian , appears to have stood on
the highest ground, in the rear of the Hippodrome and Academy. A Theatre.,
with adjacent halls and saloons, belonged to it. The Thermae were reached
hence by the Canopus, a structure fitted up in the Egyptian style, containing
a number of statues etc. now in the Vatican. To the E. flows the river
Alphrus. A large space above the Canopus is termed the Hippodrome, or
race-course, which however shows traces of aqueducts. N. of the palace
are situated the so - called Elysium and Tartarus. A subterranean passage
leads E. to the river Peneus , and beyond it to the Vale of Tempe. On the
W. are extensive ruins supposed to be the Prylaneum , adjacent to which
is the fieuola, a circular structure with niches for statues, the Sloa Poieile;
then a stadium witli colonnade and other remains. By the present entrance
are two more Theatres, and other ruins, commonly called a Nymphaeum
and Palaestra. The real names and destinations of these, as well as the
other remains, are far from being ascertained with precision.

Tivoli (*Locanda della Pace and della Reyina, both in the town;
* Sibylla, charmingly situated by the temples, 11. l'/2 — 2, pension
4 — f> fr. ; bargaining necessary as to quarters for the night. Picnic
parties from Rome generally bring their own provisions, procure
wine from the Sibylla, and enjoy their repast beneath the temple
in sight of the cascade), the Tibur of antiquity, existed, according
to later tradition, as a colony of the Siculi long before the foundation
of Rome. In B. C. 380 Camillus subjugated Tibur and Praeneste,
after which it formed a member of the league of the Latin towns
allied with Rome. Hercules and Vesta were here especially revered.
During the reign of Augustus the emperor himself and many of the
Roman nobles (e. g. Ma'eenas) founded beautiful villas here; under
Hadrian the splendour of the place attained its climax; and dur-
ing the middle ages it participated in the fate of Rome. In
1460 Pius II. founded the citadel on the ruins of the amphi-
theatre. The modern town (7000 inhab.j, with its narrow streets,
offers few attractions beyond its charming situation. It is more-
over somewhat damp and windy, especially in spring.

Among the finest relics of antiquity are the *Two Temples,
adjacent to the .Sibylla inn. One, a circular edifice, surrounded
by an open hall of 18 columns of the Corinthian order (10 now re-
main), situated above the waterfall, is termed the * Temple of the
Sibyl, by others that of Vesta, or of Hercules Saxanus. In the
middle ages it was employed as a church, from which period the
round niche in the interior dates. The door and windows con-
tract at the top. Immediately adjacent is another temple of ob-
long shape, with 4 Ionic columns in front, now a church of

of Rome. TIVOLI. 13. Route. 283

St. George, believed by some to have been dedicated to Tiburtus,
by others to the Sibyl.

The terrace of the temple of the Sibyl commands an admi-
rable *View of the Falls. The ruins visible from the projecting
rock were caused by a serious inundation in 1826, which carried
away part of the village. To prevent the recurrence of a similar
disaster, a new course was constructed for a part of the water
of the Anio, by means of two shafts (940 ft. and 1040 ft.) pene-
trating the limestone-rock of Mte. Catillo. In 1834, in the pre-
sence of Gregory XVI. , the water of the Anio was admitted to
its new channel by the engineer Folchi, and a *New Waterfall
(1. of the terrace), 340 ft. in height, and of imposing appearance,
thus formed. Two ancient bridges and several tombs were dis-
covered on the occasion. By the church of S. Giorgio, close to
the Sibylla, is an iron gate (attendant 2 soldi), leading to the
*Grotlo of Neptune, 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 remarkably tine. (Donkey
for the excursion to the falls 1 — l1^ ft-', guide 1 — 11/2 ft-, but
not necessary; they often demand 3 — 4 fr.) The excellent path,
affording picturesque glimpses of the great fall, was constructed
by the French general Mollis. Following this path to the r., the
traveller crosses a wooden bridge, and reaches the grotto itself in
9 min. He now returns to the gallery hewn in the rock, and
passes through it. Next a descent to the lowest point, to which
the path leads , and Anally up the stone steps , constantly mois-
tened by the spray, to the fantastically shaped * Sirens' Grotto.
Then back to the path which ascends to the r. to a small terrace,
which on one side commands a striking *view of the temple of
the Sibyl , and on the other a fine survey of the new waterfall
below. The path , which affords a succession of glimpses of the
temple, now ascends past an ancient wall, conjectured to have
belonged to a Villa of Vopiscus, in 6 min. more to the principal
stream by Monte Catillo, the tunnel of which (372 paces in length ;
fee for opening the gate 2 s.) may be traversed, as far as the
influx of the river. Visitors usually quit the ravine by a gate
(2 s.) farther on , and emerge on the high road, leading by an
avenue of fine olive trees to a (1 M.) * Circular Terrace , where
an admirable survey of the Great Fall is enjoyed. The road on
the r. bank, skirting the mountain, next leads to the Qfe M.)
hermitage of S. Antonio, commanding a view of *Le Cascatelle,
the small waterfalls formed by a branch of the Anio, which here
turns mills and the works of an iron - manufactory established by
Lucian Buonaparte in the extensive ruins of the erroneously so-
called Villa of Maecenas. The guides usually turn here. Those
who do not wish to return by the same route may continue to
follow the same road. About J/2 M. farther other relics of anti-

284 Route 13. SUBIAOO. Environs

quity are seen near the small church of S. Maria di Quintiliolo
(probably remains of a villa of Quintilius Varus). A 'Villa of
Horace' (who never possessed one at Tibur) is also pointed out
by the guides. From S. Maria the traveller bears to the 1., and
crosses the valley by the (1 M.) Ponte delV Acquoria, and again
ascends the hill of Tibur (Clivus Tiburtinus) to the halls of the
so-called Villa of Maecenas , and an ancient circular building
known by the singular appellation of Tempio della Tosse ('temple
of the cough'; probably a tomb of the Turcia or Tuscia family).
Traces of ancient villas are frequent on the neighbouring slopes.
On those below the Greek college, supposed to have been the site
of the Villas of Cassius and Brutus, various works of art, some
of which are now in the hall of the Muses in the Vatican (p. 244),
were discovered.

* Villa d' Este, at the entrance to the town, near Porta S.
Croee (entrance r. of S. Francesco), erected by Pirro Liyorio in
J 549 for Card. Ippolito d'Kste, was presented by the Duke of
Modena to Monsig. Hohenlohe. Though sadly neglected , it still
retains traces of its former splendour : in the casino, frescoes by
Eederiyo Zuccari and Muziano (damaged); in the garden are ter-
races (best seen from the cypress plateau with the four fountains),
grottoes with cascades, densely shaded avenues, magnificent groups
of trees of the most varied hues, and charming points of view.

Villa Braschi, founded by Pius VI., and the Terrace of the
Jesuits' College near Porta S. Croce also afford magnificent views
of the Campagna and Rome.

The most beautiful excursions may lie made from Tivoli to the Sa-
bine Mts. Those most recommended are to Subiaco in the upper valley of
the Anio , to Licenza, to the Sabinum of Horace , to Ampiglione (ancient
Empulum), S. Angelo, Monticelli, Palombara, and Monte Gennaro; also to
Palestrina (beautiful, but fatiguing) by Goricouiio, S. Gregorio, Casape, and
Poli (7 hrs.), or by a nearer carriage-road by Passorauo and Zagarolo (15 jVI.J.

Snbiaco.

A vetturino conveys passengers 3 times weekly from Snbiaco to Tivoli
(24 M.j in 5 hrs., fare 4 fr. , returning to Subiaco on the following day;
other conveyances are also frequently to be met with. The road traverses
the valley of the Anio. A shorter route for pedestrians, about 18 M. , in
some places remarkably interesting, but fatiguing, leads through the valley
of the aqueduct, aird by Gerano (about 2j3i'ds of the way), as far as which
it is a carriage -road. The traveller is recommended to avail himself of a
carriage for this portion (5 — 8 fr.), as from Gerano to Subiaco (3 hrs. walk)
is the most laborious part of the journey. Guide from Gerano necessary,
lija fr. ; donkey, the same.

Pedestrians quit Tivoli by the Porta S. Giovanni, and keep
to the 1. by the slopes of M. llipoli and M. Spaccato. 1 M. from
the gate a road diverges to the 1. to Ampiglione (Empulum). The
arches of the venerable Aqua Marcia, and shortly afterwards rem-
nants of the Aqua Claudia and the Anio Vetus become visible.
About 4 M. from the town are (1.) the ruins of the ancient Em-
pulum, 1 M. farther those of Susmla, beyond which a lonely

of Rome. SUBIACO. 13. Route. 285

district is traversed. Below Sicilian® the road turns to the r. to
Oerano. a village with poor osteria.

The path now ascends the heights , whence a fine view of
the mountains and valleys as far as Olevano (p. 289) is disclosed.
The villages to the 1. are Canterano and Rocca Canterano , to
the r. Rocca S. Stefano and Civitella. After frequent ascents and
descents on the mountain-slopes , and a succession of fine views
of the valleys in the vicinity, the valley of the Anio and Subia-
co below suddenly come into view beyond the last defile.

The Carriage-road leaves Tivoli by the Porta S. Angelo,
and continues along the r. bank of the Anio. On the r., after
the first mile, are visible a lew arches of the Aqua Claudia, and
shortly afterwards the recently constructed and still unfinished
Acqua Pia, the arches of which are occasionally seen by the road-
side. After 3 M. a road diverges 1. to the lofty S. Paolo, whence
Monte Gennaro may be ascended. Farther on is the loftily situ-
ated village of Castello Madamu , which has long been visible ;
then the ruins of the old castle of Saccomuro. About 7*/2 M. from
Tivoli, Vicovaro, the ancient Varia is attained, possessing inter-
esting walls of travertine -blocks, and the octagonal, late-Gothic
chapel of S. Giacomo (containing a miracle-working image of the
Madonna), designed in the 16th cent, by Simone, a pupil of
Jirunellesco. Beyond Vicovaro the road divides, leading 1. to the
village of Licenza, celebrated as the site of the Villa of Horace,
r. by the river to Subiaco. Cantalupo (the Mandela of Horace),
situated on a rock, is left on the r.

l'/o M. from Vicovaro a monastery of S. Cosimato is passed,
and soon afterwards the Licenza, an affluent of the Anio, crossed.
On the 1. bank of the river opens the valley of Sambuci, through
which Siciliano and the above -described pedestrian -route from
Tivoli to Subiaco are reached. Above the valley, 2600 ft. higher
than the river, lies the village of Saracinesco, which soon becomes
visible. It is said to have been founded by the Saracens ; the
costume of the inhabitants is curious. At the Osteria delta Fer-
rata, mid-way between Tivoli and Subiaco, the road again di\ides,
1. the Via Valeria to Arsoli and the Lago di Fueino (see Baede-
ker's Southern Italy), r. the Via Sublacensis to Subiaco. About
half-way to the latter is situated Roviano , opposite to which is
Antkoli on the 1. bank.

Beyond Roviano the valley of the Anio becomes wider and
more picturesque. Farther on it contracts; 1. is Ayosta , beyond
it Cerbara on a lofty rock, r. Canterano and Rocca Canterano.
Subiaco, charmingly situated in the midst of wood and rock-sce-
nery, now soon becomes visible.

Subiaco (* La Pernice, recommended for a prolonged stay,
pension 4 fr. ; Europa) , the capital of the Comarca with 6000
inhabitants, the Sublaqueum of antiquity, in the territory of the

286 Route 13. SURIACO. Environs

jEqui , sprang up on the grounds of an extensive villa of Nero,
embellished by three artilicial lakes ('Simbruina stagna' of Tacitus,
Ann. 14, 22; whence the name), which were destroyed by an
inundation in 1305. On the 1. side of the Anio, opposite the
monastery of S. Scolastica, walls and terraces are seen of the
time of Nero, who, according to Tacitus, narrowly escaped being
struck by lightning whilst supping here.

The present town has a medifeval aspect, and is commanded
by a castle in which the popes formerly frequently resided. The
environs are delightful, and the far-famed * monasteries (closed
12 — 3 p. rn.) extremely interesting. Guide desirable, although
not absolutely necessary. The road on the r. bank of the Anio
leads in 10 min. to the bridge. Above it lies the chapel of .St.
Placida; 1/i hr. walk higher are the monasteries of 8. Scolastica;
thence an ascent of 20 min. to S. Benedetto (see below). When
time is limited, it is advisable to visit S. Benedetto first, and S.
Scolastica on the way back. Returning to the bridge, and cross-
ing to the 1. bank of the Anio, the traveller may then ascei.d the
road to the r. as far as the rear of the castle, from which a road
descends to the town. The entire excursion requires about 8 hrs.,
and affords an unbroken succession of beautiful views.

Subiaco having fallen to decay at the commencement of the
middle ages, St. Benedict, born at Nursia in Umbria in 480, re-
tired to this solitary spot, took up his abode in one of the giottoes,
now converted into chapels (il Sagro Speco), as a hermit, and in
530, on a precipitous eminence on the farther side of the town,
founded the first monastery, S. Scolastica, which was confirmed in
its possessions by Gregory I. and his successors. In the 7th cent,
it was destroyed, in 705 rebuilt, and is now entirely modern. In
1052 a second monastery was erected, and a third finally added in
1235 by the abbot Landus. The first (entrance to the r. in the
passage of the monastery, after the anterior court has been passed)
possesses a few antiquities; by the fountain a saicophagus with
Bacchanalian representations, handsome columns, etc., probably
found on the erection of the building. The monastery formerly
possessed a library containing valuable MSS. Here in 1465 the
Geiman printers Arnold Pannartz and Conrad Schweinheim printed
the first book published in Italy, an edition of Laetantius, of
which a copy is still preserved here. They subsequently prac-
tised their art at Rome in the Palazzo Massimi (see p. 156). The
second monastery, dating from 1052, is one of the earliest speci-
mens in Italy of the pointed style. The court contains a quaint
relief and two mediaeval inscriptions. The third, of 1235, con-
ta ns an arcaded court decorated with mosaic. The Church of S.
Srolustica, originally founded by Benedict VII. in 975, was entirely
renovated in the lKth cent. , and now contains nothing worthy
of note, excepting the fine carved choir-stalls.

of Rome. PALESTRINA. 13. Route. 287

8. Benedetto, or II Sagro Speco, lies 1/4 hr. higher, built against
the rock, overtopped by a huge mass of stone, and shaded by oaks.
The first corridor entered contains representations from the lives
of St. Benedict and his sister St. Scholastica , painted in 1466.
Visitors descend thence to two chapels, the pictures in which (Ma-
donna, Slaughter of the Innocents, etc. J were executed in 1219
by the otherwise unknown master Conxolus (earlier than Cimabue).
The grotto of St. Benedict contains his statue by Bernini. The
walls are decorated with venerable paintings. The garden of the
monastery is well stocked with beautiful roses. They were, ac-
cording to tradition, originally thorns , cultivated by St. Benedict
for the mortification of the flesh , but converted into roses by
St. Francis when lie visited the monastery in 1223.

Palestrina.

22 M. from Rome. Vetturino 3 times weekly from the Tre Ko , near
8. Marco, to Palestrina and Olevano , returning to Home on the following
day. A preferable route, however, is by railway to Frascati, and thence
(12 M.) by carriage, on a donkey, or on foot to Palestrina. Valmontoite
(stat. on the line to Naples) is only 4i|2 M. distant from Palestrina.

The road from Frascati to Palestrina, especially the fi.st half,
is beautiful, but destitute of shade. First an ascent from the
station to Frascati (p. 271), then to the 1. the road from Rome
is immediately entered. R. a glimpse of the Villa Mondragone;
then the ruined vaults of an ancient villa, said to have belonged
to Cato. After l1^ M. the road passes the olive-clad hill on which
Monte Porzio is picturesquely situated; l1/2 M. farther it reaches
Monte Compatri , with a chateau of the Borghese , the ancient
Labicum. The village is not entered , but the somewhat rough
road descends by a spring as far as an image of the Madonna,
where it divides. That to the r. is selected, leading in 1 hr. to
the Osteria S. Cesareo , where the road from Rome is reached
(Via Labicana , Strada di Palestrina). At S. Cesareo the latter
divides ; the road r. diverges to Lugnano, the main road 1. leads
to Palestrina, 41/2 M. distant.

The situation of the town on the mountain slope is strikingly
picturesque, but the streets are narrow, precipitous, and dirty.
On arriving, the traveller is recommended to request a boy to
conduct him to the house of the widow Arpina Bernardini,
where unpretending, but good accommodation may be obtained
(about 4 fr. per diem). Arena in the Corso is reputed inferior
and dearer.

From Rome to Palestrina two routes lead from the Porta Mag-
giore, the ancient Via Praenestina, and the modern and more convenient
Via Labicana. The former , starting from the Porta Maggiore , anciently
Porta Praenestina, proceeds 1. between vineyards, past ('|2 hr.) the ruins of
Tor de'' Schiavi, probably a villa of the Gordians (p. 267), to the mediaeval
Tor tre Teste, 8'|a M. from Rome; then across the 7 arches of the Ponte di
Nono, an early Roman structure of lapis gabinus, to the Osteria delV Osa on
the brook Osa, which descends from the lake near the ancient Gabii,

288 Route 13. PALESTRINA. Environs

situated near the conspicuous tower of Castiglione. Lake Regillus (now
dried up), celebrated for the battle of tin- Romans against the Latins, U. C.
4U6, must have lain in the broad plain between Gabii and the small town
of Colonna (.near the Casale di Pantano, it is thought), which stands on the
slope to the r. , in the direction of Frascati. A short distance farther
towards the mountains, lies the village of Compalri.

The other route to Palestrina, the Via Labicana (p. 267), or road to La-
bicum, at lirst skirts the railway, then leads in a nearly direct line towards
Palestrina as far as S. Cesareo , where it diverges to the r. and follows a
S. direction through the valley of the Sacco. On issuing from the Porta
Jlaggiore the road is parallel for a short distance with the Aqua Claudia;
after 2 M. the Torre Pignaitara (p. 267) , tomb of the Empress Helena , is
reached , where near the Vigna del Grande catacombs have been recently
discovered. 4!|a M. from Rome the arches of the aqueduct of Alex. Seve-
rus, the Aqua Alexandrina, become visible. 9 M. from Rome is the Osteria
del Finocchio , beyond which the Casale Pantano lies, the supposed site of
Lake Regillus. About 3 M. farther is Colonna, situated on an eminence.
The road then gradually rises to the above-mentioned Osteria di S. Cesareo.

Palestrina , the Praeneste of antiquity , one of the most an-
cient towns in Italy, was captured by Camillus IS. C. 380, and
was thenceforth subject to Rome. In the civil wars it was the
principal arsenal of the youn.ncr Marius, and after a long siege
was taken and entirely destroyed by Sulla, who subsequently re-
built it in a magnificent style as a Roman colony. Under the
emperors it was a favourite resort of the Romans on account of
its refreshing atmosphere , and is extolled by Horace (Carm. Ill,
4, 22) together with Tibur and Baiae. A celebrated Temple of
Fortune and an Oracle f'sortes Pnenestinte', Cic. Div. II , 41)
attracted numerous visitors. In the middle ages Palestrina was
ions the source of sanguinary conflicts between the powerful
Oolonnas and the popes, the result of which was the total de-
struction of the town in 1436. The territory was purchased in
1G30 by the Barberini, who are still the lords of the soil.

The small and insignificant town of Palestrina is almost en-
tirely erected on the ruins of the temple of Fortnna, which, ris-
ing on vast terraces and surrounded by a semicircular colonnade,
occupied the site of the Palazzo Barberini. The substructures of
the latter are exclusively ancient. On entering the town, the visitor
perceives the lowest of these terraces constructed of brick. The
precise plan of the ancient building cannot now be ascertain-
ed. The arcades with 4 Corinthian half-columns in the piazza
near the cathedral, now converted into a wine-cellar, appear to
have belonged to the second terrace. In the Barberini garden (in
the Corso), the Orottini , or interior of these substructures, are
accessible, less conveniently however in spring than in autumn,
on account of the water which frequently settles there. From the
Corso the \isitor ascends to the Palazzo Barberini (fee1^-1 ^r0>
which merits inspection. It contains a lai:;e antique mosaic, re-
presenting landscapes of the Nile, with numerous animals and
figures in Egyptian and Greek costumes. This relic was found
near the cathedral , and was probably manufactured under Doun-

of Rome. OLEVANO. 13. Route. 289

tian. The burial chapel of the palace contains the sketch of a
Pieta by Mich. Angelo. The garden of the palace contains statues
and inscriptions. 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
communication, of which that to the N. is the best preserved,
connected the town with the citadel (Arx) on the summit of the
hill, now Castel S. Pietro , consisting of a few poor houses. A
somewhat fatiguing path ascends from the Palazzo Barberini in
1^2 hr., f°r which, however, the noble prospect from the summit
(2612 ft. J amply compensates. The spacious Campagna , from
which the dome of St. Peter's rises , is surveyed as far as the
sea; to the r. rise Soracte and the Sabine Mts., then the Alban
range ; to the 1. is the valley of the Sacco, bounded by the Volsci-
an Mts. The picturesque, half-dilapidated Fortezza was erected
by the Colonnas in 1322. The door is opened at the request of
visitors (Y2 — 1 fr0 ; the approach is uncomfortable, but the view
from the interior is particularly fine.

The extensive ruins of the Villa of Hadrian, where the beau-
tiful Antinous Braschi, now in the Rotonda of the Vatican (p. 245)
was found, are near the church of S. Maria della Villa , 3/4 M.
from the town. In the forum of the ancient Prceneste, in 1773,
the calendar of Verrius Flaccus was found , now in the Palazzo
Vidoni at Rome (p. 156). The excavations at Palestrina have always
yielded a rich harvest; the so-called ciste (toilet-caskets), among
them the celebrated Fieoronian (p. 116), have been exclusively
found here. The great composer Giov. Pierluigi da Palestrina,
who died at Rome in 1594 as director of the choir at St. Peter's,
was born here in 1524. Cicerchia de' Rossi (in the Corso), for-
merly a singer in the papal choir, possesses a valuable collection
of his celebrated compatriot's compositions, and is also well ac-
quainted with the antiquities of Palestrina.

From Palestrina to Tivoli by Zagorolo and Passerano i1/^ M.
(comp. p. 284).

Olevano may be reached by carr. from Palestrina in 2!/2 hrs.
The route , however , will also amply reward the pedestrian (4
hrs.); in the rear are the Alban Mts., to the r. the Volscian,
to the 1., facing the traveller, the Sabine. The circuit by Ge-
nazzano (see below) requires about 1 hr. more.

Palestrina is quitted by the Porta del Sole , and the road to
the 1. followed , which in 3/4 hr. leads to Cave, a village with
2000 inhab. , the property of the Colonna family. Above it,
% hr. walk, lies the small village of Rocca di Cave, near which
a brook is crossed by a viaduct of 7 arches, built in 1827.

The road from Cave to Olevano leads in a straight direction. A
little beyond Cave the church of the Madonna del Campo is passed, l1^ M.

Bae 19

290 Route 13. GTCNAZZANO. Environs

farther a road diverges lo l.he. 1. to Genazzano , a pleasant little town with
300(1 inhab., possessing the rich and far-lamed pilgrimage-chapel of the Ma-
donna del buoii Consiglio, which on festivals of the Virgin attracts devout
multitudes in their picturesque costumes. The traveller may now return
hence to the high road, or proceed through the valley direct to Olevano by
an interesting, but rugged route.

The road to Olevano pursues a straight direction, until beyond
the second bridge it divides, 1. to Olevano, r. to Paliano. The
former at first gradually ascends, and afterwards describes a long
curve, causing Olevano to appear much nearer than it really is.

Olevano, a mediaeval place with about 3000 inhab., the pro-
perty of the Borghese, on the slope of a mountain and command-
ed by the ruins of an ancient castle, is strikingly pictuiesque.
Insignificant remains of an ancient town-wall are to be seen, but
the interior of the town, with its narrow and diity streets, pre-
sents no attractions to the traveller. Immediately at the entrance
to the town, the road to the r. should be taken, leading to the
*Cnsa lialdi, much resorted to by artists, situated on the ridge
of the mountain (unpretending, pension 4-5 fr. per diem). The
**view from this inn is singularly beautiful. To the r. are visible
the barren summits of the Sabine Mts., with Civitella, S. Vito,
Capranica, and Rocca di Cave; then the narrow plain, bounded by
the Alban and Sabine Mts. In the distance Velletri is seen.
Nearer is Valmontone with its chateau, situated on a mountain-
summit,- then Rocca Massima, Segni, and Paliano. Towards the
H. extends the valley of the Sacco. until lost to the view. The
town with its ruined castle forms the most charming foreground.
The inn should if possible be reached an hour before sunset. It
is well adapted for a prolonged stay. The environs are replete
with beautiful scenery.

From Olevano to Subiaco there are three different routes, all re-
markable for their beauty. The carriage-road, passing below Civitella, is
the shortest (12 M.) and most convenient (nearly 3 hrs. by carr.). — The
most beautiful route (5 hrs.) by Civitella, Kocca S. Stefano, and Kocca S.
Francesco, must, like the following, be traversed on foot, or on the back of
a donkey (which the landlord procures; 2— 2'la fr. , as much more to the
attendant). Continuing on the height from the Casa Baldi , the traveller
reaches Civitella in l'fj br., a poor village situated on an isolated peak in a
barren, mountainous district. On account of its secure situation it w;is
inhabited even in ancient limes, 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 extremity of the village a beautiful view o( the valleys and moun-
tains towards Subiaco is enjoyed. Archaeologists should not omit to follow
the wall to the 1. from this gate (although a rough walk), in order to in-
spect the '-'•'- remains of the very ancient wall, constructed of unhewn blocks,
by which this, the less precipitous side of the mountain, was guarded. The
path then leads by S. Stefano and Rocca S. Francesco into the valley of the
Anio, and to Subiaco, beautiful the whole way.

A third route, the longest, 5—6 hrs., and in some respects the most
fatiguing, but also highly interesting, leads by Eojate and Affile. The longer
half as tar as Alfilc is by field and forest-paths, easily mistaken; a guide
is therefore desirable, liojate is a small village, Affile a place of more
importance, boasting of a few relics of ancient walls and inscriptions.
Hence to Subiaco the high road is followed. Hy the bridge over the Auio

of Home. MONTE GENNARO. 13. Route. 291

Hie road to the. r. leads to the monasteries, that to the 1. in '|i hr. to
the town.

Of the numerous beautiful Excursions which may be made among
the Sabine Mts. two of the principal are here mentioned.

Monte Gennaro, one of the highest peaks (about 4800 ft.) of the Sabina,
is a familiar object to the eye of the stranger who has visited Rome. The
ascent from Tivoli occupies 5 — 6 hrs., and an entire day must be devoted
to the excursion. Guides at Tivoli demand 5— 6 fr., those at S. Polo, which
the traveller may reach unaided, 2—3 fr.

Tivoli is quitted by the Porta S. Angelo, and the high road to Subiaco
followed for 2 M. Here a bridle-path diverges to the 1. , leading along the
mountain-slopes in li|2 hr. to the lofty (2500 ft.) village of S. Polo. (Those
who do not object to rough accommodation should pass the night here.) The
real ascent now commences (guide necessary), the last portion very fatiguing.
The traveller should not omit to bring refreshments for the excursion. The
mountain is badly supplied with water, and the shepherds are compelled to
drink rain-water collected in troughs and hollow trees. On the summit
stands a rude pyramid of stone, which has served for trigonometrical surveys.
The view is very extensive, comprising the coast from Mte. Circeo as far as
the lake of Jiaccano, the broad plain with innumerable villages, from the
Volscian and Alban Mts. as far as Soracte and the liniinian Forest; then
over the Apennines, as far as the snowy peaks of the central range.

The descent may be made by the bridle-path, termed La Scarpellata,
which traverses the H. slope of the mountain. The villages of Monticelli
and S. Angelo are left, on the r.

M. Gennaro may also be ascended from Rocca Giovine in 5 — 6 hrs. (guide
3—4 fr.), and this excursion thus combined with the following, but the
village affords very poor accommodation for the night.

Valley of Licenza. Travellers versed in classic lore will naturally be
attracted to this spot, where the Sabine farm of Horace is believed to have
been situated , but its great natural beauty alone renders it an object of
extreme interest. The excursion may either be undertaken from Tivoli,
or combined with the journey to Subiaco, and may be almost entirely ac-
complished by carriage.

From Tivoli to Vicovaro ty\? M. (p. 285); thence to Rocca Giovine
3 M., the road is accessible to carriages; to Licenza 2 M. farther. Rocca
Giovine, a small village standing on a precipitous rock, is charmingly
situated ; its name is supposed to be derived from Arx Junonis, and indeed
a temple actually existed here once, possibly the Fanum Vacunse of Ho-
race. Licenza , another mountain-village , derives its appellation from the
Digentia, now Licenza, which skirts the base of the hill ('me quoties reficit
gelidus Digentia rivus', Hor. Ep. I. 18, 104). Shortly before the village is
attained (guide from ltocca Giovine l|-2 fr.), the scanty remains of a villa
are pointed out, which is said to have belonged to Horace. This, however,
is a mere hypothesis ; the most recent investigations tend to prove that the
poet's Sabine farm was situated near Rocca Giovine, by the chapel of the
Madon/ia delle Case, on an elevated plain at the base of M. Corrignaleio,
which in this case would be the Mons Lucreiilis of Horace, instead of
M. Gennaro as formerly supposed. Near this chapel is a spring , termed
Fontana degli Oratini by the natives, perhaps the Fona Baiidiisiae of the poet
(farm. ITI, 13).

On the route between Rocca Giovine and Subiaco a nearer path by C'an-
talupo (p. 285), the ancient Mandela ('rigosus frigore pagus', Ep. 1. 18, 105)
is generally taken.

The Volscian Mountains.

The mountain-range, attaining an elevation of 5000 ft., which is sepa-
rated on the E. from the principal chain of the Apennines by the valley
of the Sacco, on the N. from the Alban Mts. by a narrow depression, extends
S. as far as the Hay of Gaeta , and on the W. is bounded by a dreary
and in somes places marshy plain adjoining the sea , was in ancient times
the chief seat of the Volsci , but at an early period subjugated by the Ro-

19*

292 Route 13. CORI. Environs

mans and Latinised. Its towns, picturesquely rising on the mountain-
slopes, still bear many traces of the republican epoch of Italy, which in
addition to the natural attractions, will highly interest the observant tra-
veller. This mountainous district , however, is little frequented , partly on^
account of the poorness of the inns , hut principally owing to its insecure
state, the brigands expelled from the Keapolitan provinces having sought
refuge here. An excursion to Cori may be accomplished in one day by
means of the railway as far as Velletri, so also that to Segni. More ex-
tended journeys should not be undertaken without previous enquiry re-
specting the routes.

Rome should be quitted by the first train (in winter at 6. 30
a. m. ; fares 5 fr. 65, 4 fr. 50, 2 fr. 75 c), reaching Velletri
about 8 a. m. — Railway -journey as far as Civita Lavinia see
p. 279.

From the station to the town of Velletri (Gallo, see p. 279),
is an ascent of a few minutes. Hence to Cori 11 M. , which
may best be accomplished by carriage (one-horse there and back
about 8 fr.). The route , especially the first part , traversing a
dreary plain, is uninteresting. To the 1. of the road lies the (4^2 M.)
Lago di Oiulianello , an extinct crater. A short distance farther
is a wood, frequently infested by banditti, where the road is ge-
nerally guarded. After 6!/2 M. the poor village of Oiulianello is
reached, whence the road 1. ascends to Bocca Massima , whilst
that to the r. leads Cori. The slopes of the mountains here
begin to present a more attractive appearance. About 3 M. from
Oiulianello, at a chapel of the Madonna del Monte, a road to the
1. diverges to the upper part of the town. The road to the r.,
leading to the lower part , is preferable ; it traverses olive plan-
tations at the foot of the hill , and affords no view of the town
until it is reached.

Cori (Filippuccio should be enquired for; the trattoria is near
the Porta Romana, the sleeping -rooms farther up in the Piazza,
accommodation rustic , but civil people). In order that no time
may be lost, a guide to the principal points of interest should
at once be engaged ('/« — 1 fr-)- Those who have arrived by
the first train from Rome, and desire to return by the last from
Velletri, have about 5 hrs. at their disposal. The ancient Corn
was at an early period a member of the Latin League; it is
mentioned B. C. 493 as one of the 30 confederate towns.
During the empire it still prospered , but its name subsequently
fell into oblivion. It now contains 4000 inhab. ; tobacco is exten-
sively cultivated in the neighbourhood. (Connoisseurs of the fra-
grant herb may occasionally purchase good , but strong cigars in
the neighbourhood.)

Besides the modern walls, which to a great extent date from
the 15th cent., considerable remains of ancient *walls of various
periods are preserved here. Those of the earliest style consist of
large blocks without mortar, the interstices being filled up with
smaller stones; the best example of this is seen near the gate to

of Rome. NORMA. 13. Route. 293

Norma and S. Maria. The second and more perfect description is
constructed of hewn polygonal blocks, the external sides of which
alone are left rough. Finally walls of regularly hewn square stones,
perhaps dating from the time of Sulla; e. g. those above S. Oliva,
and those separating the upper town (Arx) from the lower. The
town appears to have been surrounded by differently situated walls
at different periods.

A deep ravine outside the Porta Ninfesina is spanned by the
*Ponte delta Catena , a bridge constructed of blocks of tuffstone,
in the style of the Cloaca Maxima at Rome. In order that the
structure and its great solidity (an arch with double layers of
masonry) may be appreciated, the survey must be made from the
ravine below.

The traveller's attention, however, will be principally arrested
by the colonnade of the so-called *Temple of Hercules (perhaps
of Minerva), standing on the highest ground in the town. The
cella of the temple is incorporated with the church of 8. Pietro ;
the 8 columns of the Doric colonnade , with frieze of travertine
bearing traces of stucco-decoration, are preserved. The inscrip-
tion , recording the erection of the edifice by the duumviri , or
chief magistrates of the place, dates from the time of Sulla. The
*view hence over the town towards the sea, and of the plain
with the isolated M. Circeio is remarkably fine.

8. Oliva is also erected on the foundations of an ancient
temple, and possesses antique columns. In the street of S. Sal-
vatore once stood a temple of Castor and Pollux, as the inscrip-
tion, still preserved, records, but it is now incorporated with other
buildings. The frieze and 2 columns of the Corinthian order, of
admirable workmanship, are still to be seen. Other relics of an-
tiquity, inscriptions , columns , reliefs , fragments of marble , etc.
are distributed throughout the whole town; also large masses of
opus reticulation of the imperial epoch.

From Cori a rugged bridle-path, endangered however of late 3'ears by
bandits, traverses the mountains in 5— 6 hrs. to Segni. Instead of returning
to Yelletri the traveller may prefer to proceed across the plain by (,'iulia-
nello and Monlefortino (12 M.) to stat. Valmontone, hut this route is scarcely
move secure. Segni is on the whole most conveniently accessible from the
railway. The excursion to Cori may be prolonged to Norma, which is reach-
ed in 2 hrs. A shorter, but rough path (guide desirable, 1 fr.) leads from
Porta Ninfesina, by the mountains, another by the plain. The former may
lie selected in going, the latter in returning. A walk of i3\t hr. brings the
traveller to the ruins of Norba, which became a Latin colony B. C. 492, and
was conquered and destroyed by the troops of Sulla during the civil wars.
The wall in the polygonal style, well preserved, was l'^ M. in circumfe-
rence ; several gateways are still distinctly traceable. The interior contains
various obscure relics. In >|4 hr. the small mountain-village of Norma is
reached hence. In the plain below it lie the ivy-clad remains of the inedise-
val town of Nin/a, surrounded by a marsh which has been the cause of its
abandonment. A palace, monastery, church with faded frescoes, and streets
are still easily distinguished. Cori may now be regained by the Cori and
Sermoneta road.

294 Route 13. SEGNI. Environs

Segni (Loc.anda di Gaetanini) may like C'ori be visited in one
day from Rome. (Two trains daily in 2l/o hrs. ; fares 8 fr. 75
7fr., 4 fr. 25 c). Beyond Velletri are the stations of Valmonione,
where the line enters the valley of the Sacco, and Montefortino.
From stat. Segni to the town is an ascent of li/2 hr. This is
the -venerable Signia, said to have been colonised by the Romans
under Tarquinius Priscus, situated on a mountain-slope (the sum-
mit of which is 2432 ft. in height) in a secure position , com-
manding fine views of the valley with the tombs of the Hernici.
The present town , with 3500 inhab. , occupies the lower half of
the ancient.

Ascending through the streets, the traveller reaches the church
of -S. Pielro , rising from the foundation of an ancient temple,
the walls of which are of rectangular blocks of tufa, below which
are two layers of polygonal masses of limestone. A fountain ad-
joining the church is also of the Roman epoch. The *Town-Walls,
in the massive polygonal style , are for the most part well pre-
served. From S. Pietro the remarkable Porta Saracinesca is
attained, apparently built before the discovery of the principle of
the arch, a substitute for which is formed by a gradual approach
of the lateral walls until they meet at an angle. From this point
the circuit of the wall may be followed for l'/2 M. ; the Porta
hwina , similar to the above, is partially buried. Lower down
are remains of a second enclosing wall, inscriptions, etc.

From stat. Segni, Anagni is about 4'/2 M. distant. Respecting
this and the other towns of the Hernici, comp. Part III. (S. Italy
and Sicily) of this Handbook.

Etruscan Towns.

That portion of the Roman Campagna which extends N. from the Tiber
to the Ciniinian Forest and the mountains of Tolfa was the S. Etruria of
antiquity. Originally occupied by a tribe akin t(i (lie Latins, then sub-
jugated by the .Etruscans, it was finally, after protracted contests, with which
the iirst centuries of the annals of Rome abound, reconquered and Lati-
nised. The fall of the mighty Veii, B. C. 396, principally contributed to
effect this memorable change. Excursions are frequently made to Cervetri
ami Veii for the sake of visiting the remains of the Etruscan tombs; but,
apart from its archaeological interest, this district deserves to be better
known on account of its imposing natural beauties. Malaria is unfortu-
nately very prevalent here.

Veii.

Veii, near Isola Farnese, may be visited from Rome, from which it is
11 M. distant, in one day. Carriage for the whole excursion 15 — 20 fr. For
pedestrians the route is longer than agreeable; the iirst portion at least, per-
haps as far as Tomba di Nerone (4M2 M., fiacre 4 fr.), or La Storta (81/4 M.),
should be performed by carriage. Those who are disposed may return from
Veii by a somewhat longer route, skirting the Fosso di Valchetta, the valley
of which descends to the Via Flaminia between the 6th and 7th milestones
(comp. p. 68). Provisions for the journey should be procured, as the tavern
at Isola is extremely poor.

of Rome. VEII. 13. Route. 295

The route is from Koine to the Ponte Mulle; at the Osteria,
where the Via Flaminia (p. 270) diverges to the r. , the Via
Cassia, gradually ascending to the 1. , must he followed. The
district soon becomes desolate. About 4'/2 M. from Rome, at the
Tomba di Nerone (p. 41), an ancient route, somewhat shorter
than the modern, diverges to Veii. As, however, an experienced
eye alone can trace it across the Campagna , the high road is
preferable. About S1^ M. from Rome the post- station of La
Storta (inn, see p. 40) is reached. One mile beyond it the road
diverges to the r. to Isola Farnese; 1/-2 M. farther, where the
road divides, that to the r. is to be selected, 1. is the route to
Formello.

Isola Farnese, a poor village, numbering scarcely 100 inhab., and
harassed by fever in summer , is the property of the Rospigliosi.
It was a place of some consequence in the middle ages, having
been founded on account of the natural security of its site. A
guide is here engaged (1 — l'/'i fr-> bargaining necessary) to con-
duct the traveller to the site of Veii. Imposing ruins must not
be looked for here , but the landscape is interesting and pictu-
resque. For the keys of the Grotta Campana (p. 296) , although
the property of the state, the farmer of the soil makes the exor-
bitant demand of 5 t'r., which he can seldom be persuaded to
reduce. A minute inspection of the relics of the ancient city
is interesting to the archa;ologist only. The following are the
principal points, a visit to which occupies 2 — 3 hrs. The brook
is first descended to the mill (molino), where there is a picturesque
waterfall, not far from which the brook is crossed by the antique
Ponte dell' Isola. Farther on is the Ponte Sodo , hewn in the
rock, beneath which the brook is conducted. Then the Porta
Spezieria with remains of a columbarium , the recesses of which
gave rise to the name. In the vicinity is the Grotta Campana.
Hence by the banks of the Cremcra to the Piazza d'Armi, the
ancient citadel , commanding a fine view. Then back to Isola.
Pedestrians , by descending the valley of the stream from the
Piazza d'Armi , may reach the Via Flaminia in 2 hrs.

Veii, one of the most powerful Etruscan cities, after contests
protracted for centuries [at first centred round Fidenae (Castel Giu-
bileo), the outwork of the Etruscans on the S. bank of the Tiber],
and after manifold vicissitudes and a long siege , was at length
captured by Camillus, P>. C. 396. The circumference of the town,
which may still be traced , is b1/^ M. After the conquest it fell
to decay , and was subsequently re-peopled by Caesar with a
Roman colony, which however scarcely occupied one-third of the
former area. Excavations here have led to the discovery of in-
scriptions, statues, etc., and the columns which adorn the colon-
nades of the military casino in the Piazza Colon na.

Veii stands, on a table-land, around which on the N. and &.

296 Route 13. GALERA. Environs

flows the ancient Cremera , now Fosso di Formello , on the W.
towards Isola the Fosso dell' Isola. The ancient citadel, now Piazza
d'Armi, occupies a position at the confluence of the two brooks,
connected with the site of the town by a narrow isthmus only.
The camp of the Fabii, whoso entire family was destroyed by the
Veientines , was situated on the heights on the r. bank of the
Valca, as the Cremera is named in the lower part of its course,
about iy2M. distant from the citadel. The *6rotta Campana,
named after its discoverer, is the only tomb of Veii still preserved,
and is left in the condition in which it was found in 1842. It is
hewn in the tufa-rock , and guarded by two lions at the en-
trance. The interior consists of two chambers ; the walls are
covered with grotesque paintings of great antiquity. Two skele-
tons were found here, but soon fell to pieces. Remains of the
armour of a warrior, vessels of clay, etc. are also seen.

G a 1 e r a.

Galera, 14',-j 51. from Rome, may he visited by the route to Bracciano
(p. 297), or by carriage (15—20 fr.), in a single day from Rome. A supply
of provisions necessary. Vetturini also occasionally run (see below).

About !/2 M. beyond La Storta (p. 40) the Via Clodia
diverges to the 1. from the Via Cassia, which leads to Baccano
(p. 40). The former, the old pavement of which is occasionally
seen , is to be selected. The district is dreary. On the road-
side is the entrance-shaft of the subterranean Acqua Paola, which
descends from the lake of Bracciano , and turns the mills on
the Janiculus. On the 1. , 4'/4 M. from La Storta, appears
the church of S. Maria di Cesareo ; 1 M. farther the Osteria
Nuova, where the carriage may be quitted. The land here is well
watered, and occupied by several extensive farms. A path to the
1. in the direction of these, then turning to the r., leads in ^2
hr. to the ruins of Galera. The town, which arose in the mid-
dle ages near the Carciae of antiquity , was at first ruled over
by powerful nobles, belonged to the Orsini 122(5—1670, and is
now the property of the Collegium Hungaricum of the Jesuits. At
the beginning of the present century the inhabitants were compel-
led by malaria to abandon the place. Even the solitary shepherd
who now lives here quits it with his flock in summer. It stands
on an abrupt tufa-rock, around which the Arrone , the outlet of
the lake of Bracciano, flows. The walls are of the 14th and 15ih
centuries ; two churches with their towers , the palace of the
Orsini, and many honses are recognisable, all densely overgrown
with ivy and creepers. The surrounding wooded ravine enhances
the romantic appearance of the spot.

Bracciano.

23>|2 M. from Rome. A vetturino conveys passengers thither every al-
ternate day (occasional irregularity), from the Locanda del Sole in the

of Rome. BRACCIANO. 13. Route. 297

Piazza of the Pantheon, in 5— G hrs., faro 4 fr., returning on the following
day. During Jlay and June, the bathing-season at Vicarello (see below),
the traflic is more animated.

Beyond the Osteria Nuova (see p. 29(3) the Arrone is soon
reached. Then to the r. a road diverges to Anguillara, situated
on the lake. The district continues dreary. About 3 M. before
Bracciano is reached , the lake becomes visible , with Treviynano
and Rocca Romana, the highest point (2336 ft.) of the surround-
ing range of hills. The lake {Lams Sabatinus of antiquity) is
20 M. in circumference , and lies upwards of 500 ft. above the
sea-level. Its form and the heights encircling it indicate that it
was once a crater. It abounds in fish (eels celebrated) , and the
slopes are well cultivated , the upper parts being clothed with
wood, but malaria is prevalent.

Near Bracciano the road divides , the upper 1. leads to the
Capuchin monastery, the other r. to the town.

Bracciano (*Locanda Piva, unpretending), a small modern town
with 2000 inhab., possesses a picturesque castle of the 15th cent.,
and in the vicinity several iron-works. The town itself has no
attraction except its situation. The * Castle, however, erected by
the Orsini, now the property of Prince Odescalchi, is very inter-
esting, and with its towers and fortifications serves to convey an
accurate idea of a mediaeval stronghold. It is said on this ac-
count to have arrested the attention of Sir Walter Scott far more
powerfully than the more imposing ruins of antiquity. The inte-
rior , which is still inhabited , contains nothing worthy of note.
The *view from the tower, extending over the beautiful lake
to Trevignano and Anguillara, with Soracte and the Sabine Mts.
in the background, is remarkably attractive.

A pleasant excursion may be made from Bracciano to Trevignano, 6!fa
M. distant. The road skirts the lake. After li|2 M. a path ascends to the I.
to the old church of the martyrs SS. Marco, Marciano, and Liberato, erected,
as the inscription informs us, on the site of an ancient villa [named Pausi-
lypon, and affording a fine view. In'the vicinity stood Forum Clodii, from
which inscriptions and other relics are preserved. Pedestrians may regain
the road to Vicarello by another forest-path. — Vicarello is 33|4 M. from
Bracciano. The baths, 3\i M. from the road, with a hot sulphureous spring,
now in possession of the Jesuits, are the Aquae Apollinares of antiquity. A
proof of the estimation in which they were held was afforded in 1852 by
the discovery of great numbers of coins and votive offerings, most of which
are now in the Museo Kircheriano (p. 116). Owing to the malaria, the bath-
ing season is not prolonged beyond the early part of summer. — By the
road are seen frequent remains of opus reticulatum, belonging to villas of
the imperial epoch. Trevignano, occupying the site of the Etruscan town
of Sabate, which early fell into oblivion, formerly the property of the
Orsini, now 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
Caesar Borgia.

A bridle-path leads hence in l'|2 hr. to Sutri (p. 39), another in about
3 hrs. to Anguillara, the ancestral seat of the once powerful counts of that
name. If the wind be favourable it is preferable to cross the lake from
Trevipnano by boat From Anguillara to Bracciano an uninteresting route

298 Route 13. CJERE. Environs

of 6'la M. ; the tour of the lake may thus be accomplished in a single day.
(One-horse carr. from Bracciano to Trevignano 3l\2 fr.)

From Bracciano a road traverses a dreary district to Ocrvetri, 9 M.
distant, so that the above excursion may be conveniently combined with
the following.

Caere.

Cervetri, the ancient Caere, may be visited from Rome in a single day.
The first train should be taken as far as Palo (p. 12) (three trains daily,
fares 6 fr. 65, 4 fr. 25c); thence in l'|.i hr. to Cervetri, where a stay of 5
hrs. may be made, leaving time to regain Rome by the last train.

Caere , more anciently named Agylla ( 'circular city') , is a
place of very remote origin. Afterwards subject to the Etruscans,
it carried on from its harbours Pyrgos (Palo) and Alsion (S. Severa)
an extensive commerce. At the same time it was closely allied
with Home. In 15. G. 351 it was received into the confederation
of Roman states, and B. G. 390 aiforded refuge to the Vestal vir-
gins on the subjugation of Rome by the Gauls. The Romans out
of gratitude for this service are said to have conferred upon the
IVrites the franchise without the suffragium. In 1250 the town
was abandoned by its inhabitants, who founded Cere Nuovo, 3 M.
distant, the present Ceri, with not more than 50 inhab. A num-
ber of them, it is uncertain when , afterwards returned to Caere
Vetere, whence the name Cervetri. The present village, the pro-
perty of the Ruspoli, with about 200 inhab., stands on the site
of the ancient city, which was 4'/4 M. in circumference. The
interest of this locality was greatly increased by the discovery of
numerous tombs in 1829 , and the excavations are still prosecut-
ed. (Accommodation at the house of the vetturino Pacifico Rosati;
keys of the tombs at Passeijieri's.)

The tombs are either clustered together and hewn in the rock,
or stand alone in conical mounds or tumuli. On the whole their
state of preservation is far inferior to that of the tombs of Cor-
neto; hardly a trace of painting remains. The more important
may be visited in 3-4 hr.;. Most of them lie on the hill oppo-
site the village, and separated from it by a gorge. The traveller
who desires to form an accurate idea of their arrangements should
not confine his attention to the most interesting only.

1. Grotta delle Sedie e Scudi, so called from two seats and
several shields hewn in the rocks, contains an anteroom and five
chambers. 2 Grotta del Triclinio, with almost entirely obliterated
paintings representing a banquet. 3. Grotta delta bella Architet-
tura , with two chambers , supported by pillars. 4. Grotta delle
L'rne, with three marble sarcophagi. *5. Grotta delle Jscrizioni,
or de' Tarquinii , with two chambers , supported by pillars , con-
tains numerous inscriptions with the name of Tarchnas (Lat. Tar-
(juinius) , thus corroborating the alleged Etruscan origin of the
Roman kings. *6. Grotta dei Bassorilievi, excavated in 1850,
contains two pilla. s, supporting the roof of the chamber, decorat-

of Rome. OSTIA. 13. Route. 299

ed with various bas-reliefs of scenes from every-day life, hewn
in the tufa-rock, and bearing traces of painting. — On the road
to Palo lies : *7. Grotta Regolini Galussi, opened in 1835, a tomb
of great antiquity. The roof is vaulted by means of the gradual
approach of the lateral walls to each other, instead of by the arch-
principle. The yield of this tomb, now in the Gregorian Mu-
seum, was very considerable, consisting of a bed, a four-wheeled
chariot, shields, tripods, vessels of bronze, an iron altar, figures
of clay, silver goblets, and golden ornaments used in decorating
the deceased. — One mile from this is situated a tomb, opened
in 1850, and still containing the vases, vessels, and other objects
then discovered. Besides these, there are numerous other tombs
(e. g. Grotta Torlonin, the first chamber of which contains 54
recesses for the dead).

The Sea-coast of Latium.

Communication witli the sea was (if far higher importance to ancient
than to modern Rome. Its former facility, indeed, mainly contributed fo
Hie proud rank held in the world by the city. The most imposing har-
bours and other structures were accordingly established at the estuary of
the Tiber, the ruins of which are still visible. The coast stretching to-
wards the 8. was a favourite resort of the wealthy Romans, as the nume-
rous villas testify. It is now entirely desolate, and is skirted by a broad
belt of forest (macchia), where in the summer-months the malaria is more
pestilential than in any other locality.

Very interesting excursions may be undertaken along the coast, espe-
cially in spring. They are most conveniently made by carriage, and should
be so arranged that Rome may be regained in the evening.

0 s t i a.

14 M. from Rome. Two-horse carr. there and back 25 fr., fee 2 fr. The
drive to Castel Fusano must be expressly stipulated for. A small steamboat
of rather uninviting appearance starts in the morning for Fiumicino (see
below), which it reaches in 2 hrs., returning in the evening in 3 hrs. A
supply of provisions should be taken, as the Ostcria at Ostia is poor. The
beautiful cella of the temple is a good place for a picnic repast. Quarters
for the night may be obtained, by applying to the Principe Chigi for
permission, in his chateau of Uastel Fusano, but not during the residence
of the family [end of Jlay and June).

The road quits the city by the Porta S. Paolo , passes the
monastery of that name, and proceeds in the vicinity of the river.
A short distance beyond the monastery a road leads to the 1. to
the three churches of Tre Fontane (p. 261) and to Ardea. 8lk M.
from Rome the Rio di Decima is reached, and l'/2 M. farther
the Route della Refolta , an ancient viaduct of peperine. The
road next traverses the hills of Decima, then a growth of under-
wood (Macchia di Ostia), beyond which, 2 M. from Ostia, a flue
view of the latter is obtained. A short distance from the village
the Stagno di Ostia, which yielded salt as early as the epoch of
the kings, is reached and crossed by an embankment.

Ostia, a poor village with scarcely 100 inhab. , was founded
by Gregory IV. in 830, several centuries after the destruction of

300 Route 13. OSTIA. Environs

the ancient town. Under Leo IV. (847 — 56) the Saracens here
sustained a signal defeat, which Raphael has represented in the
Stanze Julius II. (1003 — 13), when Cardinal della Rovere, caused
the fort to be erected by Sangallo. The importance which the
town had hitherto enjoyed was lost, when, in 1612, Paul reopened
the r. aim of the Tiber at Porto.

The beautiful church of <S. Aurea, designed by Baccio Pintelli,
was erected under Julius II. The adjacent Episcopal Palace con-
tains numerous inscriptions and other relics, discovered during the
excavations. These works, commenced in the last century, have
been successfully prosecuted under the superintendence of M.
Visconti since 1855. Two or three hours suffice for a visit to
the principal objects.

The Ostia of antiquity, founded by Ancus Martius, fourth
king of Rome , extended along the left arm of the Tiber, 1/2 M.
from the present village, as far as Torre di Boacciano. It was a
large commercial town , and continued to maintain its position
even after the foundation of Portus. Among the numerous na-
tionalities of which the population consisted , various foreign re-
ligions were professed; thus Christianity also was introduced
here at an early period. The bishopric of Ostia, according to some
accounts, is said to have been established by the apostles them-
selves, 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 an osteria, which affords
very poor fare. The custodian, whose services are not absolutely
necessary, is generally to be found here, and is recognised by his
metal-badge (fee for the whole distance 2 — 3 fr.). The tombs,
which extend in a line beyond the Porta Romana 0/ the ancient
town, are reached in 5 min. from the gate. Most of the reliefs
found here are now in the Lateran (p. 201). In 3 min. the
gate of the old town is reached; on an eminence to the r., far-
ther on , are seen the ruins of the theatre (not yet excavated),
the stage of which faced the river. Then, after passing several
streets and half-excavated edifices, the visitor arrives at a temple,
with a well-preserved cella (with threshold consisting of a single
block of African marble, 18 ft. in length) and raised basement,
adjoining which is the store-room for the sacred vessels (favissae).
The road in a straight direction from the cella leads in 5 min.
to the shrine of the Magna Mater, excavated in 1869, an irre-
gular quadrangular structure with a colonnade on each side,
where the statue of Atthis in the 16th room of the Lateran
(p. 203) was found. About 7 min. walk hence, towards the
river is a house with a new facade containing the antiquities, in
the vicinity of which several private dwelling-houses have recently
been brought to light. The numerous fragments of reliefs and
inscriptions are interesting to the antiquarian only. The path

of Rome. PORTO. 13. Route. 301

diveiging to the 1. from that which follows the bank of the Tiber
leads in 10 min. more to the *baths, discovered in 1867. They
are of considerable size , but unfortunately not sufficiently exca-
vated to be described here ; the situation of the furnace, a swim-
ming-basin, hot-bath (calidarium), etc. may, however, be distin-
guished.

Proceeding towards the road on the bank of Tiber, the visitor
arrives in 5 min. at a s! ore-chamber, with 30 earthen jars im-
bedded in the floor , for the purpose of keeping wine , oil , and
grain. Then, 2 min. farther are much more extensive baths with
a palaestra etc., probably erected by Antoninus Pius (large mosaic
pavement in the principal hall, representing the intricacies of the
labyrinth), adjacent to which is a small temple of Mithras , with
an inscription on the mosaic-pavement. On the road-side , im-
mediately beyond the baths , are remains of arches of tuffstone
and travertine of the republican era , supposed to have belonged
to a harbour. About 3/4 M. hence (by the street skirting the E.
side of the town) is Laurentum, where a number of graves and
columbaria were discovered in 1867 ; the pictures found in them
are now in the 16th room of the Lateran (p. 203).

A carriage-road leads from Ostia to (2 M.) Castel Fusano (to
which the driver should be expressly desired to convey the tra-
veller), situated in the midst of a beautiful forest of pines. It
was erected by the Marchese Sacchetti in the 16th cent. , and
fortified against pirates ; it is now the property of the Chigi fa-
mily. A modern road, with ancient pavement of basalt, leads
hence to the sea, iy2 M. distant, the view of which however is
excluded by a lofty sandbank : a very pleasant walk. Similar
sand-hills, extending to the S. beyond the Pontine Marshes, bound
the entire coast.

From Ostia the river may be crossed near Torre di Boacciano to the
Jsola Sacra (p. 302), which is then traversed till the r. arm of the Tiber is
reached (l1^ M.). Beyond the latter lies Fiumicino, whence the traveller
proceeds to Porto.

From Castel Fusano to Tor Palermo, a farm in the vicinity of the an-
cient Laurentum, is a route of 6'|a M. Thence with guide to (4>|2 M.) Pra-
tica, an insignificant village on the site of the Lavinium of antiquity. From
Pratica to Albano 7>|4 M. , to Rome 14 M. Ardea, with remains of the an-
cient town, is 6J/a H. from Pratica.

Porto.

An excursion to this point is far less interesting than that to Ostia, and
recommended to the archaeologist more than to the ordinary traveller. Car-
riage to Fiumicino 20 — 25 fr. The journey may also be performed by the
small steamer already mentioned (p. 209), or by the Civita Vecchia railway.
From Ponte Galera (p. 12), the second station, to Porto 5>|i> SI., to Fiumi
cino 7i|4 M.

Owing to the extensive alluvial deposits of the Tiber (accor-
ding to modern calculations its delta advances on an average
12'/2 ft. annually), the harbour at Ostia was gradually filled with

302 Route 13. PORTO D'ANZIO. Environs

sand, and the lower quarters of the capital itself were frequently
exposed to danger from inundations, on account of the diminished
fall of the channel. The Emp. Claudius accordingly constructed
a new harbour on the coast, enclosed it by moles, and conduct-
ed into it a canal from the Tiber. In 103 Trajan considerably
enlarged and improved this harbour, which was called after him
Partus Trajani, and soon absorbed the entire traffic with Rome.
At the same time he excavated a new canal (fossa TrajaniJ, which
at present forms the principal arm of the Tiber. This harbour
is now 2 M. distant from the sea.

Porto now consists of a Cathedral, dedicated tok>S. liuflna, an
episcopal Palace, with inscriptions and antiquities, and a Villa of
Prince Torlonia, who has caused excavations to be made here.
The traveller first reaches the walls of the town , then , passing
the farm-buildings, the harbour of Trajan, a large octagonal ba-
sin, surrounded by magazines, now a shallow lake only. In the
meadows to the N. of this, the extent of the harbour of Claudius
is still traced. Towards the river are situated the episcopal pa-
lace, and the church of St. Rufina, of the 10th cent., now entirely
modernised.

Fiumicino (Locanda), a modern place which derives some im-
portance from the river-navigation, is 2 M. distant from Ostia.
The castle, erected in 1773 close to the sea, is now early '/> M.
distant from it. The tower commands a line view.

The /sola N/icra, situated between the two arms of the river, was sn
termed at a very early period, either from having been the site of a heathen
temple, or from having been granted by Constantine to the Church. Nu-
merous herds of cattle are pastured here , against which travellers must be
on their guard, especially in spring.

Forto d'Anzio,

331/2 M. from Rome, is much frequented during the bathing-sea-
son (May and June), when direct tickets (f) fr.) are issued by the
post-oflice authorities. The journey occupies 5 hrs. , and the
excursion requires two days. Railway to La C'ecina, the station
for Albano. Thence to Porto d'Anzio i(i'/.2 M. Every alternate
day, in spring generally daily, a vetturino performs this part of
the journey in 3 hrs. Another vetturino from Rome (Via Bocca
di Leone 8G) on Wednesdays and Saturdays at 5. 30 a. m., fare
6 fr. Accommodation at the Locanda di Ambrogio Pallastrini, in
private apartments , and also at the Palazzo Uoria in the neigh-
bouring village of Nettuno. A stay at Porto d'Anzio is pleasant
in the early summer, but fevers begin to prevail in July, often
setting in with great suddenness.

Antium, the capital of the Volsri, and a prosperous seaport at a very early
period, where, 1!. C. 490, Coriolanus sought refuge when banished from Rome,
and perished after having spared the city at the entreaty of his mother, was
compelled in 408 to succumb (o the Romans. In 338, when all the Latins
were subjugated, it received .i bVinan colony, and was thus permanently

of Rome. NKTTUNO. 13. Route. 303

united willi Rome. Extensive villas were subsequently established here.
Cicero possessed an estate at Antiuiu, the tranquillity and charms of which
he cannot sufficiently extol (Alt. IV, 8). Horace (Carm. I, 35) mentions the
temple of Fortune at the 'lovely Antium', where oracular responses were
given, and which was consulted as late as the time ofTheodosius the Great
(about 390). Claudius and Nero were born at Antium, where the latter
erected magnificent edifices. Domitian, Hadrian, Antoninus Pius, and Lucius
Verus resided at Antium in summer. The Goths and Saracens subsequently
established themselves here. In the 14th cent, the place was at length en-
tirely deserted , and in the 16th the popes endeavoured to restore the har-
bour. Since 1831 Porto d'Anzio and Nettuno have been the property of
Prince Borghese, who here possesses a handsome villa, said to occupy the
site of the ancient castle. Extensive substructures , broken columns , etc..
have been discovered here. Under Julius II. the Apollo Belvedere, and
probably the Diana of Versailles also, was extricated from the ruins near
the so-called Arco Muto ; subsequently the Borghese Gladiator (now in Paris).
The town possesses beautiful villas of the Corsini (now Mencacci) and Doria
families; likewise a bagno for convicts. Pius IX. generally spends part of
the summer at Porto d'Anzio.

A picturesque road, passing villas and country-residences (or
the beacli may be followed , although somewhat fatiguing) , leads
to the small town of (II/2 M.)

Nettuno, said to have been originally a settlement of the
Saracens, situated on a fortified height with a single entrance
only. The streets are narrow and precipitous; the inhabitants,
principally fishermen , are generally engaged in their pursuits on
the coast. The costume of the women is picturesque. Cicero
once possessed a villa at Astura, ]/t M. distant. A tower, con-
nected with the mainland by a bridge, is associated with the
memory of the ill-fated prince Conrudin of Swabia, who, after the
loss of the Battle of Tagliacozzo, sought refuge here with Jacopo
Frnngipnni. The latter , however , delivered him up to Charles
of Anjou, who caused him to be beheaded at Naples.

INDEX.

Abete, Monte dell' 21.

Acciajolo 13.

Acquabuona 13.

Acqualagna 76.

Acquapcndentc 36.

Acqua Santa 266.

Acqua Traversa 41.

Aesis 80.

Aethalia 22.

Affile 290.

Agosta 285.

Agylla 11. 298.

Aiguillette, Fort 6.

Alba Longa 276.

Albano 276.

— , Lago di 276.

AlbanMountains, the 271.

Albamtm 277.

Albegna 15.

— , river 15.

Albinia 15.

Allia 269.

Almo, brook 265.

Alston 12. 298.

Amelia 64.

Ameria 64.

Amiata, Monte 31.

Ampiglione 284.

Ancona 78.

Anemo 69.

S. Angelo 291.

— in Vado 75.
Anguillara 297.

Anio, river 268. 281. 284.

Ansedonia 16.

Anlemnae 268.

Anticoli 285.

Antium 302.

Aqua Alexandrina 288.

— Fevtntina 275.
Aquae Albitlae 281.

— Apollinares 297.

— Tauri 11.
Ardea 301.
Arezzo 43.

Argentario, Monte 16.
Ariccia 278.

Aricia 278.

Aricciana, Valle 279.

Ariminum 70.

ArnoT river 8. 43.

Arretium 44.

Arrone, river 12. 16. 296.

Arsoli 285.

Artemisio, Monte 279.
Arx Junonis 291.
Asciano 30.

Asdrubale , Monte d' 75.
Asinalunga 30.
Assisi 56.
Astura 303.
Attidium 80.
Auximum 81.

Baccano 40.
Bachetona, La 21.
Bagnaia 38.
Bagnorea 34.
Ballaguier, Fort 6.
Balneum Regis 34.
Baize, Le 2i. 55.
Bambolo 13.
Bassano 38.
Bastia 55.
Bel Caro 30.
Belforte 82.
Benat, Cap 7.
S. Benedetto 70.
Bertinoro 70.
Bettole 31.
Bevagna 59.
Bieda 38.
Bisentina 34.
Blera 38.
Bolsena 34.
— , Lago di 34.
Bomarzo 3S.
Borghetto 65.
Borghetto Tuoro 48.
Borgo S. Lorenzo 69.

— di S. Marino 71.

— S. Sepolcro 55.
Bovillae 277.
Bracciano 296.

— , Lago di 297.
Bruna, river 15.
Bnche de' Saracini, Le

20.
Bucine 43.
Bulicamc 36.
Burano, river 76.
Busco 77.

Caecina 13.
Caffarella, brook 265.

Cagli 76.
Cales 76.
Galle 76.
Calmazzo 75.
Calseraigne, iles de 6.
Calvo, Monte 76.
Camaldoli 273.
Camaret, Cap 7.
Camerino 82.
Campagna di Roma 258.
Campello 60.
Campiglia 13.
Campo d'Annibale 275.
Camuscia 46.
Candigliano, river 75.
Cantalupo 285. 291.
Canterano 285.
Cantiano 76.
Capanne, Monte 22.
Capo d'Istria 78.
Capoliveri 22.
Capraja 21.
Caprarola 39.
Carciae 296.
Caere 298.
Carnaiola 32.
Carsulae 54.
Casale di Pantano 288.

— dei Pazzi 268.
Casape 284.

S. Casciano 65.

Cascina 9.

Case Bruciate 74.

Case Nuove 83.

Casino di Terra 18.

Cassidaine, Rochers de 6.

Cassis 6.

Castel Arcione 281.

— d'Asso 38.

— Bolognese 69.

— S. Elia 68.
Castelfidardo 81.
Castel Fiorentino 23. 46.

— Fusano 301.

— Gandolfo 278.

— Giubileo 68. 269. 295.

— di S. Leo 71.

— Nuovo 68.

— S. Pietro 69. 2S9.

— Planio 80.

— Savclli 276.

— Todino 54.
Castello Madama 285.

INDEX.

305

Castiglione 238.

— del Lago 48.

— della Pescaia 15.
— , Palude di 15.
Castrimoenium 274.
Cattolica, La 71.
Cava, La 21.
Cava Beatina 63.

— Gregoriana 63.

— Paolina 63.
Cave 289.
Cavo, Monte 275.
Cecina 13. IS.

— , La 276.

Centum Cellae 11.

Cerbara 285.

Cerboli 22.

— , Lagoni di Monte 21.

Ceri 298.

Certaldo 23.

Cervara, Grottoes of 268.

Cervetri 298.

Cesena 70.

Cesi 64.

•Cessano, the 74.

<Jetona, Monti di 31.

Chiana, river 30. 42. 46.

Chiaravalle 80.

Chiascio, river 55. 77. 81.

Chiavari 8.

Chienti, river 81.

Chiusi 31.

Chiusure 30.

€iampino 271.

Ciminian Forest 39.

Ciotat, la 6.

Ciriaco, Monte 79.

Citti di Castello 55.

— della Pieve 42.
Cittanova 78.
-Civita 34.

Civita Castellana 66.

— Lavinia 279.
Civitanuova 81.
Civita Vecchia 11.
Civitella 285. 290.
Clanis 46.

Claustra Etruriae 39.
Clitumnus, the 59.
Clusium 31.
Colfiorito 83.
Collalia 268.

Colle Salvetti 13.
Collescipoli 64.
ColoniaJuliaHispellum58.

— Julia Senensis 24.

— Junonia 66.

— Nepensis 68.
Colonna 288.
Compatri 288.
Compiobbi 43.
Conca, river 71.

Conero, Monte 79.

Cora 292.

Cori 292.

Corneto 16.

Cornia, La 13.

Correse, Passo di 65.

Corrignaleto, Monte 291

Cortona 46.

Cosa 16.

S. Cosimato 285.

Cremera, the 40. 68. 296.

Crete 31.

Croisette, Cap de la 6.

Cures 65.

Daila 78.
Digentia 291.
S. Donnino 8.

Elba 21.
Ellera 49.
Elsa, river 23.
Empoli 9.
Empulum 284.
Era, river 9.
Esino, river 74. 80.
Etr uscan Towns 294.

Fabriano 80. 82.

S. Facondino 81.

Faenza 69.

Faleonara 74. 80.

Falerii 66.

Fano 73.

Fanum Fortunae 73.

— Yacunae 291.

— Voltumnae 35.
Faventia 69.
Felcmo 77.
Ferentinum 36.
Ferento 36.
Ficulle 32.
Fidenae 269. 296.
Fiesole 43.
Figline 43.
Filettino 281.
Fiora, river 16.
Fiumicino 302.
Florence 8. 23.
Foglia, river 71.
Fojano 31.
Foligno 58.
Follonica 15.

Fons Bandusiae 291.
Fontana degliOratini291.
Forli 69.
Forlimpopoli 70.
Formello, Fosso di 296.
Formica, island 15.
Forum Cassii 38.

— Clodii 297.

— Cornelii 69.

Baedeker. Italy II. 3rd Edition.

Forum Livii 69.
— ■ Popilii 70.
— Sempronii 75.
Fossato 77. 81.
Fossombrone 75.
Frascati 271.
Frassinetto 46.
Fratocchie, le 277.
Fratta 55.
Fregenae 12.
Fulginium 58.
Furbara 11.
Furlo Pass 75.

Oabii 287.

Galera 296.

Galese 65.

Gelagno 82.

S. Gemine 54.

Genazzano 290.

Genga, La 80.

Gennaro, Monte 285. 291.

Genoa 7.

Genzano 279.

Gerano 285.

Gericomio 284.

S. Giacomo 60.

Giannutri 10.

Giano 81.

Giano, brook 81.

Giglio 23.

S. Gimignano 23.

S. Giovanni 43.

— d'Asso 30.

Giulianello 292.

— , Lago di 292;

Gonfolina, the 8.

Gorgona 21.

Graviseae 17.

S. Gregorio 284.

Grosseto 15.

Grotta Ferrata 273.

Grotte, Le 38.

Gualdo Tadino 81.

Guasco, Monte 79.

Gubbio 76.

TLorta 65.
Hyeres, lies d' 7.

Jesi 80.

If, chateau d' 6.

Igilium 23.

Jguvium 76.

Ilva 22.

Imola 69.

Imperiale, L" 72.

Iniposta, L' 39.

Incisa 43.

Interarnna 62.

Isaurus 71.

Isola, Fosso deir 296.

306

INDEX.

Isola Farnese 295.

— Maggiore 48.

— Minore 48.

— Pnlvese 48.

— Sacra 302.

Labicum 287.
Lacus Albanus 276.

— Alsietinus 40.

— Ciminius 39.

— Nemorensis 280.

— Prelius 15.

— Sabatinus 297.

— Traslmentis 48.

— Vadimonis 39.

— Vulsiniensis 34.
Lamone. river 69.
Lanuvium 279.
Laterina 43.
Laurentum 301.
Lavinium 279. 301.
Lecques, Baye de 6.
Leghorn 9.
Levant,' lie du 7.
Licenza 291.
Livorno 9.

S. Lorenzo 36. 71.
Loreto 81.
Lucignano 30.
Luco, Monte 61.
Lucretilis, Mons 291.
Lunghezza 268.
Lugnano 287.

Maccarese 12.
Macerata 81.
Madonna del Buon Con
siglio 290.

— del Campo 289.

— delle Case 291.

— di Mongiovino 42.

— del Monte 292.

— di Monte Nero 13.

— della Quercia 38.

— del Tufo 276.
Maggiore, Monte 78.
Magione 49.
Magliana 12. 260.
Magliano 64.
Malgue, la Fort 6.
Mandela 285. 291.
Marano, river 71.
Marciana 22.
Marecchia, river 70.
Maremme, the 13.

S. Maria degli Angeli 55.

— di Cesareo 296.

— delle Grazie 61.
S. Marinella 11.

S. Marino 71.
Marino 274.
Marotto 74.

Marradi 69.
Marseilles 2.
Marta, river 16.
Martana 34.

Martignano, lake of 40.
S. Martino 18. 71.
Massa 15.
Massilia 2.
Matelica 80. 82.
Maures, Mont, des 7.
Meloria 21.
Mentana 268.
Metaurus 74.
Mevania 59.
Mignone, river 17.
S. Miniato dei Tedeschi

9. 23.
Miramar 78.
Mirandola 69.
Mola, la 278.
Mons Albanus 275.

— Ciminius 39.

— Lucretilis 291.

— Sacer 268.
Montalto 16.
Montarozzi 16.
Monte S. Bartolo 72.

— Catillo 283.

— Catini 21.
Montecchio 72.
Monte Compatri 287.

— Cristo 23.
Montefaleo 59.
Montefiascone 35.
Montefortino 293.
Montelupo 8.
Monte Massi 21.

— Oliveto maggiore 30.
Monte Pescali 15.

— Porzio 287.

— Pulciano 31.

— Riggioni 24.

— Romano 11.
Monterosi 40.
Monte Rotondo 65.
Montesanto 81.
Montevarchi 43.
Monticelli 281. 291.
Monti Pisani 9.
Mont' Olmo 82.
Montone, river 69.
Montorso 65.
Muccia, La 82.

ISar 64.
Narni 64.
Navacchio 9.
Nemi 279.
— , Lago di 280.
Nepete 68.
Nepi 68.
Nequinum 64.

Nera, river 54.J62.
Nero's Tomb 41.
Nervi 8.
Nettuno 303.
Ninfa 293.
Nocera 81.
Nomentum 268.
Norba 293.
Norchia 38.
Norma 293.

NotreDame de la Garde 5.
Nuceria 81.

Olevano 289.

Ombrone, river 8. 15. 30.

Orbetello 15.

Orciano 13.

Orcle 38.

S. Oreste 67.

— , Monte di 67.

Orlando, Grotta d' 40.

Orsera 78.

Orte 65.

Orvieto 32.

Osa, river 15.

Osimo 81.

Osservanza, La 30.

Osteria Bianca 23.

Ostia 299.

— , Stagno di 299.

Otricoli 64.

Paglia, river 32.
Palazzolo 81.
Palazzuola 276.
Pale 83.
— , Sasso di 83.
Palestrina 287.
Paliano 290
Palidoro 12.
Palmaiola 22.
Palmaria 8.
Palo 12.
S. Paolo 285.
Papigno 62.
Parenzo 78.
Passerano 284. 289.
Passignano 49.
Passo di Correse 65-
Pausilypon 297.
Pellegrino 81.
Perugia 49.
S. Agnese 53.
S. Angelo 53.
"Arco di Augusto 51.
"S. Bernardino 53.
"Cathedral 51.
Citadel 50.
S. Domenico 52.
S. Francesco dei Con-
ventual! 53.

INDEX.

307

Perugia :
Grotta de' Volunni 54.
Libreria pubblica 54.
Necropolis 54.
Pa). Baldeschi 53.
:: — Comunale 50.

— Conestabile 51.

— Ponini 53.

— Penna 54.

Piazza delSopramuro52.

S. Pietro de' Casinensi
53.

Pinacoteca 51.

S. Severo 52.

University 51.
Perusia 49.
Pesa, river 8.
Pesaro 71.
Petrara, Monte 76.
i'ianosa 22.
Piedilugo 64.
Pienza 31.
S. Pierino 9.
Pietralata 75.
Piombino 14.
Pirano 78.
Pisa 9.
Pisauvum 71.
Pisciatello, the 70.
Planasia 22.
Poggibonsi 23.
Poggio alia Croce 21.

— Mirteto 65.
Polenta 70.
Poli 284.
Polimartium 38.
3. Polo 291.
Pomarance 21.
Pomegues 6.
Ponente, Lago di 12.
Potis Milvius 41.
Pontassieve 43.
Ponte della Badia 16.

— a Botte 76.

— Centesimo 81.
Pontedera 9.
Ponte Felice 64.

— Galera 12.

— Ginori 18.

— S. Giovanni 55.

— Lucano 281.

— Mammolo 281.

— Molle 41.

— di Nono 287.

— Xuovo 54.

— della Refolta 299.

— del Terreno 66.

— della Trave 82.
Ponticino 43.
Populonia 14.
Porquerolles 6.
Porta Furba 266.

Porta della Rosa 64.

Portcros 7.

Porto 301.

Porto d'Anzio 302.

— Civitanuova 81.

— Clementino 17.

— Ercole 16.

— Ferrajo 22.

— Longone 22.

— S. Stefano 16.

— Venere 8.

Partus Trajani 11. 302.
Potassa 15.
Potenza, river 81.
Potenza-Picena 81.
Praeneste 288.
Pratica 301.
Prima Porta 68.
Piipluna 14.
Pussino, Val di 270.
Purgos 11. 298.

Quaderna 69.

Radicofani 36.
Rapallo 8.
Rapolano 30.
Ratonneau 6.
Ravenna 69.
Recanati 81.
Recco 8.

Regillus, Lake 288.
Rignano 43. 67.
Rimini 70.
Rio 22.
Rio di Deciraa 299.

— Fiume 11.
Ripoli, Monte 284.
Riviera di Levante 8.
Rocca Canterano 285.

— S. Casciano 70

— di Cavi 289.

— S. Francesco 290.

— Giovine 291.

— Massima 292.

— di Papa 275.

— Roraana 297.

— S. Stefano 285.
Rojate 290.
HOME 83.

Accademia di Francia
109.

— di S. Luca 178.
Acqua Acetosa 269.

— Felice 133. 267.

— Paola 226. 296.

— Santa 266.

— Vergine 112. 268.
S. Adriano 170.

S. Agata alia Suburra

137.
S. Agnese 154.
Arvales, Grove of 259. 1

ROME:

!'S. Agnese fuori lemura

134.
:S. Agostino 148.
S. Alessio 189.
"Amphitheatrum Cas-

trense 14.

— Flavium 173.
S. Anastasia 185.

S. Andrea delle Fratte

111.
■>— della Valle 156.

SS.AngeliCustodill2.

S. Angelo, Castello 211.

S. Antonio Abbate 138.

S. Apollinare 149.
;'SS. Apostoli 118.

Aqua Claudia 141. 187.
267.

— Julia 141.

— Marcia 267.

— Trajana 226.

— Virgo 112.
Archaeol. Instit. 85. 167.
Arch of Constantinel76.

— of Dolabella 196.

— of Drusus 194.

— of Gallienus 140.

— de' Pantani 178.

: — of Sept. Severusl69.
'■•— of Titus 172.
5Arcus Argentarius 184.
Armoury 253.
Artists' Associationl06.

112.
Auguratorium 182.
Aventine, the 186.
S. Balbina 192.
Barcaccia, La 111.
S. Bartolommeo 228.
— , Isola di 227.
'Basilica of Constantine

171.
Basilica Julia 170.
Basis of Nero 173.
Belrespiro 226.
S. Bernardo 132.
S. Bibiana 141.
Bibliotheca Angelica

149.

— Casanatensis 153.
* — Vaticana 250.

Bibulus, Monument of

121.
Bocca della Verita 184.
S. Bonaventura 183.
Borgo 212.

Botanical Garden 221.
-Braccio Nuovo 239.
'Caecilia Metella, Tomb

of 263.
S. Cajo 132.

20*

308

INDEX.

ROME:

Caelius, the 195.
Campo Militare (di Ma-
cao) 136.

— Vaccino 168.
Capitol 167.

— , Collections of the

205.
,!Cappella di Niccolo V.
238.

— Paolina 233.
""— Sistina 232.

"Career Mamertinus 170.
Carceri Nuovi 161.
S. Carlo 129.

— a Catinari 161.

— al Corso 113.
Casa di Crescenzio 185.

— di Pilato 185.

— di Rienzi 185.

— Zuccari 110.
Caserma de' Gendarmi

107.

— de' Vigili 145.
Catacombs 257.

S. Caterina de' Funari
162.

— di Siena 132.

S. Cecilia in Trastevere

230.
Cemetery, German 220.
— , Protestant 187.
S. Cesareo 193.
"Cestius,Pyramid of 187.
Chiesa Nuova 157.
Circus of Domitian 153.

— Flaminius 162.

:: — of Maxentius 263.

— Maximus 185.
S. Clemente 197.

"Cloaca Maxima 184.
Collegio Nazareno 112.

— di Propaganda Fide
111.

— Romano 115.
"Colonacce, Le 177.

Colonnade of Octavia
163.

— of the Twelve Gods
168.

* "Colosseum 173.
Columbaria 194.
Conservatori, Palace of

the 205.
Corso, the 112.
Cortile diBelvedere242.

— di S. Damaso 231.
"SS. Cosma e Damiano

171.
Domus Tiberiana 182.
S. Costanza 134.
S. Crisogono 228.

ROME : ,

;::S. Croce in Gerusa- j

lemme 142. !

• — di Monte Mario 270.

Deputies, House of 114.

Dogana 115.

S.Domenico e Sisto 137.

Domine Quo Vadis 262.

Domus Tiberiana 182.

English Church 107.
"Eurysaces, Mon. of 141.

S. Eusebio 141.

Farnese Gardens 181.

Flavian Palace 182a.

Fontana delle Tarta-
rughe 162.

— di Termini 133.
-— di Trevi 112.
;'— del Tritone 124.

Fontanone delf Acqua
Felice 133.

— di Ponte Sisto 161.
Forum of Augustus 178.

— Boarium 184.

— of Caesar 178.

— of Nerva 177.

* — Romanum 16S.
"— of Trajan 179.

— Transitoriuni 177.
S. Francesca 124.

— Romana 172.

S. Francesco di Paola
144.

— a Ripa 229.

— delle Stiniate 155.
S. Gallicano, Ospedale

229.
Gardens of Sallust 126.
"Gesu 121.
Gesu e Maria 113.
Ghetto 163.
S. Giacomo 212.

— in Augusta (degli
Incurabili) 113.

— alia Lungara 221.

— dei Spagnoli 154.

S. Giorgio in Velabro

184.
S. Giovanni Colabita

227.

— de' Fiorentini 161.
■— in Fonte 201.

"' — in Laterano 200a.

— e Paolo 195.

— a Porta Latina 193.
S.Girolamo degli Schia-

voni 145.
S. Giuliano 141.
S. Giuseppe de' Faleg-

nami 170.
S. Gregorio 195.
Grotto of Egeria 265.

ROME:

Grotte Vaticane 218.
House of Crescentius

185.
"Janiculus, the 226.
Janus Quadrifrons 183.
S. Ignazio 115.
S. Ildefonso 124.
Immacolata, Column of

the 111.
S. Isidoro 125.
Lateran, the 199.
Longara 220.
S. Lorenzo in Damaso

158.
* — fuori le mura 139.

— in Lucina 113.

— in Miranda 171.
— ■ in Paneperna 137.
SS. Luca eMartino 170
S. Lucia 14S.

S. Luiai de' Francesi
149. "

Madonna Lucrezia 121.

S. Marcello 116.

S. Marco 120.
"Marcus Aurelius, Co-
lumn of 114.
'■ — , Statue of 166.

Marforio, Via di 121.
-S.Maria degli Angelil35-
* — dell' Anima 154.
* — in Araceli 165.

— Aventina 189.

— in Campitelli 162.

— della Concezione 124-

— in Cosmedin 184.

— in Domnica 196.
■ — Egiziaca 185.

— Liberatrice 170. 181.

— di Loreto 179.
'"" — Maggiore 137.

— sopra Minerva 152.

— de' Miracoli 107.

— di Monserrato 159.

— in Monte Santo 107.

— della Morte 161.

— della Navicella 196.

— Kuova 172. 264.

— delF Orazione 161.

— dell' Orto 230.
"— della Pace 155.

— del Pianto 163.
'■'— del Popolo 107.

— del Priorato 189.

— del Rosario 270.
**— Rotonda 150.

— Scala Cceli 261.

— del Sole 184.

— Traspontina 212-

, — in Trastevere 229.
j — in Via Lata 117.

INDEX.

309

ROME:

S. Maria della Vittoria

133.
Marmorata, the 186.
S. Martino ai Monti 143.
Mausoleum of Augustus

144.

— of Hadrian 211.
Meta Sudans 176.
S. Michele, Osp. 230.
S. Michelein Sassia213.
Minister offices :

Commerce 182.

Exterior 130.

Finance 153.

Instruction 114.

Interior 15T.

Justice 145.

Marine 149.

War 118.
Mint 253.
Mons Sacer 268.
Monte Caprino 167.

— Cavallo 130.

— Citorio 114.

— Mario 270.

— di Pieta 160.

— Testaccio 187.
Mosaico, Studio del 252.
MuseoChiaramonti 240.

— Gregoriano (Etrusc.)
247.

— Kircheriano 116.
--_ Pio-CIementino241.

Museum. Egyptian 248.
— , Capitoline 207.
'—, Christian 203.
— . Etruscan 247.

— Gregorianum Later.
201.

Neptune, Temple of 115.
S.^'ereo edAchilleo 192.
S.Hiccolo inC'arcerel64.
Xome di Maria 179.
"S. Onofrio 220.
Palatine Hill 180.
Palazzo Albani 132.

— Altieri 121.

— Altemps 149.

— Antonelli 132.
■— Barberini 129.

— Bonaparte 120.

— Borghese 145.

— Braschi 157.

— del Bufalo 112.

— Caffarelli 165.

— della Cancelleria 158.

— Cenei Bolognetti 163.

— Chigi 114.

— Colonna US.

— of the Conservatori
205.

ROME : I

Palazzo della Consulta

130.
*— Corsini 222.
Pal. Costaguti 162.

— della Dataria 130.
'— Doria 117.

— Falconieri 161.
'— Farnese 158.

— Fiano 113.

— di Firenze 145.

— Galizin 148.
'— Giraud 212.

— Giustiniani 150.

— del Governo vecchio
157.

— Lancelotti 148.

— Maccarini 150.

— Madama 153.

— Massimi alle Co-
lonne 156.

— Mattei 162.

— Xipoti 120.

— Odescalchi 118.

— Pacca 163.

— Pamfili 154.

— Patrizi 150.

— Piombino 114.
■; — del Quirinale 130.

— Righetti 161.

— Rinuccini 120.

— Rondinini 113.
4 — Rospigliosi 131.

— Ruftb 118.

— Ruspoli 113.

— Sacchetti 161.

— Salviati 118. 221.

— Santacroce 161.
' — Sciarra Colonna 115.

— del Senatore 166.

— Simonetti 116.
- — Spada alia Regola

160.

— Strozzi 155.

— Teodoli 114,

— Terrajuoli 114.

— Torlonia 120.

— del SS. Uffizio 220.

— Valentini 118.
,: — di Venezia 120.

— Verospi 114.

— Vidoni 155.
"Palazzetto Farnese 158.

S. Pantaleo 157.
""Pantheon 150.
:":'S. Paolo fuori le Mura
190.

— alle TreFontane 261.
Pasquino, Piazza di 157.
Pescheria 163.

,'"St. Peter's 214.
, "Phocas, Column of 170.

ROME :

Piazza di SS. Apostoli

US-
Piazza Araceli 164.

— Barberini 124.
">— delCampidoglio 166.

— Campo de' Fiori 158.
*— Colonna 114.

— diMonteCavallol29.

— di Monte Citorio 114.
* — Xavona 153.

*»— di S. Pietro 213.
*— del Popolo 107.

— della Rotonda 150.

— di Spagna 111.

— di Termini 133.

— S. Trinita 109.

— di Venezia 120.
S. Pietro in Carcere 170.

— in Montorio 224.
**_ in Vaticano 214.

^_ in Vincoli 143.
"Pincio, the 108.

Police Office 83.

Ponte S. Angelo 211.

— S.Bartolommeo228.

— Molle 41.

— Nomentano 268.

— de'QuattroCapi227.

— Rotto 228.

— Salaro 268.

— Sisto 224.
Porta Asinaria 199.

— Aurelia 226.

— Capena 191. 261.

— S. Giovanni 199.

— Latina 193.

— S. Lorenzo 139.
"— Maggiore 141.

— Mugionis 180.

— Nomentana 133.

— S. Paolo 186.

— S. Pancrazio 226.

— Pia 133.

— del Popolo 106.

— Portese 230.

— Romano 180.

— Salara 126.

— S. Sebastiano 194.

— Settimiana 223.

— S. Spirito 213.
Post Office 91. 114.

"S. Prassede 138.

S. Prisca 189.

Propaganda 111.

S. Pudenziana 136.
"Pyramid of Cestius 187.

SS. Quattro Coronati
200.

Quirinal, the 130.

Railway Station 135.
"Raphael's Loggie 234.

310

INDEX.

HOME:

"'Raphael's Stanze 235.
"— Tapestry 246.

— Tomb 152.
Regia 170.

Ripa Grande 230.

Ripetta, Porto di 144.

Ripresa de' Barberi 120.

S. Rocco e Martino 145.

Rostra 169.
"'Rotonda, La 151.

S. Saba 186.
*S. Sabina 188.

S. Salvatore inOnda 161 .

— in Lauro 148.
Scala Santa 200a.
Schola Xantha 168.

'"Scipios, Tomb of the

193.
S. Sebastiano 262.
Seminario Romano 149.
Senate House 150.
Servius, Wall of 136.

186.
Sette Sale 143.
S. Silvestro in Capite

114.

— a Monte Cavallo 132.
S. Sisto 193.

"Sixtine Chapel 232.
Spanish Staircase 110.
S. Spirito, Osp. di 212.

— in Sassia 212.
Stamperia Papale 112.
Steamboats 91.

S. Stefano Rotondol96.
S. Susanna 133.
Synagogue 163.
''Tabularium 167.
Tarpeian Rock 167.
Telegraph Office 91.
Temple of Castor and
Pollux 170.

— of Concordia 169.

* — of Deus Rediculus
264.

— of Faustina 171.

— of Fortune 185.

— of Hercules Victor
185.

— of Juno Sospita 164.

— of Jupiter Capitoli-
nus 167.

— of Jupiter Stator
182a.

— of Jupiter Victor
182c.

— of Mars Ultor 17S.

— of Minerva Medica
141.

* — of Neptune 115.
'— of Saturn 168.

ROME:

Temple of the Three
Gods 184.

— of Venus and Roma
173.

4 — of Vespasian 169.

— of Vesta 170. 185.
S. Teodoro 183.

S. Teresa 132.
Testaccio, Monte 187.
Theatre of Marcellus
164.

— of Pompey 161.
Thermae of Agrippal51.

:":' — of Caracalla 192.

— of Diocletian 135.
■'— of Titus 176.

S. Tommaso in Formis

196.
Torraccio, the 264.
Torre de' Conti 132.

— delle Milizie 132.

— di Nerone 132.
'"'Trajan's Column 179.

Trastevere 224.
Tre Fontane 260.
S. Trinita de' Monti
110.

— de' Pellegrini 161.
Trofei di Mario 141.

166.
Universita della Sa-

pienza 150.
S. Urbano 265.
Vatican, the 230.
Velabrum 184.
Velia 172.
Via Appia 191. 261.
' Villa Albani 126.

— Aldobrandini 137.

— Bonaparte 133.
-:— Borghese 122.

— Campana 200.

"— Doria Pamfili 226.
'" — Farnesina 221.
';":' — Ludovisi 125.

— Madama 270.

— Malta 124.

— Massimo 204.

— Mattei 196.

— Medici 109.

— Mellini 270.

— Mills 180. 182c.

— di Papa Giulio 269.

— Patrizi 133.

— Spada 268.

— Torlonia 133.

— Wolkonsky 205.
SS. Vincenzo ed Anas-

tasio 112. 261.
S. Vito 140.
Zecca 253.

Roma vecchia 264.
S. Romano 9.
Ronciglione 39.
Ronco, the 70.
Rosaro 54.
Roselle 15.
Rosso, Monte 80.
Rotta, La 9.
Roviano 285.
Rovigno 7S.
Rubicon, the 70.
Rusellae 15.

Sabate 297.

Sabina, the 65.

Sabine Mountains , the

280.
Saccomuro 285.
Salarco 31.
Saline IS.

S. Salvatore, Abbey 21.
Salvore 78.
Sambuci 285.
Santerno, river 69.
Sapis 70.
Saracinesco 285.
Sassoferrato 80.
Sassula 285.
Saturnia 16.
Savio, river 70.
Saxa Rubra 68.
Scannabechi, river 209.
Schieggia 76.
Segni 294.
Selagite, Mt. 21.
Sena Gallica 74.
— Julia 24.
Senio, river 69.
Sentinvm 81.
Septempeda 82.
Serra S. (,>uirico 80.
Serravalle 82.
Sestri a Levante 8.
Sette Vene 40.
S. Severa 11.
S. Severino 82.
Sibilla, Mt. 81.
Siciliano 285.
Siena 24.

Accademia degli Intro-
nati 29.

S. Agostino 27.

Archives 29.
'■S. Bernardino 28.

Carmine 2(.

Casa di S. Caterina28.

Casino de' Nobili 26.
"'Cathedral 26.

Citadel 30.

S. Concezione 27.

INDEX.

311

Siena :
S. Domenico 27.
Fonte Branda 29.

— Fullonica 29.
■— Gaja 25.

— Giusta 28.

S. Francesco 27.
Istituto delle Belle

Arti 28.
Library 29.
Lizza, la 30.
Loggia di S. Paolo 26.
S. Niccolo 27.
Palazzo Buonsignori 29.

— del Governo 29.

— del Magniflco 29.

— Piccolomini 29.

— Pollini 29.

— Pubblico 25.

— Saracini 29.

— Tolomei 29.
"Pellegrinajo 27.
"Piazza Yittorio Ema-

nuele 25.

Spedale di S. Maria
della Scala 26.

S. Spirito 28.

University 29.
Sieve, river 43.
Sigillo 77.
Siy;na S.
Signia 294.
Sillaro, river 69.
S. Silvestro 67.
Sinalunga 30.
Sinigaglia 74.
Sinnus 69.
Somma, Monte 62.
Soracte, 3It. 67.
Sovana 16.
Spaccato, Monte 284.
Spello 58.
Spoleto 60.
Staggia 24.
S. Stefano 290.
Stimigliano 65.
Storta, la 40. 295.
Stracciacappa , Lake of

40.
Subasio, Monte 58.
Subiaco 2S4.
Sublaqueum 286.
Sutri 39.
Sutrium 39.

Tadinum 81.
Talamone 15.
Talazzo 81.
Tarquinii 16.
Tartari, Lago de' 281.

Tavernelle 42.
Tavollo, river 71.
Tenna, river 82.
Terni 62.

Teverone, river 281.
Tiber, river 38. 55. etc.
Tifernum Tiberinum 55.
Tibur 282.
Titan, He du 7.
Tivoli 280.
Todi 54.
Tolentino 82.
Tolentinum Picenum 82.
Tolfa, La 11. 17.
Topina, Val 81.
Topino, the 58.
Tor Paterno 301.

— di Quinto 270.

— de1 Schiavi 267.

— di Selce 264.

— tre Teste 287.
Torre Bertaldo 17.

— di Boacciano 300.

— di Giove 22.

— Pignattara 267.
Torrenieri 36.
Torretta, la 276.
Torrita 31.
Toscanella 38.
Toulon 6.

Trasimeno, Lago 48.
Trebia 59.

Tre Fontane 260.
Treja, the 67.
Trevi 59.
Trevignano 297.
Trieste 78.
Tvder 54.
Tuficum 80.
Turchina 16.
Turri, La 276.
Tuscania 38.
Tusculum 273.
Tutia 41.

TJmago 78.
Umbertide 55.
Urbania 55.
Urbibentum 32.
Urbino 72.
Urbisaglia 82.
Urgone, the 70.

Valca, the 296.
Valchetta, the 40. 68. 294.
Valcimara 82.
Vallombrosa 71.
Valmontone 293.
Varia 285.
Veii 294.

Velathri 18.
Velino, river 63.
Velitrae 279.
Velletri 279.
Vene, Le 59.
Venere, Monte 39.
Vetralla 38.
Vetulonia 14.
Via Appia nuova 277.
Via JSmilia 69.

— Appia 261.

— Amelia 11. 13.

— Cassia 36. 40. 295.

— Clodia 296.

— Collatina 267.

— Flaminia 44. 74.

— Labicana 267. 287.

— Latina 266.

— Nomenlana 268.

— Ostiensis 261.

— Praenestina 267. 287.

— Salara 64. 66.

— Sublacensis 285.

— Tiburtina 281.
Vicarello 297.
Vico, Lago di 39.
Vicovaro 285.

Villa Aldobrandini 272.

— Ambrogiana 8.

— Braschi 284.

— of Cicero 273.

— Conti 272.

— d'Este 284.

— Falconieri 272.

— ad Gallinas 68.

— Graziani 62.

— of Hadrian 281.

— Inghirami 20.

— Lante 38.

— of Livia 68.

— Mondragone 272.

— Montalto 272.

— Piccolomini 272.

— Euffinella 272.

— Taverna 272.

— Vittoria 71.
S. Vincenzo 13.
Vita, Capo della 22.
Viterbo 36.

— , Monte di 39.
S. Vito 65.
Volaterrae 18.
Volscian Mountains, the

291.
Volsinii 34.
Volterra 18.
Vulci 16.

Zagarolo 284. 289.

112

List of Streets in the Plan of Rome.

The plan is divided into three sections, the upper numbered I, the central II,
the lower 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 ~S° 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.
Abbreviations: V. = Via, Vic. = Vicolo, Vg. = Vigna, Pal. = Palazzo.

I II III I II III

Accademia Ecclesiastica 11 .

— di Francia

— di S. Luca

— di Napoli

Accoramhoni, Pal. 2 . . .
Acqua Felice , Acquedotto

dell1

— Giulia, Castello deir . .

— Paola

Acquedotto Antoniniano . .

— Neroniano dell' Acqua
Claudia

S. Adriano

S. Agata. 3

— in Suburra

S. Agnese

S.S. Agonizzanti. 19 . . .

S. Agostino

— , V

Albani, Pal

Alberini, Villa ....
Alberoni, Pal. 10 . . .

— , Vic

Aldobrandini, Villa . .
Alessandrina, V. ...

S. Alessio . . ,. . . .

Alibert, V

— , Vic

Altemps, Pal. 6

Altieri, Pal

— , Villa

Altoviti, Pal

— , Villa

S. Ambrogio della Minima

S. Anastasia

S. Andrea

S.Andrea, con Collegio Scoz-

zese. 1

— , Oratorio. 2

— , delle Fratte

— , di Monte Cavallo . . .

— della Valle

— in Vinci. 10

S. Andrea e Bernardino. 1
Anfiteatro Castrense . .

— Corea

— Flavio (o Coliseo) . .
S.S. Angeli Custodi. 8 .
Angelo Custode, V. dell'
Angelica, Porta ....
S. Angelo, Castello . . .
— , Ponte

22 -, Vic

— in Pescaria ....

S. Aniano. 4

Anicia, V

Anima, V. dell' ....
S. Anna

— 23

— , Monasterio ....

— de' Calzettari ....
de' Palafrenieri. 1 . .

S.S. Anna e Gioacchino .
S. Annunziata. 9 ...

Antonelli, Pal

Antonino, Tempio di . .
S. Antonio Abbate . . .

— delle Fornaci, V. . .
18 — di Padova. 10 . . .

S. Apollinare

— , Piazza

S. Apollonia

S.S. Apostoli

Piazza

S.S. Apostoli, Vic. . . .
Appia, Via

— , nuova

Aquiro, V. in

Araceli, S. Maria in . .

V. di

Arancio, V. dell' . . .
Arcaccio, Vic. dclT . .
Arco di Ciambella, 8 . .

— di Costantino . . .

— di Dolabella ....

— di Druso

di Gallieno ....
di Giano

28
3&

LIST OF STREETS.

I II III

313
i urn

Arco di M. Aurelio (sito). 7.

— degli Orefici. 1 . . .

— di Settimio Severo . .

— di Tito

Ardeatina, Porta ....
Armata, V. deir ....
Ascanio, V. di . . . .
Asinaria, Porta ....

Astalli, Villa

d'Aste, Villa

S. Atanasio de' Greci. 6.
Aventino, Monte ....
Avignonesi, V. degli . .
Avila, Piazza d' . . . .
Babuino, V. del . . .

Baccina, V

S. Balbina

Bambin Gesii

Banchi Nuovi, V. de' . .

— Vecchj, V. de1 . . .
Banco di S. Spirito. 15 .

— , V. del

S. Barbara

Barberine, Monasterio delle
Barberini, Pal

— , Piazza

— , Villa

Barchetta, Vic. della . .
S. Bartolommeo . . . .
—.19

— de* Vaccinari . . .

— . Isola

— . Ponte

Basilica di Costantino . .

— Giulia

— Ulpia

S. Basilio, V. di . . .
Bastioni di Paolo III . .
Battisterio di Costantino
Baullari, V. de' . . . .

Belsiana, V

Benedetta, V

S. Benedetto

-.7

S. Benedetto in Piscinula. 1

Berardi, Pal. 10

S. Bernardo alle Terme . .

Bernini, Pal. 15

S. Biagio

— 4

— del Fosso. 21 . . . .

— della Pagnotta. 13 . . .

S. Bibiana

— , V. di

Bocca di Leone, V. di . .
Bocca della verita, V. della

Bologna, V

Bolognetti, Pal. 3 . . . .
Bonaccorsi-Sabini, Pal. 21 .

Bonaparte, Pal. 5 . . .

— , Villa

S. Bonaventura

Boncompagni, Pal. 5 . . .
28 — Simonetti, Pal. 15 . . .

Bonella, V

S. Bonosa. 4 ,

33 Borghese, Pal ,

— , Piazza ,

— , Villa

Borgo S. Agata ....
18 — Angelico

— S. Angelo

— nuoTO

— Pio

— S. Spirito

23 — vecchio

— Vittorio

Borgognona, V. ...
Borromeo, Pal. 12 . . .
Boschetto, V. del . . .
Bosco Parrasio deir Acca

demia degli Arcadi . .
Botteghe oscure, V. delle
Bovario, Campo ....
Braccio, Str. del ...
Branca, Piazza di . . .
Braschi, Pal. 17 .... ,

S. Brigida. 3 ,

Bucimazza, V ,

Bufalo, Pal. del. 6 . . . ,
Bufola, Vic. della . . . ,

Buon Pastore

Caccagna, V

Cacciabove, V

Caffarelli, Pal. 9

S. Ca.io. 5

Calabraga, Vic

Camerata, Pal. 18 ... .

17 Campana, Pal

-, V

Campanaro, V. del . . . .
Campanile, Str. del . . .

Campidoglio

Campo Carleo

Campo de' Fiori

— Marzo, V. di

— Militare

— Vaccino

Camposanto, Str. del . . .
Cancelleria, Pal. della . . .

Piazza della

Canestrari, V. de' ....
Canestraro, Vic. del . . .
Capitolino, Monte ....
Capo di Ferro, Piazza . .

Capo le Case, V

Cappellari, V. de' . . .

ICapponi, Pal. 17 ...
Cappuccini, Convento de'
Capranica, Piazza . . .

16
20
15

16
22

14
13
13

17
11
13

10
10
18
27
12

20
20
13

13
13
13
11
20
14

13
10

314

LIST OF STREETS.

I II III

I nm

Carbonari, Vic. de'
Cardelli, Pal. 14

— 14

S. Carlino 2

S. Carlo

— a Catenari

, Piazza

Carpegna, Pal. 24 . . .
Carrette, Str. delle . . .

— , V. delle

Carrozza, V

Cartari, V

Casa di Crescenzio (detta di

Rienzi o di Pilato). 3 .
Casa di Raffaelle . . .

Casali, Pal. 9

Cascine, Vic. delle . . .
Caserma de' Carabinieri .

— de1 Dragoni. 8 . . .

— de' Vigili. 5 . . . .
Castello, Porta ....
Catalone, Piazza ....
Catena, Piazza della . .

— , Str. della

— , V. della

S. Caterina de' Funari .

— della Rota. 1 . . . .

— de' Sanesi. 2 . . . .

— di Siena. 7 ....
Cavaletti, Pal. 15 . . .
Cavalieri di Malta, Pal. de' 9
Cavalleggieri, Porta . .
S. Cecilia

— 20

— , V. di

Celio, Monte

S. Celso 4

Cenci, Pal

— , Piazza

Cerchj, V. de' ....

Certosa

S. Cesareo

Cesarini, V

— , Vic

Cesi, Pal

— , Villa

— Piccolomini, Pal. 9
Cestari, Vic. de' ....
Cestio , Ponte

— , Piramide di ...
S. Chiara

— , Monasterio
Chiavari, V. . .
Chiesa Nuova
Chigi, Pal. . . .
Ciampini, Pal.
Ciancaleone, Vic.
Cimarra, V. . .
Cimatori, Vic. de'

Cimeterio de' Protestanti .

Cini, Pal

S. Claudio. 23

-, V

27
22
18

Collegio Clementino . . .

— Inglese, Vg. del . . .

•M

— de Propaganda Fide. 16 .

16
19

-, V

— , Villa

20
19

Colonnelle, Vic. delle . . .

19
23
23

Commendatore , Pal. del. 13

Commercio, Casa del. 2 . .

Compagnia di Gesii, Casa

16
10

Condotti, V

Conservatore, P. del. 1 . .

Conservatorio de' Fanciulli

projetti. 14

Conservatorio della Divina

Providenzia. 1 ....

Consolato, Vic. del . . .

Consulta, Pal. della . . .

Conti, Pal. 12

— ( Villa

Convento de' Padri della

Copelle, V. delle ....

Cornacchie, Pozzo delle . .

Coronari, V. de' ....

Cortile di Belvedere. 1 . .

— di S. Damaso (delle

Logge). 2

— della Panateria. 5 . . .

LIST OF STREETS.

315

i ii in

15
13
20
17
20
20
13

Fiamme, Vic. delle . . .
Filippine, Monast. delle . .

1 23
IB

7
13
16

S.S. Cosma e Damiano. 5 .
Costaguti, Pal. 20 ... .

25
10

Firenze, Pal. di

— , Villa

S. Croce, V. di

33
19
36
20
15

19
19
16
16
11
11

12
17
10
13
10
29
35
28
25
13

14
14
21
11

12
21
20

Florida, V

— de1 Lucchesi. 13 . . .

19
7

— in Gerusalemme, Bas. .

18
16

Fontanone, V. del . . . .

Crociferi, V. de1 . . . .

Fornaci, V. delle . . . .

Crocifisso, Cappella del . .

»n

— , Vic

— di Nerva (avanzi). 7 . .

Same del Sacro Cuore, Conv.

delle

Dataria, V. della . . . .

Delfini, V

S. Francesco, V. di . . .
— di Paola

. i

22
16

— a Eipa

S.S. Domenico e Sisto . .

, V. di

, V

— delle Stimate

Dominicani, Conv. de' . .

Frati, Vic. de1

Fratte, V. delle

7
1

Frezza, V. della ....
Fruste, V. delle

16
17
1

— , V

19
22

"?,

— 12

Gabrielli, Pal

Gaetani, Giardino ....

S. Efremo

— , Pal

S. Elena

Gaetano - Sermoneta, Pal. 26

Galitzin, Pal. 13

S. Galla

. 1
13
1

S. Eligio. 4

S. Elisabetta. 9

-12

Galli, Orto . . .

I1)

— , Pal

Eurisace, Sepolcro di . . .

Gallo, Pal. del. 5 . . . .

. 1

9
2

— , V

Gambaro, V. del ....
Gatta, V. della

16
1

Gelsomino, V. del . .

Genovesi, V. de'

8
1

Falcone, Vic. del ... .

Gentili, Villa

Gesii, il . . .

6
6

Falegnami, V. de' ....

— , V. del

Gesii e Maria. 4 . . .

, V

Gesuiti, Noviziato de'
Ghetto, il

. 1
17
17
22

Falzacappa, Villa ....

Farinone, Vic. del . . .
Farnese, Pal. . . ...

— , Piazza

30
8

— . Str. . .

Farnesina, Villa

Felice, V

— in Aino. 6. . .

Fenili, V. de'

— in Augusto (den Incura-
bili). 2 . . .

— Scossacavalli. 7 . .

— de' Spagnuoli. 23 . . .

17
7

. 1
1

—

Ferajuoli, Pal. 20 ... .
Ferratella, V. della . . .

316

LIST OF STREETS.

I II III

Giardino, V. del . . .

— Papale, V. del . . .
Ginnasi, Vic. de' . . .
S. Giorgio in Velabro

S. Giovanni

— , Porta

— , V

— V

— Decollate. 5 . . . .

— de' Fiorentini . . .

— in Fonte

— de' Genovesi. 7 . . .

— in Laterano, Bas. . .

— e Collegio de1 Maroniti. 9

— in Oleo, Cappella . .

— della Pigna ....

— ante Portam Latinam

— e Paolo

, V. di

— e Petronio. 8 . . . .
Giraud-Torlonia, Pal. 4 .
S. Girolamo. 1 . . . .

— de' Schiavoni . . .
Giubbonari, V. de' . . .
Giudia, Piazza ....

Giulia, V

S. Giuliano

— 16

— de' Fiaminghi. 7
Giuoco di Pallone .
S. Giuseppe . . .

- - de' Falegnami (Carcere

Tulliano). 3

Guistiniani, Pal

— , Vic

Governo Vecchio, Pal. del. 20

— , V. del

Granari, Vic

Grazie, V. delle ....
Grazioli, Pal. 4 . . . .

Graziosa, V

Greca, V

Greci, V. de1

Gregori, Pal

Gregoriana, V

S. Gregorio . ' . . .

— , V. di

— Magno

— Taumaturgo. 10 . . . .

Grillo, V. del

Grimaldi-Potenziani, Pal. 12

S. Grisogono

— , V. di

Grotte, Vic. delle . . . .

Grottino, V. del

Guardiola, V. della . . .

Guarnieri, Pal

Guglielmi, Pal. 25 . . . .
S. Ignazio

S. Ignazio, Piazza di
— . V

S. Ildefonso

Incarnazione, Cappelladeir. 3
Incurabili, Vic. degli . . .
Inferno. Valle deir . . .

S. Isidoro

— , V

Istituto Archeologico. 8 . .
S. Ivo. 12

— 26

Labicana, V

Lancellotti, Pal. 1 . . . .

— 16

Lante, Pal

— , Villa (Borghese) . . .

Larga, V

Laterano, S. Giovanni in

Latina, Porta

— , V

Lattanzi, Villa . . .^. .

Laurina, V •. .

Lauro, Vic. del

Lavaggi, Pal. 15

Lavandare, Vic. delle . . .

Lavatore, V. del

Leccosa, V

S. Leonardo

Leoncino, V. del . . . .

— , Vic

Leonina, V

Lepri, Pal

Longara, V. della . . . .
S.Xorenzino in Piscibus. 10
S. Lorenzo, Monast. . . .

— , Porta

— , Vic

-. Vg

— in Fonte

— in Lucina ......

— — , Piazza di

S. Lorenzo in Miranda . .

— a' Monti

— in Paneperna, V. di . .
S.S. Lorenzo e Damaso . .
S.S. Luca e Martino. 4 . .
Lucchesi, V. de' . . . .
S. Lucia. 10

— del Gonfalone. 9

— in Selci ....
, V. di . . .

— della Tinta. 11 .
Lucina, V. in . . .
Ludovisi , Villa . .
S. Luigi de1 Francesi
Lunetta, Vic. della .
Lungaretta V. della
Lungarina, V. della
Lupa, V. della . .
Lupi, Villa . . .

16
16

13
13
8
10
30

28
28

22
31
34
22
19

20
20
22
13
20
19
10
17
10
26
26

13
10
15
18

LIST OF STREETS

31*

I II III

i n in

26
19

17
27

S. Maria sopra Minerva . .

16
16

10
13

23
23
23
14
11

17
26
10

11
11
12
18
1
10

— , Vg

— de' Miracoli. 1 . . . .

— di Monserrato. 3

— in Monterone. 12

— in Monte Santo. 2 , , .

, V. di

18
18

13
19

Macelli, V. de' due . . .

Madonna di Loreto. 3 . .

— a' Monti della Neve. 2 .

16
32
32
19
34
17
18

13
10
16
16
19
16

16
20
17
15

8
20

20
14
17

18
19

20
18

— , Vg

— della Neve. 13 . .

— delV Orto

— , Villa

— del Pianto. 19 ... .

— di Pieta (Oratorio di Cara-

— di Pieta con Camposanto
(Cimeterio de' Tedesclii). 4

— del Popolo

— Porta Paradisi. 1 . . .

— in Posterula

— del Priorato di Malta . .

— in Publicolis. 21 . . .

— della Purificazionc . . .
14

18
17
13

Halabarba, Vic. di . . . .
Malatesta, Pal. 13 ... .

- 10

Mantellate, V. delle . . .

— , V. di

Marescotti, Pal. 1 . . . .
9

— dell Purita. 3 . . . .

— , Vic

17
18

— della Sanita

— della Scala

Marj , Pal . (ora Gran - Guar-

, V. di

dia). 11

— de' sette dolori . . . .

S. Maria Addolorata . . .

— del Sole

— della Stella

— del Suffragio 11 ... .

— della Torre

— Traspontina. 5 . . . .

15
15

19
10

S. Maria in Campitelli . .
— in Campo Marzo. 2 . .

S. Maria in Trivic

— dell' Uniilta. 11 ... .

— delle Vergini. 1 . . . .
, V. di

19
16
16

— della Concezione . . .

— della Consolazione . . .

— di Costantinopoli. 14 . .

— in Vinci. 6 ....

— della Vittoria ....

18
15

13
30
20

25
25

15
18

— , Str. della

, V. di

Marmorella, V

14
26

Marroniti, V. de' ....

— di Grottapinta. 5 . . .

S. Martino. 6 . .

— a' Monti

— Maggiore, Basilica . . .

— de' Svizzeri. 3 . . . .
Haschera d'oro, Piazza . .
Mascherino, Vic. del . .

4
13
8

31b

LIST OF SXKEKTB.

I II III

Mascherone, V. del . .
Massimi, Pal. 12 ... .
— alle Colonne, Pal. 11
Massimi- Sinibaldi, Pal. 13
Massimi, Villa ....

Massimo Negroni, Villa
Mattel, Pal. 27 . . .
— , Villa

S. Matteo, V. di

Mattonato, V. del . . . .

S. Mauro. 13

Mausoleo di Adriano . . .

— di Augusto

Mazzamurelli, Vic

Mazzarina, V

Medici, Villa

Melone, Vic. del . . . .
Merangelo, V. del . . . .

Mercede, V. di

de Merode, Villa . . . .

Merulana, V

Meta Sudante

Metronia, Porta

S. Michele Arcangelo . . .
S. Michele, V. di . . . .
S.S. Michele e Magno . . .

Mignanelli, Pal

— , Piazza

Mills (Spada), Villa . . .
Minerva Medica, Tempio di
Ministero delle Finanze . .

Minuzzi, Pal. 3

Miracoli, Vic. de' . . . .
Missione, V. della . . . .

Molara, Piazza

Mole, Vic. delle

Monserrato, V. di . . . .
Montanara, Piazza . . . .
Monte Brianzo, V. di . . .

— Caprino, V. di . . . .

— Cavallo, Piazza di . . .

— Citorio, Pal. di (Ministero
d'Interno e di Polizia). 24

— Citorio, Piazza di . . .

— della Farina, V. del . .

— di Pieta

— — , Piazza di

Monte Tarpeo, V. di . . .

Monterone, V

Monteverde, Vic. di . . .

Montoro, Pal

— , V

Monumento dell*1 Immacolata

Concezione. 1

Moretto, V. del

Moro, V. del

Moroni, Vic

— Vg

Morte, V. della

Morticelli, V. de' . . . .
Muratte, V. delle . . . .

Muronova, V

Museo Capitolino. 12 . . .

Lateranense

Muti-Paparuzzi, Pal. 9 . .

Napoli, Orto di

Nari, Pal. 14

Navicella, Piazza della . .

— , V. della

Navona, Piazza

S.S. Nereo ed Achilleo . .

Neroniano, Pal

Niccolini, Pal. 2

S. Nicola

— in Carcere

— in Arcione. 11 . . . .

— degli Incoronati. 7 . . .

— de' Lorenesi. 8 . . . .

— de' Perfetti. 3 . . . .

— di Tolentino

, Vic. di

Nicosia, Piazza

Nome di Maria. 4 . . . .
Nomentana, Porta . . . .

S. Norberto

Noviziato de'Gesuiti, Villa del

Nuova, V

Nussiner, Vg

Ova, Piazza dell" . . . .

Odescalchi, Pal

S. Offlzio, Pal. del . . . .

Olmo, V. dell'

S. Omobuono. 7

S. Onofrio

— V

Orfeo, Vic. di

Ornani, Pal. 22

Oro, Monte d'

Orologio, Piazza dell' . . .

Orsini, Pal

Orsini-Savelli, Pal

Orso, V. deir

S. Orsola. 1

S.S. Orsola e Caterina. 11 .
Ortaccio degli Ebrei . . .

Orto botanico

Ospedale Ecclesiastico. lj .

— S. Gallicano

— di S. Giovanni Calabita .

— di S. Giovanni Laterano

— de' Incurabili . . . .

— S. Michele

— Militare

— de* Pazzi

— di Tala Giovanni. 22 . .
Ospizio de' Poveri . . . .
Osteria, Vic. deir . . . .

Ottoboni, Villa

Otto Cantoni, Vic. dei . .

15
20
30
19

27
13

26'

25
17
7
7

10
10
17

12
14
15
17
30

7
17

LIST OF STREETS.

319

i ii in

i nm

Pace, Piazza della
Padella, Piazza .
Paganica, Piazza
Palatino, Monte .
— , Ponte . . .
Palle, Vic. delle .

Palma, Vic. della .
Palombara, Pal. 11
— , Villa . . . .
Pamfili, Giardino .
-, Pal. 18 ... .
— , Villa . . . .
S. Pancrazio, Porta
Panico, V. di . . .
S. Pantaleone . .

— , V. di

Panteon
Paola, V.

S. Paolino

S. Paolo Eremita . .
S. Paolo, Porta ...

— , Via di

Paradisi, V

Paradiso, V. del . .
Parione, V. in . . .
Pasquino, Piazza del .
Passionisti, Giardino de'
Pastini, V. de' . . .

Patrizi, Pal

— , Villa

Pavone, V. del

Pedacchia, V. della . . .

S. Peligrelno

Pellegrino, V. del . . . .
Penitenzieri, Coll. de' . .
Penna, Vic. della . . . .

Perfetti, V. de1

Pergola, V

Perucchi, Pal

Pescheria, V. della . . .
Pettinari, V. de' . . . .

Pia, Porta

— , Piazza

Pianciani, Pal. 4 . . . .

Pianto, V. del

Pie de Marmo, V. del . .

Pieroni, Villa

Pietra, Piazza di . . . .

— , V. di

8. Pietro in Vaticano, Bas.

— , Piazza di

S. Pietro in Montorio . . .

— in Vincoli

, Piazza di

, V. di

8.S. Pietro e Marcellino . .
Pighini, Pal. 4

Pigna, Giardino della 1 . ■
Pilotta, Piazza della . . .

— , V. della

Pinaco, V. del

Pinciana, Porta

-, V

Pincio, Monte

Pinellari, V

Pio, Pal

Piombino, Pal. 22 ... .

Piombo, V. del

Piscinola, V

Polacchi, Vic. de' . . . .

Poli, Pal

— , Piazza

Polvcriera, V. della . . .
Ponte, Piazza di . . . .
Ponte Nomentano, V. di

— Molle, V. di

— Sisto, Vic. di

Ponteflci, V. de' . . . .
Popolo, Piazza del . . . .

— , Porta del

Porta, Pal. della . . . .
Porta Angelica, V. di . . .

— Castello, Str. di . . .

— Latina, V. di

— S. Lorenzo, V. di . . .

— Maggiore, V. di . . . .

— S. Pancrazio, V. di . .

— Pia, V. di

— Pinciana, V. di . . . .

— Portese

— Salara, V. di

— S. Sebastiano, V. di . .
Portico di Ottavia. 18 . .
Porto di Eipa Grande . .

— di Ripetta

Portuense, Porto . . . .

Posta

Pozzetto, V. del . . . .

Pozzi, V. de1

Pozzo, Vic. del

S. Prassede

Prati del Popolo Romano .
Prenestina, Porta . . . .

S. Prisca

— , V. di

S. Pudenziana

Puriflcazione, V. della . .

Qaaranta Santi

Quarantotto, Villa . . . .
S.S. Quattro, V. de' . . .
S.S. Quattro Coronati . .
Quattro Cantoni, V. . . .

— , Ponte

Quattro Capi. 4

S.S. Quirico e Giuditta. 8 .
Quirinale, Pal. e Giardino del

— , V. del

Rain, Vg

19
19

28
32
12

20
15
25

26
18
14

27
27
25
17
17
20

17
21

•a

320

LIST OF STREETS.

I II ni

I II in

Rasella, V

Ravenna, Pal

Regola, V. della . . .
Renella, V. della . . .
Renzi, Piazza di . . .

Riarj, V. de'

Rimesse, V. delle . . .
Ripetta, V. di . . . .
Rita, Beata. 11 ... .

S. Rocco

Romana, Piazza . . . .
de Romanis, Pal. . . .
S. Romualdo V. . . .
Roncioni, Orto . . . .

Rondinini, Pal

— , — 13

— , Villa

Rosa, V. della . . . .
Rospigliosi, Pal. . . .
Rotonda, Piazza della

Rotto, Ponte

Rua, V. di

Ruaccia, Piazza . . . .
S.S. Ruflna e Seconda. 2

Ruspoli, Pal

Rusticucci, Piazza . . .

S. Saba

— , V. di

S. Sabina

Sacchetti, Pal

— , V

Sacriponte, Pal. 5

Salara, Porta . .

, V. della .

Salara veccbia, V.

Salumi, V. de' .
Salvage, Villa

S. Salvatore . .

— in Campo. 5 .

— della Corte. 6

— in Lauro . .

— al Torrione. 5
Salviati, Pal. . .

Sampieri,Pal.(Cicciaporci).3
Santacroce, Pal. 4 . . . .

Santinelli, Vg

Saponari, Vic. de' . . . .

Sassi, Vg

Saturno, Tempio di . . .

Savelli, V

Savorelli, Villa

Scaccia, V

Scala Santa

Scalcaccia, Vic. della . . .
Scalette, Vic. delle . . .

Schiavoni, V. de'

. 17

Sciarra-Colonna, Pal. . . .
Scimia, Vic. della . . . .
Scossa Cavalli, Piazza . .

Scrofa, V. della

Scuole degli Ebrei. 2 . . .
S. Sebastianello, V. . . .
S. Sebastiano de' Mercanti.

S. Sebastiano, Porta . . .
Sediola, V. della . . . .
Semenzaio comunale . . .

Seminario. 7

-, V. del

Senatore, Pal. del. 2 . . .
Sepolcro di Bibulo. 2. . .

— de' Scipioni

Serlupi, Pal

Serpe, Vic. della . . . .

Serpenti, V. de1

Serristori, Pal. 8 . . . .
Servio Tullio, recinto di

Sette Sale

— , V. delle

Settimiana, Porta . . . .

Sforza, Piazza

Sforza-Cesarini, Pal. . . .
S. Silvestro

— in Capite

, Piazza di

S. Silvia

S. Simone

S. Simone e Giuditta. 5 . .

Sistina, V

S. Sisto

Sisto, Ponte

Soldato, V. del

Sora, Pal

— , Piazza di

Spada, Pal

,19

-, Villa

Spagna, Pal. di

— , Piazza di

-, Vic. di

Specchj, Piazza de' . . .
S. Spirito, Oratorio di. 16 .
— , Porta

— in Sassia. 12

Spirito Santo de' Napoli-

tani. 5

Sposata, Fossa della . . .
Stamperia e Calcografia Ca-

merale. 7

Stamperia, V. della . . .

S. Stanislao

Stazione della Ferrovia . .
S. Stefano

del Cacco . .
— in Piscinula. 21

171

17
13

16
20
19

26
11
10
10
19

13
13

10
9

11
14

18
16
10

LIST OF STREETS.

321

I II III

i ii m

S. Stefano Rotondo
-, V. di ....
Stelletta, V. della .
Sterrato, Vic. . . .
Strozzi, Pal. ...

— 16

— V

Struzzo, Vic. dello .
Sublicio, Ponte . .
S. Sudario, Cappella del. 8

— , V. del

S. Susanna ....

— , Vic

Tartaruga, Piazza . .
Teatro Apollo . . .

— Argentina ....

— Capranica ....

— di Marcello. 5 . .

— Metastasio. 15 . .

— delia Pace ....

— di Pompeo . . .

— della Valle. 15 . .
S. Tecla. 15 ... .
Telline, Vic. delle . .
Teodoli, Pal. 9 . . .
S. Teodoro ....
S. Teresa

— i ..'.'.'.'. '.
Terme di Agrippa . .

— di Caracalla . . .
Terme di Costantino .

— di Diocleziano . .

— di S. Elena . . .

— di Tito

Termini, Fontana di .
— , Piazza di ...
Testa spaccata, V. . .
Testaccio, Monte . .
Tiburtina, Porta . . .
Tinta, V. della . . .
Tomacelli, V. ...
S. Tommaso. 1 . . .

— Cantuari. 2 . . .

— in Formis ....
Tor Argentina, V. di .

— Cantarelli ....

— de' Conti ....
, V. di . . . .

— Mellina

— Sanguinea. 4 . . .

— de' Specclij, V. di .
Tordinora, V. di . .
Torlonia, Pal. 10 . .

— -Bolognetti, Pal. 1 .

-, Villa

Torre ddle Milizie. 6 .

27 Torretta, Piazza 16

Trajana, Colonna . .

Tre Archi, V. de' . .

Tre Cannelli. 3 . . .

Tre Cannette, V. delle

Tre Ladroni, Vic. . .

Trevi, Fontana di .... 19

Triclinio Leoniano . .

S. Trifone. 2 13

S. Trinita 16

— 11 17

— de' Monti 20

— de' Pellegrini . . .
Tritone, V. del . • ... 19

Umilta, V. dell' 19

Universita della Sapienza. 25

Urbana, V

S. Urbano

Vaccarella, Vic 13

Valentini, Pal. . . .

Villa

Valle, Piazza di . . .

-, V. di

Vantaggio, V. del ... . 14

Vascellari, Vic. de'

Vaschette, Piazza delle . . 7

Vaticano, Monte 1

— , Pal 4

Vecchi, Villa de' ..." 28

Vecchiarelli, Vic 10

23 S. Venanzio

Venere e Roma, Tempio di

Venezia, Pal. di

Piazza di

Vergine Beata del Carmine. 5
Vergini, V. delle ....

Verospi, Pal. 10 16

— , Villa .... 27

13 Vetrina, V. della ...'.'

Vidoni, Pal

Vigne, V. delle ..'..'.
S.S. Vincenzo ed Anastasio

3 No

Visitazione, Monasterio della
S. Vitale . . .
21 S. Vitale, V. di

Vite, V. della . . ' '
IVitelleschi, Pal. 1 . . [

17
19
16

13
22
20

19
9

13
13

1 19

IS. Vito, V."
s

SS. Vito e Modesto .'
IVittoria, V. .
Volpe, V. del .'.'''
Wolkonsky, Villa . . . '

Zecca

Zingari, Piazza ...'.'
Zoccolette, Monast. delle' 2' '
Zuccheri, Palazzo . lo'o

Zucchette, V. delle ' ' ' [9

21
22
22

16
25

Leipzig : Printed by Breitkopf & Hartel.

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